Bugyotsuji

Thanks for that vote, Steve! The scales are now tipping more towards one of those listed 古田 Furuta lockwork makers above, (other readings such as Koden are possible), meaning the gun itself could well have been produced in Owari around mid-Edo, c.1680-1780 ish. “Grrrrrreattttttt!!!” says Tony the Tiger!

Many Daimyo around Japan used the nine-star Kuyomon, including Date Masamune, but possibly the Hosokawa were the most famous. As to Yamagane, I heard just recently that it is copper extracted 'as is' from a mine, meaning that it includes trace impurities, i.e. it is inconsistent throughout Japan. Suaka by contrast is literally 'pure copper' that has had the impurities removed.

(Please excuse the update, but after some research I wish to record my thoughts here while they are still in my mind.) Problem restated Can we read it, and then find a place of manufacture based solely upon this unreadable lockplate character or mark? The school of gunnery is Inatomi Ryu, (also pronounced Inadome) but the gun is unsigned. Guns were made to Inatomi specifications in Kunitomo, Sakai and Owari at least. Checking the matchlock mechanism artisans, there were no likely candidates in Kunitomo, Sakai or Sunpu, but in Owari there were three generations of Furuta with names beginning with Ichi 市, i.e. Furuta Ichirobei (Genroku), Furuta Ichirozaemon (Kyoho) and Furuta Ichizaemon (Tenmei). Ichimu's following generations served in Owari. Gun locksmiths did indeed sometimes sign with a stamp or impression using one character of their name, often the first letter of the individual name, so, one possibility, i.e. that this is Ichi 市, is born, or to some extent borne out here. The famous Inatomi Ichimu 1551-1611 was the eldest son (or grandson?) of Inatomi 祐英 (Sukehide) and was originally named Yojiro, then Sakon, then Iga no Kami Minamoto Sukenao 祐直. His skills in gunnery were noted by many Daimyo who wished to have him teaching close at hand, such as Tokugawa Ieyasu at Sunpu. Notably, the famous swordsmith and gunsmith Hankei (Nihon Kiyotaka) also worked there and produced guns in the Inatomi/Inadome school style. Notice here the Kanji character in the thread's opening post above once more, that no one except Uwe has commented on. Uwe agreed with ネ at first, then possibly 市. But! What if? What if the character stamped on the lockplate above is a construct, an amalgam/amalgamation of the common-to-both character 'Suke' 祐 (ネ and 右) of the father 祐秀Sukehide and the famous (grand) son 祐直 Sukenao, later 'Ichimu'? This could account for the appearance of ネ with a 口 lower right. Hmmm... Or to take this a step further, might the locksmiths have blended their character Ichi 市 with the Suke 祐 of the founders Sukehide and Sukenao? Enough of the brain storming. Here is some background concerning the school of Inatomi/Inadome Ichimu, in English. https://www.japanesewiki.com/person/Sukenao INADOME.html

Point of interest. Asking about the tanto shirasaya and tsunagi, I got a message back saying it should be ready shortly. As to togi though, we face a fine problem. The primary dilemma for the togishi will be how to preserve this blade's sugata throughout any polishing process undertaken. Change the silhouette or geometry, and you could soon have a new kitchen knife. My guess is that previous owner(s) have already agonized on how to best preserve this blade.

I was thinking yamagane too.

You could do both, an internal double-ended screw, plus an outer metal sheath to keep it all straight, then bind with fine cord, and place another similar cord bound section at an equal but opposite location giving it a more balanced look... (?)

Such a shame that they have to do this. Sad old world where the laws make life difficult and uncomfortable for everyone, and culture gets abused in the process. What you've done looks like a pretty good fix, you are happy, and you still have the ability to dismantle and travel! (Besides, if you find a better method in the future, that option is till open.)

Jiro (but no Taro) Naokatsu. Unless I am missing something, Nobuie is on the front of the tsuba, and the humble artist Jiro who emulated Nobuie has placed himself on the reverse, no?

A wire hanger may be too strong, difficult to bend to the right shape, and possibly damaging to the saya. If you do not have the equipment for Brian's approach, Natthaniel's wire idea may be better. Source a section of the right thickness, and play with different shapes of hook. The thing is to do it in your head first, over a day or two, and wait for the answer to crystallize in your brain. You have to work intuitively.

Vinegar shell lids Swirls formed by mixing lacquer and tofu

Yesterday I attended a lecture on koshirae, the methods and materials used by artisans. It was given in the events hall at the Osafune museum where this exhibition is presently being held. In the room was a large collection of privately-held koshirae spread over the tables for the attendees to handle. One comment struck me about how we think of the samurai being Spartan in their simplicity, but here we have all these gorgeous and flamboyant koshirae, as if rich merchants were wanting to show off their wealth. He gave us examples of some lacquering and embedding processes so time-consuming that no-one today would attempt them. One take-away for me, though, partly to answer your question, Brian, was that almost anything goes. One process, a lacquer swirling pattern for example, involved mixing tofu with the lacquer to slow the drying process. Another koshirae was decorated with what looked like migrating birds, but close examination suggested shark baby teeth. Yet another one had what the experts had declared were ground-down shells embedded into the lacquer, but the owner had determined were the round entrance covers for a shellfish called a 酢貝 Sugai or vinegar shell. (Lunella coreensis.) In other words, although there may be some fleeting acknowledgement of cultural meaning, on the whole artisans and patrons were choosing refreshingly unusual patterns from Nature. Almost as if they were talking points for people living in a rigidly defined static class system. With fish inner ear bones, I am guessing it was solely the rarity factor, almost a game to avoid boredom, "What do you think these are?" that the owner enjoyed inflicting on those who would listen! ’Chidori’ birds?

Oli, he said it is signed but he is not going to show us yet. You can see 造, but above that he has blanked it off.

This has come up here many times, Walter. Run a search under 'Soten' tsuba.

Incidentally the 'adjustment' knock-through hole that is the subject of this thread does not appear on every matchlock. There are several neat regional and Ryu-ha school variations among Japanese Tanegashima.

Old kanji 國廣Kunihiro for 国広

Grev, according to one book here, he belonged to the 中原 (一派) Nakahara (group) of artisans in Hagi, around Kaei. If so it could well be a nod to his Sensei or working group.

Strangely, when I hung up a Noh mask recently, my wife said that the daughters would be scared of it. "No way!", I replied, laughing. Not long after that, separately, both reacted just as my wife had predicted. "Scary!" they said. Not towards the armor, though!

BTW, don’t worry if everything is not perfect. You’ll rarely find one in perfect condition, but yours looks as if it has plenty to enjoy. The woodwork has a nice rich colo(u)r. Sakai guns are famous for their bling kirigane metalwork, dividing collectors into those that love this aspect …and all the rest! (I have just come into possession of a rather similar one!) 😊

You mean Hideoki 秀興, Jack?

Last post for now… And

On the same theme… And…

Where to start? Some tsuka and tsuba? And

Got some more detailed follow-up shots today. Here’s the Sairen caption for Lewis.

Hello ET! I am just about to go out, but at a glance your fine gun is from Sakai, Osaka, from the early to mid 1800s; it has been converted with nipple and stronger leaf spring from matchlock to percussion fire, around... 1830-1840 ish. (Maybe the serpentine was also changed from ‘shinchū’ brass to iron at the same time, to work as a hammer on the percussion caps.) The barrel may be rusted in, and the stock woodwork has probably shrunk slightly, but some taps with a rubber hammer may help to free it. Remove the ramrod, and stand the matchlock upright, and with your fingertips on the upper stock, knock the barrel out into your left hand. (To start with. If not successful, go to Plan B.)

Just playing with 為秀 and 秀為 Tamehide, Hidetame, Hidei, Shūi etc.