Steves87

Thank you for your reply Mark, the feeling I had was that the two go hand in hand, but I constantly find myself being surprised in this large field. I think I understand what you mean between western and eastern artworks, this is something I'm still learning, but understanding relatively easily. I also agree I would rather good carving over good composition, however, I find myself only seeing what is considered good carving and I truly cannot say I have seen 'bad carving', this causes doubt about what I think I know so far.

Hello all, I was looking through an old NMB thread a while back regarding the differences between 'good and bad' Nanako and was wondering if there is a similar thread about Kata-kiri bori? I couldn't hit a thread with the search button, but im trying to learn if good and bad examples of Kata-kiri bori are more from the actual carving itself or from an artistic/subject matter point of view? I'm hoping someone can please help cheers

I have no idea, but as someone who changes out Tsuba on Iaito fairly frequently, you could potentially have multiple middle plates with many different designs which you could change out whenever the occasion suited, but still keeping same shape.... snow theme in December, rabbit at in spring, etc

How similar is the rust on your newly acquired vs older nice one?

I saw this one on auction today, has a bit of a Namban feel to it...?

Good job on the photoshop, even now knowing where the break lines are, its still hard to see them

I thought they were 'Kanzashi Hair Ornaments'

I agree with Jean on the funny Nakago-Ana. Zooming in it seems the tip has been filled? Or perhaps, not removed?

I really like that! The red tip end of sword makes me happy

Just saw the FB post from Bella, very sad news, wishing him a very speedy recovery.

Hi Roger, I personally would never say no to more pictures, wether they help or not!

Thank you for your reply John, my translations are something I have been practicing (where I know I can attain answers without pestering NMB). So no reason/significance, just a different choice in Mei style...

Inlaid enamel? The pupil?

Hello all, I have this Nara Tsuba with a golden patched Mei and although I have seen this style of gold patched Mei before, I am unable to find out if there is any significance or reasoning to it. Is this possibly a later addition and not an original signature? Although I have not been able to find an answer to this, I'm pretty sure the Mei reads Nao masa. Please forgive any offence to Tsuba quality or photo quality. Thank you for any help you may be able to give.

It's like it has been coated in something and the coating is wrinkling? To my eyes it looks like the dot inlays are real.

I had feelings of the same, would be good to get more opinions

Yeah, the last one I quite like also!

It looks a lot like a potash style patina, that can flake off and give different degrees of blackening. As a beginner into Tsuba, Id guess not original?

I was wondering this myself... great examples in this thread, makes me uneasy posting any of my own collection

Hi Jean, I'm sorry I cannot help with school or maker, but I'd like to confirm it is not ugly. I'm quite drawn to it that little bit more because it is Iron also

That's a great colour on that tongue! I like the Tsuba as a whole, quite a lot.

Amazing! and a treasure for sure

Interesting Tsuba! It seems there are dot inlays in the waves?

Apologies I cannot really answer your questions, The Tsuba below has fire damage, but I assume it would have been something along the same lines.

Yes, I guess what I meant is, was it created with that in mind, or, created to be 'kept up' with maintenance (to not be black)