ROKUJURO

The last (partially visible) KANJI on the NAKAGO is probably OSA- from OSAFUNE

Steve, this sounds strange to me. Iron oxides (= corrosion) won't stick on soft metals, that is my experience, but perhaps you have some samples to show?

This is, I think, a really nice NANBAN TSUBA. There is a good possibility that it was worked on after casting, but we should not believe in mass production as we can have it today. Copies had to be done one by one in a clay or special sand mold, and I am sure not every item came out good enough for sale. I think it is safe to say that every single TSUBA had to be worked on to make the casting process invisible, and that did not mean the gold inlays alone. But this is just my personal impression as someone who works with iron, and not safe knowledge.

Michael, I don't think your blade was shortened in that period of time but way before. General condition looks o.k. so congratulations. Be sure to save the value of the whole in keeping moist and children's hands away. Read here on NMB about care and etiquette.

To me this TSUBA has indeed an UTSUSHI feeling, and some aspects remind me of ONIN (diameter, thinness). One criterium is indeed the flawlessly preserved MIMI as Christian points out as well. The corrosion spots look deliberately made, so I think it is a very nice, but also a very late TSUBA.

George, this feature has to do with the shape of the SHINOGI-Ji which tapers towards the MUNE. It may not be strongly visible, but when the polisher leaves some NIKU close to the KISSAKI as we see it on KANMURI-OTOSHI blades, it looks as you have shown.

Andrew, if the scroll's subject is not NIHONTO relatetd, many experts here on NMB might not be able to help you as the writing, reading and meaning of the KANJI could be quite different from what we are used to here. Did you think of hiring someone like Steve or Markus Sesko or even our Japanese friends?

Hbaubele, what is your name please? The NAKAGO looks like painted but that may just be the photo or my old eyes. Wrapping could be baleen or lacquered paper. Corrosion seems to be considerably deep. The age has not much to do with value - you can have old blades with little value or vice versa. Quality is crucial, not age. In this case, the condition certainly affects the value if you consider the costs of restoration which might be $ 2.500.-- for a long blade at minimum.

Manny, it is difficult to decide what could be a flaw or a reflection. The photo is really no help. The Tampa exhibition might be a good idea. Your sword is possibly made by EMURA. SAKU means 'made by'

Ian, do you mean ROKUDEN or ROKUKADEN? I don't know if something like that exists, but ROKU is six in Japanese.

Chris, it is BUSHU no JU MASA X. Last KANJI is obscured by corrosion. There were many MUSASHI TSUBA makers signing MASA X. (MASAKATA, MASAFUSA, MASANAGA...)

Fascinating! Thank you Peter, for uploading that link!

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.