ROKUJURO

Hi Tom, it is a WAKIZASHI (not Wakazashi). To get the best reading/translating support from the experts, it would help to post pictures of the NAKAGO (tang) - tip pointing upwards so we can read without breaking the neck - always from right above - with light from the side - well focused - against a dark background. Now that you have the translation of the signature, you can search the swordsmitn in books or online and find out the possible age of the blade. But please bear in mind that a MEI (signature) does not necessarily mean that this respective smith made your blade. Often, MEI are faked for different reasons and can only be considered genuine in case an expert team (= SHINSA) has confirmed this with a certification paper (ORIGAMI). Otherwise, have fun with your sword!

Piers, I am not so sure about that, unless there was water, dirt, or corrosion trapped under the SEPPA, and these could indeed move a lot. Usually, SEPPA made of copper or brass should be softer than iron. In case this 'metal removing by friction' was frequently observed, we would see faint signatures on older TSUBA on a regular basis. What do you think?

Sten, you don't like the antique ones which are for sale here on NMB and elsewhere?

Yves, this is best posted in the TRANSLATION section. And to get the best reading/translating support from the experts, it would help to post pictures of the NAKAGO - tip pointing upwards so we can read without breaking the neck - always from right above - with light from the side - well focused - against a dark background.

Adam, a lot depends how the TSUBA was stored. In a dry place and no temperature change, it will remain intact for hundreds of years. The initial/original patination is a protective layer and can preserve the TSUBA perfectly well.

A selected piece of KEYAKI would have been nice as well, I think.

What problems do you see and where? Usually, a TSUBA will look different in hand, compared with a photo. The guard looks like a basic GO ISHI GATA TSUBA, even signed. A faint MEI is nothing to worry about, it's a question of individual chiselling style and age. Nothing wrong with it in my eyes (but they are no longer very good).

Tristan, the recent photos are better, but a dark background usually provides better contrast. Your KOZUKA (= KOGATANA handle, seemingly in good condition or recently made) was probably not made by UJIFUSA. Even the blade was not necessarily by him. These signatures are most often an hommage thing, not true signatures. Japanese nouns don't have a plural form, so no "s" added to KATANA. Just trying to help....

Piers, there is lacquer, and then there is lacquer. A traditional TANSU is often only lacquered with thin transparent URUSHI which is what is appropriate for your cannon base, and which will give it that reddish hue (if the wood does not turn too dark). You probably do not need ground clay as filler and a 30 layer build-up as in traditional lacquer-ware. My impression is that Japanese craftsmen often tend to apply their own scale of perfection to anything else. Don't be discouraged!

....and it is very probably NOT a late 20th century military blade but much older.

To me, it looks older (early EDO ?) and authentic, but it may appear different in hand.

George, Steve always does a great job translating signatures even with less than perfect photos. But you could also do your part to get the best reading/translating support from our side, if you post pictures of the NAKAGO - always right from above - tip straight upwards - with light from the side - against a dark background. That would make reading much easier!

Wonderful work Piers, in 200 years from now you can sell it as old and authentic!

Hi Dave, welcome to the NMB forum! To get the best reading/translating support from our side, it would help to post pictures of the NAKAGO - always from right above - tip straight upwards - with light from the side - against a dark background. If you like, please show the full blade also, as we like to see nice swords! Otherwise, have fun with your TANTO!

It is NAMIKAWA HEIBEI, in case you want to contact them. Silicon carbide will have a considerably different effect! Even if very fine, it is still a grinding medium!

Murray, yes, thank you, the photo is good, but there remains some doubt on the signature. There might be a KIZU on the tang near the first KANJI (RAI ?), but it could also be a rest of an erased KANJI. Something for the experts!

Murray, The NAKAGO in the first picture is a bit mysterious as it looks old, considering the corrosion, but the surface is much better where the signature is. To be able to make a safer guess, I suggest that you post better photos of the full NAKAGO plus at least one of the full blade. Preferably, photos are taken directly from above (tip upwards) with light from the side and against a dark background. This will transfer most of the details. The second NAKAGO shows a TACHI MEI which could be a hint to a smith or school.

It is only a photo, so take my opinion lightly. To me it has nothing to do with patina or restoration. It looks as if some gold was rubbed off, which could be a normal trace of use and wear in that spot.

I mostly use my own knives. I like the Japanese style, and among these, the BUNKA-CHO has proved to be very versatile. None are stainless steel, but I never had a rust problem.

Dale, the KANJI you marked in red is NAKA or CHU, as you may know. But the pictures do not allow to see more.

This is indeed highly unusual, also to me. This TSUBA remains a bit of an enigma, at least in parts. Perhaps it deserves more serious research, and new understanding of TSUBA technology may await us. I wished Ford would find the time to chime in.

No, it has obviously been exposed to fire, and from the photos, it looks like a soft metal TSUBA (probably copper) to me.

We had this subject some time ago. There was a recommendation to make a provisional SAYA from paper/newspaper.

Zdenek, all sales offers need a price here.

If it was not fire-damaged as Colin also suspected, it could possibly have been a test piece to try some techniques. But looking at the TSUBA closely, the first option is more likely.