ROKUJURO

BBC reported the TAMAHAGANE processing quite wrongly, but they are probably more interested in other aspects. Technically, that is not very special. As they wrote: Is such a metal really the best material for the job? McKinnon is unsure, but she does point out that the emotional appeal of such a culturally significant metal is not to be ignored....

Probably easier with a good photo....

Fred, congratulations! If that proves to be an authentic sword from the SAMURAI era and not a mass made war relic, you might be interested to save the historical and monetary value of the blade. Please read here on NMB about care and maintenance; this could be important as I think I see fingerprints on the blade which could start corrosion. Never touch the bare blade with your hands!

Steve, in which picture please?

The TSUBA has obviously been "cleaned" and lost its patina and probably much of its value. Otherwise the KOSHIRAE looks nice and seems to be of good quality. I am a little careful in buying when I see that the owner puts a blade in wrong position (on the cutting edge!) on the stand. Makes me feel dodgy.

Peter, thank you for your link! I like Hearn a lot and am happy to possess some early editions of his work. I always enjoyed reading him.

John, my opinion is that it is a legit TSUBA in an advanced state of corrosion which does not allow an assessment of the former quality of the work. It was probably never a TOSHO TSUBA. The fact that the rust penetrated into the layers does not mean that there were different materials (hardness) combined; it was just a normal technique to homogenize the otherwise raw iron (TAMAHAGANE of low carbon content or some scrap iron pieces of the forge). TSUBA were generally not made by some village smiths (and certainly not in a lunch break), but by experts, be that swordsmiths or armour smiths. In later times, iron TSUBA were forged by smiths who specialized in that field. I could not make a safe guess about the age, but my impression is that it could be from the early EDO JIDAI but it had a difficult life. The center of the TSUBA is the SEPPA DAI where the NAKAGO (not nagako) goes through.

Yes, really interesting NAKAGO. Modifications are indeed very well made.

Guntoguy05, please sign all posts as is requested here. Your black TSUKA-ITO is new, and newly bound, I think.

Mark, as it seems, the 'button' with the MON was riveted to the ASHI, but I think the MON was probably soldered on top. Of course it is easier to make a copy if the remaining original was separated from its base, but it may be difficult to remount it. Ford Hallam or a very good jeweller could tell you more, but I think they need to have the item in hand..

A precise copy/model for casting could be made without dismounting the device by any dental laboratory.

Nick, the metal does not make the value of the items; quality is what counts. The MEI could be KASHU KANAZAWA FUJIWARA NOBUTOMO, but it is difficult to read.

Justin, I can understand your feelings, but there are some facts that should not be overlooked. Although I know that some Japanese TOGISHI work miracles on blades that seemed to be completely lost to corrosion, there remains the question if your blade has enough material left to reconstruct the shape, SHINOGI, and MUNE, and to repatinate the NAKAGO while preserving the MEI. It is a general question when restoration is being considered: How much of the original 'look' of the item can be saved? If the considerable costs could be left aside, it is certainly a good idea to show it to a good TOGISHI and have his opinion. But the good idea of preserving a blade for future generations to admire ends at the point where nothing admirable remains. This is not your fault as the actual care-taker, but of those who allowed the blade to end up like this.

Richard, It is difficult for me to imagine how you will manage to make still better photos! They are all as good as one could wish! And thank you for posting the FACEBOOK text here - I am not linked there (and I won't, ever) and I appreciate this possibility.

Even if the first photo is too small, I think I can see some indications that it is a cast copy of a TSUBA.

The SAME used for TSUKA is mostly 'pearl ray', not sting ray. It is used widely in the industry for the production of handbags and purses.

Chad, HAMACHI and MUNEMACHI align perfectly, which is often not the case with non-Japanese copies. So all looks fine for a stainless Navy GUNTO.

Uwe, I thought it would be 1854 plus 7, but probably you are right.

Chad, there is steel under the HABAKI, plus a HAMACHI and a MUNEMACHI, so lots of important things to see.

Chris, KOMATSU (= small pine-tree) is probably the familiy name in this case.

Chris, date is ANSEI SHICHI NEN (1861) January (?), I believe, but there are two more KANJI.

Chad, welcome to the board! To say something substancial, we would need a lot of detailed photos with the correct lighting plus fullsize ones of each side without HABAKI. Tang photos always tip-up, in case there was a signature to be read. What can be said right now: The blade seems to be machine-made and the condition looks quite good and free of rust.

Marino, I understand your excitement, but I am not sure that you really see all these details in the blade. At least I cannot see the original shape of the KISSAKI nor that of the BOSHI from the photos. The two 'rivet holes' (MEKUGI ANA) have not been used at the same time, so you need one MEKUGI. The HADA cannot be seen without a proper Japanese polish, and that would require a restoration of the tip and the NAKAGOn as well. All parts (HABAKI, TSUBA, TSUKA, SEPPA, SHIRA-SAYA) have to be fitted to a blade after restoration. The TSUBA is difficult to see on the photo, but it might be a later addition.

akaMD, to be more specific: Even if the photos are not good, one can see that the blade has suffered some alterations which cannot be repaired. The tip was obviously broken and had been 'reshaped' (which is not possible to do at home), and the tang has been stripped off its natural patina which is important for the appreciation and the classification of a blade. The remaining parts are in a condition which would not justify to have them restored unless you don't care about the costs. The up-side is that you have an authentic Japanese WAKIZASHI from the SAMURAI era, and if this triggers your interest in the subject, you might want to read a lot about it here at the NMB or even buy some books, which would be a very good investment. P.S. This is not a military blade, so you posted in the wrong section.

Taylor, Mr. Mäder simply says that it is possible. The TOGI process is in no ways "better" than the traditional way of treatment of WOOTZ blades, as the development of the manufacture of a blade and the later treatments for aesthetical results always go together, and this can take centuries. This applies to all cultures from the Vikings with their beautiful Damascus swords to the Malaiian EMPU smiths and their KRISS dagers. .