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ROKUJURO

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  • Birthday 08/11/1944

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  1. It seems it is one of the cheap TANTO that were made for the war. They are often called 'pilot TANTO' or 'SEPPUKU TANTO'. They look quite nice when in good polish as yours is, but the NAKAGO is very crude, compared with that of a carefully made TANTO of the SAMURAI era. Anyhow, a nice find and a good story! There is probably no KOSHIRAE but a simple SHIRA SAYA?
  2. Thank you Piers, I misinterpreted your post.
  3. Bruce, these are probably different smiths. The left-side NAKAGO says OKADA KANESADA if I am not mistaken. Not script variations of the same smith.
  4. Jeremy, the man to ask in Australia would probably be Andrew Ickeringill. https://touken-togishi.com/
  5. Piers, this might be the wrong place to discuss it, so a moderator might want to move it to a better section. But anyhow: I am surprized to read about an intentional 'loose' fit of the TSUKA. That would contradict all my technical understanding of this subject. As far as I know, a blade's NAKAGO has to have a perfect and secure, three-dimensional fit in the TSUKA for safety reasons. It is - at least in my understanding - not the MEKUGU that secures the blade, but the tight fit. The MEKUGI only ensures this, but there should be no physical load on it. With a good TSUKA, you can hold a sword upside-down without MEKUGI! I have always been warned to swing a sword the TSUKA of which is old, shrunk and possibly splitted. I have also learned that in the SAMURAI era, TSUKA were often replaced, as the life of the warrior depended on the functionality of his sword. Is that outdated knowledge?
  6. James, welcome to the NMB forum! In case you want to post more photos for clarification, and to get the best support from the experts, it would help to post pictures of the NAKAGO (tang) - tip pointing upwards so we can read without breaking the neck - always directly from above - with light from the side - well focused - against a dark background.
  7. ROKUJURO

    Tsuba

    Murray, I have no special books on swords so I ask if there is a KANEYUKI (probably not Keniyuki) in the SUE ENJU school? ( https://nihonto.com/enju-school/ ). Your TSUBA is obviously cast and not in good quality.....
  8. Gwyn, stainless steel blades cannot have a genuine HAMON as they cannot be differtially hardened (traditionally done with clay application). However, I have seen these blades with a decorative artificial HAMON, produced by special grinding. Looking at the close-up photos, your blade seems to have had some superficial corrosion (especially on the NAKAGO) which leads me to believe that it might not be stainless steel. More and better photos may confirm that. And to get the best reading/translating support from the experts, it would help to post pictures of the NAKAGO - tip pointing upwards so we can read without breaking the neck - always from right above - with light from the side - well focused - against a dark background.
  9. Hi Tom, it is a WAKIZASHI (not Wakazashi). To get the best reading/translating support from the experts, it would help to post pictures of the NAKAGO (tang) - tip pointing upwards so we can read without breaking the neck - always from right above - with light from the side - well focused - against a dark background. Now that you have the translation of the signature, you can search the swordsmitn in books or online and find out the possible age of the blade. But please bear in mind that a MEI (signature) does not necessarily mean that this respective smith made your blade. Often, MEI are faked for different reasons and can only be considered genuine in case an expert team (= SHINSA) has confirmed this with a certification paper (ORIGAMI). Otherwise, have fun with your sword!
  10. Piers, I am not so sure about that, unless there was water, dirt, or corrosion trapped under the SEPPA, and these could indeed move a lot. Usually, SEPPA made of copper or brass should be softer than iron. In case this 'metal removing by friction' was frequently observed, we would see faint signatures on older TSUBA on a regular basis. What do you think?
  11. Sten, you don't like the antique ones which are for sale here on NMB and elsewhere?
  12. Yves, this is best posted in the TRANSLATION section. And to get the best reading/translating support from the experts, it would help to post pictures of the NAKAGO - tip pointing upwards so we can read without breaking the neck - always from right above - with light from the side - well focused - against a dark background.
  13. Adam, a lot depends how the TSUBA was stored. In a dry place and no temperature change, it will remain intact for hundreds of years. The initial/original patination is a protective layer and can preserve the TSUBA perfectly well.
  14. A selected piece of KEYAKI would have been nice as well, I think.
  15. What problems do you see and where? Usually, a TSUBA will look different in hand, compared with a photo. The guard looks like a basic GO ISHI GATA TSUBA, even signed. A faint MEI is nothing to worry about, it's a question of individual chiselling style and age. Nothing wrong with it in my eyes (but they are no longer very good).
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