OceanoNox

It may be pure coincidence, but the reading shoubu is the same for both 菖蒲 (Japanese iris) and 勝負 (victory and defeat, fight). I do remember that there are several items with puns in them (like a natsume with exactly 6 gourds drawn on it, called "mubyoutan" 六瓢箪, with mubyou 無病 also meaning "disease free", as a charm for good health).

Mekugi should be made of strong bamboo, ideally smoked. You can buy some here: https://www.namikawa-ltd.co.jp/product/143 Otherwise, the next best thing is following this: https://ejmas.com/ti...nart_fowler_0502.htm If you use store bought bamboo, use the bamboo near the outer surface, where the fibers are dense.

I read there are theories about the nature and the mundane themes (like everyday items) being about remembering life and beauty, in contrast to the violent episodes of warriors' lives. As it is, unless someone has some written document or journal that states why some design choice was made, we won't know if it's simply esthetics, religious or philosophical belief, or to invoke protection/strength, etc. Perhaps people who have seriously designed tsuba can weigh in, but I do like the look and texture of the halo (amida yasuri) over relatively rough iron, so in my case, it's less about meaning and more about visual effects.

May I introduce these? https://rank-king.jp...4EAAYASAAEgLlC_D_BwE Apparently made specifically for museums and the like.

I am not sure if this is perfectly in line with the topics, since it is a gendaito made for iai. I was about 28, had relatively recently gotten my 3rd Dan in ZNKR iai. My sensei told me to save some cash and later said he found a very nice, long (2 shaku 6 sun and more than 5 bu) and balanced sword from Akamitsu Taro from Kumamoto. It fits my body perfectly and funnily enough it was made the year I arrived in Japan (2008, but I got it more than 5 years later).

Some koryu teach to snipe the hands or wrists (grab victory a few sun from the tsuba), so maybe the larger tsuba are for some safety margin. I have no idea where they came up with the numbers, but there are some documents from Edo (maybe inspired by earlier scrolls) recommending 9~10 cm in diameter, as well as increasing thickness if you have more sukashi. Another also says that the sukashi should not be too large, to avoid a weapon going through it.

It almost looks like a buckle or a clasp for capes and coats.

It is likely texture, made before the patination process. The tekkotsu may be possible, but as I recall, even when tsuba are made with recycled materials, they are typically done with the least amount of forging possible, so these here are too small. Nowadays, some craftsmen do patination in two steps: rust once fully, then remove the rust with some acid, and redo it once more. This will increase the roughness of the surface, and may cause some pitting.

From right to left: Type (種別）: Juumonji yari Length (長さ): 19.00 cm Curvature (反り): 0.0 cm Number of mekugi holes (目くぎ穴): 1 Inscription (銘文): on omote (表): made by Kanekichi (?) (包吉作) It was registered in Fukuoka prefecture (number 62353), on the 21st of september, 1972 (昭和四七年九月弐壱日).

Apparently, it takes him about 3 months to complete, but I suppose a lot of that is the patination. Interestingly, he uses some kind of clay that he prepared and lets the tsuba rest in it for a while. I remember Jim Kelso explaining on his website about letting dry a layer of clay mixed with various stuff, but it's the first time I saw someone bury the tsuba in it (and many recipes for patination are liquids, to paint or dunk the heated piece in). Looking at how he proceeds, he prints the pattern, glues it on top of a factory made blank, then cuts and files (funnily too, he cuts horizontally with his jeweller's saw, unlike most people I have seen, who cut vertically).

I thought sekigane were necessary regardless of newness, to protect the steel of the nakago. Maybe it's the craftsman style? or lack of it? In the introduction video, they said he was a carpenter before falling in love with tsuba. So it's possible he is self taught and goes with the flow, so to speak.

I haven't seen any signature, but some designs look more modern. It can be confusing, but still, there are new swords being made, so tosogu obviously follow. I remember there was a fellow like him (or maybe it was him) on a sword series on NHK, hosted by Paul Martin, with a Takarazuka co-host. I suppose those tsuba are aimed at martial artists?

What does it say? I have to say, yours is beautiful indeed.

A fresh perspective that makes a lot of sense. From the point of view of a iaido practitioner, I have only dreamed of using old swords to practice, but this makes me appreciate the newly made shinken more.

Thank you all for the insights!

My apologies if this is not the correct place. Having watched some period movies in feudal Japan, I was surprised to see that the spear in formation is used to bash people on the head. It just looks like two groups trying to bring the other groups' spears down and hit them over the head. Speaking with a history aficionado, he told me that it's well-known that spears were used that way in battle, and sure enough there are videos and websites in Japanese that do state the same, but unfortunately without source. I found a post on another forum citing a source, and reading for myself, it seems to have originated in the 17th century: 雑兵物語. I have used the miwo application to transcribe the text and it seems to admonish the use of the spear as above: do not think to stab, everyone must hit the other in unison. Stabbing (and "fencing" maybe) with a spear is described as being fine for 1-2 people on each side, but not for large groups. Thus, I ask, has anyone seen anything like that? If it was written in a military manual, it is likely to have been taught at some point, but it still seems very counter intuitive.

If it's for regular practice, the patina will wear out anyway.

A very good point, too often forgotten!

Brass was also considered a luxury metal, besides being harder than copper, so more likely to be on the visible zones of the tsuba.

Noshi also makes little sense when considering the segmentation. The only other thing that comes close to that design is the tied willow (musubi yanagi 結び柳) used in tea ceremony for the first session of the year (hatsugama 初釜):

Here is the website for Namikawa (https://www.namikawa...roduct-list/6?page=2), but the brushes are currently sold out. Comokin also sells the horse hair brush (https://www.comokin....8/X/page4/recommend/). I have found other websites selling them (https://kaibundo.shop-pro.jp/?pid=175394337, https://www.shujiya.com/product/2478) for calligraphy. ※ No idea if any of them sell abroad. ※ The ones made with thick straw seems better suited for harsh removal of red rust (maybe more suited for the process of patination of new objects than restoration of older ones). There are cheap ones sold on Monotaro.

Paul Martin has shown how he did the patina on a tsuba made with the help of Izumi sensei (Ford Hallam's teacher) (see video below. As said before, everyday, brush and wipe. I use hard-ish natural hair brushes (pig or plant based) and flannel.

Hello there! I have been struggling to read old Edo period texts. While I was lucky enough to attend a seminar on kuzushi-ji (basically old cursive Japanese script), and I have a book on the various kana, it is not easy, especially when two kana are "fused". At any rate, there is an app that uses AI to read such difficult texts. It is called みを (miwo). A friend and I have checked on texts that we know the reading of, and it seems about 90% or more accurate. Once installed on a smartphone, one just needs to take a photo of the text and the application does the deciphering, overlaying the kanji and kana on top of the photo.

I am not familiar with XRF, I only use XRD at work (and am limited to about 20μm depth of analysis on a polished surface). Does anybody know the penetration depth with various XRF devices? Kawami did try the method on iron tsuba, and his analysis basically yielded the composition of the patina only (indicated by the clear presence of copper, which appears to correspond to the patina recipes).

It depends on the style (Kaga, Higo, and Owari styles have the kashira a bit smaller than the fuchi). They are made in pairs The tsuka itself has different styles (Hakata, etc.) where the tsuka is either straight, slightly curved, or a bit thinner in the middle. Since shape and size vary also with era, the overall balance must be taken into account. Menuki orientation depends on what they represent: omote should have males and ura should have females, with the male/omote side facing towards the blade. I have cited before an academic paper that described how the tosogu were chosen: either the same theme for all but with variations in shape and numbers, or a theme that will be inferred from all the depictions on each tosogu, or a "story" that can be read by looking around the koshirae (刀装具のかざりの構造 by 宮崎友見子). If you get all antique fittings, you could play with the seppa style and thickness to ensure a nice transition between tsuba and fuchi.