Baka Gaijin

Good Evening all, This is a bit of a sideways question regarding Mekugi - ana and modern era Japanese Sword Laws. Am I correct to say that once a Mekugi - ana is formed in a blade, that goes toward the Smith's yearly total? So, if a Mekugi - ana is formed and the blade subsequently develops a fatal flaw on polishing, before going to end user, can the blade be rejected and destroyed, without affecting the Smith's yearly total? Cheers Malcolm

Evening All, I drift towards a kind of boxed Shaving tool for Katsuobushi, the first drawer being to catch the shavings, the second drawer to contain a spare blade. Cheers Malcolm

Good Morning all Adopting the Devil's Advocate position briefly: Hagire is an extremely emotive term. Looking closely at the images of the blade, I can only make out a faint line, very very small which looks like a 90 degree Hagire about a "screen" inch away from the Yokote. As far as I understand, Hagire can be acceptable in a blade providing it does not go through the hamon into the core metal. The blade is described as being quite wide and thick with Suguha Hamon, which suggests a more robust edge strength. Perhaps one of our sword swinging members can elaborate. Best regards to all Malcolm

Hi Piers, some scrunched up newspapers inside the kote will blend the sode line nicely. Best regards Malcolm PS Nice Gun..........

Morning all, I have been told by a Japanese Tea Ceremony student that blades of this shape, in plainer Koshirae admitedly were utilised in and around the Cha - Do -Jo for cutting flowers or branches appropriate to season, and splitting bamboo for Cha shaku etc (See Teshigahara's "Rikyu" c.1990) Cheers Malcolm

Hi Henk - Jan, Given the limitations imposed on Swordsmiths in Japan, it is highly unlikely in my opinion that such a blade would be made, as the character falls into the area of Cosplay. However, I would recommend Tozando Budogu Ya in Kyoto, who are able to call upon their list of Specialist Swordsmiths who would probably be able (if willing) to make to order a passable Shinsaku To in that style. It won't be cheap though..... http://www.tozandoshop.com/default.asp Cheers Malcolm

Hi Ian, You can access the online complete copy of Legend in Japanese Art by going to the link on this very site courtesy of Brian. Go to General Nihonto Related Discussion. The first Announcement has the links through to the various classic books. Cheers Malcolm

Message for Henk - Jan regarding Eugene Collache Polak, Christian (2002). 日仏交流の黄金期　Soie et Lumière, L'Âge d'or des échanges Franco-Japonais (in Japanese and French). Hachette Fujingaho. Polak, Christian, et al. (1988). 函館の幕末・維新 "End of the Bakufu and Restoration in Hakodate." ISBN 4-12-001699-4 (in Japanese). These titles may shed some more light on the situation. Le Tour du Monde was published by Librairie Hachette et Cie, 79 Boulevard Saint-Germain, Paris 79. Here's a link to a copy of the 1874 compilation of Le Tour du Monde http://www.biblio.com/books/11327211.html The modern Hachette publishing group is vast, they may have a tame archivist. Here's a link to their main site:- http://www.hachette.com/ Cheers Malcolm

Hi Piers, "So who owns what?" That's a thorny question indeed. Let's take for example Yoshitoshi's series Kinsei Kyogi den of 1865. The origination of the image was Yoshitoshi's. The cutting of the blocks and the subsequent printing was down to the publisher, therefore the copyright of each image as a partial multiple would be the publisher at the time. Yoshitoshi died early and his son went on to become a woodblock artist in his own right using the Noh theatre as his subject matter. So as an example of Artists Resale Royalty, he could have had moral rights to the reproduction of the image as is the case in France for 75 years after the death of the artist. Meijii Copyright Law is particularly vague it has to be said, so I doubt it. In the 20th Century Kinsei Kyogi Den was down scaled and recut minus the background narrative in 1918 or thereabouts and published as a small booklet (Which I have a copy) In fact the image of the chap clearing his nasal passages on Wikipedia is minus the text and thus from the booklet, not from the 1865 blocks. The copyright of an image on the internet and the lifting and printing thereof is subject to a can of worms situation dependant upon which country you are in, where the image was lifted from and what you intend to do with it. Example: Jack Vettriano maintains, as far as I am aware, the Copyright of any Painting sold to a private individual or public body. Clear it up any?????? :? Cheers Malcolm P.S. The chanbara figure of Zatoichi comes from one the real life characters depicted in Kinsei Kyogi Den...............

Hi Piers, Tsukioka Yoshitoshi's series Kinsei Kyogi Den (1865) depicts the suicide of Seiriki Tamigoro using a Matchlock. http://en.wikipedia.org/wiki/Yoshitoshi Yoshitoshi's mentor Utagawa Kuniyoshi also showed various matchlocks including hand cannon. Cheers Malcolm

Hi Guys, There are some good images of bullet damage to the tsuba, fuchi and nakago of a Gunto on Japanese Sword.com http://www.japanesesword.com/ Item 1106gunto6 in the section sword $1500 - $3000 Cheers Malcolm

Hi all, Reference to battlefield Archaeology in Japan. The Zaimokuza mounds or some of the skeletal remains from those mounds were worked upon in the mid to late 1980's by Dr Myra Shackley, a U.K. Archaeologist (and Iai-Do student) with regard to wound trauma. http://www.jstor.org/pss/124618 Shackley, Myra 1986 Arms and the Men; 14th Century Japanese Swordsmanship Illustrated by Skeletons from Zaimokuza, near Kamakura, Japan. World Archaeology 18(2):247-254. There was a riposte c.2004 by Antony Karasulas: Titre du document / Document title Zaimokuza reconsidered: the forensic evidence, and classical Japanese swordsmanship Auteur(s) / Author(s) KARASULAS Antony (1) ; Affiliation(s) du ou des auteurs / Author(s) Affiliation(s) (1) Unit 1, 63 Jessie Street, Armidale, NSW 2350, AUSTRALIE Résumé / Abstract In July 1333, at the battle for Kamakura, the Hojo Regency fell. Many of the fallen from the battle were buried at Zaimokuza, near Kamakura. Myra Shackley made a forensic investigation of some of the Zaimokuza remains, writing her conclusions in an article printed in World Archaeology (Shackley 1986). Shackley concluded that the human remains were all of high-class samurai warriors, that those discussed had died from head wounds inflicted with refined precision using the Japanese sword and that the evidence suggested extremely high battlefield ethics. My own analysis of the remains suggested something quite different - that the fallen were in fact low-class, un-armoured foot soldiers killed by pole arms, wielded by mounted knights. No evidence was found to support the notion either of exceptional sword skill or of remarkable battlefield ethics. Shackley made errors in her use of interdisciplinary material, and this article highlights the necessity of using such resources with care. Revue / Journal Title World archaeology ISSN 0043-8243 Source / Source 2004, vol. 36, no4, pp. 507-518 [12 page(s) (article)] (11 ref.) Langue / Language Anglais Editeur / Publisher Taylor & Francis, Basingstoke, ROYAUME-UNI (1969) (Revue) Herewith a few other sources: KAWAGOE, T. (1957) Anthropological studies on the skulls of Edo-era excavated at Yushima Muenzaka, Tokyo. Mem. Dep. Anat., 16: 1-18, Jikei Univ. Sch. Med., Tokyo (in Japanese). KAWAGOE, T. (1975) On the Exacavated Human Skeletal Remains of the Edo Period. 302pp., Yuzankaku, Tokyo (in Japanese). KOIZUMI, H. (1979) Stories of the Edo roads-from archaeological research of Edo city. Bunkazai no Hogo, No. 11: 73-85 (in Japanese). KUMAGAI, M. (1958) On the injured human bones of certain Yayoi period ancients, excavated at the Doigahama site, Yamaguchi prefecture. The Quatery J, Anthrop. (Jinruigaku Kenkyu) 5: 78-86 (in Japanese). MORITA, S. and T. KAWAGOE (1960) Anthropological studies on the skulls of Edo-era excavated at Yushima Muenzaka, Tokyo (a supplement). J. Anthrop. Soc. Nippon, 67: 38-56 (in Japanese). NAITO, Y. (1974) A case of lumbal vertebra of Yayoi human skeleton penetrated by an arrow head. Proceeding of the 27th Joint Meeting of the Anthrop. Soc. Nippon & the Jap. Soc. Ethnol., In: J. Anthrop. Soc. Nippon, 82: 109 (in Japanese). NAITO, A. (1980) Edo and Edo Castle. 244pp., SD-sensho, #4, Kashima-Shuppan, Tokyo (in Japanese). SUZUKI, H. (1956) On human remains. In: Medieval Japanese Skeletons from the Burial Site at Zaimokuza, Kamakura City. 194pp., Iwanaroi-Shoten, Tokyo (in Japanese with English abstract). SUZUKI, H., H. SAKURA and A. Ehara (1957) On the human skulls of Edo period excavated from Unko-in, Fukagawa. Proceeding of the llth Joint Meeting of the Anthrop. Soc. Nippon & the Jap. Soc. Ethnol. (in Japanese). SUZUKI, H. (1958) A prehistoric human illium penetrated by an arrow head. J. Anthrop. Soc. Nippon, 66: 113-115 (in Japanese). Cheers Malcolm

I have often marvelled at the fineness and regularity of line produced in Tsuba with ito sukashi. Question: How did they get such a fine and controlled piercing? I've been told various tales over the years, but none of them seem to fit the bill. e.g. A London Nihon-To dealer once told me that the designs were cut larger and hammered tightly to a spring steel shim which acted as the spacer, the tsuba would later be heated and upon expansion, the shim removed. A Sotheby's Rupert said that Ito sukashi was produced when a series of small holes were drilled and a thread covered with Diamond dust was used to cut the design. Cheers Malcolm

Forum minus Ford would be a much lesser space. http://uk.youtube.com/watch?v=jHPOzQzk9Qo :lol: Crack a few cans of your unspeakable S.A. Beer , chill for the appropriate time and return please. Cheers Malcolm

Hi Bill & Brian, Okinawan Karate-Do, Kobudo Weaponry and serving G.I.'s can be a rather grey area of understanding, particularly during the 1950's, '60's and '70's. Here's a useful link, which may help: http://www.wonder-okinawa.jp/023/eng/001/001/index.html From a practical standpoint, the old Sai used by Farmers to mark land plots etc were constructed in a really sturdy manner, being comprised of one piece forged and split into the cross form, later two pieces of steel were jointed and strongly welded to make the tines and the shaft. From the the '60's Sai were being produced commercially for Martial Arts students, these were essentially made in three pieces and just welded and chromed, resulting in really weak spots, which could and would snap away according to the degree of proficiency of the attacking force against the tines usually (Kon (Staff) against Sai, Bokuto (Wooden sword) against Sai etc.) These items were designed for kata, much in the same way as an Iai-To. This may explain the breakage shown in the image. Maybe best to take Nobody san's advice and contact the organisation in Okinawa direct. Best regards Malcolm

Thanks Guys for all this great input and the links... Can I extend the question slightly by asking if Hagane iron sand were to heated to liquid state and during this process carbon added, to 0.5 - 2.00%. Could it be poured into a mould or former and cooled as a flat sheet of steel, and could that be worked subsequently with chisels, files and saws etc? Also while we're here, were acids used to "resist cut" areas on Iron/Steel tsuba? If so, what schools please........ One for Ford perhaps. Thank you all again for the input. Malcolm

Thank you one and all for the input. Question answered and more questions generated. That's the beauty of this Forum. Malcolm

Here's a question that has been perplexing me...... What is the main difference between Iron and Steel related to Tsuba? Malcolm

Thank You Ian, You accurately described the first Wakizashi I ever bought, way back in 1966. The Same had the large nodes on Katana Omote side and was full wrap with paper packing strips at top and bottom. The Cotton itomaki was about 3/4 of an inch wide, doubled over on itself, as if cotton sheets had been ripped down their length to produce the strips. Christmas Steps in Bristol, £4 10 shillings, I could have had its longer Brother for £6.00, or the two for £10.00, but my saved Pocket Money would not stretch to such grand heights. Just to extend the theme slightly, I've heard various UK dealers over the years refer to Blue and Green itomaki as being typical of "Hama Mono", one colour supposedly being Yokohama and the other being Nagasaki. Is there any truth in this? Best regards Malcolm

Hi Ian, Could you elaborate on your opinions regarding "Rebellion" Mounts please, this is fascinating stuff indeed. Best regards Malcolm

Evening Piers, Thank you for the post regarding disassembly of Tanegashima. What is the large ceramic to the left of the Katchu? Best regards Malcolm

I take your point, I was there once myself, but face it, unless you actually picked the piece up from the Japanese Officer concerned in Theatre so to speak, all you really know is that it was on the sword just before you became custodian. No More. All else is anecdotal. Sorry Mate, but it's going to be a harsh learning curve if you want to truly study a Sword's history, you have to become dispassionate and ride the knocks, it's how we truly learn. Malcolm

Hi John, The cord is what is left of a Fusa Himo (literally Tassle Cord). The two wooden toggles are the formers around which the Fusa tassles are formed. They appear on sword bags, armour and even mobile phones. Cheers Malcolm

Thank you very much for the information, it's cleared up some misconceptions. Malcolm

Morning all, Two questions please: 1: In the case of a plain Iron Marugata Tsuba with both Kogai Hitsu - ana and Kodzuka Hitsu - ana, how do you decide front and back? 2: What is the purpose of the Soritsuno hook on a Saya? Best regards Malcolm