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Brian,

 

you have erased a controversy in the discussion which may be good for a superficial look of harmony, but I think I understand the arguments of both sides.

 

If we judge a piece of art on the basis of a rigid list of features and leave our educated feelings (SENSORIUM) aside then of course it facilitates the game of fakers. I feel that Ford wanted to encourage us to use our gut feelings (which is of course of little value if we are not trained on high quality objects of art) besides the 'technical' criteria which are important, too.

 

One of the most renowned potters of the 20th century, KANJIRO KAWAI, was cited to reply to a question of a journalist on how to decide between good and bad ceramics. He answered: 'With your body.' I think this says it all.

 

In the case of the TSUBA in question, it may be difficult to divide between true and false just by pictures, and while Pete expressed that the TSUBA might be a damaged but genuine one, Ford saw the possibilities of faking going above the level we are used to see, and I believe in his expertise.

 

If we remember that fakes used to be made in former times basically with the same techniques as fine UTSUSHI pieces, then there is indeed no reason why it could not be done today. We are used to identify fakes by poor design and sloppy work, but what if someone with a technical and artistical background (and some machines to speed up the basic work) decided to make money with 'good' fakes? I think they are already at work today, but we shall see.

 

Returning to the TSUBA in question, I could imagine an original TSUBA having been in a fire as mentioned. The necessary work of cleaning and 'restoring' removed some material as well as the patina, of course, which led to it's look today. The pleasing basic design is still there, but it is altered to an extent that it is difficult to relate it with certainty to a school or a maker.

 

All in all, I find this dicussion very helpful and educating although it might not necessarily have led to a solution for the t.o.

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