cspage

This happens frequently. December went early. I have taken to keeping separate links to my favortite sites that he lists. Colin

Not being given to drawn out musings, I would simply offer the analogy of ceramic art as it relates to Ford’s position. There is a world of contemporary ceramics that emulate age-old functional objects, i.e. teapots, etc. that are practically non-functional, but do explore and represent the cutting edge of ceramic technology and design. These objects have a respected place in modern art. There’s no logical argument that could place the form of the tsuba outside of a similar consideration. Colin

Dwayne, check out this website. They are located in Calgary. I recently purchased a couple of tsuba from them and the transaction was smooth and agreeable. http://www.yamabushiantiques.com/index.html Colin

OUTSTANDING PRESENTATION! Wow. The clarity of the photos, the subtlties, the vivid contrasts, the overall logic and simplicity of design are breathtaking. The site is visually dynamic and a pleasure to see. Colin

Also, if the tsuba doesn't quite fit, but close, small snips of sword cleaning paper can be rolled and stuffed to buffer and snug the tsuba fit on the nakago. But the fit has to be close for this to work to any degree. Obviously a temporary fix. Colin

No picking apart. I think it's a good beginning effort and incentive to those who think it could be done better to do so. And then let them receive a bit of picking apart. I do agree with afore suggested improvements, and would add to them some focusing in on minute details of design, changes of scale, etc. And perhaps further exploration of audio. But, to again emphasize, at least someone had the passion to do this in the first place. Kudos. Colin

Mariuscz, congratulations! So you're the one who snapped up that Kaneiye. I'd had my eye on that tsuba as a candidate for my next acquisition, but as I didn't "take tarts when tarts are passing," someone else (you) scored. I'm glad it showed up here. I think for a "modest" collection, it illustrates excellent taste. Colin

Danny Massey has a tsuba on his site that has some similarities. Not an exact match, but basic shape, fukurin. Similar aesthetic. Unfortunately no hard info. http://www.nihontocraft.com/Silver_Mimi_Tsuba.html Colin

Now that's the niftiest set of stands and boxes, etc. I've seen. It would probably go over well with an English version of the site. Since I don't know Japanese, I don't know what the prices, etc. are, but the designs and simplicity of the stands and boxes are very attractive...and clever. Nice work. Thanks, Henry. Any clue as to how one might go about ordering in English? Colin

Walter, take a look at this website. There are two tsuba like yours, one with a mei. http://www.japanesesword.com/ Look at the Tsuba link on the site. First two tsuba on the page. Colin

Thanks, Henry. I did neglect to say that as a potter in a former life the ceramic draw of Hagi also had some influence re my question. Your reply is welcome and helpful. Colin

Having never been to Japan, but recently developing an interest in the prospect, and also interested in places other than the large metropolitan districts, I found recommendations for Hagi in Nagato Province (Choshu). I admit Choshu tsuba instigated my initial search. Would anyone out there be familiar with Hagi and if so, is this a destination worth pursuing, especially in relation to Nihonto and Tosugu? The recommendations mention Hagi as an old "Samurai town." Colin

Far be it for me to put words in another’s mouth, but I can see where “lack of spontaneity” in the design might come from. The overall spacing of the elements in the vines, etc. is uniform and basically uninteresting. There are no unexpected delights such as space to rest one’s eyes or any variation in scale, no real contrast in the elements, nothing large, nothing small, nothing tiny, nothing huge. There is a sense of almost pattern-like execution, no sense of a human hand or heart in the design outside of the basic craft of the making. It’s a nice design, but only nice when compared, of course, to the best. I don’t think it’s insulting, just a matter of distinction between the top-of-the-line and the ordinary. Just my two cents. No offense intended…ever. Colin

Excellent, Ford. I see what you mean. Thank you so much. The bio and critique are really helpful. Little bits like this reinforce the oft repeated manifesto of "quality, quality, quality." And, of course, the straight info is good for us neophytes as it just adds to our knowledge base. As I said, much appreciated. Colin

I hope I'm not out of line here, but as a newbie, could I ask that someone give a brief explanation of the who, and why of this "rare" piece? Nothing extensive, just a brief background for us that know nothing. Or a point to reference material. Much appreciated. Thanks. Colin

I figured as much, but the discussion was fun. I especially like the tuna fillet knife thing. But, it did bring up the question of shirasaya origins and I hope someone will pick up on that a bit more. I suspect there is useful info in that subject...a new topic, maybe? Thank y'all. Colin

Perhaps it's just because of the photo, but drops of water come to mind, raindrops on a non-porous suface, like the surface of a tsuba, maybe? Just free-associating. Colin

I was just wondering if anyone might be familiar with old prints, other images that may depict such. Again, just curious. Thanks for the pic, Ted. Colin

Wow! That is an awesome piece of evidence. What ingenuity. While perhaps not the difinitive answer to the question, this entry is evidence of the wonderful craftsmanship of weaponry in general. Thank you. Colin

I realize that this question is predicated on some contemporatry movies, and I apoligize up front on this should it become a ludicrous question, but...is there any evidence of combat in actual records regarding combat with katana in shirasya instead of in full koshirae? Kill Bill was on TV recently and I noticed some of the combat was with katana in shiasaya. Dumb, I admit. My irrepresible curiousity. Colin

Re. those fingerprints. I hope someone has clued Jeff into how to properly clean the blade, or if he hasn't the materials, to find someone who does. Would hate to see something unintentionally nasty done to that blade. Colin

What's an internal whitworth thread? Sorry...off topic. Insatiable curiousity. Colin

With a seppa on each face of the tsuba, those slots would be tidy little places to keep small symbolic chunks of incense, in keeping with the theme of the tsuba. That's what I would do with them given no other options. Crazy maybe, but then, who isn't. Colin

Regardless of "who let the dogs out?" the "discussion" of points of this tsuba, casting, Kinai, etc., is intersting and informative to some of us on the sidelines looking for education. It's too bad the sniping, however entertaining, gets in the way. While the lost wax process is fairly common in metalworking, Ford's synopsis is helpful in application to tsuba making, and the points of contention concerning this tsuba are valuable, no matter who's right and who's wrong. Colin

I saw that, too, and then I realized it was probably the backdrop fabric draped over whatever stand was holding the blade at a slight angle (note the inside of the mekugi-ana being visible), not a cutout. At least that's what I think I see. Colin