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ROKUJURO

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ROKUJURO last won the day on March 24 2020

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About ROKUJURO

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    Juyo
  • Birthday 08/11/1944

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    http://jean-collin.com/

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    In a deep valley
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    Celtic and Japanese history and culture

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    Jean Collin

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  1. Thanks for the link, Mark! It is a shame to eat these little works of art! As they say: The Japanese eat with the eyes!
  2. ROKUJURO

    Tsuba purchase 3

    Adam, this one seems to be a handmade one. Your question 'Should I stop buying?' can only be answered by you. If you have lots of money, you could buy loads of TSUBA and post them here, so with the comments there might be some learning as a result. Buying books and looking at many (high quality) TSUBA from other collections might be another option. In your case you could try to get into contact with other collectors and let them guide you a bit. Don't look at the age of an item. This is not as relevant as quality.
  3. ROKUJURO

    Tsuba purchase 1

    Adam, these TSUBA were mostly made for tourists. A handmade (signed) TSUBA was used to make a mold, and so many copies with the same - irrelevant MEI - were sold , probably at the end of the 19. /beginning of the 20. century.
  4. Looks indeed like a cast TSUBA.
  5. Phil, it is difficult to see details on your photos. I don't see wheat sheaves and birds. It would perhaps be a good idea to dismount the TSUBA and make new photos. In any case, it looks like an AIZU SHOAMI TSUBA, probably from mid-EDO JIDAI. The HABAKI is nice, NEKO-GAKI in combination with 'clouds' do indeed give an impression of rain.
  6. Eve, indeed, that looks as if it was broken off, probably after a superficial cut with a metal saw. As I said above, we never know why this was done, but in this special case you can assume that it was not done by a swordsmith. While shortening after a damage of a blade was often made, it is rare to see damage in a NAKAGO (although that happens). If you have a look into the TSUKA (perhaps with an endoscope lamp?), you may be able to see if this is a standard TSUKA (for a full-length NAKAGO) or one that was specially made for this shortened NAKAGO. Most probably this is just a put-together sword for a fast sale to an indiscriminating buyer.
  7. Eve, there are a number of reasons. Sometimes a sword had to be shortened for individual purposes, and as you cannot cut off the KISSAKI (= the tip) of a blade without losing the hardened end, blades are shortened from the tang side (NAKAGO, not nagako. I know, there is a lot of new vocabulary to learn!). This was usually done carefully and competently by a swordsmith. In your case, the NAKAGO is unusually short, which would have caused a lack of stability in the TSUKA (= handle). We do not know the reason for that - a broken longer blader could have been re-purposed to a new life as KO-WAKIZASHI (= short WAKIZASHI). Also, in the peaceful EDO period, wearing a KATANA and a WAKIZASHI was mandatory for SAMURAI, but there was no control of the efficiency and stability. So sometimes, smaller and lighter blades were worn in long mounts just for more comfort. As mentioned above, there are more reasons for shortening a blade, but you will find in most cases that the NAKAGO still has a reasonable size. An expert ought to examine your blade's tang and perhaps find traces of a defect, a damage or how it was shortened.
  8. Dale, these leaves would fit, I think! Piers, a very nice TSUBA in TÔSHÔ style, but in my opinion mid to late EDO JIDAI.
  9. Paul, I would choose an available material that has the same look and can be polished to the same sheen. Ivory piano keys might work well, but on the photo in post #3 the material does not look like ivory. Concerning the testing with UV light: This did not have a significant place in early/mid 1800 Japan.
  10. Simon, welcome to the NMB forum! Translation is difficult, as the photos are upside-down. In addition to that, it is a cast one, so a copy (of a GÔSHÛ TSUBA) with no collecting value.
  11. Björn, I believe that your eyes are o.k., but the photos should have had a dark background so you would have seen the MUNE of the blade. The blade's SUGATA is probably a form of SHÔBU-ZUKURI (菖蒲造): Basically a shinogi-zukuri without yokote where the shinogi-ji drops off towards the mune. This rather sharp looking interpretation reminds of an iris (Japanese shôbu) leaf, thus shôbu-zukuri. A shôbu-zukuri is mostly seen on tantô and wakizashi of the Muromachi period and there are two different kinds of shôbu-zukuri: At one the shinogi meets in moroha-zukuri-manner the very tip of the sword (see picture below) and at the other, the shinogi runs like the ko-shinogi up to the mune, just without a yokote. (From Markus Sesko) Or it is a normal SHINOGI-ZUKURI where the YOKOTE has been lost . But from the pictures I get the impression that the MUNE is quite narrow. On the SAYA of this sword, there is a piece (of black horn?) missing on the KOI-GUCHI. Otherwise a nice item, if you have the means to have it polished. The auction house gave a wrong spelling of the smith's name: It is KANETSUNE.
  12. Michael, if you have seen a number of TSUBA, this is easy to spot. I have seen this design and model in several identical items. The lines are a bit rounded, the SEPPA-DAI is slightly bellied and shows crude grinding marks (which you never see on authentic handmade TSUBA). The MEI was cast-in as well and was damaged by the grinding. The only individual additions - copper face and hand of the person and some decoration on the saddle and the horse-bit - are not really carefully made and fixed in pre-cast positions (Sometimes you see similar TSUBA where these inlays have fallen out). It is a copy of a well-known HIKONE-BORI (SOTEN) TSUBA.
  13. Eve, the TSUBA of No. 2377 is a cast copy and of no collecting value.
  14. MORIYAMA-SAN Thank you very much!
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