Bugyotsuji

That last kanji is probably 嘉 佐渡の守国富基嘉 - 検索

Ah, thanks for that. At 3.556 cm it seems to be closest to 50 monmé Gary.

A heavy Ogino-Ryū. At 2.6 cm internal bore, probably a 30 Monme O-zutsu, Gary.

Checked with AI and it says that it depends on context, but generally means a product that is usable but not made completely to standard. Something with a small rip or tear or scratch, for example, can be the equivalent of B級品, B-kyuhin) or B quality, etc.

PS This could equally go under ‘Other Japanese Arts’ PPS Loving the ojime!

Generally speaking, it all looks to be made up with authentic pieces. You say you recently acquired it, but now you are asking its worth? A nice set anyway! PS 定良 Sadayoshi could be the Kiseru owner’s name. The 谷 stamp is interesting, where you might expect 純銀 Jun Gin etc. The Mei ‘Hamano Noriyuki’ needs further study as it was often copied, and if you look you can find small differences. Put that on hold! Kanzan plaque does look like the top of a Kozuka. Tempted to say too many famous names in one set!!!

A story that doesn't fly.

Jean, which above chart is spelled wrongly? (I was referring to the stamp itself which says 眞金入) Did they deliberately chose different kanji for the same sound, in order to emphasize something slightly different, perhaps a process that was new at the time?

Just to clarify what puzzled me originally is that ‘Shingane’ for the meaning of ‘core’ is usually written with 鉄 ‘iron’ and a kanji using 心 ‘heart’, i.e. either 芯鉄 or 心鉄. In this case both kanji in the cartouche are different.

Not seen this before, but common sense leads me to think: ‘contains real steel/iron.’ 真金入 magane iri (Always ready to be educated!)

Re 'orz', this ASCII emoticon represents a bowing figure apparently, to express disappointment, frustration or apology.

For decoration!

Arrows are not my forte at all, so I am happy to defer to others. You said six, but the photos show seven plus one. Perhaps you meant six 'good' ones? The condition is not good, particularly the fletching feathers. The ink brush kanji are difficult to make out on their side and in the dark like that. Tipdown and upright photos might help, though I do not think it would add to their value, just for interest. The golden and peaceful Edo period saw almost no battles, especially ones relying on arrows, so rather than war arrows I would say these are for practice at best. Battle arrows seem to come in much more variety of size and shape, sometimes signed either on the blade or internal nakago, but your father's arrowheads are smoothly shaped for easy pull from a target.(?)

The rests are often lightly glued in place, acting partly as internal strengtheners for the box itself, but these can usually be moved and reglued to support a tanto (in its bag) as necessary. Ideally the box would also allow the blade in shirasaya (in another bag) to fit in there too.

Wonderful information guys. Also we have discussed elsewhere the importance of the Hon 本 character with its various connotations.

Rarely is anything 100% guaranteed in this field. There are likelihoods, stronger and stronger, while you narrow down the possibilities. It takes time and patience, and in the meantime even the ‘experts’ may give differing opinions. A well-made case can eventually be satisfyingly convincing. In the meantime we are all allowed to dream. “Indulge in the romance”, one of my teachers would say with a wink.

Japanese dealers will in general carefully shape their replies so as not to disagree with a customer, or will actively agree in the hopes of future custom. If here is no history of a sale, and no prospect of a sale, most will not reply at all to one-way brain picking.

Tempted to reply but 「武士に二言はない」...nothing to add to what I said on page one, except to repeat it in different words. The Japanese actively enjoy the subtlety of ambiguity in artistic interpretation. Two or even three aspects may meld and overlap in the same cameo. An extreme example. This is green. 「これは緑色です。」Kore wa *midori iro desu. My Japanese teacher in Massachusetts gently pulled me up on this back when I was starting out on the language. The Japanese do not like -desu/masu endings to things, she said. It's too abrupt, too challenging, too confrontational, too point-blank, and does not allow for inclusion of the other person. Be gentle, and soften your utterances and gain friends. Avoid offense in your use of language. Rephrase 'This is green.' by saying: "Can we not (Would you not) agree that this is green?' Or 'This is green, right?' 「これは緑色でしょう。」Kore wa *midori iro desho. (*Cha-iro, etc. Plenty of other words in Japanese for green!)

Do you mean Iwamoto Konkan? They might be expensive… I once had a complete Koshiraé with fish depicted all over…

Yes, five connected ‘eyes’.

ツナギ五つ目 Tsunagi Itsutsu-mé (Top left of right-hand page)

Of course many of these could be vestigial design features harking back to an age. On armours you will find gyoyo, tsurumaki and fukikaeshi, for example, which have long lost their original functions, but are somehow satisfying to the eye and the soul.

The tsuba is probably a genuine utilitarian piece from the Edo period, i.e. from before swords were banned in the *Haitorei. As to the art of repatination and preservation, there are books on the subject, and artisans with secret liquids, skilled in the work of 'growing' black rust. In the meantime I would suggest keeping the 'walls' of the sukashi openings that nice dark colour! Haitō Edict - Wikipedia

*Jean kindly points out that Kitau for 鍛Tan/Kitaeru is more correct in situ.

兼定　作 made by Kanesada The 正阿弥 Shoami tsuba, not of great value, has unfortunately been over-polished.