Steves87

Hi Jean, I guess Im still surfing down in the lower value Tsuba more than i should, so it seems like a lot have it. One of my personal problems is I cannot relate to ancient times and way of life easily, so when I think of the rarity of fires nowadays, I automatically think of it as the way it's always been. I own one example attached here, but I was reading through old posts today and came across fire scale being mentioned a lot. Edit: so in short, i think you quite simply answered my question

Hello All, I keep seeing Tsuba with what people describe as fire scale. I know what fire scale is and I know how to create it and0 I know how to remove it. What I do not know or understand is why so many Tsuba have it? I mean, it is mostly the lower value Tsuba anyway, but why or how are Tsuba so frequently exposed to fire or such extreme heat that so many have it? If I could please be enlightened, I really feel as though fire scale seems to be on every second piece Cheers

This is a similar tsuba as per Alan's post. currently for sale (not mine - on online sales site)

Thank you Richard, I apologise, I did not realize it was a 360deg picture and again, great work! Interesting points on shows and meetings, I guess I haven't thought that far ahead as I'm still looking to attend my first for both, haha

Richard, this is a great example to help explain the 'cladded' style inlays (I apologise I cannot recall the correct name). The top decoration on the front is worth 10,000 words.

Thanks Richard, Generally I'm viewing these threads on a mobile devise and I sometimes miss or missunderstand key info (like the lacquer infills) due to the size of screen, but this time I have also not noticed the inlay as you point out above, how I missed it I cannot work out, but it is so obvious now. Initially I was thinking it was a partial/half loss of a single inlayed line and so a replacement piece was added in to make up the remainder of what was missing. I couldn't quite understand as I could not see any join, but standing back I see a whole piece was replaced (and maybe not necessarily in the same artistic style) and what you are also indicating is, due to lacquer age, is not a recent fix. Apologies for being so slow on this. I would love to find a study group to join, simple info like the 10% rule would be learnt in no time. I know of collectors, but I am unaware of any meetings that may take place. I feel a vast majority of my questions would be quickly and simply answered there. There is usually a Nihonto display show once a year here in Perth, which I have missed the past two years (been on while Im away), but hopefully I can attend this year to see what is available to join up to. I have often wondered about the 'Excellent' Tsuba we may not get to see, I can only hope that if we study for long enough, at some point the occasional piece will show itself. also, I quite like the rice bowls Tsuba you have, I am assuming the 'ropes' that finish at an edge on one side, continue to the centre on the other? cheers

Thanks Pete, when I first posted earlier I didnt quite understand, but it totally makes sense now... I didnt realize the lacquer was used as the fill with no soft metal replacement beneath. Untill today, I had no idea of this method of repair. It is great to know though as Im 100% sure I have seen this in the past but overlooked it. I question a lot of things, but I just didnt twig on this.

Great video Richard, Ive only skimmed to 3:05, but ill be checking the whole thing in a while!

Thank you Richard, You have answered my question and given me more! Is the 'Torigoye' rule of 10% in text that I may be able to find and read? and on potentially written rules, is there an official written list (say in point form) of what collectors should be adhering to? In all my honesty, I likely would ignore the majority of the list, but I would quite like to know the list. Your Tsuba is quite interesting although I have not researched the Christian Tsuba, I cannot see any obvious signs of it being Christian. I have heard of zogan being replaced or fixed in the past, could you please tell me where on the Tsuba your close-up shot is of? Although your Tsuba is missing a bit, I think the sukashi shape itself would be enough for me to personally consider purchasing. In terms of 'major design pieces' I generally get it, but as a check, say you have a tsuba where you have two zogan birds, a large quantity of flowers and a smaller moon/sun. The flowers and birds are the two focal points of the plate but the moon/sun (which is worth 5% total inlay) is missing? Again, sorry, so many questions! Grev, thank you. I will be hanging on to this tsuba a while longer as I have not seen this flower patten previous-or after getting the plate. Its something that has stolen my eye and really makes me wish I could have seen it in all its glory. Pete, thank you also for posting your Tsuba, forgive me as Im not sure, but are the repairs the darker zogan pieces? Edit: just saw Richards next post

There definitely seems to be a few out there

Hello all, I am wondering what the general thought or rule is on the topic of missing inlays. Usually when considering a new Tsuba I dont mind the occasional missing inlay as Im not buying for perfection or condition, but I prefer the bulk of inlay to be there. Is there an official standard or percentage of acceptable missing zogan that is 'supposed' to be adhered to or acceptable? Just curious. In light of my preference to minimal missing inlay, I have bought one piece a while back with a lot missing. The leaves and vines im nuetral on, but the 'flowers' (or whats left) for some reason, i had to have. Personally, I would consider this Tsuba toast, purely for the quantity of what's missing, but, for all I know, it is acceptable. Can i please have the opinions of others, not specifically for the Tsuba below, but Tsuba generally Thankyou

Hi Dan, I like the deaign of this Tsuba, however, from the pictures it looks more copper than brass. Im really interested in what others have to say about the nanako as your other Kinko tsuba is quite obviously punched and have more space, on this Tsuba you can see the dots are a lot smaller and closer together (to my eyes). I have not studied nanako, but i would guess half dots, say at a seppa area, would be maybe a warning of casting? Cant say I see any here, but again im just interested in what the pro's have to say.

Thank you David, there may be similarities in the first link with the thickness of-and- the way the mimi is shaped. Although my pictures dont convey, the shape and size is very similar.

Hi Dan, I like your Fan Tsuba, the pictures you have taken show it in a better condition than the sellers original listing of it. which to be clear, did not mean it was in bad condition, but just saying, cool Tsuba, good pics

I like this set, nice buy! If I had to guess, id say the scratches are from trying to carefully pry the kashira of a swollen old tsuka. Ive not delt with dismantling a Nihonto antique, but the modern stuff can be a fairly snug fit

Great video Richard! I really like that as a format for viewing Tsuba, would the nunome of completely covered the mimi of your Tsuba in the past? Your second tsuba link although different, has a very similar feel to it, i cant put my finger on it for sure, but I think it is the way the metal curves and tapers on the face of the sukashi areas. Thank you very much for your excellent help Edit: would you know the tsuba thicknesses off the top of your head? Just out of interest

Thanks David, in a few hours I will be able to continue with my searching i'll be looking at Shoami. Would you happen to remember where you may have seen the similar examples?

Myochin style seems to have a few chunky pieces, I found this: https://blog.goo.ne.jp/tsuba_001/e/956c18482593cb1380ba2a94e7c45b3c It seems to be the closest ive seen so far

Thanks Richard, ill try some searching with Myochin and Shoami now. It is a very chunky Tsuba for sure! I am pretty confident the nunome was only in the places as shown in the pics, obviously some has come away, unfortunately my camera work is light years from your own, but had they have been better quality, you can still the extent of the hatched filed marks to where they used to be. So front of Tsuba had three areas of nunome on the mimi, the back had two areas. One of the webs on the front never had nunome and two webs on the back also never had it. I guess another reason for it probably not being Kinai is I have read almost all were signed.... this obviously is not signed. Thank you, two more potential schools to reasearch is great!

Hi all, I have been trying to find a similar copy tsuba to this, I havnt been lucky at the moment, but I thought if I can get a possible school, it may become easier. The tsuba is approx 74mm x 73mm x 7mm thick and the closest style I have seen so far is Kinai. If anyone could please give a bit of another lead it would be much appreciated. My reason to find another is something id like to keep to myself at this stage. Please excuse the condition and probable un-importance of the piece.

No problems, it shows that it does not make it anymore desirable just by getting rid of the oxidation.... the colour/patina is the same (although the photos dont convey this well). I dont think the question is what happens in a few decades with a bit of wax added now, but more, what does a Tsuba look like in a few decades -without- a bit of wax or cleaning now.

Hello, At the risk of being flamed to hell and back, below are two pictures of the same cheap Tsuba (one pic by me the other from a seller). the only real difference between the two pics are : untouched vs light brushing with wax as per Tetsugendo method

I really like that design

by chance I was shown this photo a friend of mine took a few weeks ago. Instantly I understood.

Thank you Steven, my original question is answered and I have even learnt more about storage, so post has worked out well for me!