Surface structure

[ROKUJURO]

Gentlemen,

 

in descriptions of TSUBA I have often read about the different techniques to produce certain surface textures. While I can understand most of the expressions and can relate them to the use of the respective tools, I am unsure what is understood when TSUCHIME-JI is mentioned. When I work with a hammer I can produce a very smooth surface almost without any trace of the tool. When it is intended and the hammer face is small and closer to ball-shape I can produce shallow indentations which are easily visible as such. I would call that TSUCHI-ME JI.

 

David, please allow me to cite your comment in the description of your latest purchase, the KACHUSHI TSUBA, just as an example: '.....The plate is well forged with a fine TSUCHI-ME-JI surface.....'. While I cannot be sure to see every detail from a photo, my observation is that of a surface with remains of black lacquer the texture of which I would like to call ISHI-ME JI as I cannot see hammer marks.

 

There are many ways to texture different metal surfaces, and stippling with a fine hammer might result in very fine indentations just like ISHI-ME JI I have seen on soft metal TSUBA, and that might still be called a hammer technique.

 

My question is what can be called TSUCHI-ME JI and can you draw a precise line between techniques performed by hammerwork and others made with punches or similar tools, MIGAKI BO, YAKIITE or chemical treatment? Are there perhaps several techniques found in a single TSUBA surface?

[Pete Klein]

These are from, 'Soken Kodogu Yogo to Meisho no Kaisetsu', An Explaination of Sword Fitting Terminology taken from the notebooks of Edwin Layton, USN and other sources by Alan Harvie:

Here are examples of tsuchime ji:

The mei and fine line designs shown in the Nobuie were accomplished by 'giri-bori' which is the use of tagane to move the metal, not 'carve' it as in kebori. Ford pointed this out to me awhile back and thanks again for the insight.

Borrowing a picture posted earlier today on another thread by my freind, R. K. George, this is an example of a rusted surface giving the illusion of tsuchime ji:

If you look carefully at the three o'clock area you can see how the original surface was smooth and then undercut by rust.

[ROKUJURO]

Pete,

 

thank you for your explanation and the pictures!

 

However, I am still not quite sure how the surfaces in many TSUBA were really treated. If we have a look at a TEMBO TSUBA there is probably little doubt about how the dimples and stamps were executed, but the beautiful KANEIE TSUBA displays nothing like hammer marks although the surface may have been worked on with TAGANE and a hammer. Why then should we call that TSUCHI-ME JI?

 

Could it be that many TSUBA experts can make statements as to the provenience, age, and style of a TSUBA, but do not know enough about the manufacturing process? This may sound like a provocation but as I wrote above, many descriptions seem to lack a deeper understanding of the metal itself. As an example I would like to mention the definition of TEKKOTSU which is often repeated but likely wrong as being 'hard steel bones'.

 

Also, I get the impression that many descriptions are just copied from what was written some time ago, especially in western languages, as there were only limited sources for Non-Japanese. However, I was not going to criticize these authors but I am really interested in the techniques behind the descriptions and would like to read other's opinions as well.

[Soshin]

Hi Jean,

 

Well I might have used the more flowery term "fine tsuchimei-ji" to refer to what is in fact age appropriate rust pitting of a some what smooth iron plate treated with a layer of black lacquer that is over 450 years old. Regardless this natural aging of a forged iron plated is what I would consider the Japanese Wabi-Sabi aesthetic. I hope and prey that you or Ford, Lorenzo, or anyone will not be able to duplicate this natural age effect in their work shop or the Japanese antique sword fittings hobby is in real trouble. :lol: (Waring: The previous statement was intended as a joke.)

 

If you want to see what I would consider good migaki-ji (smooth finish) please refer to these other two treads I have discussing Higo tsuba I own. The first tread is for a Kamiyoshi tsuba: http://www.militaria.co.za/nmb/viewtopic.php?f=2&t=15214&start=0. It is the best example and has two techniques used on one tsuba. The Kamiyoshi tsuba has places with a doeskin like surface they would use a different term to describe that surface. The second is for a Hayashi tsuba: http://www.militaria.co.za/nmb/viewtopic.php?f=2&t=14486&start=0. It has only the smooth finish. Hope you find this additional information helpful.

 

 

 

Yours truly,

David Stiles

[ROKUJURO]

Thank you, David,

 

this was indeed helpful. And don't worry: I am not going to produce 'old' TSUBA in large numbers! But there is so much to learn and as I have some experience with steel I find an approach from this side useful and informative.

 

Still, I have the feeling that in many TSUBA different techniques have been used in one place, and I think that besides the mechanical work chemical treatments - you may call them patination, etching, artificial aging, bronzing or browning - were playing a major role in the surface treatment.

 

As an example, TSUBA from KANAYAMA or YAGYU are so different in their feelings and looks of the steel itself that I find it difficult to believe that they fell from the anvil ready with their respective surfaces. TEKKOTSU is, as mentioned above, something that will not protrude from the TSUBA surface by itself.

 

So there are still some questions left open for this life and the next....