roger dundas

That is really a lovely tsuba. Well done for having it. Roger j

Here are some more shots trying to clarify the laminations. Roger j

Thanks Piers for your interest which is always welcome. Yes, as well as I can tell that is how it looks- the two copper circular inserts sit on a thinned out circular iron layer(thinned out from the plates original thickness). That is how it seems to me and my wife as well. Unfortunately my eyesight is a long way from what it once was. I must say that the kogai and kozuka ana seem to show an evenly 3 layered construction- copper each side of iron I am surmising but in the hitsu ana, one side of the opening looks to be in order but looking at the other wall there is a gap between one of the copper plates and the iron. If it was all iron (which it is not) then you would think a welding together of the metal had failed- a cold shut I think it is called ? We tried to get a pic of this- maybe we should try again ? Roger j

Simply described as "Yoshiro Tsuba....Edo Period". The attachment of the two copper inserts using rivets rather than being soldered in place interested me. I once read somewhere that it wasn't until the Dutch arrived in Japan in around 1600 and later that the Japanese learned how to solder metal to metal. Prior to that it was by riveting and or fukurin. Hence early san mei constructed tsuba were riveted. A good friend of mine (and yours) has a lovely example using this construction. Tsuba measures 71 x 67.5 x 5 mm and includes inlaid copper vines (?) and leafs. The precision of the inset of the two copper inlays/plates into the excavated iron base plate is very accurate. There is a little surface damage between the hitsu ana and the kogai (?) ana but mostly it is in fairly good shape. If any one would like to comment then I would as always be grateful.

The same mentality as that of vandals at work in the Melbourne Public Library in the 1960s or 1970s who removed many wonderful plates from a number of historic books using a razor blade or such.Prints of animals and birds particularly. Just wrecked the books. Presumably to mount and sell on the Antique market which was very active at that time. Roger j

It is a real bugger (can I say that ?) to see such a price paid for a fake piece because it only encourages the fraudsters to come up with more 'grist for the mill', more fraudulent tsuba to feed a not very discerning public. And experts get deceived as well. Sad really. Roger j

I thought that you would have a better knowledge about these creatures Dale-thanks for that. As for your coming face to face with a huge King Cobra, I'm glad we don't see their sorts here in Australia. We have enough of our own problem ssssssssserpents. Roger j

Are the water dragons shown above instead 'Naga'- water dwelling creatures in south east Asian folklore . Sometimes found skillfully carved on Indonesian kris blades (maybe Malay as well ) ? Also carved stone edifices at the entrance to important buildings. I think I am correct- Naga bodies are more serpentine with no legs or toes nor claws and but instead with bi-furcated tails. Do the two legendary animals get mixed ? Roger j

I must be getting old (in fact I certainly am old) but it is disturbing to see posts that become personal or unpleasant. Playful is fun but aggressive isn't pretty to see or read. Just my thoughts. Roger j

Again, thanks Stephen. Roger j

From over here- just staggering. Roger j

Talking about prices and values Steves87, with such phenomenally low interest rates here in Australia plus a gigantic National debt (only a very few years back we virtually had none), I thought Gary Murtha's pricing to be very fair (just my opinion and not a paid ad). Plus- if I don't get this one, where do I get another like it? But like all collectors find, sometimes something better does come along and you have already "shot your bolt, spent your money". Anyway, money and economics aren't my strong point ( amongst a raft of other weaknesses ) but will we see inflation, the printing of money in an attempt at watering down the Western world's debt ?. Roger j

Thanks John and that tsuba is interesting to me and I wonder if in fact it might be older but I just wouldn't have any idea. The 8 apertures/piercings and the kozuka ana appear to my eyes to have been chiseled out and received not much if any filing to refine the finish and here once more the brass inlay design is naive and crude for mine. For all that, someone has taken the trouble to decorate a tsuba with piercings and brass inlay, no matter how roughly - I suppose for a poorer or less sophisticated client ? I realise that NMB tsuba collectors mostly are attracted to the best examples available but such as the above have a place in tsuba history and craftsmanship development. Roger j

Interesting to see the section of the lotus root, Kyle. It might very well have been the inspiration, Roger j

A very relevant thought Stephen, so many of Gary Murtha's tsuba are great examples of the genre and what an opportunity to get one . And interesting to see that you think that they are reasonably priced - I had thought the same but it is good to get your opinion. He might now be tempted to put them up a bit ? Ha Ha as they say. Anyway, I am very pleased to have had the chance to get one. At my late stage in collecting and life, I am more then pleased. And thank all you NMB contributers once again. Roger j

Re "Momoyama period Heianjo Tsuba" To misquote Crocodile Dundee -- Now that's not a Tsuba ! This is a Tsuba ! NMB members might be familiar with this piece as it appears in Gary Murtha's book : "Japanese Sword Guards-Family Crests- The Art of Mon".. Large in diameter and thickness, well inlaid in mostly brass, some silver . The inlay craftsman also inlaying the mimi which again is a nice feature. All in very good order. 83 x 82 x 5 mm. Thought you might to see it again ? Roger j

Thank you very much John, Dale and Jean and Barry (BaZZa) for taking the time to respond and for your thoughts that I value. John, I have seen the inlay design described elsewhere as clouds ? and Dale, your tsuba examples I liked with your comments and Jean, always with wise thoughts. Thanks again. I know it (tsuba) is pretty ordinary but it just had a few points of interest for me. But maybe a good whisky might have been better in these crazy times. Roger j

O.K, so once again, something not worth commenting on ? I don't mind in the least but the reason for looking for any comment was trying to figure out why any tsuba maker would go to the trouble of cutting out by chiseling or sawing and then filing the 8 apertures and 2 anas and not have the dam thing balanced and even. This is a Japanese craftsman at work here and it all took time so why not get it right as they mostly did? Didn't it really matter ? And then there is the zogan, brass inlay- again someone took time to chisel the channels for the inlay, controlling the depth and direction and then the inlay itself being inserted by hammer and punch- again time consuming work. So even if the end result is clunky, the inlay design uninspiring, do these negatives mean that the piece is unworthy of consideration ? I gather from the lack of comment, that this is the case and I now know a little more. And sincere thanks to BaZZa for his thoughts on the tsuba. And just by the way I find it difficult now a days to remember all of the Japanese terms, they don't seem to stick in my memory. Roger d

The guidance I was looking for is just where does a tsuba like this fit in ? I realise that it is fairly mundane example but never the less it is in quite good condition. The brass inlay is presumably after (but maybe about ?) 1600, the cloud design being not very appealing to me but the iron plate is quite fresh looking with very little rust but is that due to it being stored in a benign place or is it that the iron (or is it steel) quality is very good. I came to gathering a few tsuba quite late in life and the NMB is my only real chance to get opinions from experienced people if you could find the time ? I very much appreciate your opinions. Roger j

My newly acquired tsuba that I would very much value your opinions on please. Measures 71.2 x 70.3 x 3.5...... Possibly Kaga-Yoshiro ? A similar tsuba is in Garry Murtha's book, 'Onin-Heianjo-Yoshiro'...page 48. Although the inlay design is not common (clouds) the design is on a couple of tsuba from c1600 (I think). But the condition of the plate makes me wonder. It is in very good smooth condition with (to me) a nice color, the 8 cut out apertures plus the anas are clean and fresh to my eyes. Does anyone think that it's condition is due to someone's rejuvenating efforts. I feel it is a relatively old tsuba but 1600s might be stretching it ? I will be interested in any of your comments if you care to offer any? Thank you. Roger j

Is it being picky to point out that Cloisonne enameling involved the creation of a design using raised edges attached by soldering to a metal base- gold, silver, copper or an alloy of these. The solder attaching the design pattern needed a high melting point because the coloured enamel was applied in paste form (water I think) and fired in a kiln to melt the enamel. Different coloured enamels apparently melted at different temperatures so that requiring the hottest was the first fired followed by further firings for those needing less heat. A number of consecutive firings may be needed depending on how many colours were utilized. Champleve enameling is where the design to be used is chiseled or somehow cut out of the metal background and the finished, enameled article is flush with it's background surface. The enameling can be finished off by grinding. I think I have it right and will soon know if not. I have never done enameling but have owned an Indian dagger with excellent champleve enameled scabbard fittings C 1800s, almost certainly made in Lucknow, a well known centre for this work. Also a sword pommel with a champleve enameled finish, almost certainly French from a very long time ago.. Roger 2

From an unlearned bystander- wonderful postings and information. But no longer sure how much my mind can retain these days, unfortunately. Roger j

You did well Jean to detect the incorrect handle wrapping. I have noticed often that you are very perceptive. Roger j

They resemble water buffalo to me- a draught/draft animal used widely in south-east Asia. But in Japan also ? Roger j

For whoever is interested- over Bass Strait from Tasmania into Victoria where we call these aggressive little ants "jump jacks'. Not important I know but their sting seems to itch and hurt for days. To be avoided always and they seem to like attacking in numbers. All country kids know them. Roger j