ROKUJURO

Do I see SHINAE in the BOHI of the e-sword blade? Or is that MUNEGIRE? Have a close look at the very good photos!

Here you go: TSURU HAYASHI TSUBA.doc

Yes, that is MISHIMA technique. In detail, the design can be incised with sharp tools, but in many cases, e.g. in mass produced pottery ware, the design was stamped in the still soft clay body. It was then filled with (mostly) white slip with a soft brush. After drying to leatherhard condition, the surface was scraped with special tools (KANNA) on the wheel until the design was clearly visible on the surface. It was only then when a clear glaze (or a Celadon glaze) was applied. The HAKEME technique works in the same way: slip was brushed on with a soft brush, and a clear glaze was applied after drying. The age of the bowl and its provenance can be determined by spectroscopic methods (Mössbauer).

Grev, while I like the design of your TSUBA, I have tried to magnify the stripes of the tiger without great success. Perhaps you can look at them with a magnifying glass and see if the golden stripes are painted on or inlaid. They could have also been applied by KINKESHI (amalgam) technique. This might be a hint to relate the TSUBA to a school. You may compare the technique watching Ford's video 'In search of KATSUHIRa's tiger'.

Grev, that is a really nice TSUBA and I understand that you are researching the background! What are the dimensions? Looks like a big one! Concerning the TENSHO symbols: I have heard that their form can be individual to an extent, so it can be difficult to identify them.

With the HAMON turning back in KO-MARU, I doubt it was a NAGINATA.

Bob, to me your bowl looks like some modern KARATSU stoneware CHAWAN I have seen. The 'shoe shape' was indeed used first by FURUTA ORIBE. Your bowl was made on a wheel and then individually 'distorted' by hand. The poem was inscribed in a background of white slip in HAKEME technique, first used by Korean potters.

Geraint, I would not be surprised at all if Robert's TSUBA was a low grade SANMAI construction. Some details let me think so. I don't think it shares similarities with the KYO KINKO. Of course I would love to own all the rest!

Grev, it is TENSHO. We had this subject here on NMB a short while ago, if my memory still serves. (https://www.is-hanko.co.jp/shachi/tensho_check.html)

MIDARE. It is certainly a translation/foreign language problem plus the repetition of texts with mistakes at AOI, but I have seen worse.

Brian, at a width of close to 4 inches, it is probably a HOCHO, a Japanese kitchen knife.

BaZZa (what is your real first name please?) This is a fine example of a high quality SANMAI TSUBA, the 'Rolls Royce version' of one! As it seems, both sides have been decorated individually and differently, and then fixed on a base plate. Some SANMAI TSUBA that I have seen have two equally decorated sides, impression molded from thin metal sheets.

Rob, sometimes the decorated outer layers were fixed with rivets which can be seen in the SEPPA-DAI. Many of these TSUBA have a FUKURIN (rim) to fix the sheets, but in your case they seem to be soldered. It may be difficult to tell a production date. Some were very late and mass produced tourist pieces.

Kevin, could that be some ....MITSU from the ICHIRYU SAI? There was a MASAMITSU, so might be a relative or DESHI.

Luca, I am sure you don't need fossilized ivory! You can buy mammoth ivory from knifemaking supply shops, but I have found that in most case it is too brittle. If staghorn is too soft, cattle bones are quite hard if they are degreased and dried properly. In some difficult cases, soft metal tools (copper and brass) can help on iron TSUBA, but they may leave a metallic residue which has to be removed afterwards. Best of luck with your project! Let us know about your results in a few years!

Mick, I have the impression that the warrior on the TSUBA is not at all similar. He looks more like a HEIAN JIDAI SAMURAI to me. But I am no expert in this field.

Ford, as usual your comments are very informative and enlightening. Thank you!

Brian, the photo is upside down and not very clear. Perhaps try again with an enlarged photo and then in the TRANSLATION section.

Ken, ashes are the mineral residue of (in this case) plants, and as grasses (GRAMINEAE) contain high amounts of silica which gives them their incredible strength (bamboo is a 'grass'), a completely oxidized rice hull ash (water free) can indeed contain very high amounts of SiO2. I have worked with this material. Rice straw ash can contain small amounts of carbon if not burnt properly. Rice hull ash (mostly coming from China, but Japan has its own production) is used in large amounts and widely in the iron producing industry as an insulating material to cover the melted iron in an open crucible. It just floats on top of the iron.

In many cases we uninformed Westerners do not understand the Eastern Asian mythical relations we can find in compositions like bamboo and sparrow, tiger and bamboo, turtle and crane, a.s.o. What looks like random to us, may make sense to Japanese minds. Many decorative elements are derived from legends and tales, so for a deeper understanding it is a good idea to read books on these subjects.

Steve, while the forging/welding temperature is about 1.200°C, the melting point of silica is 1.713°C, and rice straw ash contains about 90% of it. I think it must be mainly the clay which works as a kind of flux.

Blade is obviously acid treated. I see no use in continuing this thread.

Mick, that is probably depicting a Mongolian, although the long bow is not typical. At least it does not look Japanese to me..

Yes, makes sense! Or what about a subforum: 'The good, the bad (and the ugly)' to have justice for both sides. There are so many good dealers listed on NMB who deserve a thumbs up!

They usually use TENSHO KANJI. See under https://www.is-hanko.co.jp/shachi/tensho_check.html Hope that helps!