sanjuro

With little to go on but impressions of hamon and the general sugata of the blade, my best guess would be early shinto, possibly even a Shimada blade. I have a few Shimada blades and this one gives one the same sort of overall impression. At the end of the day its all just guess work of course, but it might be an interesting excercise to flex our intuitions with.

There were specific techniques for tachi swordmanship in the Kamakura era, although the major ryu that did exist were pretty much in their infancy back then. Unfortunately they were closely guarded secrets and if we told you about them, both I and my horse would have to commit seppuku.

To be honest, I think that is probably where I read of it. Curiously, although I was taught sword etiquette, the subject of which was the correct way of displaying a sword, other than on a katana kake or tachi kake, was either not discussed or was taken pretty much for granted. The part about the dojo way of displaying them was true enough but may have been my sensei's custom rather than established and general practice. I dont think i have ever read an explanation of this aspect of sword etiquette by a Japanese source. Dr Takeuchi perhaps??? although not among those articles of his to which I have access. Guido is more familiar with Dr takeuchi's full body of work than I am.

My understanding, given that most of this etiquette comes from the Edo period, is that the positioning of the sword on the katana kake is a reflection of the owners readiness for conflict, or as an indication of his feelings toward a guest. Ergo, if one feels threatened by a guest or a visitor one would position the sword such that it was not only easily reached but also easily drawn, ie with the hilt to the right. Likewise in times of war when battle readiness was an issue then the sword would be displayed in such a way as to make it easily available, ie hilt to the right. Etiquette in the Edo period complicated this to be possibly a threatening way to display a sword when times were supposed to be peaceful. If your guest was a friend or family then the hilt would be toward the left to reflect this trusting sentiment. (In practice, it is actually easy to grab and draw a sword in either position).The custom of displaying the sword hilt strictly to the left comes from this period when etiquette became sometimes most complex, and offense could be easily implied. Japanese manners among armed samurai had of necessity to be impeccable lest offence be unintentionally conveyed. In older times, the sword was displayed according to the owners taste and could be interpreted as his state of mind as to trust in his surroundings and company. I have also heard it observed that a sword displayed hilt to left is considered to be a 'retired' sword, which most of ours would qualify as. In many dojo's where a sword or swords are displayed they are rested hilt to right in keeping with a combative nature, or to the left to reflect a studious purpose. In the dojo where I trained if the swords there were displayed hilt to left we were merely training. If it were hilt to right, we were in for a sparring or kata session. It took a while for the newer students to become observant to this. In effect it was a test of observation. (All things may be utilised to aid in teaching). Just my take on the question.

Hi. Mariuszk is correct. They are referred to as kenukigata shape and are really the echo of the sukashi in a kenuki style hilt of the Heian Period. In a tachi the menuki are often referred to as Tsuka ai 'hilt pair' rather than menuki, and are usually quite a bit longer than the usual katana menuki. They are also more traditionally styled incorporating the owner's Kamon rather than the more freely styled menuki of other swords.

I'm glad you find my observation amusing Mr Bernard. However, It was not meant to be. I dont see the connection with the artwork you posted, but then again I dont really expect respect for my opinion, nor it appears should I expect a sensible or appropriate response. I should not have bothered to comment in the first instance. Although i did invite being shot down, I did not expect to be laughed at. Perhaps you should take into consideration that there is nothing to be learned from ridicule.

If I can play devil's advocate here for a moment. I am after all what is most kindly referred to as a tsuba ignoramus, which qualifies me to state the obvious and make stupid observations, yet still be forgiven. What i see in this tsuba, and what first I noticed is the raggy finish where the zogan 'dew' drops on the leaf coincide with the surface. The rather crude finish to the dragonfly's legs which have been left squared instead of carved in the round as the rest of the creature is. These things are not in keeping with a quality piece particularly since it is supposed to be a newer tsuba and therefore if the general condition is to be taken into account, more crisp than we would observe in an older worn piece. Art and the way in which something is rendered is always open to interpretation, but this seems to have been intended to be a lifelike representation. If this is so, then it is crude and less acceptably so since it is apparently modern. Modern doesnt usually have wide appeal because we cant mentally ascribe any wabi or sabi value to the piece. It is what it is and cannot hide behind age and condition. We aren't really used to that. Perhaps I am a little jaded, but in this case I jest because it is probably true. Anyone else?? Dont be shy to shoot me down.

Guys. I'm not an expert on tsuba, and Goto generally doesn't appeal to me anyhow, but I dont think this looks quite right either. Too modern? Not quite sure but the little voice in my head is saying that something is not as it may seem. Just for the sake of the discussion I wish someone would set my mind at rest about this. As far as Stephen's comment goes..... I'm leaning more toward nihontophile beer mat.

Chris said Works on......sorry, I mean for me every time. Hic!

The mouth of the saya is traditionally slightly dished. This would make a flush mouth fitting that the OP suggests rather extraordinary and somewhat counter functionary, as well as delicate and rather easily damaged. There is a reason for the dished mouth to the saya and if you had ever seen a swordsman perform Noto (resheathing), that reason would be obvious. Your dime, your sword. If you want a correctly functioning saya rather than just a nifty variation on the theme, that in your estimation is better, dont mess with a design that has withstood the test of a millenia or more.

I only have a very light coating on them and only change it at most twice a year. I use no Uchiko on the polished blades at all. As to why I oil them, its mostly because we have very wet although short winters and quite high humidity in summer. We also have a high salt content in our coastal breezes all summer, and I live on the coast a little south of Perth. Better safe than sorry and I guess if I am being honest then I cant really imagine not oiling the blades. Old habits die very hard and oiling my blades is one of my oldest habits going back to my martial arts days.

I think what we forget, and what was briefly alluded to in the other thread, was that the use of Uchiko dates back to times when our swords were weapons and used as such. Before microfibre cloths and denatured alcohol. Before hadori polish. In use (and I apologise to those who prefer not to contemplate a sword's primary reason for existence), a sword blade becomes fouled by blood and fatty deposits. Both of these are corrosive and need to be removed before they cause damage. Uchiko and oil (clove oil) did that quite effectively. The slight scratching caused by the uchiko was a small price to pay for the advantages of having an oiled and unfouled blade. The scratching was miniscule compared to the scratches and scores the blade would accumulate from passing through bone and various bits of armour worn by its victims, or the gouging another blade would cause during a fight. Its a relative thing really. Our swords as I was once told by a very wise man, were created to save the life of the wielder and to take the life of an opponent just once. Any more than that was a bonus. The sword was disposable, no matter how fine it may have been. It existed for one purpose only. That we have elevated it beyond that status is to our credit. Now we have little need of a sword as a weapon. We have hadori polish. We have denatured alcohol and microfibre cloths. Times have changed. I still enjoy the ritual of cleaning and reoiling the blade though...... There's something very relaxing about the process.

Here it is.... Jean asked for it.......You know you want it.......The sequel to 'Uchiko Must Die' The only thread that I can remember recently in which all posters agreed. Now we tread those hitherto untrodden paths where we ask is the use of uchiko permissable/ recommended/etc on blades that are out of polish?? Here is where uchikophiles may extoll the virtues of the much maligned powder that was demonised in 'Uchiko Must Die'. I pause here to make the distinction between genuine uchiko and the talcum type uchiko that is sometimes sold and is used to remove finger marks from iaito. Speaking for myself I have on occasion used uchiko to bring up the hamon of an older out of polish blade. I believe there is value in uchiko in this respect. What do others think? Particularly those who have been around nihonto long enough to remember when uchiko was not the demon it is considered to be today.

Quick Brian.........Lock it up now, the dissenters are gathering. Once you get one 'Yes but this' (or that), you are starting to lose that wonderful 'we all agree' feeling. :D :D "We all live in a yellow submarine.....yellow submarine ......yellow submarine"........."La lala lalalala".

Trent. As an aside to this thread, I also live in Western Australia. UV is our enemy when it comes to any display of tosogu or koshirae. Avoid if you can, direct sunlight on any of your treasures, particularly our harsh Australian sun. Bobtail. As far as the varnishing of a shirasaya goes, always remember.......Do no harm. Varnish degenerates with time and may pick up the pigment of the ink of the sayagaki and smear it slightly. Wax softens and dissolves the sayagaki. Do nothing but cover the sayagaki with fine rice paper just like the sayashi does when he delivers a new shirasaya. Handle shirasaya with gloves and do not grip directly over the writing with even gloved hands if you can avoid it. All things succumb to time and decay. It cannot be stopped, merely slowed down to the bare and gentlest minimum. Sorry.... I had a semi zen moment there. :D

Just to be clear, I'm not saying there are no hand wrought namban tsuba, merely that most examples we see on the market today are in fact cast. I may have said it poorly and given the impression that I thought all namban tsuba were cast. For that I apologise. The ones to which I referred, by your own definition would be the cast reproductions you mention, the originals being the Azuchi Momoyama hand wrought ones which would most definitely be in the minority. Judging by the examples subsequently posted by Mauro and David, I would guess even as a beginner that by comparison the examples posted first in this thread are not hand wrought at all.

The reason I asked is because in the first image there does appear to be a cast line in the hitsu ana and also casting flash on the motif at the six oclock point. The whole appears to be a porous looking metal and the design details are indistinct and gritty looking. The original post claimed it to be an example that was not cast, and I thought it had been perhaps papered as hand wrought. This would make it most unusual. I may also be wrong but most if not all of the so called namban tsubas one sees, are in fact cast. Some very poorly so.

Medina san. Buy both... use the camelia oil in the big bottle and send the little bottle to me. As a side line I collect old Japanese choji oil and sword oil bottles if and when I can find them. :D

As purely an academically interested outsider to the world of namban, what indicates that the first tsuba is not cast? It certainly appears to be a casting. Not stirring..... just asking.

And this gentlemen is what results when a horimono carver who is suffering from severe regression decides to self medicate and takes to smoking his vegetables instead of eating them. Let it be a lesson to all.

harvg. Just on the basis of a very cursury glance, the nakago appears to be signed katana mei. A kodachi would be signed tachi mei would it not?

As far as I remember, (not that I was actually there at the time), early naginata were actually developed from a long baling spike which had this sort of old bayonet socket. They went through development stages that included the one this blade has been made in, before finally arriving at the design of naginata we are more familiar with.

Whatever........ What I said still applies. The Tokugawa Shogunal court was obsessed with security and keeping the Daimyo and their entourages on the road to and from Edo for a large part of the year, and their families virtual prisoners in Edo. Not many samurai actually entered the inner sanctum of that court either, and very few among them armed with a long sword. The Shogunal court was an even more nervous place than the Imperial court. The etiquette however was very similar, and the acceptable fashions as far as swords and sword wearing were virtually identical.

Sparrows and swallows and other birdlife aside. Something that perhaps needs to be put in context here is the term 'Worn at court'. Very few samurai actually attended court over the eons. Those brought into close proximity to the emperor's court were apart from the samurai serving the court as guards, daimyo themselves and only a limited number of the higher ranks of samurai, hatamoto and the like. Any fashion therefore that effected weaponry worn at court (wakizashi), and which was defined by decree of acceptable practice, applied only to a limited number of higher echelon individuals. What was common practice among the hundreds of thousands that did not attend formal court therefore, may have been totally at odds with such practices even among the samurai, even without taking into account that most wakizashi we have extant today were in fact owned by merchants. This would apply to saya rounded or not and the other factors and aspects of sword mounting up to and even including the early Edo period. My point here is lets not get distracted by what the few who attended court were obliged to do as opposed to what the majority away from court might have done, concerning the rounding or otherwise of the wakizashi saya. Having said that, a daisho pair when worn were supposed to have a squared saya jiri to the daito and a rounded saya jiri to the wakizashi. Given that most at court would not have been allowed to wear a katana in proximity to the seat of supposed divine power, wakizashi would have abounded with rounded sayajiri, at least in courts of the Edo period.

It seems from the photographs to be a two piece gold foiled habaki. Although this one seems to be new and of apparently higher quality than many, these are relatively common on repolished blades.