ROKUJURO

Yes, that would be fine as I am just around the corner (Germany) :D . I would take a simple SENCHA.

Thank you for your knowledgeable comments and the useful links. I think I understand what you mean. I am thinking back to the times when Japanese teamasters travelled to Korea, 'screening' hundreds of mass made rice bowls for their potential to be used for CHAnoYU. l wonder if these very few CHAWAN they brought back had unintentional ZEN quality although they were made by simple craftsmen, or if they had this 'spirit' because they were chosen by aesthetically 'trained' connoisseurs. What I would like to know is if an item can have ZEN quality even without a human eye seeing it (this may be used as a KOAN :D ). Isn't ZEN in this context the result of an interaction between a person and an object? I have a tendency to believe that we learn rules of how ZEN shows up in an item, we achieve a special aesthetical competence as teamaster, collector, or connoisseur, but the evaluation still remains a question of interpretation. I have to confess that I have the same questions with the MINGEI movement. While I like these items generally very much, I believe that it is at least very difficult to produce, say, a tea bowl or a basket, with the intention to work unintentionally. On the other hand it may be safe to say that the old Korean potters probably did not have the consciousness of producing work of high artistic value. So I think we may see or feel qualities in an object, and the more we are trained the more we might see or know. I admit that this 'training' may also result in an increased sensitivity and not just remain on acquired knowledge and the rules of arts. Maybe this has become a discussion which has led us away from TOSOGU, so if a moderator feels this is inappropriate here, please push us to where this may fit.

Henry, thank you for these interesting aspects brought into the discussion! While I will not make any remarks to the aesthetic values of these MENUKI, I would like to defend Hoanh, as in my understanding he is free to see in an object whatever he feels. 'If a rock speaks to me - fine'! Although I read a lot about ZEN I try to get independent from fixed or 'official' interpretations. In my experience ZEN is a very individual thing and often encountered in daily life, may that be a natural plum twig or a pair of plum MENUKI - but this is my personal view of it.

This is the first good explanation of the situation I heard for a while! Thanks a lot, my children will accept that!

John, it is a school name. These MENUKI once belonged to the Behrens Collection and were probably sold in the auction 1913 or 1914. They are item No. 376 in Volume III, if I remember it correctly. Henri Joly did not mention the signature, which I can understand if you consider the huge work he had to do. I add some explaining pictures and look foward to your esteemed comments!

Curtis, A TSUBA MIMI with 3,5 cm material thickness will indeed result in a heavy item! The tang is NAKAGO in Japanese. SHAKUDO is indeed a copper alloy that will show a blueish-black surface after chemical treatment which can be polished off, revealing the usual copper tone.

Gentlemen, it seems to be difficult. Maybe I should add some information. These MENUKI are signed, but not with an artist's name. I have no confirmation or official paper concerning the authenticity of the items. Although they once were part of a famous collection, there is no 'official' description of them; even the signature is not mentioned (not found?). Parts of the surface had been gold coated (petals, buds), but most of the thin gold wash was lost during use. If EZO means HOKKAIDO, then it is not correct. The signature locates it on HONSHU. Don't give up, there is no money but honour to be gained!

Gentlemen, Today it is my turn to show an item of my very small collection for consideration or - if you like - for a KANTEI game. I will not give details with the exception of the sizes - 69 and 68 mm long - and the information that they once belonged to a famous collection. I hope you like them.

Brandon, normally even the cheaper cameras should have a close-range device. But even if not you could use a program like PICASA which will help you to store and to adapt the photos to your needs (enlarge, cut to size, lighten up, etc.). I find this very helpful for someone like me who is rather helpless with a computer.

Brandon, of course I was pulling your leg . Making good photos is not only a question of hardware - these blades are generally hard to deal with. I think it is important to know which features to show and what can be pictured regarding the condition of a blade. Correct angles and light are crucial, and in many cases the photos could be enhanced with a software program. If you make a SUGATA photo, cut away the background as far as possible, and use a dark one.

Looks more like Harry Potter V. Maybe the signature with KAO is down right, but it is barely visible. A better photo might help.

You are not alone, Brandon! The photos: I think this is an old and dirty tent in pink with some metal bar on it. Honestly, there is not much to be seen. Have a look at the other threads and compare how photos should be made!

Probably a Chinese decoration item of TSUBA shape, industrially made.

Yes, you know the problem. But to help you find a way for your insurance, I'd suggest you have a look into the market. The insurance companies are interested to learn the value of a possible replacement. As swords are generally unique, this is never precise, but what else could you tell? Find a comparable object and look at the price, that is on a 'normal quality' level all you can do. This will perhaps not work for your priceless KOKUHO at home.....

David, a very nice TSUBA! On the photo I believe to see remains of a removed signature. Is that visible on 'in hand'-inspection?

Perhaps if the MUROMACHI TSUBA had similar dimensions (diameter near to 4") might this have had an influence in classifiying the item as KATCHUSHI? What do you think?

Yes, you always have abrasion with whatever you use to wipe a blade clean. It only depends of the time. I was critical about the regular use of solvents because of their effect to remove the tiniest amounts of oil from the steel. Japanese sword steel, unlike any other steel, has a microscopical 'open' surface which we see as HADA. It is understood that oil can penetrate in these very small structures and remain there, preventing rust to build up. In my understanding, the traditional care system of Japanese blades has proven to serve the purpose best. Any attempt to improve the cleaning with chemical solvents should be considered carefully.

Ken, it might be mathematically difficult to find such an amount of water in alcohol of 95-100%......Of course you can buy 70% isopropylic alcohol with the mentioned content of water which is probably what you wanted to say. In Germany denatured ethylic alcohol is 94% pure plus a small amount of a health hazardous or otherwise repellent substance not only to prevent misuse but to prevent alcohol tax evasion. While I find it suitable to clean a newly acquired blade chemically with a solvant if necessary, I would refrain from using it regularly.

While I like the old TSUBA with this design a lot, in my eyes the revival piece lacks good and visible workmanship. It seems to have been aged artificially by acid treatment, and this ended up in eroded spots on a relatively 'dead' surface, showing nothing of the steel qualities. I would have liked some TSUCHIME or a genuine MIGAKIJI surface, depending on the style intended. Just my one and a half cents....

Brandon, have a look at my post of Sept 26th.

Mariusz, with that familiy name he probably couldn't have handled it differently! :D

From the distance it looks more like a TSUBA for a YOROIDOSHI.

I have a related question: is it true that swordsmiths as a rule were not to work more than four hours per day? Considering their very concentrated work I could well understand such a limitation. Being in that business myself, I can hardly imagine that a smith could make a long blade in less than a week, even with assistants.

To me it looks like a SURIAGE (shortened) WAKIZASHI with the remaining KANJI for BIZEN (a province). Photos are only helpful when well focused and sharp, and TSUBA should be presented with the pointed part of the NAKAGO ANA (slot) upwards unless it is a TACHI TSUBA.

I agree with you. Maybe I have a general problem with films about Japanese subjects made by westerners as in many cases they are not respecting Japanese culture, behaviour, or historical backgrounds. As an explanation, these old films could be seen as products of their times, but in today's view I often find them made quite incompetently and superficially.