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Posted
  Ford Hallam said:
Thanks Gents, I appreciate the votes of confidence :D

 

The reason I've asked Roy to clarify his critique is not so much because it might have offended me (it doesn't at all) but because I'm honestly intrigued as how the work is seen by others. On my own forum we deal with critique as a part and parcel of our ongoing discussions, but all critique must be made clear and be well articulated or it's essentially meaningless.

 

As I hope is clear I go to a great deal of trouble in creating my work so when someone makes a comment like Roy did it leaves me a bit bewildered as what they are seeing because I don't see the front as being weaker at all. If what I'm spending countless hours on is not 'understood' then my aesthetic language is either failing or my audience is illiterate. Either way I need to know if I care about how my work is received.

 

What I'm getting at is; was Roy's view actually based on an assessment of the work, which is what implied when he wrote " much better work", or is it really just his personal aesthetic preference being expressed? The distinction is important because one purports to evaluate the work itself while the other tells us about Roy's own aesthetic taste. Both equally valid views but both very different things.

 

 

 

Yes did briefly drop by but was on the way out for the day with she who rules.

"Better" was the wrong term as it was meant along the line of better for me. I Like the Tsuba a great deal and I suppose the thoughts were based on two basic things,my love of Kinko Tsuba and that in turn drew me to the subtle work on the reverse which to me is quite a beautiful & tranquil scene while the other is very much more "In your face".

As you should know I have allways admired your work and was rather sad when I had to part with the full set of kosherei you produced for me way back when you were young and had hair 8) .

 

As to the polisher & I chatting regularly re your progress since we first met,treat that as you will,we have both enjoyed your success and as soon as the lottery comes good, could well be great customers.......well a couple of pints and some chewing whiskey.

 

Regards

 

Roy

Posted

HI Ford

 

I think Brians reply is spot on , and the Tsuba for me has the "WOW "factor, lets hope the judges see it the same way,

 

All the best :clap: :clap:

 

Ray

Posted

Hi Roy,

 

ok, glad we cleared that up...you had me puzzled for a while ;)

 

I'll keep my fingers crossed for that lottery win for you but if you think I was an awkward bugger to commission last time I think it only fair to warn you that nowadays I tend to only listen to my own opinions :D

 

And thanks for the kind words on the tsuba itself. I hope now that the 2 sides are shown together as one composition it makes more sense in aesthetic terms.

 

Thanks Gents, for the other generous comments, I really do need to tighten my 'shinobi-no-O' 8)

 

Lorenzo, Kevin did the photoshop work for me...I'll stick to what I know ;)

Posted

Cross fingers :) Anyway, it is one of your best ones (I loved your last year butterfly tsuba).

 

I have a question:

 

what is your relationship/link with your sensei/teacher once you have ended your aprenticeship?

Does he still help, give hints or are you totally on your own, only referring to him by courtesy?

Posted
  Jean said:
Cross fingers :) Anyway, it is one of your best ones (I loved your last year butterfly tsuba).

 

I have a question:

 

what is your relationship/link with your sensei/teacher once you have ended your aprenticeship?

Does he still help, give hints or are you totally on your own, only referring to him by courtesy?

 

 

No,he is old enough now to pursue his career without me.... :badgrin:

 

Roy

Posted

:laughabove: ... :D

 

Jean,

 

I've always been quite independent but my relationship with my teacher is very close so it's only natural for me defer to him always. Having said that Izumi Sensei has never imposed his own ideas on how I've chosen to approach my work and in fact now we share ideas and techniques back and forth. If I need to ask him something he always offers what he can. It's very much like a father/son relationship in that, although I am on my own and have my own family and career to tend to, my behaviour towards him is governed by respect, courtesy and affection. I think he feels the same way as he has named me his successor and has left me his tools in his will. So the bond is permanent. :)

Posted

I think the workmanship of the tsuba is beyond critique and wonderfully executed. Personally, my only reservations are with the composition. To me, the plugged hitsuana in gold competes too much with the reflection of the moon and causes confusion. I also get a "not quite complete" feeling when looking at the river scene. Again, to me, it seems like something is missing above- too much open space....Perhaps a few lines to hint at clouds and a slightly occluded reflection below????? Maybe a shakudo plug instead of gold....

 

Again, these are only my personal aesthetic impressions and I wish Ford all the best in the competition....

Posted

In my opinion Ford is well above level. He went so far and he is unreachable now. Show me a single work of a living contemporary artist who can compete with him and I'll apologize.

 

Having said that, I remember about mukansa and I'd like to ask a question about something not clear; who is declaring mukansa and ningen kokuho as for today?

 

I am sorry for hijacking your thread Ford.

Posted

Have you seen the rest of the entries and prize winners? Not to diminish Ford's significant talents and accomplishments, but there are other talented craftsman in Japan who do quite well....

 

The NBTHK declares mukansa status as it is only for their competitions. The Japanese government chooses Ningen Kokuho....

Posted

everyone is entitled to their opinion.... :beer:

 

Not wanting to further derail Ford's thread, I will post a few photos of modern tsuba in another thread to provide the readership some examples of what I referred to....may be a few days as I am about to leave on a trout fishing trip.....

Posted

Personally, I think the back side of Ford's tsuba is brilliant.

 

My favorite part of the whole tsuba is the subtle carving of water current around the inlaid moon. It draws your attention to that spot, and everything else is just candy. Flawless!

 

The inlaid, and then carved branches, and pine needles is flawless as well.

 

Plus, it looks to be homemade iron.

 

Simple elegance.

Posted

Thanks Gents, glad you enjoyed the piece. :)

 

Chris,

  Quote
I also get a "not quite complete" feeling when looking at the river scene. Again, to me, it seems like something is missing above- too much open space....

 

I assume you're familiar with the Japanese word mikansei, incompleteness. Within the context of Japanese art this is frequently used to elicit certain feeling and emotions.

What you were feeling might be called shibui, it's quite a major aspect of more sophisticated Japanese art. :dunno:

post-229-14196830715098_thumb.jpg

post-229-14196830724907_thumb.jpg.jpg]

 

The hitsu-ana plugs are actually silver with a light touch of gilt. The silver has been treated to develop an aged patina fairly quickly. What I had in mind was old fabric or paper. I considered shakudo but felt it was too obvious and didn't say anything. The entire piece is hinting at aspects of Heian period poetry and sensibilities.

 

Hope that helps illuminate the work.

 

regards,

 

Ford

Posted

Yes, I am familiar with those concepts....not quite what I am getting but appreciate the explanation...

 

Best of luck at the competition...

Posted

I think that there's something else being overlooked when viewing this tsuba as it is shown. I always conceive of my pieces bearing in mind how they would appear and 'work' when mounted. I suppose I take for granted the 'non-space' of the seppa-dai area and the effect of the tsuka on the overall effect.

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