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Spending $130 on something you like is more than reasonable these days. You admittedly didnt buy this as some sort of investment but more for the buddhist significance, thats all that really matters. A good rule of thumb in ANY hobby is never to spend more than you're willing to lose. At the end of the day these are just "things" and are ultimately only worth what someone is willing to pay for them. Swords, tsuba, trading cards, guns, knives, paintings......at the end of the day all these things are made from relative cheap materials, so the "values" are artificial since they are largely based on emotion and rarity.

Steve I tend to agree - Wow there is a lot of nunome hatching on that guard, I wonder if it may have been a presentation piece to start with? Double sekigane at the bottom of the nakago-ana suggests to me it has some age, as it was mounted at least twice. The outline shape I like a lot, Kawari-gata? Also looks like the shape of either a Sake pot or lidded jar. Better first buy than mine!

Kevin the smith is YOSHIMITSU 義光: real name Yabushita Fujio (藪下不二夫). Born Taisho 4 (1915) August 18. He registered as a Seki smith Showa 15 (1940) April 1 (age 24). The signature is “Noshu Seki ju Yoshimitsu saku” and the date is Showa 17 “1942”. Has a Seki stamp. This is a Type 98 mounts but has some custom work with extra gilt and ray skin (samegawa) cover on saya. It is an example of a good early war oil quenched Showato. Apart from "Seki" was there another stamp?

A fish

Hi everyone, I'm an absolute beginner in collecting tsubas. I recently won a piece off an auction on eBay and I went a little over the budget of my first piece. I'm pretty certain (as certain as a novice can be) that it's genuine edo forged iron but I guess my concern is whether I paid more than I should have. Asking for my learning, I don't necessarily regret the purchase either way, I enjoy budhist iconography which is mainly why I chose the piece. My initial impression is mid 18th century to early 19th century shaomi school? I admit I could be very wrong. Cheers!

Now same seller offers another copper 4064 kokura for 7500$. And I know I saw this example before [partial scabbard number] I found source dunno how long ago it was sold. No locking mechanism.

Yes, it looks like there is nunome zogan hatching all over the plate... including the seppa-dai. I don't think the patina has been stripped, but we are actually seeing the remnant silver. The photos are not great, but I'd be quite confident that this is the case. Can you get us some better pictures to confirm it is silver nunome zogan and not stripped patina?

Hi Jean, Thank you for responding! I did notice that the sheen was a little silvery compared to the TSUBA that I have been looking at. I spend 133 USD for it so I suppose not the worse mistake but a little sting nonetheless. I'm a huge Vajrayana budhist buff so the wish granting gen on the top and other embellishments was a big draw for me. Correct me if I'm wrong and hopefully u can see it but am I correct in saying it has nunome patterning? I've attached pictures that are hopefully better, these are just from the listing. Also p.s. I'll respond to your message soon.

Yes, this is likely a chinese fake. The kanji look bad, the yasurime looks bad as you pointed out. The nakago is not finished properly, does not have any patina either. The number one telltale sign for me though, is the presence of the typical chinese "damascus" running throughout the tang.

Hello all, I purchased this Shin Gunto from an auction and they called it a Type 94. I found a thread on this site saying a Type 94 has two hangers where mine has only one. The blade is not in the best shape, it has spotting that is quite heavy on the last 12", but I still believe I got a good deal. Could anyone assist with a translation and possibly info on type? Thanks in advance! KK

Sam Here is early aluminum handle #6756

I can't agree with it. I know it have historical value but compare price and quality. Quantity too. For example it's like comparison of Yasuhiro [500 blades made in shrine] and Copper NCO. Total madness.

Thanks for the info. You would think the tsuka would be gold wrapped at those prices

Have a look here Artur. https://en.m.wikipedia.org/wiki/Kōdō Hope it helps. There seems to be many variation and in some cases the sukashi is simply inspired to those from the Genji monogatari. Regards Luca

These copper handles are demanding insane prices these days. The #161 copper that Marcin is referring to, was sold in a goodwill auction for $3001, and then put on eBay ~48 hours later for $9k. It sold on eBay in early august for $8,999, plus delivery ... Craziness if you ask me... And I really want one too! -Sam

@PNSSHOGUN, John will step in and help with the 94 vs 98 question. From what I can see, with the offset chuso (latch button) and thinner tsuba, I'd guess this was made as a Type 98. The 94s had a thicker tsuba (handguard) and centered chuso. The second haikan (belt hanger) was removable and many were discarded by the owners, or lost over time by collectors, so that by itself isn't a great determiner, unless of course it is still present!

Artur, you are not giving the dimensions, but I believe it is too small and too thick to fit in the TOSHO or even KO-TOSHO category. My impression is YAMAKICHI BEI style. See attachment for comparison: The SUKASHI symbol is probably indeed related to the fragrance game of GENJI MONOGATARI.

Good responses. It looks like an interesting design. Very interesting design, above that you will see on most Hizen tsuba. and Yes, it looks overcleaned too. Still, $130 on something like is far better than stumbling on a f'ugly repro or such. This one can teach you a fair bit as a newbie. You bought some knowledge, being able to study the layout of the Hizen design and nunome. Not that bad a first step. My first one was worse.

Hey Kai, Welcome to this great forum! I like your tsuba even though it appears to have been overcleaned. I agree with Spartancrest that your tsuba was mounted at least twice. Also, another nice thing about your tsuba is that the kogai hitsu ana (one of the holes in the tsuba) has been filled. Which to me shows a kind of customization of the tsuba. I usually don't pay over $150 for a tsuba. I think you paid a fair price for yours.

Welcome to the forum Kai. Unfortunately, you don't get much buyer's remorse for $130 these days.

Yes i'll be sure to remember that, unfortunately I have yet to receive my purchase so when I do eventually get it i'll be sure to post an update with new pictures! As a side note I didn't think there were so many australians on here, well 2 is not a lot, but it is nice to know there are others. haha

I must be way out of touch. My recollection was market price being around 2600 USD (4k AUD). Clearly, living in the past.

Hi Kai, A warm welcome to the forum. As Jean mentionned it, this is a real tsuba which has been overcleaned and lost its patina. I would consider this tsuba having a strong Hizen influence (numone zogan, dragon etc...) You paid the average price for it....

Record is 9k$ or at least it was sold "buy now" at ebay. Numbered 161 or sth similar.

“Pre-1920” tells us that it cannot be a real teppō as they finally went out of use around 1860. As to “Netsuke” I cannot see it, but it is not my place to criticize auction descriptions, which can vary wildly. Size, weight, smoothness and roundness in the hand, functionality as a Netsuke?

Thanks John. I saw that thread when I searched gyakutagane. Interestingly there is very little discussion about this feature, but it could turn out to be a decisive argument, if confirmed, for daimei-daisaku by Norishige. The impression I get is that to be sure, the mei has to be examined in hand, since all we see in photos and oshigata are a 2D representation. A shadow effect for incised chiseling is often cited as being indicative of sakatagane but would depend on the direction of the light source and need to be off axis. To my uneducated eye the feature that shows promise are the numerous areas where the yokan-iro either side of the strike marks has been worn away because they are raised above the metal surface of the nakago.

Hi Lewis, Have a look at Michael's post in this thread on the subject which might help you come to a conclusion. I can't draw a firm conclusion and it doesn't help (me) that this is an older form of the kuni kanji. To my eyes the second horizontal stroke off the central diagonal in "kuni" looks like it might run in the opposite direction to normal and the bottom stroke of the enclosure is a possibility too but less obviously so. The long horizontal bar on "mitsu" also looks like it has been done right to left to me but it's finger in the air stuff. I think the best opinion you will get would be from @Nobody san.

Just saw these on a screensaver. They are dragon blood trees, but they are found in Yemen. Wonder if Japan has anything similar?

Thank you Joseph! I really appreciate your insight in this!

The ranks are a bit of fun - and largely a measure of activity (5 points for a post, IIRC). Actually posting interesting content etc is difficult to measure, but those people get known by reputation (I'm thinking of members like Jussi).

Larrin has a PhD in metallurgy and his father is a famous blade and kitchen knife maker in the US called Devin Thomas

This appears to be authentic, just tied differently to most you see.

This has to go in! https://www.jauce.com/auction/c1200944659 ¥26,000 seems a little bit expensive but I really know nothing about the value of habaki.

It still exists. Here is a copy of the email I received with names censored for anonymity : Here is the new name of the organization. 岐阜県利器工匠具工業協同組合 (Gifu-ken riki kōshō-gu kōgyō kyōdō kumiai). I'll try to get in touch with them next and hopefully see if there's anything they know. 🤔

Emperor seems a little ambitious for us lowly fools, perhaps Daimyo as the top rung is slightly more fitting if iterative changes are made?

Edo Mito 無銘(水戸) Willow and waterfowl - NBTHK Tokubetsu Hozon (For sale if interested)

Good video. Devin Thomas is somewhat of a legend when it comes to very high end Damascus steel, as used by Chris Reeve Knives and others. Their products are legendary. You gotta check out some of their stuff: https://www.devinthomas.com/

Rivkin, I can definitely see a world of difference as to what the blade should look like. Thank you for presenting an example of such as to what a healthy Yamamura should look like. The Yamamura in question is most assuredly nothing to get excited about as PNSSHOGUN says. Upon seeing more pictures and video from cell phone by Aoi Art I can confirm that. It is a very tired blade one that I decided even with it's Tokubetsu Hozon distinction is not worth purchasing. Jussi, Always good to hear your opinion and thank you for chiming in. And yes I like my sunnobi tanto of hira zukuri shape that bridges the gap from tanto to wakizashi. I love how wide hira zukuri are laterally. I think it would be a great tertiary weapon to add to my two current blades, that or a yoroi-dosho tanto. Of course I would love a earliest koto osoraku tanto but those are near impossible to find and very expensive. As well of course I intend to increase my knowledge in the mean time and save for at least one Juyo in my remaining lifetime. Sukaira, Yes, I can see what you mean. Thank you though for the distinction for my education through the picture presented. I can confirm though after seeing the 18 detailed pictures and 2 videos of both sides of the blade that the Yamamura is very tired and there isn't much jihada anymore only ware, more so on one side than the other. So as I said I won't be purchasing this blade. It does have the right shape and length that I was looking for but it is too tired. Thank you for your assistance in helping me decide. Best regards all, Barrett Hiebert

The source of the Shō 昭 stamp identification is via Ohmura as already stated. Bruce asked me some years back to reread the text and that is when I spotted the reference below. 関の軍用日本刀 With the cooperation of Ido Seiji 井戸･誠嗣, chairman of the “Seki-Den Japanese Sword Forging Technique Preservation Society” 関伝日本刀鍛錬技術保存会, a description was found in Tōto Seki 刀都関, published by the Town of Seki in 1940, that said "the blade has passed the strict inspection of the Seki Cutlery Manufacturers’ Society 関刃物工業組合 and is stamped with “Ōka ni Shōji” 桜花に昭字, and has gained an unrivaled reputation as a practical sword." There is another book that I do not own yet and it is referenced below. The Seki Tanrensho book and others related infos

Ohmura's page discussing the use of the large Seki and Showa stamps is a bit jumbled, Part of his discussion claims the Seki stamp was first, yet farther down the page he cites, from a memoir, that the Showa stamp was used first (which is in line with observed blades with dates). http://Military Showato of Seki - Ohmura "桜に「昭」刻印 　従来、名古屋陸軍造兵廠関分工場長・尾藤敬逸技術少佐の回想記「日本刀」、 　及び「関史」資料により、「関」と「桜に昭」検査刻印の切り替え時期を 　昭和17年末頃と推定していたが、昭和14年期の「桜に昭」検査刻刻印を持つ 　刀身の出現に依り、再調査を行った。 　「関伝日本刀鍛錬技術保存会」井戸誠嗣会長のご協力により、昭和15年、 　当時の関町が発行した「刀都関」誌に、『 関刃物工業組合の厳重な検査に合格 　した刀身に「桜花に昭字」の刻印が打たれ、実用刀として天下無敵の好評を博 　している 』との記述が発見された。 　これにより、昭和14年には、新たな検査刻印が使用されていた可能性が高くな 　った。 　当事者の「関刃物工業組合」の資料は未だに発見されていない。 　刻印を変えた理由、その正式な切り替え時期は未だに不明である。 　銘: 関住兼則作　「桜に昭」の刻印 　裏銘: 昭和十二二(四)年十月日 (刀身写真提供元/美術刀剣「刀心」・町井勲 様) Google translate (which isn't the best): "Engraved "Sho" on the cherry blossoms Traditionally, the memoirs of Major Keiichi Oto, director of the Nagoya Army Arsenal Sekibranch Factory, "Japan sword", And by the "Seki History" material, the switching time of the "Seki" and "Sakura nisho" inspection engraving It was estimated to be around the end of Showa 17, but it has an inscription of the "Sakura ni Sho" inspection in Showa 14 According to the appearance of the blade, a re-investigation was conducted. With the cooperation of Seiji Ido, chairman of the "Kanden Japan Swordsmithing Technology Preservation Society", in Showa 15, In the "Totoseki" magazine published by Seki Town at that time, "Passed the strict inspection of the Seki Blade Industry Association The blade was stamped with "Shoji to Sakura Flower", and it was well received as a practical sword that was invincible in the world. It was discovered. As a result, it is highly likely that a new inspection stamp was used in Showa 14 did. The materials of the "Seki Blade Industry Association" of the party have not yet been found. The reason for the change in engraving and the official timing of the switch are still unknown. Inscription: Kanenori Sekizumi "Cherry Blossom to Sho" engraving Inscription: October 12, Showa 12 (4) (Blade photo provided by / Art sword "Toshin", Isao Machii)"

Leonidas, I am, as time allows, locating the sources for my summary of the Cutlery assoc. stamping history. Here is one. On page 2 you will find Nick's translation of the Seki City website. It is a 6 page discussion, but full of history on sword production, use of tamahagane, and stamping practice. RJT Star stamped blades - Any Documentation?

Inserting images from another site

Hi forum members, You might have seen my recent thread about bird themed Tosogu in which I posted two of my recent acquisitions from my collection however as it happens, there's one more very interesting piece I have to share with you all and that is this Hirata school enamel tsuba! From what I understand it appears to be a tsuba from the main Hirata line and likely a pretty early Edo piece based on the shape of the Hitsu Ana. The enamel technique was protected and passed down only to the main line successors in the Hirata school who produced pieces directly for the Shogunate. The presence of the Tokugawa mon in the design therefore provides an indication of the origins of this piece, although precise dating would be quite difficult as all mainline successors went by the "Hikoshiro" moniker and rarely signed mei/kao. There are two theories about how the founder of the Hirata school, Hirata Donin, learned to produce cloisonne pieces. The first is that he encountered the technique in Korea during Hideyoshi's invasion in the 1590's after accompanying the samurai as an armourer. The second is that the technique was picked up back in Japan upon his return through interactions with the Dutch on Dejima Island. Regardless, the technique was valued by the Shogunate and protected for a long time. This is about all I know about these types of tsuba right now. Any additional information you may have about the Hirata school would be appreciated! Share some other enamel or early Edo pieces!

I was quite puzzled by the attribution of this tsuba to Hirata (平田), as in my understanding, the Hirata school is typically associated with suaka, yamagane, or shinchū-ji tsuba, often featuring shigure-yasuri or okina-yasuri file marks, and sometimes an odawara-fukurin. So, I did a bit of research and found that most "Hirata" attributions seem to originate from Bonhams auctions. None appear to be papered by the NBTHK, and only a few are signed by Hirata Harunari (8th generation, late Edo) or Hirata Haruaki (Meiji period). Perhaps there is some confusion with Hirado (平戸)? Here some images: 1. signed Narikazu (hard to believe he's the 2nd generation Hirata master) 2. a typical Hirata piece 3. a shippō-zōgan tsuba papered as Hirado 4. a similar piece papered as Nagasaki shippō

Some useful and current info for artisans in the USA doing this kind of work contained in this thread.

I went from not liking Hoan tsuba that much, to truly loving some of the early ones. The Hoan Juyo of the long eared rabbit has become a favorite. I'd probably have to sell off 10 tsuba to own it, but would do so.

Hi Florian, You make some good points here, especially about the Hoan smiths making their works for the Asano family (and perhaps for other high-ranking clans), but not for the masses. For some of the most highly regarded tsubako (e.g. Hoan, Nobuiye, Yamakichibei, and the Higo smiths), they were indeed retained by Buke families, and did not, as far as I know, make their works availably broadly and generally to the public in common commerce. I believe this was true of the Akao as well. As retained craftsmen, they received a stipend, thus removing the need (and, perhaps, the permission) to sell their tsuba to the masses. As for the 10-koku stipend the Shodai was provided by the Asano, while some may see this amount as meager, it may not actually be so. We may need more information about the particular circumstances involved, but if my understanding is correct, 1 koku of rice = the amount of rice required to feed one person for a year. The Shodai Hoan did not operate a "school," per se, with several students working in an atelier; rather, he had a son-in-law who became the Nidai Hoan, perhaps/probably not until the passing of the Shodai in 1613/1614. It is possible, if not probable, therefore, that the Shodai worked alone as a tsubako, with no actual "school" during his lifetime. So, 10 koku of rice, in being enough to feed ten people for a year, may have been more than adequate for the Shodai and his family.