Bugyotsuji

What I honestly think is that even where it is ‘wrong’ in some detail, it gives you a hell of a lot of background information, plus a warm fuzzy feeling, as if that world is close and familiar. It also encourages further study in a positive way.

Nice tsuba ! (There seem to be other, older dings and scratches from before, so maybe things can be toned down somewhat.)

Been there, done that, and it’s the worst feeling. (At least you are not blaming yourself though.) Feel for you! Lesson to us all to request careful packaging, in advance of shipment.

Yes, but not yet all of it perfectly. (Most unusual to have the story down the mimi sides.)

Good job! No-one would spot that, I bet. Nice invisible rivets too! We only know your secret because you have told us!

Well Jean, now you have poised two or three very good questions. A couple of years back I translated some research done on Japanese armo(u)r. A line in a written record from about 1570 caught my eye, where the writer mentions visiting an armor workshop where the overwhelming impression was workers drilling holes in metal. As I recall, it specifically mentioned them working with 錐 ‘Kiri’, which is not a punch. If anyone knows more detail about this, I too would be interested to learn. So… Q.1. Were the holes in armor plates drilled or punched?

Drilling in iron went back, way back to the beginnings of Japan time, for kabuto ‘hoshi’ rivets. Some armorers, as we know, produced tsuba too, and some went on to specialize in them. I am imagining a time when hand- or foot-driven drilling technique moved for whatever reason over into the tsuba world. And Nakago were of even thicker iron, closer to tsuba thickness. ‘Random’ may be overstating it, but playful it certainly must have been, from the imagination through the planning into the execution. Some of the examples above allow your brain to flip-flop flash between positive and negative sukashi, in a “Now you see it, now you don’t” cameo.

Not wishing to prove controversial, with added apologies for the side-stepping, but here is an example of a Netsuke demonstrating (in my opinion) the use of a drill to create a pattern or design. Was there a period when this kind of work was fashionable, I wonder, in which the actual meaning of the design was incidental or even secondary?

I have found two or three artisans who signed Joryū, but the sole book I rely on here does not mention the name Masanao. Any luck your end?

如柳正直 Joryū Masanao (Alternative reading Nyoryū?)

Sadly John, unsigned.

Still have not reached the Chinese New Year, so allow me to add an iron Tantō/wakizashi tsuba with a golden dragon weaving through the clouds. The rust looked active, so today I finally sat down to clean it up. First time I have given this tsuba a serious look, as it was just kicking its heels in the odd tsuba box. and the other side of the cloud…

Not sure if I ever posted this tsurumaru with three inomé…(?)

Crisscross Nanako effect.

Hmmm… if not, try Seki, Kanesada. 関　兼定

Today in a pile of old Japanese armor related bits I spotted a small plastic bag containing a lead ball wrapped in paper. Pretty sure this was a pre-patched ball. Not mine, but I took a quick photo while I had the chance.

ホ actually reads ‘ho’ with a short ‘o’ sound, like blowing quickly on a glasses lens. What it means is another question, but it could be related to which section of the army it was for. In Kokura, hosting a large army barracks, Ho could have stood for Hoheitai 歩兵隊, infantry. Ki stood for Kiheitai 騎兵隊, originally cavalry but denoting motorized armored troops, and ホウ Hō with a long sound Hōheitai 砲兵隊, or artillery forces. (Not definitive, but just throwing this into the pot for consideration)

For years on this forum no one (hardly ever) used the red down-vote button. The first time I saw it not too long ago it was actually shocking, that someone had not bothered to speak or reason against a position. It seemed so harsh and point-blank. Suddenly it has become commonplace here, for whatever reason.

Shoot with the tip of the Nakago facing towards us, and the inscription will be the right way up! PS At first glance with a cricked neck, it looks like part of a date.

Coins and tsuba both start with a metal pancake. Both are fascinating objects that can transport you backwards in time. An artisan once told me that a quality iron plate for a tsuba might cost US $250 today, even in its raw state. Tsuba are larger and more tactile in the hand, allowing you to connect with the maker and sometimes the user(s). Each Tsuba holds little clues, apart from any inscriptions on it, and part of the allure (besides the cameo-like aesthetics) is the hunt for the story behind it. Hard, indeed, but that in itself can add interest, sometimes taking years to narrow down. In some cases you may find an exact date (if a recorded smith added his/her age, for example), but in many cases smith lists will record their place of work (eg Edo) and rough working years (eg Bunsei). Some will remain a puzzle, but you can always consult people and solicit opinions to help narrow it down, if you like it enough. You will find that tsuba collectors may have found a particular niche. One of my friends for example only collects Bizen Suruga. Some are more broad, liking Edo soft metal, others iron. Horses for courses applies! (General thoughts, maybe echoing some posts of others above…)

This small tsurumaru bolo/loop tie turned up in an antiques fair the other day. (Silver-plated on copper base?) On the front it says 孫六 Magoroku. On the back 日本美術会館 Nihon Bijutsu Kaikan and 銀P (silver plate). Reverse

The Kamon on your gun is a version of 丸に抱き柏 Maru ni daki kashiwa ‘Embracing’ oak leaves in a circle. This was used by several families including the Tsuji Daimyō. https://irohakamon.c...runidakikashiwa.html

That really does look as good as dammit, Fabian. Good work. Some of my teppō have original pins, others were made later. Many years ago I bought a beautiful Hino gun at a sword-and-gun shop in town. The pin was missing from the pan lid/cover. When I pointed this out, the Bantō walked over to the Tanegashima which were stacked against the wall, had a quick look through, and casually extracted one for my ‘new’ acquisition. (Someone else’s problem from then on!)

Last name 陳暁 Chinshō, Chingyō? PS These Aoi Takezō smiths were active from Bunsei to Ansei toward the end of the Edo period. PPS The first photo shows the double helix method of barrel forging 二重巻張 Nijū Makibari

Some details to the reading of this name will need further research as this particular smith does not seem to be listed. Anyway the smith served the Kishū Han in Ise Matsuyama, (勢州 meaning　伊勢 Isé). 勢州大石青井丈蔵　… … Sei Shū Ōishi Aoi Takezō plus this further personal name.