Hizen-to
Hizen-toMany members of the BKA, including most of the most senior Yudansha, were instructed in both Kendo and Iaido by Fuji Sensei. Fuji Okimitsu Sensei, whose BKA number was No. 1, hailed from Saga City the capital of Saga-ken in northern Kyushu and his Dojo there was called Kenseikai. Over the years Fuji Sensei arranged for several students to have extended stays in Saga, where they practised at Kenseikai. Whilst in the UK, Fuji Sensei named several of the Dojo that he founded throughout the country by the same name, hence there are a number of Kenseikai Dojo now practising both Kendo and Iaido. I, myself, practised at Kenseikai Dojo in Japan on a brief visit to Saga some years ago.
In the Tokugawa period, Saga was the capital of Hizen province and ruled over by the powerful Tozama Daimyo family, the Nabeshima. It is their heraldic crest or Mon, which is the crest appearing on Kenseikai Tenugui and Do. The Nabeshima clan were very powerful and rich, their wealth being based on several thriving industries, including the famous Nabeshima pottery which is much sought after today. However, arguably of more interest, was their highly successful manufacture and export of swords.
These swords are of excellent quality in both artistic and practical terms. They are also well documented in Japanese books and because of their prolific production, there have been a reasonable number obtainable in the West without the necessity of re-mortgaging one's domicile.
It will be readily understood then, that the mixture of an albeit tenuous connection with Saga through Fuji Sensei and my Kendo Dojo, the availability of plenty of research material, the possibility of obtaining examples and the intrinsic quality of these pieces, the collecting of swords from Hizen province is a heady potion! For these reasons, my personal sword collecting has concentrated on swords from Hizen province, popularly known as Hizen-to.
At the beginning of the Tokugawa period (the Keicho period, 1596-1624), the Nabeshima Daimyo retained a swordsmith named Hashimoto Shinsaemon who adopted the professional name of Tadayoshi. The young Tadayoshi, who was from samurai lineage, had been orphaned as a child and brought up by his grandfather who himself was killed in battle. Before setting up his forge in Saga for the Lord Nabeshima, Tadayoshi had previously studied under a great teacher in Kyoto named Umetada Mioju, who was a genius metal worker making superb Tsuba as well as making blades with highly artistic carvings (Horimono) on them.
This was a time of renaissance in the history of the Japanese sword. It was the end of the Sengoku Jidai (period of the country at war) and the beginning of the Keicho period (1594) is recognised as the start of the so-called Shinto (New Sword) period of Japanese sword manufacture. It was not now necessary for swordsmiths to turn out large numbers of simply practical swords, as was required during the Sengoku Jidai, and now they could take more time to produce better quality blades emphasising the more artistic properties of the Japanese sword. Tadayoshi produced many fine swords many of which were carved with elaborate Horimono executed by a fellow student of Umetada Myoju, named Munenaga.
Tadayoshi attracted many students and swords made by the Tadayoshi school were exported by the Nabeshima clan all over Japan. The definitive Hizen-to may be described as having a strong Sugata (form or shape) with a skilfully controlled Suguha Hamon (straight quench-line) which is comprised of fine Nie (crystallised martensite) and which ends in a Ko-maru Boshi (small circular quenching pattern in the point). Further, Nie are sprinkled all over the Jihada (surface) producing a unique surface pattern known as Konuka-hada. Such swords had a reputation for being Saijo Wazamono (supremely sharp) as well as being things of great beauty and as such brought much credit to both Tadayoshi and the Nabeshima Daimyo.
In addition to the main Tadayoshi line, of which there were nine continuous generations, collateral family lines such as Masahiro, Yukihiro and Tadakuni were prolific, all working in and around Saga for both the Nabeshima clan and their relatives. By the middle of the 17th century, the reputation of swords from Hizen province was well respected throughout Japan and their export contributed greatly to the prosperity of the Nabeshima Han. Unfortunately, this fame led to many forgeries, the majority of which are in the Tadayoshi Goji Mei (Tadayoshi's 5 character signature) of HIZEN (no) KUNI TADAYOSHI.
Tadayoshi signed his work in many different ways throughout his career, but the above Goji Mei is probably the most commonly used. This form of signature was also used by the succeeding generations (except for the 2nd generation who never adopted the Tadayoshi name and was called Tadahiro). When Tadayoshi retired as the head of the family, he was granted the title MUSASHI DAIJO and he changed his name to Tadahiro.
The 2nd generation, who lived to be over 80 years old, produced many swords throughout his lifetime. As previously stated, his name was Tadahiro, and he is credited with perfecting the classical Hizen-to in terms of Suguha Hamon and Konuka-hada. This is almost perfection in the Japanese sword, being strong in shape and forging, clean and effective in the Hamon and presenting a work of art, which has great practical potential. Whilst the first generation Tadayoshi experimented with several different old styles, swords such as the above by Tadahiro were greatly inspired by the Yamashiro tradition of the Kamakura period, especially the Rai group of swordsmiths.
Several of the collateral lines, whilst often producing blades with Suguha Hamon (which incidentally is considered more effective when cutting) were also skilled at other styles, particularly Bizen-den. Indeed the Choji (clove shaped) Hamon that is characteristic of Bizen swords was adapted and slightly altered by Hizen swordsmiths. This difference is readily discernible to the practiced eye. The line of smiths named Yukihiro acknowledged this Bizen influence by including the character ICHI in the inscriptions on their Nakago. This stood for ICHIMONJI (number one) which the Yukihiro's sometimes also spelt out in their inscriptions.
Nagasaki is within Hizen province and this was the centre of foreign influence throughout the Tokugawa period when the rest of the country was closed to foreigners. Through Nagasaki, it appears that some import of foreign iron took place and was used by some of the swordsmiths. This may be seen by inscriptions on Nakago such as Orande Tetsu Saku (made with Dutch iron). It is also known that the 8th generation Tadayoshi (who died in 1853 and who is rated as the 3rd most skilful Tadayoshi) experimented with foreign iron in sword manufacture and cannon production for coastal defences.
Although Hizen-to were produced for over 260 years (from 1594 to 1870-ish) unlike many sword production centres over this period Hizen-to, comparatively speaking, maintained a very high standard and tended not to be affected by the passing fashions of the time but rather maintained their integrity. Of course, there were certain generations and individuals who were not as good as others, it would be impossible for all to be great artists, but generally speaking a samurai could feel confident with a Hizen-to in his Obi.
Clive
Sinclaire,
To-Ken Society of Great Britain
Reprinted with permission from the British Kendo Assoc.
Brief
History of Modern Japanese Swords.On the 6th August 1945, the day of the black rain and the atomic bombing of Hiroshima, the Japanese sword finally lost all claims to being a decisive weapon of war. A long and glorious history of sword making for practical use on the battlefield, ended in a mushroom cloud. After the Japanese surrender, a ban on sword production was strictly enforced by the occupying forces and Japanese swords were systematically hunted down and destroyed.
Similarly, it was thought that the Hito-rei edict of 1876 (banning the wearing of the Japanese sword by the Samurai) if less dramatically and cruelly, would also effectively finish the manufacturing of the traditional Japanese sword. However, the Japanese sword, in its ever evolving styles, has proved durable in the face of both interfering bureaucracy and thermo-nuclear fission.
Japanese swords of the 20th century have indeed had a chequered history. In the very early years very few swordsmiths could earn a living exclusively forging blades, and the few that did usually made copies of Koto (old swords) for the collectors of the time. Although the Emperor Meiji was a patron of the sword and appointed Gassan Sadakazu (the 1st generation) and Miyamoto Kanenori to the status of 'Teishitsu Gigei' (the equivalent of today's Ningen Kokuho - Living National Treasure) few orders for swords were made until the militarists began to take hold of Japan in the Taisho and Showa period. It was then that the Gunto (army sword) whose dimensions were generally regulated to about 2 Shaku 2 Sun, was popularised. The swords of the Nihon To Tanren Kai of the Yasukuni Shrine in Tokyo, together with the swords of the Denshusho and those of Horii Toshihide of Muroran, are among the best and most representative of the pre-Pacific War Showa period i.e. 1926-41. Such traditionally forged and water quenched blades are known as Gendai-to (modern swords).
Also in this period and throughout the Pacific War, poor quality swords were mass-produced as weapons for the Imperial Japanese Army and Navy. All officers were required to carry a sword as part of their uniform and to inspire them with a sense of Bushido, but as always in Japanese history, when there had been a massive demand for swords, quality was the first casualty. These swords were often made by hastily recruited blacksmiths who had but a rudimentary knowledge of sword making and who appeared "like the sprouting of bamboo shoots after the rain". Unlike the previously mentioned Gendai-to, such swords have little or no artistic merit. They often carry a stamp with the kanji 'SHO', from Showa, or the kanji 'SEKI' after one of the main production centres. The significance of these stamps seem to be the object of much interest and interminable discussion amongst some Western collectors. Such blades are usually signed in a very loose and unattractive manner and the nakago are generally poorly finished.
On these blades a hamon (hardened edge) may seem to be present. However, on Showa-to it is produced by quenching the blade in oil rather than in the traditional manner, which is in water. The use of oil means that the quenching process may be carried out at a much lower temperature, thus avoiding the risk of flaws such as hagiri (edge cracks) appearing (or, indeed of nie appearing!). The 'hamon' thus produced is not a true or real hamon but only an imitation. With the lack of proper materials and short cuts in the forging process, it is difficult to call these blades, known as Showa-to, true Japanese swords. Such swords are often collected by those whose interest lies in Japanese militaria and the military history of this period.
When the occupying forces came to the Japanese homeland in 1945, the making of Japanese swords as well as the practice of the martial arts was banned in order to democratise Japan and remove the militaristic influences of the recent past. Many outstanding and important swords were either looted by the occupation forces or destroyed at this time. No distinction between those swords with artistic and historical merit and Showa-to were made and so valuable and historic swords were lost forever by ignorance.
It was not until several years later (1949) that there was any easing of this ban. The occasion was a special dedication to the Ise Grand Shrine which takes place every twenty five years and had done so for the preceding one thousand years. For this ceremony about sixty swords by selected smiths were required to be made and permission was granted for this to be done. These swords were not the normal curved sword but of the ancient style known as Kiriha-zukuri Chokuto and some measured from 80 to 96 centimetres in length. It was, of course, a great honour for the swordsmiths who were allowed to resume their craft for this special occasion. They included Miyaguchi Toshihiro, Takahashi Sadatsugu and Miyari Akihira (the latter two were subsequently made 'Living National Treasures') as well as Ishi Akifusa, Nigara Kunitoshi, Endo Mitsuiki and Sakai Shigemasa. Sato Kanzan Sensei stated that the 1949 ceremony was the first important stimulus given to the swordsmiths of Japan in the post-war period.
In 1953, a new law allowed the resumption of sword making and the Nihon Bijutsu Token Hozon Kyokai (The Japanese Art Sword Preservation Society - known as the NBTHK) was formed in 1960. The crisis had passed and the Japanese sword was saved from complete destruction. Today the NBTHK does much important work, which includes the operation of a smelter, or tatara that produces the raw material (called tamahagane) for forging a sword, the running of the Japanese Sword Museum in Tokyo and the organising of the various artisan's annual competitions. It is also considered that another important function of the NBTHK is to foster communication between various artisans of the Japanese sword. This is quite different from earlier times when schools of swordsmiths jealously guarded their manufacturing secrets, but after World War II virtually an entire generation of swordsmiths was lost and the survivors had to communicate with each other in order for the arts to survive. In Showa 30th year (1955) the first post-war competition and exhibition of Shinsaku-to was held. Apparently the quality of pieces submitted was, understandably, not particularly good at this time.
The annual contest that is organised by the NBTHK covers many aspects of the arts of the Japanese sword, including sword making, blade polishing, scabbard making and metalworking. These competitions as well as giving swordsmiths something to strive for, serve to give the Japanese collector or customer for a sword, the confidence of having instant provenance from a recognised and successful artist. This is somewhat different to Western appreciation, where we tend to like an object more for its own sake rather than mainly because the creator has a certain placing in a competition. I think we are more prepared to back our own opinion, with less reliance being placed on certification, as regards style, quality and authentication of a blade, than are many of the Japanese 'investors' in Japanese swords.
When blades are entered for the annual competition they are all ranked from the top to the bottom. This ranking is very important as it gives relative values to each smith's work for the next year. When a swordsmith has consistently ranked in the top few, he is awarded the rank of 'Mukansa'. This means that a Mukansa's work, although entered into the competition is not subject to being judged. Above the rank of Mukansa is the rank of Ningen Kokuho (Living National Treasure). Currently two swordsmiths who were previously Mukansa hold this rank, Gassan Sadakazu and Sumitani Masamine (examples of the latter's work and several Mukansa swordsmiths are in the present exhibition).
As previously stated, now that the nuclear age had dawned, the Japanese sword had lost all its reason as a weapon of war. Consequently its artistic rather than practical properties, which had always been appreciated by the knowledgeable and educated Japanese, now began to be even more emphasised. However, most of the properties of a good sword may be traced back to the sword's traditional role as a weapon. A sword must be of good shape and balance, be made of good steel, have flexibility and a sharp edge, as well as being attractive to look at in detail. The annual competitions, as well as shows put on by various commercial and retail outlets, such as Ohnishi Token, have helped to greatly improve the standard of Shinsaku-to since 1954.
Swordsmiths are licensed by the government and allowed to make no more than two long swords per month. This number was arrived at by observing the swordsmith Akihira Miyari who apparently was a slow and methodical worker who would only produce two good swords per month. Many swordsmiths and artisans that I have spoken to believe that this is a very low figure and many present day swordsmiths would be quite capable of producing more than two swords per month. This rule is also designed to prevent the manufacture of cheap weapons with no artistic value. The rules, which are still in effect are:
1 ) Only a licensed swordsmith can produce a Japanese sword (any cutting instrument with a blade over 6 inches, a hamon, and a rivet hole in the tang. Edged weapons less that 6 inches in length and lacking a rivet hole are considered knives, or ko-gatana, and are not subject to regulation). A licence may be obtained only by serving an apprenticeship under a licensed swordsmith for a minimum of five years.
2) A licensed swordsmith may produce a maximum of two long swords (over 2 feet) or three short swords (under 2 feet) per month.
3) All swords must be registered with the Agency of Cultural Affairs.
Today, most newly made swords (Shinaskuto) are sent straight to the polisher, habaki maker and shira-saya maker, although some are mounted in modern koshirae. Many swords are now made in the Bizen style which is popular with the Japanese collectors. Members will remember seeing Sumitani Masamine's Ichimonji-utsushi in London a couple of years ago. This sword had a very flamboyant choji midare hamon in the style of the Kamakura period Fukuoka Ichimonji school and it may be that this 'National Treasure' swordsmith's skill in Bizen Den has influenced many other younger swordsmiths. When looking at such swords we may search for and sometimes actually see utsuri. It seems that in the challenge to equal the swords of bygone days, the quest to reproduce utsuri is very important. Although a kind of utsuri may sometimes be found, to me this resembles the shirake utsuri of Muromachi period Kaga or Sue Seki blades and I have not seen a convincing Bizen midare utsuri, for instance. There is much work still to be done!
This post war period has been compared to the renaissance of Japanese swords that heralded the advent of the Shinshinto period in the late 18th century. There are I guess, some valid comparisons. Both periods followed a decline in Japanese sword production and both periods seek to recapture past glorious ages of the Japanese sword as well as innovating great changes in production methods. I think the current changes in sword making are at least as drastic as these earlier changes and possibly more significant. I hope they will not be accompanied by the same eventual decline and that today's artists manage to train sufficiently skilful students who are able to preserve and continue the arts.
I believe that the Japanese sword establishment is still a very conservative body. I think that many of the older generation believe it is impossible for foreigners to really appreciate the Japanese sword, as it is a peculiarly Japanese cultural asset. When I started collecting swords in the mid 1960's very little information was available to non-Japanese reading foreigners. There was also a feeling that those few who had any knowledge would jealously guard it and not pass it on. I have never been sure of whether this was because they were never really sure of their facts and did not wish to tee 'exposed', or whether it was considered commercially sensitive information. Either way, it was an unhealthy and secretive attitude that pervaded.
Fortunately today, within the younger generation of sword people from Japan, many of whom have travelled abroad and been exposed to Western collectors, there is a far less conservative attitude, as well as a great deal of information available through useful and informative translations. The present exhibition is an example of genuine Japanese friends co-operating with foreigners to bring the beauty of the Japanese sword to a wider audience.
I wonder how Western interest in Japanese swords may eventually effect their production. At least one Westerner has already become a qualified swordsmith after a Japanese apprenticeship and I am sure that it cannot be too long before some Gaikokujin is entering the annual sword-making competitions. A foreigner who becomes a Mukansa swordsmith is no more far fetched than one becoming a Yokozuna in another very conservative and traditional Japanese area - Sumo. It would certainly be most interesting to be around in 100 years time to see how today's Shinsaku-to are regarded and the place they have found within the global history of the Japanese sword.
I personally find it amazing that the Japanese sword provides such inspiration to so many non-Japanese. Apart from those collectors and students of the Japanese sword in Japan, I believe there must now be thousands outside of the country. When it is considered that nowadays as well as non-Japanese collectors there are English artisans submitting tsuba to the annual competitions in Japan, that there are thriving polishing businesses both in Europe and USA, that expert lacquer work may also be done in Europe, as well as Habaki making, shirasaya making and tsukamaki and not to mention the number of sword dealers and Kendo/Iai dojo that abound, the amount of people involved with the Japanese sword is staggering. It is a truly amazing thing and I know of no art form that is also an effective and awesome weapon, that transcends so many cultural barriers and effects so many different people in this manner, providing them with such sustained personal motivation.
Finally, a word about so-called Shin-ken. These are the modern swords that are made for lai practice and are sold complete with koshirae. As I have pointed out above, a swordsmith must be registered and is only allowed to make two swords per month. Such a limited production level means that blades by the top swordsmiths (Mukansa level and above) are in limited supply and high demand and consequently very expensive, easily costing in excess of œ 20,000 for a blade (koshirae extra). Of the few Shinken that I have seen, most are not particularly attractive from a visual point of view as they tend to be crudely forged by semi-professionals or amateurs. They have poor ji-hada and the nie (martinsite crystals which make up the hamon) are coarse, dark and untidy and often the configuration of the hamon lacks form and control, whilst any activities seem to be unnatural or forced. The koshirae have poor quality metal mounts and often cheap cast tsuba, whilst the saya are seldom properly lacquered. Having said that, they are perfectly adequate for the purpose for which they were bought, but it would be unwise to consider them as art swords. In Iai-do, with the blade being constantly handled and at risk from damage, there is no requirement to have a good and expensive blade, but I would have my doubts for their survival should any actual cutting be attempted. Please remember that in the international Japanese sword market, œ3,000 - œ4,000 is a cheap price (although a lot of money for us mere mortals) to pay for a fully mounted katana with a modern forged blade and you can only expect to get what you pay for.
(This essay was originally written as part of the To-ken Society of Great Britain's 'Challenge of Shinsaku-to Exhibition and Token Taikai '93' catalogue. It was adapted for the B.K.A. News in Sept. '95.)
Clive
Sinclaire
Secretary, The To-Ken Society of Great Britain
Reprinted with permission of the British Kendo Assoc.
Concerning
ShinkenFirst let us put the Shinken in perspective within the overall Japanese sword history.
Throughout the centuries that the fully developed Japanese sword has been in existence (about 1,000 years), certain swords have been greatly respected and valued as art objects of inestimable value. Such swords, some of which have been preserved to the present day, are seen by sword people as objects of great beauty whilst still retaining their essential practical properties. In other words, it was always considered that swords were far more than simply objects to separate one's enemy from his head. Today, certain swords that have survived from the Kamakura period (13th century), made by such swordsmiths as Rai Kunimitsu from Kyoto, Saburo Kunimune from Bizen and Ichimonji Yoshifusa from Fukuoka are ranked as "National Treasures" by the Japanese government's Cultural Agency and beyond price. Although the aforementioned are obviously amongst the very best quality blades, there are many others which are also highly rated and as such, great efforts are made to preserve these for the appreciation of future generations. After all, such efforts were made by many generations previously so that these swords are here now for our study and appreciation. It cannot be denied that this artistic side of the Japanese sword has been strongly emphasised since the end of World War 2 for political reasons, but nevertheless it was always part of this peculiarly Japanese cultural asset. Such swords are known as Nihon Token Bijutsu or Japanese swords.
Understandably, swords such as those described above would have been the property of wealthy persons of high rank and not for the lowly Ashiguru or foot soldier. During the Sengoku Jidai (the period of the country at war) throughout most of the 15th and 16th centuries, hundreds of thousands were under arms and sword production was at an all time high. The demand for blades led to swords being made virtually on a production line basis and there were relatively few swords of high artistic quality made at this time. Such blades, known West and although old, have little to recommend them artistically. However, it should be remembered that they were made with purely practical considerations in mind and I doubt if an enemy had too much interest in whether or not he was being slain by a Kazu-uichi-mono or a national treasure blade!
The dawning of the Tokugawa Shogunate in about 1600, relieved swordsmiths of the pressures of producing vast numbers of utilitarian blades and allowed them once again to concentrate on making beautiful swords with ornate hamon and intricate carvings on them and although there were undeniably highs and lows in the art, this basically remained the situation up until the Pacific War period of the Showa era. All officers in the Japanese Imperial Army and Navy were required to carry a Japanese sword as part of their uniform. Some, who were maybe of Samurai stock had old family blades that could be mounted into the Shin-gunto or Kai-gunto standard issue mounting. Others, who might be reasonably affluent might be able to buy a sword from one of the highly talented swordsmiths of the day, but the vast majority would have a machine made blade of very low quality, which are now known as Showa-to, named after the period of manufacture. Maybe 90% of the swords found today in the standard issue military mounting are Showa-to, and they are not considered as desirable or collectable by the serious students of Japanese swords. However, once again they were highly effective from a practical point of view.
Since the end of the war, a new generation of swordsmiths are making swords. Some of these are very fine and the swordsmiths enter competitions to attain high status and the high prices for their work that this status attracts. The top 10 or 12 swordsmiths have the rank of Mukansa which is only exceeded by that of Ningen Kokuho (Living National Treasure) of which there are currently only two. These swordsmiths, who are full time professionals, may expect to sell a blade (without Koshirae) for maybe £ 25 £ 30,000 and they may have anything up to a five year waiting list. There are some 250 swordsmiths active at the moment who are members of the Japanese Swordsmith Association and a few amateurs who work on the outside of the organisation. The work of these swordsmiths are generally known as Shinsaku-to (newly made swords) and they are limited by law to only producing 24 swords a year.
Now to Shinken made for Iaido practice. These swords are not likely to be made by Mukansa swordsmiths unless you are paying well in excess of £ 10,000 for the blade alone, but by the lower ranked or amateurs. Let us remember, in the same way that Kazu-uichi-mono and Showa-to were not made as art swords, neither are Shinken. They are made for practical use, not as Kazu-uichi-mono for the civil wars in Japan, or as in the 2nd World War to boost the sense of Bushido in the Army and Naval Officer corps, but nevertheless for practical use in the Dojo. Therefore, the basis for comparison between modern Shinken and Nihon-to Bijutsu (whether modern or old) is seldom valid. They are not usually the same thing at all. Indeed, it could be argued that they should not be the same thing as it could be detrimental to a fine blade to have it constantly handled as is the case in Iaido. It would be a tragedy, for instance, to have a fine old sword that had been around for a couple of hundred years ruined by having its Kissaki broken, an occurrence I have been told that is not unheard of in even the best of Iaido circles.
To summarise, it is probably not a good idea to ask a Japanese sword collector his opinion on most Shinken. You have bought your Shinken, not for its artistic merits such as Hamon, Jihada, Nie etc., but for other considerations entirely such as balance, weight, length etc., which will not necessarily be appreciated by most collectors. It is also unwise to enquire about prices from sword collectors. They will only tell you what they would pay for it as an art-sword and as we have previously discussed, Shinken are seldom art-swords of great quality. I do appreciate how much Shinken cost to buy and have written several insurance valuations for Iaido practitioners that reflect a replacement value. It is, however, not within my remit to say whether these prices represent good value or not, this can only be determined by the prospective purchaser, his requirements and his personal financial situation, but they should not be under the impression, when buying a new or recently made Shinken, that they are buying good quality Japanese art-swords - it is 'only' a sword for Iaido that is being offered.
I hope this clarifies the position of Shinken made for Iaido, in the context of today's Japanese sword world. This is, of course, my personal interpretation only and the above is guilty of many generalisations and omissions. I would be quite happy to discuss the situation further or to attempt to answer any specific questions.
Clive
Sinclaire
Chairman, Token Society of Great Britain
Reprinted with permission of British Kendo Assoc.
Japanese
Sword MountingsIt has been said that the Japanese sword was the soul of the Samurai. If this is indeed the case then, undeniably, the blade is also the soul of the Japanese sword. All other parts may be considered as secondary to the blade, but on a well mounted sword, the fittings compliment, enhance it and allow the blade to be actually used. A full set of mounts, not including the blade, is known as the Koshirae. The individual constituents of the Koshirae, which include Kodogu (metal mountings) Tsuka and Tsukamaki (hilt and hilt wrap) the Habaki and the lacquering and construction of the Saya (scabbard) are all collaborations between different artist and artisans with their individual specialities, whilst the Katana Kaji (swordsmith) and Togishi (polisher) work on the blade itself. These notes will briefly describe the various types of Koshirae some of which are dictated by the size of the blade.
the Daito may come in a number of different types of Koshirae, regardless of the what type of blade it may be (Tachi or Katana). Of these, probably the most familiar is the Uichigatana or Katana Koshirae. This, if you like, is the definitive "Samurai sword". Usually, the Saya will have no metal mounts but an infinite variety of lacquers may be used to decorate it. The lacquer has the added advantage of being resistant to water or damp and so, as in many Japanese art forms, it has a practical as well as decorative function. The Saya will also have a Kurigata (retaining "hook") on the Omote side (which is sometimes metal) and is worn tucked through the Obi with the cutting edge uppermost, familiar to all practitioners of Iaido. The Koshirae will be complete with a Tsuba and Tsuka which will have Fuchigashira and Menuki, variously decorated.
Unlike the Katana described above. The Tachi was worn with the cutting edge down and was originally an ancient style designed for combat whilst mounted on horseback. The Tachi's Saya will have metal mounts (various rings, a chape and hanging devices) the design or decoration of which, is usually repeated on the Tsuba and Tsuka. Frequently the top 1/ 3rd of the Saya will be wrapped in the same manner as the Tsuka and this Koshirae is known as Ito-maki Tachi Koshirae (thread wrapped). Most extant examples of this style would have been for formal dress during the Edo period but there are 20th century examples around, usually with brass mountings and of lower quality.
A style of Koshirae which is a mixture of both the Uichigatana and Tachi Koshirae, is known as Han-dachi (half Tachi). Very popular during the Bakamatsu (end of the Edo period) this is worn in the style of Katana and not Tachi, but would retain a number of the metal Saya mounts and would also have a Kurigata.
As the name implies (small Katana) this Koshirae differs only from the regular Katana by virtue of its size. Although some are said to have been made for one handed combat (Katate-mono) many were also made for the affluent merchant class who were subject to restrictions on the size of weapons they were allowed to wear. Such swords are often very richly mounted and the Sayas are ornately lacquered reflecting the ostentatious and wealthy nature of their owners, which contrasted to the more subdued (ideally) and restrained taste of the Samurai class.
The Wakizashi was designed as the Shoto that accompanied the Daito in the matched pair of swords known as the Daisho (Daito + Shoto = Daisho). The two blades of a Daisho might occasionally be by the same maker, but the Koshirae would always be an obvious, though not necessarily exact, matched pair. Often Daisho have been split up and it is a collector's dream to reunite the two swords of a Daisho (I have done this). Slots to accommodate the small Ko-gatana (auxiliary knife) or Kogai (a kind of skewer) are often found near the top of the Wakizashi's Saya and, rarely, these may also be found on Katana-koshirae. The Wakizashi koshirae, therefore, is only different to the Katana or Han-dachi Koshirae, by virtue of size.
The Tanto or dagger might be worn as part of a Daisho instead of the Wakizashi, in which case the mounts would be in sympathy with those of the Daito. There are three basic types of Tanto Koshirae which might all contain similar types of blades.
a) Tanto: with a normally formed (but obviously smaller) Tsuba, all the normal Tsuka mounts and a lacquered Saya. They might also accommodate the Kogatana in the same manner as a Wakizashi.
b) Hamidashi Tanto: similar to the above but often slimmer overall and with a Tsuba that has most of one side cut away usually to make room for the top of the Kogatana.
c) Aikuchi Tanto: with no Tsuba at all, the Fuchi is flush with the Koi-guchi and the name means "close fitting mouth". Very often the Tsuka will have no Itomaki (thread wrapping) and the Menuki will be fixed directly onto the Same which covers the Tsuka. This style was originally designed for wearing with armour.
Finally, all lengths of swords might be found in Shira-saya. This is a storage rather than a practical mount and is plain, undecorated wood. In olden days a rich Daimyo or Samurai might have several different sets of Koshirae for one blade and would keep it in a Shira-saya when not being used (the Koshirae would be kept with a wooden blade, known as Tsunagi). The Shira-saya is undecorated except that sometimes an appraiser may brush an attribution onto the Saya.
Nowadays, when a sword is sent off for polishing, it will be returned in Shira-saya and if it has a Koshirae a Tsunagi would be made for it. Sadly, it is not possible in this situation, to return the blade to the Koshirae which may have traces of dirt that will damage the polish. A good Shira-saya also has the advantage of being almost airtight, limiting the blade's exposure to dampness and lowering the risk of it rusting.
The above are the most commonly encountered Koshirae. I have omitted the Tachi variations such as Efu-no-tachi and Hoho-no-tachi as well as the Shin-gunto or modern army sword, which is modelled on the Tachi anyway. These are unlikely to be encountered by the average Kendo or Iaido student.
Clive
Sinclaire,
To-Ken Society of Great Britain
Reprinted with permission from the British Kendo Assoc.
How
to Recognise a Good SwordSince I started writing a few short essays for B.K.A. News, I have been asked, by one or two members, my opinion on their swords. Sometimes I have been horrified by what I have seen but occasionally I have been pleasantly surprised. However, in both instances it has been apparent that, even if the owner treasured the piece in question, he or she would not know really what they possessed. This has prompted me to jot down these few notes to try and give a few checkpoints when looking at a blade and to help avoid the worst pitfalls when considering acquiring a Japanese sword.
The close study of Japanese swords is a highly time consuming and difficult process (although highly rewarding) and so these brief notes can be no more than a very rough guide to sword appraisal. Further many of the points are highly subjective and it is a great start if you already have a basis of having seen good swords. In other words, if you have seen the best then you have a bench-mark for judging the rest.
There is a reasonably logical procedure for examining a Japanese sword blade and this is used in the practice of Kantei Nyusatsu. In Kantei sessions, a blade is presented to a participant with any inscription there might be on the Nakago covered and the maker's name must then be guessed. If the procedures are followed, this apparently daunting task may be accomplished with less difficulty than might be expected. The procedure for Kantei, is as follows:
1) First the Sugata or shape of the blade must be examined. The shape should appear strong, the curvature natural and the Kissaki should be in proportion to the width and length of the blade. The Mune or back edge's shape and height should also be noted. When examining a blade's Sugata, the blade is best held upright at arm's length.
In fact the Sugata may impart a great deal of information about the age of the blade and sometimes about the area in which it was made. However, if the blade has a good shape and sits comfortably in the hand, there is a fair chance that it has some quality. It is impossible for a good sword to have a bad shape unless it has been altered, damaged or repaired in some way. This frequently happens and so it is important to try and imagine the Ubu (unaltered) shape of the blade.
2) The next area to study is the Hamon. This is often referred to as the 'tempered' edge. This is where the sword has been quenched to provide a high carbon steel area which will hold a sharpened edge. It will be seen in contrast to the body of the sword.
The Hamon may be in an infinite variety of patterns, but appears as a milky white colour on a properly polished blade. The upper edge of the Hamon will be formed from tiny martensite crystals called Nie. Sometimes these are too small to see with the naked eye and are then known as Nioi. It is Me and Nioi that border the Hamon and form the pattern of the Hamon and they should be examined very closely, ideally by holding the blade at eye level, ideally pointed towards a spotlight. The Nioi- guchi (line of the Hamon) should form an unbroken and constant line from the Machi area (bottom of the blade) along its entire length. A break in the Hamon, called Nioi-giri is a serious flaw and should be avoided. It is also important that the Boshi (the area of the Hamon within the Kissaki) does not disappear off the edge. This is also a serious flaw in the blade and is only acceptable on great swords of historical and cultural significance! No compromise should be accepted here.
3) If Sugata and Hamon pass muster, the sword should be OK. However, we need to assure ourselves that it is hand forged and not a cleverly mass-produced piece such as a Showato (mass produced during World War 2). This is ascertained by examining both the Jigane and Jihada. The Jigane is the actual steel from which the sword is made and might show subtle change colour and texture whilst the Jihada is the surface pattern of the Jigane caused by the forging process and emphasised by the polishing. This is mostly visible between the edge of the Hamon and the Shinogi or ridge line. The Jihada, appearing like a wood grain, is described by its type and size (i.e. Ko-mokume small burl) and there are many criteria for judging the quality of the Jihada. However, for the purposes of this essay, I guess that it is sufficient to say that if Jihada is present, then the sword is at least a hand forged blade.
4) Whilst undertaking this detailed examination of a blade, any flaws or faults will become apparent. Some of these may be more acceptable than others, dependent on the age of the blade. In other words, a 12th century blade is entitled to have a few problems that would not be tolerated in a modern sword. However, all faults and flaws obviously detract from both the beauty and value of a sword.
Look for holes or bubbles in the sword which may indicate air or impurities that have been included in the forging process and may be just under the surface of the blade. Also check the Ha-saki (cutting edge) very carefully for hairline vertical cracks running from the Ha-saki into the Hamon. Called Ha-giri, these are very serious flaws as if the sword were used to cut, at the point of Ha-giri it would bend or break. Ha-giri is not acceptable under any circumstance.
5) Finally inspection of the Nakago or tang takes place. The Nakago on a good sword will always be carefully finished. The patination should be a good colour and the rust should not be cleaned off under any circumstances. If there are any inscriptions these will be of interest. A good Mei will be skilfully and confidently written, not untidy, jumbled or hesitant. It almost does not matter whether you can read the inscription (most modern Japanese cannot read the old Kanji in sword inscriptions) so long as it looks confidently executed.
You will understand from the above what I mean by there are many subjective judgements to be made when judging a Japanese sword blade. There are many other subtle details in both Jihada and Hamon (known as Hataraki or activities) which add enormously to the beauty of the Japanese sword, however, detailed explanation of these are not really within the scope of this short essay.
Finally I would make a couple of points which may prevent you making a costly mistake. The most commonly encountered swords in the West are the previously referred to, Showa-to. These blades were made in the Showa period (1926-89) and the vast majority were mass-produced for the Imperial Army and Navy during the Pacific War period. These swords are not considered as true Nihon-to and as they are seen as symbolising Japan's recent militaristic past they are still illegal in Japan. Showa-to are reasonably easy to recognise from their small stamps on the Nakago (usually Seki or Showa) and often they are signed with untidy and loosely carved characters. Often an unsharpened inch or so of blade (known as Ubu-ha) is found just above the Habaki and these heavy and clumsy swords are usually found in Gunto (army) mounts. Mostly they appeal to militaria collectors and I do not think they are suitable for Iai practice or the serious study of Japanese art swords.
Having said this, I would point out that during the Showa period there were some highly talented swordsmiths working producing very fine blades indeed. There are also a minority of blades found in Gunto mountings that are fine old 'family' blades that were traditionally made. Maybe we'll discuss these in a later issue of B.K.A. News.
Meanwhile, should any member have any questions on an aspect of Japanese swords, I would be happy to attempt to answer them.
Clive
Sinclaire,
Chairman, Token Society of Great Britain
Reprinted with permission of British Kendo Assoc.