A modest proposal

[Ford Hallam]

This is an idea that's been rumbling around in my mind for a while now so after a brief chat with Brian to get his approval to discuss it here I'd like to offer a modest proposal for your consideration.

 

I find that I'm spending quite a bit of time each week, apart for my interaction on this forum and my own, responding to various private enquiries regarding technique, questions over authenticity and the rest. I've always made it clear that I'm more than happy to help where I can but as you know this is what I do for a living. I don't have a "day job". So....

 

Here's what I'm thinking. I'm considering setting up a blog, available through subscription, that would offer my opinions and reviews of the best items available on-line. I'm obviously only talking of tosogu and will not be pointing out fakes nor "lesser items". I'd propose doing a daily scan of the major on-line sites and selecting those pieces I regard as being good examples etc.

 

I'd attempt to describe why the pieces are good examples and what it is about them that is of note and worth appreciation.

There will be no bad reviews as I will only select good stuff to discuss. I imagine the vendors will only benefit and as I have no personal investment in any dealership I would like to think you would trust my integrity. Well, you should know me by now, I never say anything just to be nice :D

 

Of course I'm only offering my opinions here. I'll attempt to keep personal taste in check and focus on quality of technique, the artistry and design aspects and condition. With regard to authenticity of mei I will not make any claims in that regard other than to allow the work to speak for itself.

 

I'd need a reasonable number of members to subscribe to make it a viable part of my daily work schedule. I'm thinking around $5 a month (or $50 a year) through paypal. In return I'd discuss at least one item a day, an average of 30 pieces a month. I reckon I need about 100 signed up members to make it work so, "wadda ya think?"

 

regards,

ford

[moss]

Ford,

 

Great idea!

Sign me up for a year.

Send me an invoice when you are ready to go.

For sure a proactive method to help sort the sheep from the goats

 

Cheers

 

Moss

[Jean]

me too Ford

[Lee Bray]

Honestly?

Great idea but I think you'll be pulling your hair out after 2 weeks and you'll be sick of discussing tosugu.

One item a day involving your time to study, type your opinion and discuss is going to be excessive.

 

I'd say if the private discussions are getting to the point where you're considering this, it maybe better to try and scale that back somehow.

Easier said than done, I imagine.

 

Perhaps my opinion is based on a lack of self discipline - I know I couldn't look at and discuss anything once a day indefinitely and I know I'd regret making that commitment.

[Stephen]

How about once a week?

[Ford Hallam]

boy...I try to give you guys a great deal and you're bargaining down what's on offer....not the subscription. You've all been watching Monty Python

 

I take your points though chaps. I don't intend to do any real research....just my impressions of what's out there, as if I was making up a collection myself. A bit like book or film revirews. It doesn't have to be literally everyday, 2 or 3 at a time a day free in between etc. The great thing with a blog, though, is the posts can be done in advance and timed to publish at intervals.

 

I'm thinking of actually just starting it anyway, letting anyone one who may be interested to get a feel for the concept and then...when you're all addicted, close the door and demand entry fees.

 

On a serious note though, I need to continue doing the work I do in making new tosogu, continuing my own research into the technical aspects and work on the seminal technical manual on the kinko tradition. A subscription "service" like this allows for me to subsidise all my other activities, I see it as part of my business.

 

You'd all be supporting a worthy cause, you get to see all the pics of the finished work and the steps along the way too. I could do with a better camera btw

Hey Lee, I spend most days discussing tosogu anyway...and when I'm not I'm making the stuff

[mdiddy]

I would be interested. Would we be able to post follow-up informational questions? By informational, I mean not argumentative, provocative, trolling-type, etc...

[Curgan]

Count me in as well.

 

Just doing the maths. 365 pieces "reviewed" by *the* Ford Hallam for 50USD? It comes cheaper than most books...

 

BTW will you discuss the items as well?

[Ford Hallam]

Thanks Gents,

for the, mostly, positive response.

 

To be frank I'm not too keen to engage in any protracted discussions after each review. As I'm sure you'll agree, no-one could keep up that sort of input....I'd be exhausted as there's only one of me and hundreds of you. :D I have considered a mini-forum though where some limited discussion and Q&A might be held. To be frank it all depends on how many subscribers I have. 100 members and I can devote an hour a day.The review would look at and describe the workmanship, the materials and technique. I'll discuss the design and actual artistry. I'll also attempt, where possible to provide any other interesting or useful snippets. The point being to look closely at specific pieces and try to better appreciate and understand them.

 

I should clarify one objective I did have in mind and which a private email touched on as being very significant.

 

What I'm proposing is not in any way a way of avoiding your own study but perhaps, instead, a poor substitute for the classical approach to teaching. I wouldn't be so presumptuous to suggest I was anyone's Sensei (unless they're in my studio under my thumb ) but I do believe I may be able, through an ongoing conversation centred on decent examples, to introduce and elaborate on the more subtle and sophisticated aspects of tsuba connoisseurship.

 

I'm specifically concerned that there are no printed sources that discuss the real art that this subject is supposed to be about. It's all good and well to be told you should go and look at lots of examples, especially at shows were you can handle the pieces. My problem with this is you will never get an unbiased opinion where there are vested interests involved.

Similarly, in museums too, who's there to tell you what's good and why? Even among work bearing the mei of the same artist there are varying degrees of quality.

 

One further point I must raise concerns cost. You've heard it said loads of times "you get what you pay for". In general this is perfectly true and it's probably also true to say (as I've heard many times at the DTI) the serious stuff starts at around half a million Yen. However, there are still a lot of very decent pieces out there in the $800 to $2000 range. The trick is to recognise the qualities that make certain pieces so much better than others. I doubt I'll be trawling ebay nor trying to find bargains for $200 but I am mindful of the fact that funds are always restricted so while I will occasionally introduce the odd mitokoromono by Ishiguro Koreyoshi for 7 million Yen I'll keep it real

 

I don't think many readers will be rushing off at each tip off to buy my recommendations at all. Rather, I'd like to think the slow exposure to and discussion of decent pieces will gradually lead to a better appreciation. The archive of posts will also build up to form a reference database that may well prove to be useful in later studies. Each post will be labelled in such a way that specific types of technique, school or style can be searched for later.

fh

[chuck]

I'm in. Let me know when this gets up and running.

 

peace.

[Gilles]

Dear Ford,

 

Count me in, that is a great idea.

[Kevin Adams]

This is a great idea - count me in too!

[hybridfiat]

Ill be in that. :D

[b.hennick]

Hi Ford:

I look forward to seeing this in action. I am in for a year's subscription. I hope that you intend to include one or more images of the piece being discussed. It would make for a great printout. Perhaps after the first year you could turn this in to a book.

[Marius]

Count me as a subscriber, too :-)

[Stephen]

and you're bargaining down what's on offer

 

not really mate thinking about your gray hair and if youll have any left. Ill try to help in the $ but times are hard at the moment.

[Ford Hallam]

Yes, I would use at least one image for each piece discussed.

 

I'm just preparing an email to all online dealers to see if anyone wishes to be excluded. I'd hope everyone sees this as a purely positive thing and that I'll not be commenting on anything I feel may warrant a negative critique...if you know what I mean. that should keep everyone happy.

 

Judging by the response I'd better get to work.

 

Thanks all,

 

ford

[Pete Klein]

...and the Iemoto system lives on........... (lol - somewhat tongue in cheek here)

[Ford Hallam]

Hey Pete,

 

you didn't think I came up with all this on my own did you

[yogoro]

Great idea !

Count me in too , one year , please !

[Pete Klein]

ROFLMAO!

[Jean]

Rather, I'd like to think the slow exposure to and discussion of decent pieces will gradually lead to a better appreciation

 

That's all I seek. What I need is methodology. Perhaps is it difficult to summarize the characteristics of a school, but for me and my way of thinking I have not yet found some satisfying way to study this art or rather an introducing way to this art unlike Nihonto.

 

Just to make Reinhard laugh, I understand better Nihonto than Kodogu/Tosogu :lol: :lol:

 

I have average nice Tosogu but I collect and buy when I have funds things I like without any educational background but just because I like them.

 

I'll be delighted to have my small collection discuted piece by piece in this forum

[Lee Bray]

Hey Lee, I spend most days discussing tosogu anyway...and when I'm not I'm making the stuff

 

Hi Ford,

That's at the root of my worry - you're an artist and should be making the stuff, not talking about it.

(Please don't read that as me telling you what to do.)

 

I did say it's a great idea but I still think you're going to have to become a robot to cope with the routine.

It's one thing to do something for love on a daily basis; it's quite another to do it for money.

 

I think my recent actions have proved my respect for you and your work and I would certainly pay to hear your thoughts on tosugu on a daily basis, I just think making a job out of it will affect you.

 

Perhaps consider alternative payment methods. I would subscribe but I don't use paypal and TT charges will be more than the subscribtion cost.

[peterqu]

Hi Ford, Count me in . Regards, Peter Quin

[christianmalterre]

Dear Ford,

 

so do i understand you right that you plan an similar blog like the one (for example) from Richard?

Me personally I do not see much sense for this idea as those certain enthousiasts for Tosogo do already know where to meet and those seriously interested in Tosogu will certainly have best chances to get required information.

So what shall an additional blog have for intention than the already known blogs which exist?

(Please take this question as an simple question i do have-any critisism is definitely not intended and in sum i have nothing at all against any quality-blogs increasing collectors knowledge and open contacts to other collectors.

 

Christian

[Carlo Giuseppe Tacchini]

Ford, guess somebody has to ask this as it can be a concern for more than a few :

 

would this blog mean you'll have a diminished presence on NMB Tosogu sub-forum ?

[Stone]

Hi Ford,

Count me in P.M Me and I will send you the cash, as it is easier for me.

Tony,

[Ford Hallam]

Hiya Steven,

 

what grey hair? ...it's practically all gone already :? I appreciate the concern though. Cheers.

 

Hi Peter ,

 

thanks for the support

 

Hello Christian,

 

I think that if you read my previous posts you may get an idea of what I'm proposing. I don't believe this sort of information is available anywhere at present. The first stage of connoisseurship deals with the labels, ie; school. period, artists etc. I intend to deal with the second stage. The appreciation of these objects as real art. I'll note the schools and artists but mainly as a way of creating some context.

 

Hi Carlo,

 

I appreciate your concern about me not being quite as available here if this idea of mine takes off, I didn't know you cared so much ...I'm trying to work out some sort of concept that may satisfy everyone, allow a degree of discussion and also allow me to continue with a life of my own and to do my own work :D

 

I've just had a bit of a brainstorm with one of my friends here and we may have a workable model. I'll do a bit of research and post some details this week.

 

Hello Tony,

 

thanks for your support also, we'll sort something out

 

Thanks again everyone for the huge show of encouragement. If this get off the ground I believe I may be able to bring quite a lot more to the format than I've already mentioned.

 

best regards,

 

ford

[christianmalterre]

Dear Ford,

 

thank you for this better info!

 

Yes,now i see in which direction you are heading-you wrote:The appreciation of these objects as real art. I'll note the schools and artists but mainly as a way of creating some context.

As i think you will due the fact you did and still do research on the "Kinko direction"-will mainly focus on this sort of metalwork,material,technique,stylism and influence-Not?

I can imagine-as this is your´s focus also seen in your´s art works.

In this case this idea you have is definitely formidable as so far as i can consider your´s intention would be in every point of view an augmention.

This is very good.

 

In point of appreciation of "these objects" as real art i have to disagree a bit with your´s definition per se as as far as i do see mine very personal enthousiasm and also the "way" and "intersts" of collections from other collectors i think this is already fact and very well known since at least the beginnings of last century already.

I do know Tosogu which is definitely in very same if not higher esteem in comparence to Nihon-To for art enthousiasts all over the world(not forcefully only Nihonto-and-related)but also art collectors in paintings,porcelain or furniture for example.

Simply fact is that those "expressions" can be seen elsewhere,too-and so it´s very easy to appreciate even for "foreign art"-collectors.

For creating an context you will have to go very deeply in each of the traditions first and later have to show the influences and effects they did create in their´s each proper time and intension.

Here you will forcefully enter in an Sozio-Cultural-Aspect which(i just do allow me to say this)will definitely be very if not extremely hard to grap.

You will have an enormous work in progress if you intend to stay and show neutral viewpoint.

Very interesting at all!

Let me know.....

 

Very sincerely

 

Christian

[Ford Hallam]

I've just done a sample review on my blog which can be found here.

 

It's scheduled to be published at 7am ( my time, Central African Time) tomorrow morning, 8 June.

 

I'll be doing a few more this week to see how it might work. Feedback welcome.

 

regards,

 

ford