Steves87

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!

Thank you Jean, I understand and see what you mean regarding the nakago and hitsu shapes/ finishes. The only reason I mentioned Kaneie was because of the similar surface treatment to the 'shoreline' Tsuba as seen on the 'Tsuba Gallery' website by Elliot Long. Im ok with it being an un-original, was part of a lot I picked up for lunch money a while back

Thank you Steven

Thank you Mauro, I am currently reading about Onin and Heianjo at the moment. I will research Shoami as my next research

Thank you! It makes sense, but I did not know this

Fair enough Jean, what would be the tell tail signs this is not traditionally made? I am genuinely interested in finding out more as to why. I know the Tsuba is in a somewhat rough condition and potentially has a non original coating on it. Is it perhaps because it is unsigned and in a Kaneie (spelling) style?

Thank you Steven, I had sort of assumed that would be the case, until today I had seen a similar style Tsuba and the inlays were also worn down... this made me question if it was on purpose