Ford Hallam

...Great balls of fire....obviously a reference to Jerry Lee Lewis

for what it's worth... To my eyes the workmanship, specifically on the tsuba, doesn't have a look of the Edo period about it. The cherry blossoms in particular remind me more of the sort of approach that had developed by the early Taisho period and on into the Early Showa as does the work on the tree and it's branches. Unlike many piece I have suggested are later ( modern ) works these do convince me they were made by a professional artisan but in this case perhaps one who had no direct connection with the old tradition of kodogu making. Regards, Ford

Reinhard...but you can't make something "wabi/sabi", it can only come, over time, to express this aesthetic. Any artificial attempt to suggest the aesthetic renders it "fake". Personally, I feel very uncertain describing the works of those particular makers as being wabi/sabi in the truest sense of the word. There are certainly aspects of the aesthetic evident but I honestly wonder about the underlying philosophical inspiration. I know well the much mentioned influence of Sen no Rikyu on the early Higo masters work but I still see a divide between his teachings and the expression that is found in their metalwork. I've mentioned this opinion before...so I suppose I ought to do some more reading to see if I can offer a convincing alternative aesthetic "label" You mentioned Umetada Myoju, co-incidentally I'm working on a study of one of his masterpieces right now. In his case I feel most of his work absolutely does not express wabi/sabi at all, but far more explicitly, the exuberance of the Momoyama period, especially the work he did in soft metal. Anyway, just my take on things regards, ford

fwiw, I think, based on the colour of the traces remaining, that the inlay was gold not brass. It could all be put back pretty inconspicuously BUT...it would cost more than the tsuba would ultimately ever be worth. Better to try to find one in a better state of condition. I also think this is a late Higo piece myself. regards, ford

That's exactly what I did too :D ...then my girlfriend at the time finally got the hint and bought me a copy for my birthday. Reinhard, I actually think it's still a very handy starter book myself. The fact that many of the big name blade may be gimei is not really all that important in this case. No-one would use the book as the basis of appraisal...would they? The overview of development and schools etc is reasonably well presented and while there has certainly been much further research since it's publication it still provides a useful grounding, that's going to be very hard to gain elsewhere, in one book. I still like it...but maybe I'm just nostalgic regards, ford

Sorry John, I missed this thread and your query. It looks as though you've figured it out though :D . You may gain some further insight from this photo essay I did recently showing the fitting of seki-gane to a sukashi tsuba of mine; here's a link regards, Ford

Hi John Higo...I think the ryo-hitsu shape and the general plumpness point in that direction. The nunome-zogan is also a feature of certain types of Higo work. regards, ford

If you're in the UK it's cheaper, quicker and easier, to get it fromAmazon.co.uk

Hi JJ I forgot to mention, nice image ...a decent photograph is so very important in trying to get a feeling for tsuba...if you don't have them in hand. regards, ford

fwiw...I agree with the good doctors assessment. The rather bold, and clean, sculpting is what makes me think this. I can get a sense of the Shoami but this example seems more masculine and definite in it's design conception then what I usually associate with Shoami work. I think it's a lovely example...whatever it is :D regards, ford

Hi Jon, oh yes! This is a life time commitment for me :D ...you'll find quite the details on my website and blog if you're interested As to getting into the work, It depends what you want to do. Horimono work is extremely exacting and demanding of very well devoped skill. Starting with simply carving tsuba might be a more realistic approach. As with all things, what you achieve depends on what you put in. Many studies seem show a very direct correlation between hours spent in training/practice ( and this is real, directed work, not just repetitive, mindless "running on the spot"). It seems 10 000 hours is what it takes to achieve mastery of a craft, be it classical musicianship, calligraphy, Formula 1 racing or the Beatles "over night" rise to stardom. Even Bill gates put in his 10 000 hours ...apparently. But that's world class mastery we're talking about....there are many, perfectly reasonably levels below that. I don't have the book that describes these studies to hand but it also describes the amount of time on average, it takes practitioners to attain various levels of skill. It might give you some idea of what, realistically, may be achieved. and this too; If you have a poke around on my forum you'll begin to get an idea of what's involved and see quite a bit of inspiring work my many of the "followers of the iron brush". regards, ford

Hi Mike, good to hear from you yeah, I spend far too much time in front of the computer...but it's either here or in my studio you'll find me. I don't get out of the house much As to kantei, I never claimed to be able to kanei anything from pictures at all. To suggest that would be mischievous :| An informal appraisal of what can be seen as opposed to an "in hand" kantei are 2 very different things. ...I wasn't trying to asses who the maker of the f/k might be ( my guess would be a relatively unknown amateur ) I simply tried to demonstrate why I felt it wasn't the work of Ichijo ( something you now seem to agree with)...and unlikely a professional. Personally, I don't feel it's really important to know who made them if they were in fact made as fakes. ( My comments re; the mei being added at the time of manufacture make this point). I can't claim to be an infallible oracle ( despite occasional accusations to that effect...people can be so cruel ) but merely add my perspective based on my practical experiences in this sort of work. I try to maintain an even-handed and impartial "tone" and certainly don't intend to be deliberately rude to anyone...well, at least not in the first instance anyway. With this I have a real problem...if we apply this approach here we'll achieve very little, everyone can continue believing whatever they wish and we can simply call everything nice. An internet forum isn't the best way for these things to be discussed, or appraised, but for many it's the only access to the subject they have. I take the view, rightly or wrongly, that whatever is posted here can, and should be, of benefit and interest to everyone. Avoiding sensitive issues only means we're not being truthful with each other and we don't learn anything. If someone asks for an opinion and I offer mine I will always be as honest and as clear as I can. I go to quite a bit of effort to illustrate, and clarify my opinions, and never simply "speak from Authority", I can't claim any If anyone doesn't appreciate my approach ( and I've been told that there are loads of people who find me abrasive and arrogant...can't imagine why though ) they can easily choose to block my posts and they'll not see anything at all that I write. I use this option to ignore certain posters on the NMB myself I'll see you at the NMB and no doubt we'll have a far easier discussion in person...it is difficult to "hear" any nuances of tone when reading text.I'll have my latest project in hand for you to appraise, it bears 2 mei...one is genuine while the other is clearly a fake albeit prefixed by "utsushi" regards, Ford p.s edited to add; I hope I haven't suggested that the various criticisms of myself that others may have made have me whimpering in my studio....he he, I've developed a thicker skin than that a professional necessity in my career I only made reference to them in an attempt to show I don't take myself that seriously all the time

My teacher, Izumi Koshiro Sensei frequently does horimono. He has done a number of them on blades for Hiroki Hirokuni. This man, Shuha Hashimoto is very well regarded in Japan also. The link takes you to some images of his work as well as an amusing cartoon strip that illustrates the carving process. No pandas carve horimono in Japan afaik ford

Hi Tony, welcome to the forum. I trust all's well with you best regards, Ford

Right...thanks for clearing that up Mark. So no-one was referencing your tsuba ...all just a big mix up after all still, I had fun and no animals were harmed :D fwiw; the tsuba you bought looks to be quite a fair example and the price not unreasonable...but I'm no valuer I'd be interested to hear your opinion of the other Jakushi tsuba though and I think we can take the asking price as being negotiable :? regards, Ford

I've just been studying that ebay Jakushi that Peter referenced and Mark bought. I was under the impression it came with Tokubetsu Hozon papers, and Mark, you certainly suggested that it did also but your claim that such papers are reassuring when buying off the internet. However, I find no reference to such papers in the description of the piece offered by the vendor. Only this; So it would seem even the vendor didn't feel it warranted being papered and merely reassures prospective buyers that "it could easily pass" Hozon Tokubetsu. I especially like this bit; :D So in reality we have a situation where a fine piece had to be judged in the absence of any confirming papers and merely on the evident qualities the piece itself exhibits. It seems to have stood up to that examination well, if the $4000 price tag is anything to go by.

Mark, I don't know why you're feeling as though I'm the one being unreasonable when it was you who chose to misrepresent my comments. I wasn't even aware of you, or your tsuba, until you chose to have a go at Jean and myself as you did. What you choose to value and send your money on is your affair. I merely pointed out that in the case of your tsuba I felt that perhaps it's price may have been somewhat raised ( as did Peter) as a result of it's papers rather than any intrinsic qualities per se. That was an opinion...I wouldn't have spent the money on it is all I meant. Is that ok by you? The other points I have tried to express where not actually directed at you at all, merely an alternative idea to consider in the mix when considering the usefulness of papers in general. I deliberately avoided all mention of their commercial usefulness as it was not what I was addressing. As for this; Simply suggesting that I felt something was a bit expensive hardly makes the claim to be a valuer. In fact we all, regularly, make similar judgements without being so accused. As for being an oracle....I'll leave that to others to decide but I would suggest that I do have a reasonable degree of qualification in the technical aspects of this craft and my grounding in art and aesthetics probably does give me a significant advantage over those who lack such education. As for NBTHK competitions....I haven't entered one for about 8 years...and for the same reasons as I eluded to in my initial comments regarding the dangers of over reliance on papers and other authorities in establishing and evaluating aesthetic criteria. nuff said, f

Reinhard, I concur exactly with your comments however my point was that there are areas of very important study in relation to the aesthetic qualities of particular items that are not "spelled out" by origami. My suggestion was not to do away with papers but rather that we need to gain a better understanding as why a piece has a been given it's specific grading. I hope that, despite my reputation as a heretic , it wasn't imagined I was proposing we simply start making up our own rules. I was, rather, arguing for a more thorough understanding of why things are judged to be as they are. As an example, If I'm presented with a Ko-Akasaka tsuba that comes with either TH, J or even JT it would be helpful to have some indication as to what exactly makes the difference....not just, "it's better quality" or that it's old and by the first master. Why is the first master considered the best?, would be my question. A discussion on the specific merits of that individual piece, the workmanship ( and that in itself is a complex issue), the rarity and age (if this is a significant aspect), the aesthetic qualities of the material and the condition. All these issues can be explored and I maintain that this exercise is what ultimately really educates us in the art of the sword. Knowing all the labels and categories doesn't necessarily indicate any real appreciation or understanding, it may in fact even become a barrier to true connoisseurship. With a more nuanced appreciation of the "why", we may be better equipped to evaluate un-papered work and perhaps even to make a better assessment of the relative merits of individual pieces within a given level of paper. regards, Ford

Mark, perhaps you should actually have a go at reading what I wrote instead of constructing a straw man argument. As for the tsuba you bought of ebay...I didn't refer to it at all. It was Peter ( sorry for dragging you in Peter :? ) who referenced the ebay item; and inadvertently helped make my case. If you are unable to judge for yourself you are at the mercy of other authorities. In this case, the paper may have contributed to the overpricing the work in question, in my and Peter's opinion. I reiterated that I was in no way dismissing papers; My point was merely to suggest that an over reliance on papers as opposed to developing a genuine, personal, appreciation as to why a given piece is supposed to be "good" may be counter productive in the long run. and when you suggest; I would counter that you are the one being deliberately simplistic ( and, I suspect, somewhat disingenuous) and that your refusal to entertain the subtleties of the suggestion I was proposing may indicate your own inadequacies in this field...not mine. I am more than familiar with all of the arguments in favour of origami and shinsa, I was merely attempting to add a further dimension to the overall discussion. Perhaps I should refrain from scattering my pearls so readily I'm not exactly sure how you reached this conclusion...but then again, as I wrote earlier, I did get the impression you didn't really bother reading what I wrote or if you did, you clearly didn't stop to think about it... Ford

...being born German probably helps being an ubermensch and all

I can't speak for Jean, ( and he seems to have trouble speaking for himself as his French, English and Latin are all rusty ) but I wasn't arguing against papers at all. I was making a very specific point in relation to the point Jean made about that Jakushi tsuba and I went further to point out the dangers of over reliance on papers to inform one as to the aesthetic qualities of a given work. In respect to developing a sophisticated understanding and appreciation of those qualities that papers never address my point remains valid I think Papers indicate the origin of the piece i.e. school, period, maker etc and the different levels of papers indicate differing levels of quality within those categories and exceptional and/or classic examples of schools and individual artists. As for Hozon...well all genuine pieces can be granted those but within that category there's no further gradation in terms of quality, Hozon Tokubetsu accepted. So it follows that for the vast majority of works, genuine pieces that would be recognised as Hozon, any further qualitative judgement is left to the individual. Not all Hozon papers indicate works of equal merit. regards, Ford

Hey Jean, You're right, I don't have to.....but I expect a little quid pro quo at some point Hope your Latin isn't too rusty

I have to agree with Jean, in cases like this, if you don't get it, i.e. appreciate the quality and can see the superiority of the work as art, then relying on a piece of paper is merely a confidence trick you play on yourself. The danger, also, then arises that without any way of developing independent skills of evaluation you become reliant on the opinion of others who rarely offer any explanation. This is not a health state of affairs. With improved communication within this community and an education in the aesthetics and material qualities of technique we may ultimately reach a stage when well rounded collectors are able to evaluate, judge and discuss these issues among themselves and not be so dependant of external authority. In this respect I quite like the concept of the newly formed Tobunkyo. regards, Ford

Peter, to be blunt, I don't think the image you've posted of Mr Bolton's work does him any favours. It is very obvious that the mitsukado is poorly defined and that the surface of the area between the shinogi and the edge of the mune has been "rolled" thereby fudging the requisite crisp lines one ought to demand from a good foundation polish. No personal offence intended...towards anyone :? I await the obligatory indignant protestations... ford

:D this is good for a giggle;