roger dundas

I overlooked remarking how similar it looks to one above posted by 'BUGYOTSUJI'- Piers. Roger j

An example of a tsuba (the one on the left of course) with quite small udenuki-no-ana, only big enough for a small diameter cord maybe wire ? Thtsuba on the right is about 73 by 73 cm and put in just for comparison. Roger j

You are a wag Stephen- you spice up a few posts for the members. You make me smile anyway. Roger j

From memory the 'super fine clay slurry, called investment is initially in liquid form and poured around the wax shape that is to be cast. This then sets, I forget how long it takes to harden or if some heat is applied- probably not initially, the whole thing then heated for the wax to drain out and the empty mold is then 'ready and willing'for the molten metal invasion. That is for lost wax casting as I recall when unsuccessfully trying to cast a silver belt buckle about 55 years ago. Roger j

Again I am sliding away from the initial question re 'cast tsuba' and hope you are ok with that- especially Dan ? But I just wanted to remark on something everyone would be well aware of -the fact that those wielding Japanese swords (and for over many hundreds of years -the Samurai particularly), did so without any protection for their knuckles. No cross guards, no shell-guards, no elaborate ribbons of steel, no basket hilts. No doubt their fighting techniques were well practiced, thrusting and slicing (can I crudely put it) and maybe unique to the Japanese- as against the various fencing, sometimes hacking, slicing, draw cuts or straight out piercing sword practices of some other nations. Those training in the art of 'Iaido' will know how they were able to get away with it ? Roger j

Quite amazing and fascinating that after all of this time, this question/conundrum is still not resolved, still being debated. And then we have the newcomers on the scene, the tsuba being made tomorrow that help muddy the waters. I for one am enjoying the above but must admit my brain is still finding it difficult to know just what is what, what is the reality and how do we recognize it ? Roger j

I feel I should explain the fairly useless post by me, above, re the Clack or clap sticks. The thought was that the Australian aboriginals are probably the most primitive people on earth, functioning with simple bone, stone, shell, wooden tools but not without an intelligence that allows them to subsist and exist in this, much of it, dry, tough, rugged country. Then you have the Japanese, highly sophisticated and cultured in their Japanese way- and yet the musical instruments there- what have they- drums, a stringed violin/banjo type instrument and clack sticks. Almost certainly more such as whistles etc. But clack sticks ! Roger j

Thank you George M- a good explanation. Roger j

Please excuse my ignorance but just how easy is it to differentiate between an Edo period casting and a post Edo casting ? The damn things are just a nuisance for such as me and why I try to keep clear of tsuba such as these. Roger j

Here I go again, wandering away off the original track/thread but JFYI the Australian aboriginals had no musical instruments (except in the Northern Territory- Arnhem Land area where they had the 'didgeridoo', a wooden drone tube), instead, everywhere else they only had 'clap sticks' or two boomerangs clacking together to beat time during their frequently held Corroborees/ sing songs. Basic but effective. Some of you might like to add that not very useful information to your lexicons of trivia. Roger j

Ah thank you Dale- just wonderful pieces to my eyes. Roger j

I really would like to buy into this discussion, realizing that I don't have the scholarship, the knowledge that comes from dedicated research and comprehension of the extensive study of tsuba schools and tsuba generally that many here so obviously have achieved. Because there are so many tsuba available and still coming onto the market, people like me can poke and prod around the periphery and from time to time find an example to take pleasure in AND often enough for not a lot of money. I only ever wanted a few reasonably good examples (or what I thought was reasonably good), particularly from the pre- Edo period (and that wasn't always that easy to define) and without paying very much for any piece (say $1200US maximum). Not that I didn't like outstanding pieces but it was late in my life and money wasn't that available. Now I didn't collect to try and impress or please anyone else except me and so I am quite OK with what I have, others may smile at them but anyone can enjoy this genre of collecting, more and more so when you see and read articles like the above. On the other hand, one piece I would really love to have is an example illustrated in the publication "LETHAL ELEGANCE" on page207-no.135 Tsuba with design of "flying goose, reed and stream", can I be greedy and say- plus most of the others as well. My poor computer skills don't let me show you them. What I have tried to illustrate is that is not too late and not very expensive to build some sort of tsuba collection with examples of your liking. Roger j

And carrying the 'Dutch East India Company' logo oVc. Roger j

Nicely responded for mine. Great to see such respect ,one for another. Roger j

Really interesting (for me and presumably most) and advancing to be more informative and interesting. Well articulated and illustrated so far Glen. Roger j

Is there something that I am missing about "namban' tsuba ? I really like and am impressed with those 'detailed' examples with the twisting vines or tendrils that go over and under each other, sawn, chiseled or filed to separate and shape each vine, dragon etc . A lot of tedious work involved from the days of hand-made hand tools only, no gas torches, no 'dremel' type drills or cutters- to create these small monuments to those old craftsmen whose names will only rarely be known to us. Amen. My take on these pieces which sometimes can be not highly priced Roger j

"Lots of swords promptly went back to war in backyard operations", John, Australia. Five boys in our family, has made me think how we would have misused any sword brought back such as cutting down blackberries (growing to pest proportions locally), firewood, 'each other' God forbid, and so on. Sad to admit it but luckily for the sword population we didn't score a sword. A few other things but no sword. Roger j

And brass overlay not copper but does it matter ? Roger j

Trying hard not to overdo it with too many accolades here - but again great collecting and a lesson for new collectors plus the quality of the pictures/photographs shown. First class for mine. Roger j

I forgot to mention the outstanding images- just so good. Roger j

Please do Piers. Glen (and RKG and others) have shown many great pieces- at least they are to me so thank you all. Roger j

Really love those examples Glen. Very well done, Roger j

Wonderful collecting. It has been a good year for Richard particularly and Evan too. Great o see. Roger j

Re 'rkg' above -" This isn't my piece (I wish it was)"- Me too.. And another great photograph ! Roger j

Enjoyed reading your take on things so thanks Glen and Dale. The reason for looking for opinions is that last year I bought this old, neglected tsuba from Japan because it was so cheap and I like this design with the 'perforations'- even though it was very much down in condition. I must have been bored at the time, have better examples and wouldn't bother again. It took forever to escape from Japan, costing a lot more in postage etc. Happy to have it but one is enough as far as I am concerned. Here it is below, 60 x 55.5 x 5.5 Thanks again for your thoughts.