OceanoNox

To add about Prof. Omura's research paper, it is part of a larger research project, funded by JSPS (Japanese Society for the Promotion of Science, the main government agency for basic research funding, relatively competitive and attribution depends on both the application and the applicant's previous research results and achievements). The topic was "The iron that changed Asia " (アジアを変えた鉄). There was a symposium at Kyushu National Museum (https://www.kyuhaku..../event-220128-2.html), and Prof. Omura's own website gives more details (http://ohmura-study.net/410.html).

To add, also steel from the Netherlands (anywhere, really). I did not know that, but it seems the "nihonto = tamahagane" narrative started, according to Prof. Omura, after the sword ban of Meiji. He adds in the conclusion that nihonto were not made with tamahagane during the bakumatsu because it was good steel, but because it's what the smiths could get their hands on. So tamahagane was mainly used for 70 years out of 1000 years of history for nihonto. This is a tough paper to digest (a lot of content, and it challenges my own ideas on the topic), but very interesting.

Thank you Robert! Thank you for the comments too. I'll answer below, but I'll use your comments to upgrade the file. If I can get close to a "definite" version (HA!), I might upload it. I realized later I had forgotten to erase the duplicated Vickers hardness data. About the concentration of P and S, I have no idea where the sands/ore came from for the old swords (or rather if it was in Prof. Kitada's book, I skimmed over it...). About the folding part, it's the section I am not happy with; I wanted to get over it in one slide, and the nuance is difficult to get. I did want to explain that each type of steel was separately worked before being joined into the final block for the sword. And for the carbon content, I was amazed too. From what I understand, they usually look at the fractured areas when they break the initial metal before sorting into high or low carbon steel. It seems the folding tends to give a pretty consistent 0.5~0.6 mass% carbon, so maybe they realized that a certain number of folding cycles worked. I know that the people from older times were likely just as smart as us, but knowing how little technology they had, I am still amazed at what they did.

I thought it might be East 東, as seen here: http://codh.rois.ac....nsho/unicode/U+6771/ The writing style is Seal script, tenshotai 篆書体. The kanji for king 王 can look like this: http://codh.rois.ac....nsho/unicode/U+738B/

I used the data available. I'd like to keep updating this file, so if you have other sources, please let me know. EDIT: I wonder if the smiths themselves measure the temperature or keep doing it by eye and experience.

Thank you Brian!

Nihonto-Steel.pdf Hello all, I have been recently quite miffed at the apparent return of the "Japanese SteEL was Baaaad" cliche on the internet. I've yet to seen anyone back their claim and decided to gather some of the most excellent data that has been published throughout the years. A lot is in Japanese, which means it remains inaccessible to many. At any rate, feel free to take a look at it. I have focused on the metallurgy, i.e. the chemical composition, microstructure, and mechanical properties. Cheers

This page (http://www.kodokei.com/ot_043_1.html) implies that the so-called tokei tsuba was indeed popular, and the design was already not new in 1770. The page goes on to say that it also looks like a sun with its corona. There is no implication that it's a christian theme, simply a clock gear (specifically a Japanese clock gear). The document cited may be this one: https://kokusho.nijl...io/100238317/2?ln=ja, but it's more than 600 pages long of old Japanese... I have seen it written that the sun/sharp gear appearance is a hint to the Jesuit IHS symbol, but I cannot confirm (the symbol itself is certainly juuust old enough that the Jesuit mission in Japan could have introduced it: 1541 for the symbol, 1549 for the mission). To @Jesta, I feel the same way for many tsuba designs, especially the tosho and kachushi. There is a simplicity and rusticity that is extremely appealing to me, but I wonder what was the intent behind those designs. Is there a hidden meaning? Did they simply like the shape? Was it simple because they lacked the technology or know-how to make more elaborate depictions?

It may be pure coincidence, but the reading shoubu is the same for both 菖蒲 (Japanese iris) and 勝負 (victory and defeat, fight). I do remember that there are several items with puns in them (like a natsume with exactly 6 gourds drawn on it, called "mubyoutan" 六瓢箪, with mubyou 無病 also meaning "disease free", as a charm for good health).

Mekugi should be made of strong bamboo, ideally smoked. You can buy some here: https://www.namikawa-ltd.co.jp/product/143 Otherwise, the next best thing is following this: https://ejmas.com/ti...nart_fowler_0502.htm If you use store bought bamboo, use the bamboo near the outer surface, where the fibers are dense.

I read there are theories about the nature and the mundane themes (like everyday items) being about remembering life and beauty, in contrast to the violent episodes of warriors' lives. As it is, unless someone has some written document or journal that states why some design choice was made, we won't know if it's simply esthetics, religious or philosophical belief, or to invoke protection/strength, etc. Perhaps people who have seriously designed tsuba can weigh in, but I do like the look and texture of the halo (amida yasuri) over relatively rough iron, so in my case, it's less about meaning and more about visual effects.

May I introduce these? https://rank-king.jp...4EAAYASAAEgLlC_D_BwE Apparently made specifically for museums and the like.

I am not sure if this is perfectly in line with the topics, since it is a gendaito made for iai. I was about 28, had relatively recently gotten my 3rd Dan in ZNKR iai. My sensei told me to save some cash and later said he found a very nice, long (2 shaku 6 sun and more than 5 bu) and balanced sword from Akamitsu Taro from Kumamoto. It fits my body perfectly and funnily enough it was made the year I arrived in Japan (2008, but I got it more than 5 years later).

Some koryu teach to snipe the hands or wrists (grab victory a few sun from the tsuba), so maybe the larger tsuba are for some safety margin. I have no idea where they came up with the numbers, but there are some documents from Edo (maybe inspired by earlier scrolls) recommending 9~10 cm in diameter, as well as increasing thickness if you have more sukashi. Another also says that the sukashi should not be too large, to avoid a weapon going through it.

It almost looks like a buckle or a clasp for capes and coats.

It is likely texture, made before the patination process. The tekkotsu may be possible, but as I recall, even when tsuba are made with recycled materials, they are typically done with the least amount of forging possible, so these here are too small. Nowadays, some craftsmen do patination in two steps: rust once fully, then remove the rust with some acid, and redo it once more. This will increase the roughness of the surface, and may cause some pitting.

From right to left: Type (種別）: Juumonji yari Length (長さ): 19.00 cm Curvature (反り): 0.0 cm Number of mekugi holes (目くぎ穴): 1 Inscription (銘文): on omote (表): made by Kanekichi (?) (包吉作) It was registered in Fukuoka prefecture (number 62353), on the 21st of september, 1972 (昭和四七年九月弐壱日).

Apparently, it takes him about 3 months to complete, but I suppose a lot of that is the patination. Interestingly, he uses some kind of clay that he prepared and lets the tsuba rest in it for a while. I remember Jim Kelso explaining on his website about letting dry a layer of clay mixed with various stuff, but it's the first time I saw someone bury the tsuba in it (and many recipes for patination are liquids, to paint or dunk the heated piece in). Looking at how he proceeds, he prints the pattern, glues it on top of a factory made blank, then cuts and files (funnily too, he cuts horizontally with his jeweller's saw, unlike most people I have seen, who cut vertically).

I thought sekigane were necessary regardless of newness, to protect the steel of the nakago. Maybe it's the craftsman style? or lack of it? In the introduction video, they said he was a carpenter before falling in love with tsuba. So it's possible he is self taught and goes with the flow, so to speak.

I haven't seen any signature, but some designs look more modern. It can be confusing, but still, there are new swords being made, so tosogu obviously follow. I remember there was a fellow like him (or maybe it was him) on a sword series on NHK, hosted by Paul Martin, with a Takarazuka co-host. I suppose those tsuba are aimed at martial artists?

What does it say? I have to say, yours is beautiful indeed.

A fresh perspective that makes a lot of sense. From the point of view of a iaido practitioner, I have only dreamed of using old swords to practice, but this makes me appreciate the newly made shinken more.

Thank you all for the insights!

My apologies if this is not the correct place. Having watched some period movies in feudal Japan, I was surprised to see that the spear in formation is used to bash people on the head. It just looks like two groups trying to bring the other groups' spears down and hit them over the head. Speaking with a history aficionado, he told me that it's well-known that spears were used that way in battle, and sure enough there are videos and websites in Japanese that do state the same, but unfortunately without source. I found a post on another forum citing a source, and reading for myself, it seems to have originated in the 17th century: 雑兵物語. I have used the miwo application to transcribe the text and it seems to admonish the use of the spear as above: do not think to stab, everyone must hit the other in unison. Stabbing (and "fencing" maybe) with a spear is described as being fine for 1-2 people on each side, but not for large groups. Thus, I ask, has anyone seen anything like that? If it was written in a military manual, it is likely to have been taught at some point, but it still seems very counter intuitive.

If it's for regular practice, the patina will wear out anyway.