Ford Hallam

In my opinion there's only one contemporary Japanese tsuba-shi working in iron worth seriously considering. Naruki Issei 成木一成 was recently elevated to mukansa, long overdue, by the NBTHK. A quick google search will yield a lot of guards.

Just to reiterate and make somethings very, very clear. Whenever I offer an opinion here, or privately, I am always careful to say that it is my opinion and by doing so I assume that it's understood that I am not claiming anything as absolute fact. The language I use is chosen carefully, as carefully as my observations of the objects I'm trying to evaluate. You'll read, "in my opinion, in my view, to my eyes, it seems to me," etc. this is all to make clear that I'm not an infallible oracle. That's all I can offer, and I try to provide my reasoning as best I can. To be blunt, Chris, I'm not impressed by angry, petulant 'knickers in a bunch' tantrums like yours. You implied, in your private complaint to me, that I had some sort of agenda with regard to your posts. Well perhaps you ought to stop a moment and consider why it is you think you know what you're doing buying random s**t off the internet. Well done, Chris. You found some opinions that back your desired opinion. To then state so boldly that therefore it is not a fake is not a safe bet though. Just for the record, there are any number of Onin and Heianjo pieces on this forum that I've commented on that I saw no reason to condemn as fakes so your criticism of my reasoning is not very well thought out there all. I have one myself, i hope it's genuine. If members of this forum appreciate my 40 years experience as a specialist craftsman in fine metalwork and this tradition in particular on top of the same time period of actually studying tosogu all over the world, and a fair bit of damn fine work in Japan, then that's their prerogative. Time will tell, good ideas and opinions survive, those without good reason don't. A consensus without reasoning is worthless, imo Opinions without reasoning are also pretty useless in terms of learning/teaching/sharing ideas. It is up to the reader to evaluate my, and any other, opinions based, I would hope, on the reasoning offered. That's all there is to it. It's often said that opinions are worth what you pay for them. I think this is wrong. Opinions are worth what they cost the person making them. My opinions, because they are often at odds with others, are often scrutinised more rigorously than the more conformist, 'gentle' views. It costs nothing to say what people want to hear, and there's rarely any risk to one's reputation. But I don't comment on things here to win approval or be seen as some sort of 'nice guy'. I comment, as honestly as I am able, because this subject matters to me, and I care enough to want to share my experience with others who would like to enjoy this field like me. If I see something here that I feel might mislead or distort people's ideas of good quality or worthwhile work to study or invest in then I will say something. Not to do so for fear of upsetting someone would be a disservice to every other person who sees it.

I, for one, didn't say it was cast nor Chinese. That would be a strawman argument. What I did say was "Looks to me to be a modern copy or deliberate fake. " It's clearly hand made, just not very convincingly at all. For starters the maker has misunderstood what they thought they saw in old work. The genuine article is often well worn and has bits missing etc. BUT the underlying lines and technique was neat and skilfully carried out. In this piece the maker has apparently deliberately allowed the layout to be untidy, thinking that the early work was also poorly arranged. This is a common mistake by fakers. The second very obvious give away is the massively 'disturbed' ground metal around the inlay work, that cushion effect that's in evidence all over the place, that's not typical of genuine old work at all. However it is pretty usual in the work of novices and many of my beginner students. It's because they don't really have a proper idea of exactly how much iron ground needs to be moved to effect a secure inlay which results in far too much excess metal around the inlay work. The missing wire inlay close up image is helpful too. This smooth walled groove is simply wrong, early brass wire inlay was always set into a groove that was punched by a wedge shaped lining tool. This leaves a very characteristic notched edge to the groove. This actual ancient inlay technique has been for the most part long lost but the evidence of the technique is always clear. Here the maker has used a more common modern wire inlay approach of creating a groove and then undercutting or under-punching it to create a wedge shaped cavity to lock the wire in place. And lastly, the metal surface of the seppa-dai area is far too plain and the punch marks around the nakago ana seem to confirm the even homogeneous structure of the mild steel plate it's made from.

Looks to me to be a modern copy or deliberate fake. I'm in a rush to an appointment but I'll try and explain my reasoning later if I get a chance.

To me it looks like a repair that's fallen out. It's almost inevitable that when making alloys from scratch or remelting scrap that flaws or voids sometimes occur in the cast slab. If these only become evident towards the end of the processing of the ingot to plate then it's not at all uncommon for these flaws to be plugged or inlaid with the same material. Also, sentoku is not the same alloy as shinchu/brass. Sentoku only appears in the tosogu in the early Meiji period. Sentoku is characterised by a very district crystalline structure in the metal that also quite visible in the patina. This structure can sometimes also be seen in 'as cast' brass but in that case you're looking at a fake. There are some early Edo tsuba made by Mitsuhiro and son that claim to be made from sentoku-gane but analysis of this alloy has shown it to be a marketing gimmick. They're essentially brass with a little bit of arsenic added, quite unlike later Japanese sentoku or the original Chinese Xuande bronze that it is simulating. This is a typical example, with dodgy inscription, and a clearly visible plug repair on the seppa-dai at 11 O'clock

IMO, modern hobby work, not very skilfully made. Mild steel, weak patina and probably only year or so old.

Thanks Gents, for the very generous words. This particular tsuba, which I've made a few of, was the result of wanting to make a guard a bit like a tea potter makes a teacup. If you've ever seen an accomplished potter seemingly effortlessly squeeze spinning the clay in a few minutes to produce a perfectly natural looking cup you may get an idea of what i mean. There's a sort of natural uncontrivedness that I was looking for. Where the end result 'just is', where the techniques used in making it are not at all obvious, and where the different processes overlay each other seamlessly. The late Mike Dean bought the first one I made off me. He said, "it looks like you threw a piece of copper into the sky, God caught it and dropped it back to you" Anyone who knew Mike will know that there's nothing more you could attain after that response.

Brian, the ape is studying a netsuke and inro through specs, see how his eyes are enlarged as though magnified. Clever huh? . It's a bit of satire perhaps, a monkey playing the scholar/art aesthete. I cant see kanji myself. It's a theme we see in a few formats, woodblock prints, netsuke, bronzes etc, at this time. But there's always been a love of creatures shown behaving like humans in Japanese art so nothing really new in that.

This one is really very generic eagle but I wanted to show the leaves and tree treatment. Mito school again, Ryûryûken Tomokatsu, late 19th cent. The leaves might at first glance look similar to the OP tsuba but if we look more closely we can see that while they are seemingly quite simple they are in fact quite carefully sculpted. Notice how the shapes sit on the plate quite distinctly in some places, as though very separate, and where in others the edges are much less hard or sharply defined, this technique breaks down the surface plane visually and develops a sense of depth. The tree branch is interesting in that it too is very simplified but in a very considered way. It's very stylised, as any chiselled metal image of a tree must be, but this abbreviated form never the less still expresses well the essential feeling of a tree branch, with minimal marks and shapes. It's brief in physical form but in no way short in terms of effect. To my eyes, while it's obviously a very different style to the OP tsuba approach, it is a far more interesting and pleasing thing to contemplate. I think that makes it better art. Anyway, I hope that what I've tried to point to is of some interest and maybe even provides some grounds for comparison and evaluation. now I need a nap, cheers Ford

and now an eagle. I'm deliberately choosing artists who are good but not really big names to simply try and show what decent work OUGHT to look like. Compare the flow of lines and feeling of powerful volume and dynamism in this bird with the rather flat and stiff creature in the OP. A careful comparison of the details of the feather patterns and overall layout, and how that adds to the structure of the eagle and the feelings of fluid power as well as the varieties of 'texture' in the way different types of feathers on its body are depicted, the contrasts there are rich with variety. Mito School, Ichijosai Hironaga, late 19th cent.

A slightly more refined ape, this time by Hitotsuyanagi Tomonaga, 1831-1889. Again, not a 'premier division' artist but note the elegant texture of the fur and contrast this with the almost careless and evidently bare minimum effect on the op tsuba. And again, the face is quite characterful.

Ok then, time for a little comparative art study I see It's a good thing I've got time on my hands and I care Here we have another monkey by comparison. A relatively unknown artist, but clearly decent enough. Nara school, Hata Nobuyoshi 1807-1878 Nothing exceptional about the ape, but just compare the more convincing treatment of the fur, AND the character we can clearly see in the creatures face. This fellow is 'alive' with personality whereas the one on the OP tsuba is pretty basic in terms of expression.

Jay, The first article you linked to referenced the alpha omega idea. Didn't you read it in full? And in fact Buddhism has nothing to say about reincarnation. The Pali Canon, the most complete document of Buddhist teaching from the historical Buddha, is explicit on that point. Reincarnation is a Hindu concept. But I have no desire to get into an on-line fight with a chap called bullet sprinkler, that sounds ill advised.

Well the Alpha and Omega idea is not Greco-European, it's Christian, specifically to be found in the book of Revelation. That claim already rings serious alarm bells. And, as I said, there is no such philosophical concept of beginning and end, birth/death, similar to the Alpha/Omega notion of Christianity in Oriental thought. In fact the cyclical nature of existence as propounded in Oriental philosophy might be the most obvious contrast with Christian ideas of a beginning and an end. If you want to properly understand another culture and time it is not helpful to conflate concepts that may at the most superficial level bear some similarities, according to a blogger on a travel website. I suppose it's easily enough done but once a few 'in depth' texts on the subject are absorbed perhaps a more accurate sense of Oriental thinking and beliefs might be developed. For anyone interested this would make a decent foundation work to read, it not at all overly scholarly and it's pretty succinct in presenting a broad historical sweep of ideas.

As Pete has eloquently illustrated this tsuba is in no way connected to the Ishiguro studio. This is a good example of generic early Meiji period work made to 'flatter to deceive' the uneducated eyes of foreign visitors and curio buyers. As a clue to spotting this sort of 'instant' work have a more careful look at the leaves, branch and tree bark. See how the carving and punched texture is pretty much the bare minimum needed to create a basic form and cover it with some sort of suggestive texture. There's no really care or consideration in evidence, under closer examination it leaves one feeling almost cheated. As though they simply had to knock out the picture as efficiently as possible. It's bit like those paintings you see at famous tourist spots, you might buy one while caught up in the thrall of the place, or the excitement of being there with someone special, but when you get home....a more sober viewing leaves you feeling a bit deflated....about the painting, not the 'special person', I hope. p.s. Thinly gilded details on a big name piece should always ring noisy alarm bells, it's almost always a sign that the work is, quite literarily, only superficial.

Rule No:1 of classical Japanese metalwork, taken from the 'Taganegakure.' 鏨隱 There is always a more complicated and exacting way to to do everything. Find that way! and make it more complex. Any easy ways will only earn you disdain and contempt. There is no glory or honour in 'easy'.

Hello Jay this description would seem to be a very Christian interpretation of the actual symbolism that we see in Japanese art. There is no such concept of 'the beginning and the end' Alpha and omega, (as a reference to the Christian creator god), in Oriental cosmology. The open and closed mouths reference, instead, the natural breathing pattern of life, and thereby the cycles of life/existance as understood in both Confucian and Shinto thought. Ibuki, breathing exercises, which emphasise this interplay are a significant aspect of classical martial arts and indeed many Zen meditation practices. The in and out flow of air is also a direct reference to In/yo, (yin/yang), Taoist based philosophies.

Well lets see what I can add.... Superb design work and exactly what the great Akasaka masters are justly famous for. A compex composition and yet every line and negative space has been expertly considered. It satisfies my very demanding eyes very much. The workmanship also is lovely, a perfect example of what professional tsuba-shi work ought to look like. The axes, or masakari, judging by their shape, are weapons rather than tools. The other shapes are troublesome though, rice mallets? not sure. I'd suggest that this combination of elements alludes to a Noh play. Wearing something that elegantly signalled ones cultural sophistication was de rigueur in mid to late Edo period Edo.

Sorry to be the 'bad cop' but I'm afraid I would have to say that I can see nothing of any merit in these 'tsuba shaped objects'. The fact that there is a mash up of copper in the nakago ana means nothing in this context. It's no big job to do that sort of thing and in any case I can't see any convincing evidence the copper or seppa-dai ever saw any meaningful service on a mounting. The roughening up of the nakago-ana edges is very contrived and awkward, they're trying far too hard to be old and much used. And yet the nakago-ana themselves are still quite sharp inside, even though the shape of the openings are pretty bad. I wouldn't be so harsh as to call them fakes per se, rather these are, imo, amateur hobby work and probably a few decades old at best. As a hobby this type of work was evidently quite common in the mid 20th century in Japan. They were probably 're-discovered' long after granddad died looking convincing rusted and aged through neglect. They're evidently copies of older models but a lot has been lost in the transfer of the design and even more in the execution. This is not the work of a trained metalsmith. The iron is featureless mild steel, the patina is very superficial because it's really just a cleaned rusted bit of steel, and the workmanship is very uncertain. The ryohitsu shapes where they abut the seppa-dai reveal a lack of understanding of how kogai and kozuka lie in line with that face , and the chamfering on the lens shaped opening on the Owari copy is a bit fanciful, to say the least. It does concern me that there are so many pieces like this easily available on-line for tempting prices and I can well appreciate the urge to take a punt to acquire a tsuba at a bargain. But I think it safe to say that in a fairly short period of time the shortcomings of this sort of 'bargain' will soon become self evident. As to where they might fit in, I don't think they do. I'd suggest that new students of tsuba stick to dealing with people we know well and regularly interact with here on this forum. Grey Doffin would be my recommendation to start. He always has a good spread of very modestly priced yet interesting and perfectly legitimate Edo period iron tsuba. And never be hesitant to ask for advice or guidance before you part with your hard earned cash, I. for one, am always happy to offer an opinion. Good luck Ford

You didn't really think you'd be so easily rid of me, did you? I've been home 48 hours now, still a bit tender and delicate but gently settling in to this thing they insist I endure, recovery. 4 weeks of enforced idleness before rehab even starts. But I must be honest and say that as a sobering warning this was effective. It was a pretty nasty shock to the system and one I won't be treating lightly. I still have far too much to do. Thank you all for your very kind words of encouragement and support. And your contributions to the 'survival fund' that was set up by my students to ensure I'd be around for some time to come. I'll be taking things very gingerly for while yet, keeping my blood pressure and heart rate low and adjusting to a bucket of pills a day, but I'll no doubt be unable to resist the odd post here pretty soon. kind regards to you all Ford

Hey Brian....I was trying to stay out of this melee As much as I hate to contradict my esteemed friend, Guido, I have to say that to my eyes this is a genuinely produced late Edo work. It seems, as has been noted, some sort of varnish has been applied that looks pretty messy but that I suspect could be relatively easily rectified. I very much doubt that there are today craftspeople working in Japan, or anywhere else tbh, who could work in such a distinctly pre-modern style. By this I mean the sort of familiarity and fluidity that comes from years of apprenticeship training and provides a degree of certainty in the way things are shaped or the confidence of direct chiselling. In this regard the 'authenticity' of the clouds is completely convincing. This is so much more than simply skilful carving, it reveals a solid understanding of the underlying 'rules' of composition (absent in much modern work) and a regularity in the way the forms are carved. This comes from many many years of repetition, a bit like the writing of an accomplished calligrapher, it is almost impossible to fake that degree of familiarity. It is completely uncontrived. I won't comment on the mei, even the best artists produced lesser work on occasion, but while this isn't absolutely the premium division I think it is never the less a pretty decent example of fine craftsmanship. As Guido points out though, no papers with a big name means that in Japan it's not being taken too seriously. I think this reflects contemporary emphasis on papers and reselling considerations rather than an objective appreciation of the work itself. My point being that if the mei is not of too great a concern it's a pretty decent tsuba for a serious collector of this particular genre. And Omar/ Raynor Your shibuichi tsuba is, imo, a perfectly legitimate late Edo work and not a bad piece at all.

sayagata-mon or pattern in Japanese. Also called manji when used singly.

This is fairly classic Yoshiro tsuba. There are some that are signed, which gives us the name and approximate date of production. These, are from the early 17th cent. So 1600's

The ceiling of the Tenryu-ji Temple in Kyoto. Painted in 1899 late Edo Japanese woodblock print. The 'double mountain' printer's mark is familiar but off hand I can remember who it is. They also printed Kuniyoshi's work. I'm sure a morning wasted trawling the internet will yield more such exceptions.