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roger dundas

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About roger dundas

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    Jo Saku

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    Victoria Au

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    Roger J

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  1. Personally I think that they are dreadful things and completely unattractive in all ways- but to each his own. Lacking in so many ways (to me, anyway) their existence surely has the effect of debasing tsuba collecting to some extent ? Top end tsuba will always be top end - I suppose meaning great works of design and skill or history will be secure but more utilitarian pieces might suffer by comparison ? A question really. Roger j
  2. Thank you all, Robert, Grev, Mauro, Brian, Dale and Florian for your responses. Starting with Robert and Grev and the whisky reference and just what to collect- it is an issue we all face which is where do we draw the lines in our collecting. I set out just wanting a few old tsuba of reasonably good quality as a small sample, not wanting to outlay much money but the darn things pop up every now and again to draw you in. Mind you if I was younger and earning good money I would just love to collect some of the great pieces (but I suppose they are rarely if ever available to the hoi polloi ?). Something similar to what we see in the Boston Museum of Fine Arts et al. Good to see Mauro's lot for comparison noticing that they don't show signs (or do they?) of multiple mountings to different tanto wheras the few I have do show signs of use on different tanto. Re the possibility of a larger tsuba being cut down as Brian and Dale noted had also crossed my mind and the large aperture/hitsu to accommodate a large kozuka on this tsuba I presume takes it's history back somewhat ? Is the small hole on this tsuba for the use of a tether or is the hole too small ? And love your examples Florian. So, collecting tanto tsuba can be O.K. Roger j
  3. Here are four tanto tsuba - nothing exciting but for me, a representative few. They didn't cost much individually but my good friend who appears on this NMB and only bothers with very good quality Nihonto questions whether a good bottle of whisky mightn't be a better deal than one of these ? Obviously he has a point. I haven't included measurements but 6cm is the largest diameter amongst them. Roger j
  4. Oh well, I appreciate your arguments Adam but seeing the scar on Richard's tsuba and the story of the battle proven katana in Christian's article I will just keep an open mind on the veracity or not of the scars on my tsuba. And thanks John B for your pics- a very sharp cut and a sharp photo too. And BaZZa, I turned out a failure in the vandal stakes, certainly never understanding wanton damage or destruction - we get it often enough nowadays with people maliciously lighting our bush fires. Roger j
  5. Greatly appreciate the above posts, so thanks to Greg, Christian, Adam and Richard and really feel that these possibly/ probably are battle scars. Just as a matter of interest, are the Japanese likely to disfigure historic or any other items just for the hell of it. Why I ask this is because here in Australia (and I will probably offend some here) we do get our share of vandalism, things unnecessarily broken or destroyed . But then, like much of the new world and now the old world too, we take in a lot of migrants from various under privileged backgrounds. But I once read that it is where the Anglo-Saxons settle you will get vandalism . Now don't attack me, it isn't my opinion and nor do I know if it's correct. The point was that it appears to me that the Japanese as a people value and preserve their heritage. For what the comment is worth, when I was a boy I tried to knock our local street light out by throwing stones at it. I was an accurate shot but never succeeded. I blame the Anglo-Saxon part of me. Roger j
  6. I certainly am enjoying enjoying the information coming out here and especially the story posted by Christian as well as the tsuba from Richard.' Now my summation is this although I might have misconstrued the information : Swordsmen/Samurai normally defend against their opponent's sword attacks using the top or side of the blade ,probably preferring to deflect rather than take a straight out hit which might break a blade ? But if a swordsman was being overwhelmed (or confronted with multiple opponents as in Christian's post), then he may not have this choice and sword strikes might get blocked or deflected by an habaki, or the tsuba instead in the confusion. As for the strike marks on my tsuba, they don't seem much if any different to that on Richard's naginata tsuba ? Is that how it is ? I am very able to misread things . Roger j
  7. Thank you Adam and Malcolm and I very much enjoyed the article from Markus that Malcolm included. Adam you are correct about the different deformation in the tsuba metal if these are sword cuts as against the blade cuts on my katana which are very sharp and clean but could that be due to the big difference in metal quality ? 'Iron' tsuba, refined 'steel' katana blade ? If they are sword strikes then it would seem the person wielding the sword with this tsuba was being given a hard time of it ? Roger j
  8. Purchased from N.M.B 'For Sale' section offered by Leporello earlier this year and very pleased to now own it. There are three blade cuts on the mimi and I am very aware that it can only be conjecture that they were received in a battle but I am happy to think so. Complements an old, early blade (?1400s) I have in shin gunto mounts with three or four battle scars also. I haven't come across commentary on such scars here before ? Maker is possibly Yamashiro Kaneie ? Roger j
  9. Have enjoyed the tsuba shown, particularly those Patrice started with plus others. Here is mine : Roger j
  10. roger dundas

    Tanto Tsuka

    Sorry, I didn't spot the abalone on the kashira. Tricked my old ,not very discerning eyes. Roger j
  11. roger dundas

    Tanto Tsuka

    It is called a scallop here in southern Australia and scallop dredging as well as abalone fishing are big industries here in our local southern waters as is crayfishing( no lobsters here). All often seen as decoration on Japanese objects as everyone here knows. Roger j
  12. I would like here to thank Dale/Spartancrest for the extra effort and trouble he went to to get me a copy of his book (above) i.e Additional Articles for Tsuba Study. A great compilation of information and illustrations mostly noted in the period 1880s through to 1920s when Japan was still a delightful (mostly pre industrial) country. A great contribution by Dale to the world of nihonto collecting. Thanks . So many members have been more than helpful, so thank you all. Jean in his Deep Valley, Leporello , BaZZa in his mountain home. Roger j
  13. terminus (Tony), Wabi Sabi or not ? those two are lovely. Roger j
  14. Following on Piers D (Bugyotsuji)'s post above of his 'net-pierced ' tsuba with this one. Is it wabi-sabi ? I really like this tsuba (70 x 66) for where the craftsman has chosen to leave his design but it has also occurred to me- what if he had set out to do a complete pattern but decided at it's present stage - I'm getting tired of this and decided to call it as enough. Or he could have taken ill or even passed away at this stage and the workshop decided to sell it as it was ? But I don't really think the latter to be true but believe the design was in his mind all along and I like it as he finished it. Roger j And it is not symmetrical either as you can see.
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