Ford Hallam

Hi Leatherdog...I'm a bit rushed right now but will get back to you with some suggestions re; TLC. Jean....you funny guy, close..but no cigar, I'm not a sleuth, more of a sloth :D

excellent point, Jean I'd add also; don't mistake beautiful things with art, either.

Reinhard, I'm aware of the sort of discussion you are referring to but what I meant was more along the lines of looking at the stylistic developments of different groups, the cross fertilization. The artistic traits of individual makers ( the big names ) , then some discussion about what they were actually expressing, how successful were they in their aims ( a pretty standard approach to art appreciation really) and then using this understanding to evaluate the work of so called "lesser artists". I know that some of this has been done but in my opinion it has not really gone beyond a historical discussion, the evolution of aesthetics ( the art ) hasn't really been delved into. The debate in the west is barely 100 years old and I don't see much evidence of it having moved very far at all. Your comment regarding the re-hashing of the same old material is spot on. I think there is scope for a much broader analysis. John, I absolutely agree with you about the sword being firstly a tool and that in general it ought to be seen as such. The Japanese sword is, without question, one of the old worlds great technological achievements ( but we're all biased :D ).and it is admired as much for it's functionality as it's beauty. Notice I said beauty, this isn't the same as art. The art swords I refer to are those that are functional yes, by virtue of the makers having completely mastered the mundane aspects of their craft but it is clear that they are then very consciously working out an individual aesthetic expression in their work. The actual craftsmanship is in a way merely a feature of their mastery of technique. The sensitive and personal application of that highly developed skill and technique is what allows the better smiths to produce something much more than a merely functional, good and well made blade. Speaking with contemporary smiths this "art expressive" approach becomes very evident but I very much doubt that this is a new phenomena. I suspect that at the highest levels of any craft a makers understanding is inevitably drawn towards an appreciation and aesthetic expression within the context of their work. I note your last comment seems extremely resistant to the idea that a fine sword could be both art ( and I don't mean just beautiful but individually expressive art made with that intent ) and a functional weapon. I'd suggest that this has more to do with your own degree of appreciation and may not accurately reflect that of every connoisseur. Here you seem to be prepared to accept fittings as art, well they are pretty and have pictures on them but swords must be called something else. I think your view is a bit too simplistic and basic...if I'm honest. I don't think you can actually claim to know good artwork when you see it...not after that statement. Your comment; "the province of art and where tastes change at a whim" reveals your real bias and mistrust of art, possibly because you don't in fact understand it as well as you think. Artists rarely just change things on a whim. The claim to know good artwork when you see it is strikingly similar to that old chestnut; " I don't know much about art but I know what I like". The problem with both is that they both simply tell us that your basis for evaluation is your own personal taste. Anyone, without the slightest effort, can say they like what they like because they like it but it isn't really much use in terms of art appreciation. But to be fair, you did say you are essentially a weapons collector This naturally has nothing to do with art so that particular possibility is clearly of no concern to you. You have already drawn up your parameters and in that sort of predetermined mindset there is no possibility to develop a more nuanced appreciation. That is of course you prerogative but I don't think you should then try to suggest that every one be similarly limited. Respectfully, Ford

Hi Leatherdog, I'm guessing that's not your real name.... This tsuba looks to me to be the work of the Hamano school. The gourd shaped seal reminds me of that of Shugodo Takayuki of that school, it's a little different but that isn't too critical I think. I don't have a reference for the other mark, the kao. It is in reasonable condition, could look a lot better with a bit of tlc and I'm sure the photo does it no justice either. The gold nunome does appear to have developed some severe corrosion underneath the gold though, this is a problem that doesn't have an easy solution. The workmanship is what one would expect of a middle range Hamano piece, I'd say average for that school but not particularly special. Mid Edo period ~ 1750 ish. It's a pleasing bit of work though and perfectly representative of one style by that group. Regards, Ford

I thought I'd add these 2 quotes as I think they're germane to the discussion in hand... "Anyone who conducts an argument by appealing to authority is not using his intelligence, he is just using his memory" L. Da Vinci. " Knowledge is a process of piling up facts, wisdom lies in their simplification " Martin Fischer" cheers, Ford

Hi Barry, to be honest, I don't think there has been any really significant discussion of swords or tsuba as art. If you compare the study of western painting, over the last 1000 years, for instance, we can see that in the area of swords and fittings aesthetic debate and study hasn't really even begun. We are told what is good, but not often given any more to go on. Part of the reason for this, I believe, has to do with the way these things were taught in the past, in Japan. The impression I get is that if you don't understand it it can't be explained to you. The purely technical aspects can be learned of course but aesthetic judgement is, according to this old idea, innate. You were either born with it or you're a peasant . This debate continues in the West too, for that matter. Can someone study to become a connoisseur? There are still many who will say no. To some extent they have a point, just as anyone can learn to paint, or even learn to make a Japanese sword ( literally 100's of 1000's did ) not everyone will be fantastic. That being said I still believe we need to begin the discussion of what actually makes the great works great. There have been some inspiring bits and pieces here and there, Kanzan Sato's book has some good descriptions that spark the imagination. The essays in the Compton Collection catalogue similarly paint a more expressive and poetic picture. For the non-Japanese approaching this vast subject ( swords and fittings ) there are so many non-art related aspects that form part of the appeal that a purely aesthetic study becomes almost impossible. I say this because I do believe that in general the native Japanese are far more easily able to leave the associations aside and concentrate on the bare object when contemplating it as art. I may have opened a huge can of worms here and talking about quality and aesthetics is always a minefield so I look forward to hearing other views. Regards, Ford

Hi Barry, The point you make about one's appreciation of fine swords developing is an important one. I would like to add a further clarification if I may, one I'm sure you are implying anyway, but just to avoid misunderstanding. Your point about suguha hamon is well made but the fact is there are many such hamon that really are dull and boring. The trick is to see the ones that are special. With the simple suguha hamon the attraction lies in the sorts of subtle details, the strength and brightness etc of the nie or nioi and so on. Appreciation these less obvious qualities in a very simple straight line is far more difficult than for instance enjoying a wild and exuberant Shinto Osaka hamon, or a saka-choji hamon that looks as though it's on fire. I think this discernment is crucial. If we look at the area of tsuba collecting, early iron guards specifically, I see a very similar trap. We are told by reliable authorities, Sasano, Torigoe et al, about the mysterious and wonderful aesthetic qualities to be appreciated in these specimens. The subtle textures, the depth of colour and tone of the wabi/sabi-esque patinae, the, almost ineffable, qualities of the steel etc etc. Now I happen to be great lover of these guards (though I claim no great scholarly authority ) and their beauty has been a source of inspiration for me for more than 25 years but here too not all old iron guards are equal. The problem arises when we are told that if we can't appreciate the true value of a particular rusty old guard then clearly we still have a long way to go in out appreciation of iron, this despite the glaringly obvious fact that it may actually really be just * a rusty old guard". There are, without question, some truly beautiful old guards in existence but I feel very strongly that much of what is pushed by both certain dealers, and collectors, as being representative of the finest examples of this aesthetic is actually quite a bit lower on the aesthetic scale than they would have you believe. This then forms an inaccurate impression of what constitutes real quality and it can be very hard for the novice to get past this. I think there is a reasonable scepticism from many people when presented wit some of these lesser versions, the work itself often doesn't move you, or convince you by it's presence. We're left wondering if there really is anything to this "old iron thing". This difference, when presented with the genuine article, the sort of tsuba that Akiyama might have had close to him at the end of his life, is striking. These pieces really do have a quite dignity and strength, you can almost feel their presence, they have gravitas. Once you've seen enough of that sort of quality the "also rans" don't seem so lovely anymore... I don't feel comfortable using the word "taste" in this discussion about quality,( although if we're honest, it's ultimately all opinion, albeit very experienced and informed opinion ) because I believe we should strive towards an appreciation of art, whatever the format, painting, sculpture swords etc, that goes beyond taste. Taste is far too easily dictated by fashion and personal preference, and easily become the first refuge of the ignorant. You don't have to like a fine suguha hamon, or a well aged, Muromachi Owari guard...but I'd like to think we can all learn to appreciate and understand what it is that makes them great. The discussion is veering away from the original ebay sword but I think these ideas need to be explored. I have no doubt there could be a lot more discussion too. Respectfully, Ford

I've been watching this discussion with some interest. While I can agree to a point with the comment that this blades has been judged a fake on only circumstantial grounds I think that this was simply done because it is all so very obvious. If we take the time to actually look at the blade then you can in fact find ample evidence to support that judgement, and that's without even going into the details of hamon hataraki and hada, as the images make that impossible. The most glaringly obvious of those clues is the yasurimei. They are really very poorly done. Compared to the genuine article the difference is chalk and cheese. If you look closely at the area where the yasurimei meets the machi area you can see clearly how the original surface as left by the maker of this blade has been filed into leaving a rather abrupt line. Yasurimei are cut before the polish, in this case it is clear that these file marks are added after the last polish. On a shinto blade one would expect at least a little softening of that area. The colour of the tang is far too fresh, raw, bare, new...and the nakago jiri seems far too hard edged compared to genuine examples. The boshi looks nothing like that of Kotetsu, which is actually very characteristic This hamon is pretty sad looking to my eyes, a bit wishy washy, if you know what I mean. Kotetsu made powerful blades, and they look it. The last Kotetsu I saw ( and held ) sold for £ 117 250 at Christie's, London 2004. That's a quarter of a million dollars ...so the idea that we should take this poor specimen with it's butchered horimono ( I use the word very loosely ) seriously is too funny to me Exposure to more fine quality blades will make this sort of assessment far easier. One really can't learn much on ebay Sorry if I sound a bit elitist here but if we're talking about the sword as art then we are talking about very expensive items. Not every sword is a great work of art and unless you have a clear idea of what the top level of quality looks like then you're trying to assess lesser work without any reference point. In this case it's a bit like comparing a fairground donkey to a thoroughbred Arabian stallion Anyway, hope that didn't sound like a rant :D , ...just my opinion. regards, Ford

I can recommend Mick Hicks, in England. He has trained extensively in Japan and has been wrapping for at least 20 years now. He's done 2 of these jabaraito maki ( on aikuchi ) for clients of mine as part of restoration projects. Both were absolutely top quality jobs. If anyone wants to contact him please pm me for his details. regards, Ford

Hi Jacques, thanks so much for that. I had read about that pair of menuki but not yet seen this article. I have fairly good images of them in the Rosin collection catalogue. I look forward to reading this. Thanks again, Ford

Hi Rich, thanks for that, intriguing subject. I'm looking forward to reading the "Bushido" articles. exactly, my point was that the name is therefore terribly inaccurate...or am I missing something? regards, Ford

I take your point well, Franco. It is always so easy to sit back doing nothing and criticise the status quo. But then those same critics tend to nothing at all to help improve things. Hi Milt, those are lovely menuki, really gorgeous. I think most of use will agree on the general appearance of these types of fittings but what interests me is the actual designation and origins. I think, for starters, that the term "Ezo" is a nonsense. This refers to the ancient Emishi people of northern Honshu, (or perhaps the Ainu people.) Neither of which had any significant metalworking culture. ...still looking for any other articles or research....anyone? thanks for all the input so far though regards, Ford

Hi Dr John, thanks for that. So for $90 I just got the whole series, seems like an absolute bargain, I can't wait... they sound superb. Brian also helped me find another set of books I was after today. Clever chap saved me at least $600. It's been a good book day for me , as long as my wife doesn't find out... best regards, Ford

Thanks Dr Stein and Franco, I've just sent an email to Mr Benson to reserve the set. Do you know how many issues were actually published? thanks again, Ford

Hi Lorenzo, thanks for that image, but to be honest I think this is much later than the dates claimed for the group I'm interested in. I should have said Ezo kanagu really, or Sho-ki kinko. There are number of decent images of this grouping of metalwork, on the Tosogu forum. It would probably be a bit rude of me to "steal" them and repost them here I have the Henry D Rosin collection catalogue, with the tiny bit written by John Harding...not that it helps much regards, Ford p.s. sorry about the confusion, I had problems getting logged on again.

Hello all, I looking for some any material anyone might be willing share with me, regarding the Ezo group of fittings. I'm particularly interested in reading Tom Buttweiler's articles on Ezo koshirae that were apparently published in Bushido magazine. If anyone has those and would be willing to send me scans I will be very grateful. I'm also very interested in any serious research that may actually have been done in Japan, and has been published in Japanese. If you do have anything that might be of interest I'd be very pleased to hear from you. I can be reached via the email address in my profile or by pm on this board. Many thanks and regards, Ford

Hello Justin, If you are studying any of the Japanese sword arts then I'd suggest you would do best to ask your teacher. The school you are studying may actually have specific requirements. You could also do a search on e-budo.com. I know that this subject has been discussed at length ( pun intended ) there. As has been mentioned, the focus here is more on the sword as art, as such the length is not really a practical consideration, unless you live in a very narrow room :D I hope you find the answer you are looking for. regards, Ford

Hi John, I'll pm you about the tsuba but if you fancy a wine tasting holiday in the Cape you could drop them off and I'll do you a favour.. ...show you how to do it yourself. regards, Ford

Hello John, Sentoku when well patinated is indeed one of the loveliest colours in the traditional pallete. Unfortunately, as you've discovered, it is also a very fragile patina and one that is easily worn off through excessive handling. The really deep ochre/golden tones that I imagine you'd like to see only develop when the traditional process is followed. This is essentially immersion in the mild aqueous solution of copper sulphate and rokusho. If you would like to try it yourself I could do a detailed tutorial sometime soon, I ought to have that on my forum anyway, and I could send you a mini starter packet of the chemicals. You'll need some daikon and a small copper pot, one with no lead solder on it. The real secret, if you could call it that, to getting a decent repatination, is the preparation. Not just the actual mechanical cleaning of the metal but also the type of finish. You really don't want it looking like glass. I'm reluctant to reveal too many of those sorts of techniques so publicly because we don't know who's watching and to what ends they might put this sort of information. If you do want to try I'm happy to offer what help I can via email or skype. As to alternatives, I don't really believe there are any that are going to be all that convincing. Avoid the use of any sulphur based solutions. I have had no personal experience with proprietary patinating solutions but I have seen lots of very ugly botch jobs so I'd advise against anything other than the original methods. I'm sorry I can't offer any easy, or kitchen fixes. regards, Ford

Hi Rich, just to further keep the subject appropriately hazy, the "ro" kanji you've shown in the compound for Rogin can also be read as "suzu"...tin! Personally, I lean towards the first compound you illustrate, and am happy to call it either rogin or oborogin. I prefer the clear poetic implication and allusion to the nashiji effect that is characteristic of the alloy. I find the "wax/tin" alternative to sort of miss the essence of the metal. But far be it for me to teach native Japanese authorities which kanji to use, or how to pronounce them

Hi Rich, you're absolutely right, I wrote that lot without double checking the Abura-gin; it is of course " Oboro-gin. and as you say means misty silver. Abura is greasy or oily. The wrong word popped up in my jumbled mind and then I went on to compound the error by offering the English translation also. This is what happen when you think in 3 languages... Good catch, Cheers, Rich and thanks, Guido. I'll add what I can I haven't got round to working out posting kanji yet but as you've shown, the character in Rogin is also read oboro. I'd tend to agree with you about the "correct" pronunciation being "rogin" but I have heard the alternative in Japan too, among metalworkers. I've come across other alloy names that similarly used both the ON and KUN readings of kanji. It is of course impossible to know how the word was pronounced in the past though, craftsmen can be a contrary lot.

sorry Milt, I suppose that was all a bit dry . cheers then

For what it's worth, and based on what I've been able to discover from what little period documentation exists, it would appear that the generic term "Shibuichi" is a relatively new name for this group of silver/copper alloys. The impression is that it was first introduced in the Meiji period. I suspect in an attempt to make the craft sound more "scientific". The more poetic names like Rogin ( misty, smoky or hazy silver ) and Abura gin ( greasy silver) were the usual, Edo period, references to the alloy we now call shibuichi. I should also mention that the particular composition most used by Edo period fittings makers was called Sambo-gin and typically had a silver content of about 32%. Another specific composition of roughly, half silver was referred to as Hoji-gin. A composition of 20% silver was called Shiho-gin and one called Ansei-gin contained about 13~14% silver. We further distinguish ( in modern times ) between various grades by using the following terms; Shiro-shibuichi ( white shibuichi, high silver content ) Jo-shibuichi ( "good" shibuichi, 40% silver ) Nami-shibuichi ( regular, or normal, shibuichi, 25% silver ) Kuro-shibuichi ( black shibuichi, made with the addition of shakudo or kuromido ). I would also caution against relying on silver content as being in anyway an accurate indicator of either colour ( this has a lot to do with the maxing of the alloy and the actual patination process )or "quality". In terms of an alloys aesthetic contribution the term quality becomes a bit subjective. It might be of interest to learn that one of the most characteristically grainy, mid grey of these alloys that was used in the Meiji period by a number of Imperial artists contains only 16% silver. It is actually also one of my preferred compositions both for its colour and it's working properties. anyway, hope this helps to confuse the issue regards, Ford p.s. Your suggestion, John, that rogin be confined to higher silver content alloys seems to me to be actually counter-intuitive. The haziness ( nashiji ) that the "Ro" part of the name alludes to becomes less and less visible as the silver content increases. But as I have suggested, Rogin was a term that seems to have been deliberately broad so as to encompass al the variations in composition, most of which were further defined by specific name.

I'd like to add my 2 yens worth also This particular tsuba appears to be to very strongly reminiscent of later Goto Ichijo work. The shape of the guard, the very particular way in which the rim is upset, even down to the actual kogai hitsu. The kata-kiri and hira-zogan accents are typical also. I don't get the feeling this is after any of Ichijo's followers though, rather the direct influence of Ichijo. Hashimoto Isshi, Funada Ikkin, Nakagawa Issho, Wada Isshin et al seemed to have developed their own expression in a way that makes it slightly distinct from their teacher's influence. I'm actually a big fan of this groups work. I love the combination of the bold and expressive kata-kiri, the subtle stone-like textured grounds and the sensitive working of the rims.

There is a way to get an idea of the weight of these blades. Most sites on-line give the length, and width and thickness's at each end of the blade in question. While this won't actually give you a weight as such, ( unless you get involved in some complicated volume/mass calculations :? ) at least you could begin to visualise the sorts of dimensions that are common for each type of blade and period. You may begin to form an idea of average sizes. It could be regarded as pert of the assessment of sugata in general. I suspect this is the sort of unconscious mental assessment most of the more experienced collectors run through. regards, Ford