Larason2

Well, I see the ejection marks from the mold, so definitely cast! I don't think Edo period though. Is "last week" a period?

Looking at it again, maybe I'm wrong about the casting bubble and sekigane. It would also be unusual to have a cast tsuba without a signature! Still, the details aren't in sharp relief. I do see some facets on the rim, so maybe hammered. I shouldn't be so hasty in making comments!

I agree it is an amazing collection. It should be a book!

Mark S. The details look a bit coarse and washed out, and I think I see a casting bubble on the ura side. The rim doesn't look traditionally hammered. The sekigane doesn't look right to me, almost like it has pieces that chipped off. So not a high quality piece, anyway, and possibly cast.

Well, I'd start by saying that's probably a palm print, and you should probably rub it off sometime soon with some sword oil and a soft cloth. The "一" is probably a kitae-ware.

It could be a forging error. If you get a big inclusion of silica, or a fine forging crack that's hard to see, it can happen. The way to fix it is to forge weld a piece back in, but then you would have to rework the whole tsuba. Best to leave it as it is, I think! The other possibility is damage, battle or otherwise. Wrought iron is tough, but there's plenty of things that can break it, particularly when it's so thin. That's why traditionally the best tsuba were folded 5 times, that increases the number of tough wrought fibres that are holding the piece together. Notice it appeared to break roughly along the grain.

Around here in the US/Canada, there are a lot of unpapered blades, though it's true that's uncommon for one recently made. More likely the paperwork was lost. If it hadn't been, it would probably have been worth a lot more. I'm sure whoever is selling it is kicking themselves for that! That's why you always keep the paperwork with the blade. Lesson learned!

The hada is pretty nice, that's hard to fake. The habaki has two tones and textures of metal, you don't get that on a reproduction. The polish is also very good quality, so it was probably done by a togishi. The carving is middling quality though. You'd expect better strokes from a true expert. There's also no yasurimi on the nakago. If Japanese smiths can accomplish gorgeous yasurimi on a nakago, why don't they? I'm not sure about the "gold" engraving, but it looks engraved, not fake. I don't think I've seen enough to tell the difference between gold and other similarly coloured metals. So it's a good quality piece, but if by tadayoshi, it's probably a student/early piece. The suguha hamon isn't my choice, but it's a legitimate form of hamon. Sometimes masters have their students accomplish weird blades to teach them something, and sometimes a smith will try out a different design early in their career to see how it would turn out. It's a nice blade, made by a good smith. If that's worth the price of admission I'd go for it. Even if it is tadayoshi it's not a masterpiece. It looks Japanese made, anyway. I don't think you'd find a reproduction with this quality much cheaper than this.

Xiayang, you're probably right! I took two semesters of Mandarin in university, so not an expert, but probably ahead of most. I have an app named "pleco," that has handwriting, and I tried drawing in the radicals and selecting characters that look similar. The different orientations of the originals in the OP was confusing, so I tried different orientations. I didn't think the orientation you settled on was likely, because it looked like too many straight lines on the right hand side. Nice to see someone who knows what they're doing take a crack at it!

I don't, but I have found using Nihongo on my phone has been invaluable for this kind of thing. I got the upgraded version, but I just take a picture and tap on the characters, and it tells me what they say. Personally I write in their meaning in English beside the character with a pencil.

Here's the actual characters I found (mostly archaic) so that you believe me the characters are actually related to what's on the seal! https://live.staticflickr.com/65535/52930822245_d159ae8f01_b.jpg

I think it's a little ditty about a fine horse. At least, I'm pretty sure that the top right character is: 驵, which means fine horse. I remember the radical on the left side of the character is an ancient variant of horse anyway. Traditionally you read top right down the column, then next column. Here's what I think it says (sort of) in (still pretty ancient!) mandarin: 縯寞靻礐 Fine horse startles, leather will harden 呂앵臦遯 tremendous noise, wealthy person escapes. Or some such thing! Maybe I'm off one or two characters, but it's not easy sometimes to find a modern equivalent to an ancient character that is badly rendered to look like seal script. Also, most of the copied characters don't look like the characters I found that look like the originals, they are probably more modern equivalents. In Mandarin there are a lot of 3+ character sets that together form an idiom. This one looks like an 8 character idiom. I agree probably not an authentic piece in the sense that it's not ancient, but it is probably made in China, and it does look like it's actually stone. Is it a horse? It does have a strange mane and tail for a dog, but it would also make a pretty ugly horse! It's strange to me that they slathered the bottom with what looks like wax. Maybe so it doesn't scratch whatever it's sitting on.

It's not contemporary, but it reminded me of this picture of Amakusa Shiro by Takato Yamamoto: https://tvtropes.org/pmwiki/pmwiki.php/UsefulNotes/AmakusaShiro

I think one of the problems is that there have been some contributors that have been saying a presented tsuba is cast without evidence, (or evidence that in my opinion has been convincingly challenged). I also suspect that for some, there may be a financial stake in their credibility or the credibility of those they learned those assessments from. As has been pointed out, in the field of nihonto, false assessment has been used by unethical actors in the past for financial gain. In my opinion, this makes this very difficult to resolve. There is a tendency online to infinitely prolong debate rather than to allow yourself to appear wrong or admit you may be in error, particularly if there is a financial stake. I think there is also the desire by many on this forum to be able to say convincingly whether a presented tsuba is cast or not. I don't think there is usually enough actual evidence to make this call, though sometimes there is. The trouble is also we don't necessarily know if this discussion is driven by curiosity alone, or by hidden risk of financial gain or loss. So for me, it's enough that a piece isn't called as cast when there's no evidence, or only controversial evidence. I think the Edo portion of it is an attempt by some to add validity to a call that something is cast. If it can be shown that tsuba were cast in the edo period in Japan, particularly in large numbers, then this means the pre-test probability of a cast piece is much higher.

According to Wada Tsunashiro, Kinai (紀内) was an Echizen province (越前) smith. That was a former province in the Tanba region. Maybe I didn't get the joke, but that's ok. Won't be the first time!

It's in Wada Tsunashiro's book. Terutomo is better known as Hidetomo, but signed as Terutomo earlier in his career. He was a student of Teruhide who was the successor of Terumasa.

I asked ChatGPT "what's the difference between a Nihonto amd a reproduction?" and here's what it said: "A nihonto refers to an authentic Japanese sword made by traditional methods and by skilled swordsmiths in Japan. These swords are highly regarded for their craftsmanship, historical significance, and cultural value. Nihonto swords are typically made using traditional techniques and materials, such as tamahagane (a type of steel), and they often feature unique and intricate designs. On the other hand, a reproduction refers to a sword that is made as a copy or imitation of a nihonto. Reproductions can be made by modern swordsmiths or manufacturers using different methods and materials. They may attempt to mimic the appearance of a nihonto, but they do not possess the same level of historical authenticity or craftsmanship. Here are some key differences between a nihonto and a reproduction: Craftsmanship: Nihonto swords are crafted by experienced swordsmiths who have undergone extensive training and follow traditional techniques. The level of skill and attention to detail in a nihonto is typically higher than that of a reproduction. Materials: Nihonto swords are often made using traditional materials, including tamahagane, which is a type of steel produced from iron sand. Reproductions may use different types of steel or alloys that do not match the composition of traditional nihonto. Historical Significance: Nihonto swords are considered historical artifacts and hold cultural significance in Japan. They often have a documented lineage and may be associated with famous swordsmiths or historical events. Reproductions lack this historical connection and are not considered genuine historical artifacts. Value: Due to their craftsmanship, historical significance, and limited supply, nihonto swords are highly valued and can be quite expensive. Reproductions, while they may be well-made, do not possess the same value as authentic nihonto. It's worth noting that both nihonto swords and reproductions can be appreciated and enjoyed for their own merits. Reproductions can be more accessible to collectors or enthusiasts who are unable to acquire or afford a genuine nihonto." So not a single sentence that describes how to actually tell the difference. Then I asked: "How can you tell the difference between a nihonto and a reproduction?" Here's what it said: "Differentiating between a nihonto and a reproduction can be challenging, especially for those who are not experienced or knowledgeable in sword appraisal. However, there are several factors you can consider to help determine the authenticity of a sword: Certification and Documentation: Authentic nihonto swords often come with certificates or documentation that verify their authenticity and provide details about their lineage, swordsmith, and other relevant information. Look for reputable certification from recognized organizations or experts in Japanese sword appraisal. Signature and Tang: Nihonto swords typically bear the signature (mei) of the swordsmith on the tang (nakago) of the blade. The signature can provide valuable information about the sword's origins. However, it is important to note that some reproductions may also have signatures, so further examination is required. Construction and Materials: Carefully examine the blade and its construction. Nihonto swords are typically made from a high-quality steel called tamahagane and exhibit a specific layering pattern known as hada. Traditional forging techniques, such as differential hardening (hamon), are also present in nihonto blades. Reproductions may lack these characteristics or display inconsistencies. Fittings and Mountings: Pay attention to the sword's fittings, such as the tsuba (handguard), menuki (handle ornaments), and saya (scabbard). Nihonto swords often have high-quality, intricately designed fittings that complement the overall craftsmanship. Reproductions may have less attention to detail or utilize different materials. Overall Condition and Aging: Genuine nihonto swords can exhibit signs of wear, patina, and aging that occur naturally over time. Reproductions may lack these signs or have artificially aged appearances. Expert Opinion: If you are uncertain about the authenticity of a sword, it is advisable to consult with an experienced and reputable sword appraiser or a specialist in Japanese swords. They can provide professional guidance and examine the sword in detail. Remember that determining the authenticity of a sword requires expertise and careful examination. It is crucial to rely on reliable sources and consult with professionals to make an accurate assessment." So again, it doesn't actually know how to tell the difference. If it doesn't know this, why are we trusting it about cast iron? It says right on the page: "ChatGPT may produce inaccurate information about people, places, or facts."

Chat GPT has frequently been shown to produce erroneous statements. All those tsuba could be references to wrought iron, and Chat GPT wouldn't know the difference. If most of the authors it is referencing don't know the difference between wrought iron and cast iron, it won't know the difference either.

I've been working on a writeup along these lines for a bit. So I'll post it here. I also have a reproduction katana and wakizashi that may be helpful as an example of what is not authentic! I'll take some pictures of those. Here's the writeup I did: What to look for: Authentic Japanese blades (Nihonto) -Texture of metal: Authentic Nihonto have "hada," a fine texture of metal made from a very high mumber of different folds. This can be emulated with acid etching, but acid isn't as fine, and doesn't disappear in the right light. -Evidence of water quench. Traditional Japanese swords are differentially hardened and water quenched. This means clay is put on the blade, and the spine is hardened differently than the blade. To achieve this, the blade needs to be quenched. Most modern reproductions are quenched in oil, which leaves a dark pattern at the interface between the hardened surface and the unhardened surface. This pattern is called "hamon" In a water quenched blade, the hamon is white and subtle (hard to see in some lights). Sometimes acid etching is used to attempt to replicate authentic hamon, but it is generally more visible in all lights. Acid etched blades also don't take oil well, so they're very likely to rust. Authentic differentialy hardened and water quenched blades also show some evidence of the crystal structure of the metal, which is called "jie" Some of these, like "nie" are in certain spots. Acid treated or oil quenched blades don't have these features. -Authentic Japanese blades have a tang (the handle part of the blade) called a "nakago." These are carefully and finely filed, and the rust is left on if it develops. Whether there is a signature on the blade or not, a Japanese blade must have these features. If there is a signature on the blade (mei), the strokes should be sharply defined, deep, narrow, and be wider at one point and thinner at the other. -Authentic Japanese blades are polished by professional polishers called "togishi," and they will only work on certified Japanese blades. These blades have a very high quality polish, where every surface has a perfect mirror finish, but other features are visible in the right light. All of the edges and lines are perfect, and they leave no scratches and imperfections other than forging defects that are unlikely to affect the function of the blade. The blade is perfectly sharp, and usually has a convex edge (called "niku"). The spine of the blade is always burnished, rather than polished (no detail is visible in another light, a flat surface looks rounded). Authentic Japanese sword fittings (koshirae) -The handle of the blade is called a tsuka. The metal pieces of the handle are called fuchikashira. The fuchi (collar) is the part close to the guard, and the kashira the end cap. They should have no casting bubbles or sprue marks on them (suggest they were cast). The detail on their surface should be fine, with any carving being deep and sharply defined. If any other materials are inlaid, they should have a colour that is appropriate for their material, and there should be space all around the inlaid part. The edge of the inlay should be smooth, and the texture match that of the rest of the metal surface. An authentic wrapped tsuka is made of magnolia wood, and is wrapped with ray skin (samegawa). Authentic ray skin has nodes of different sizes, so that no two nodes are the same size, and there is an extra large node in one of the windows of the wrap called the emperor node. Imitation samegawa can have nodes of different sizes, but there is a repeated pattern, and no emperor’s node. Authentic tsuka are usually wrapped by either silk or leather, and this wrap is called “ito.” Imitation ito is usually made of plastic, and you can tell this from silk because each fibre is usually quite thick, and has a bright reflection in the light. Authentic silk ito, however is made up of very fine fibres, and the reflection of the light is very subdued. Authentic leather can be hard to tell from imitation leather, but authentic tsuka are rarely wrapped with this. An authentic tsuka is wrapped so that the diamonds are very regular, and the ito wrap is very tight. There are two decorative pieces called “menuki” that are wrapped into the ito, and these pieces should be free from sprue or casting bubbles, and they should have fine, sharp and deep carving on them. For all metal pieces of the koshirae, the surface of the metal should have a very fine polish that is otherwise opaque (never mirror finish). Rough polishes or mirror finishes on these pieces suggest a reproduction. The blade should fit snugly in the tsuka, but not be impossible to remove, and there should be a single pin of finely carved aged bamboo to hold the tsuka on the blade (rarely, some blades have two). Authentic Japanese sword guards (Tsuba) Tsuba should be free of casting bubbles, sprue or sprue marks (all suggest the piece was cast). If the piece is iron, you should see fine lines in the texture of the metal on the side or inside any cutouts. If you see lumps of iron that are a different texture than the rest that were emphasized by carving, that is more likely to be an authentic piece (called “bones”). The edges of the tsuba should look hammered, with a very narrow gap between the hammered edge and any carved decoration if there is any. If any other materials are inlaid, they should have a different colour and texture than the base metal, and its colour should be appropriate for the metal it is. There must be open space at the side of every inlay, they are never at the edge of the tsuba, usually at least 5 mm is necessary. The metal at the edge of the inlaid material should follow the side smoothly, and the texture of the metal should be the same as the rest of the base metal. Any carving that is done, particularly the signature (mei) should have narrow, deep, sharply defined strokes that are wider at one side and narrower at the other. Broad, rectangular, shallow, washed out details are all suggestive a piece was cast. A tsuba should have a high quality finish, meaning that polished surfaces are very finely polished, carving marks that are left very fine, and all pieces should be patinated with a traditional Japanese patina, which gives them a distinctive colour and texture. Generally, all enamelling/cloisonné/shippo yaki (fine metal rims with a glazed pottery-appearing inner portion embedded in the tsuba) can be considered authentic because this is difficult and time consuming to do, though this is rare.

I agree there's no evidence that it was cast, and lots of evidence of good quality work. Gold inlay, gold nunome rim, kozuka/kogai filled with a metal with different texture and colour, fine carving, especially on the dragon and the bamboo. The mei looks eroded, not poorly chiseled. The surface of the tsuba in general looks weathered in a way that's typical for wrought. The copper inserts in the nakago-ana also look authentic, and their texture and colour is different. The rim looks authentically hammered.

I agree the moon is probably part of the iron, but with a different finish. My first thought was shakudō, but it has some corrosion on it that looks the same as the corrosion on the nearby iron, whereas you wouldn't see this with shakudō. It's quite a nice piece. I agree it doesn't really need restoration.

It helps to also compare what they are in Chinese. Chinese has preserved a lot of the ancient meanings of a single character. I also don't think it's two character compounds, otherwise they would be located beside each other. Here's my take: Front (Omote): Top right: 學 Knowledge (gak?) Top left: 劍 Sword (ken) Bottom right: 日 day/sun/Japan (hi) Bottom left 猿 Ape (Saru) (can also mean strength (arms like an ape)) Reverse (Ura): Top right: 技 Technology/Ability/Skill (waza) Top left: 砉? (Swish sound) or 春 spring (haru)? or 書 writing (fumi/sho)? This is the hardest one. There doesn't seem to be a good character in either Chinese or Japanese. Bottom right: 寅 tiger (tora) (also respect, reverence) Bottom left: 石 Stone (ishi)

These aren't samurai jewellery. They look fancy, but they were made for use. Tachi had their own subspecialized artisans who did nothing but make furnishings for tachi, and later they also made tsuba. It seems strange that a warrior would go into battle with such elaborate fittings on their sword, but that is exactly what they did. If you're looking for plain iron tachi fittings or the like you're not likely to find antique ones. Also don't forget they considered spears and bows as their main weapon for most of history. The Tachi or Katana was kind of a last resort weapon, but it had a lot of symbolic importance. That being said, a lot of the older iron tsuba were made for tachi, that's why they are so much bigger than more modern ones. They say that sometimes tachi and other swords had more simple furnishings back in the day, often with leather ito, etc. but hardly any of them have survived. Most of the tachi you see now had new furnishings made for them in the Edo period.

As Curran says, the material used to dye samegawa was urushi. Urushi was traditionally dyed red and black, and those are still the most popular colours. Still, if you look at urushi, there were many colours going back quite far in time, they were just less common. The Japanese typically used ground up coloured rocks for pigments in urushi, and there was a fair bit of variety in the colours they could achieve.

Pietro, I don't want to call anything cast if there's no evidence. It has evidence that it's not a high quality piece, and I think that is enough to say.