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roger dundas

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roger dundas last won the day on May 25

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    Roger J

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  1. So does it mean another few hundred years will need to pas before these 4 can again again be considered worthy of consideration ? And how best to store or handle them over this time or is there some alchemist out there who has some sort of formula to redeem this lot ? Just wondering Roger j
  2. Now that is a good question and looking forward to the responses as well . Roger j
  3. You are pretty amazing Dale with all these extra morsels you bring to the NMB table, forums. Well done and thank you. Roger 2
  4. An intriguing insect but take care, the girls don't have the best reputation for the way they treat their closest friends. Roger j
  5. Thanks Thomas/Iekatsu. Well that shoots down my proposition and clears up the method used for construction. Forgive me for saying but it still looks like repousse work to me although as you say these are a single plate so that cannot be. Thank you, Roger j
  6. I have been looking and thinking further about the above tsuba and would propose that they are formed from two worked plates attached back to back without the middle 'sandwich' copper middle plate found with san-mai tsuba.. Attached either by rivets (but I don't see any) or some sort of adhesive or solder which would date them after C1600 plus a fukurin for full security. Although the "Shibuichisword/Long tsuba site" states that similar plate designs were created by carving away the background (in a way like Michaelangelo did with his marble statues) just leaving the design itself in relief, the technique is called 'Sukidashi-Bori'- the metal carved away ; I would like to put my head above the parapet here and say that I think that once again it was instead done using repousse- the design punched and chiseled into the back of the plate, the plate turned over and refined with chisels from the face side and finished with nanako, gilding or whatever. I just think that a thin, relatively soft shakudo sheet wouldn't easily lend itself to such deep carving whereas repousse would be far easier and more manageable. Anyway, that is my take on it and I can claim to have some amateur experience with repousse work- not a huge lot but enough. If there is only the one plate with designs on either side then my proposal doesn't hold water. Roger j
  7. More semi-relief rather than high relief. If I keep trying I might get something right to-day. Roger j
  8. Yes Thomas, I just had another look . You are right and I was wrong to surmise San-mai. But the manner of work has that repousse worked, San-mai appearance to my way of thinking. It makes me wonder just how the high relief figures of butterflies and blossoms were worked up from the background ? They don't appear to have the edge sharpness that a chisel might produce ? Roger j
  9. It is really pleasing to see the well cared for condition of this old 'Momoyama (?)' period piece. Many, many of generations of previous owners have taken the trouble to keep the integrity of the relatively fragile surface design intact. So often these san mai tsuba show design distortion through use or some lack of care. Just my take on it. Roger j
  10. Can I say that I like your assessment Brien. I am too old to be a sycophant but I am again impressed with the way you handle the difficult problems that come your way. I wouldn't like the job. Mind you, I sometimes think you might censor some of Stephen's girlie shots too quickly. Roger j
  11. Just amazing to see the amount of work and effort that has gone into producing this great example A monument to an unknown maker (unknown in present times) and is it any wonder that we like to collect or maybe just admire these fascinating creations. Roger j
  12. That is a fine big shachi tsuba BaZZa , all 88 x 80 mm of it. Nicely chiseled dragon and dragon fish, clouds, plus the gold 'jewel'. And forged, chiseled and NOT cast. Condition down a bit as so many tsuba are prior to an application of 'love and affection'. A great example. Roger j
  13. It is interesting to me that the larger, katana (?) sized tsuba of the 'daisho pair' above is only 7.28 x 6.96. Is that how sometimes these 'daisho pairs' run with not big katana tsuba ? Say more like 7.8cm or so. Roger j
  14. Well, I just love the way these threads develop and bring out the various known facts plus the conjecture. To produce the two shakudo faces of a sanmai tsuba using repousse techniques would be quite easy and straightforward. And for an experienced craftsman, relatively quick- probably less than an hour, once you have the required equipment and tool kit at hand which is used again and again. As Dave notes above, if you were to have a positive and negative mould then that is another way to stamp out a design but the thickness of the plate (be it foil or thicker) being decorated would be an issue and to produce the bronze 'master plates' would be a big effort in itself. Would it be worth the effort with such simple designs as waves, flowers, tendrils, sometimes animals or insects unless you were going to turn out many of the exact same design. Do we see the exact same designs repeated time and again with sanmai tsuba ? For mine, I will go with repousse. Roger j
  15. And working from a traced pattern so that the original design remains identical for both sides or even multiple plate examples. The Jpanese sanmai shakudo plates are relatively thin, so when softened by heat, not a lot of pressure would be required to create the raised, semi-relief designs before turning over to work from the reverse side. My experience, not extensive, was using thicker 'gilding metal' which also needed heating to make it more malleable but further to that a hammer to impress the chisels and raise the design. I can't see that the shakudo plate could be forced into a pre-existing mold, softened though it would be but never the less relatively firm. Not plasticine like. Roger j
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