SWORD HANDLING
ETIQUETTE
"As
a whole, one had better refrain from paying a visit uninvited unless necessity
dictates. When invited conversely, one cannot be a real guest unless his
demeanour can convince the host of his being a pleasing and thoughtful
guest."
Yamamoto
Tsunetomo – Hagakure
To
wear a Japanese long sword, together with the short companion sword (Wakizashi)
in feudal Japan was indeed a great honour. It meant that the wearer was of the
Samurai class with all the privileges that accompanied that rank, but many
responsibilities and formalities accompanied these rights. The Samurai were a
proud and haughty bunch whose honour was often prickly and easily upset. Any
perceived insult to his sword was exactly the same as an insult to the owner and
would need to be rectified, often with resource to drawing the sword and the
bloody consequences this might bring. A technique known to practitioners of
Iai-do to this day is called Saya-atte, or scabbard hitting. This meant that if
two Saya collided, instant retribution would follow as the sword had been struck
and this was tantamount to striking the owner. A technique was devised whereby
as soon as the Saya touched, the sword would be drawn and an attacking cut would
be made (nukitsuki) all in the one action. Saya-atte might even be deliberately
caused so that a nere-do-well might have the opportunity of testing both his
sword's cutting potential and his own technical ability, all in the one swift
incident. To avoid accidental Saya-atte, it was considered best when walking
out, to walk to the left of a path or road and allow an approaching walker to
pass on one's right hand side, away from the Saya. It is even thought that this
legacy may be why the Japanese are one of the few nations in the world to drive
on the left hand side of the road. (In the UK, another left hand drive nation, a
similar attribution is postulated. Here, a falconer would always have his bird
in a gloved left hand that would also hold a horse's reins, leaving the right
sword hand free. It was always then considered essential to keep to the left and
have others pass on the right).
Apart
from Saya-atte, more civilised social contact could easily give the wrong
impression and so great care was taken to neither offer or invite provocation.
This was done by the practise of a rigid code of etiquette in any given
circumstances. It was usual, for instance, when visiting, especially a person of
higher rank, to leave one's long sword at the entrance to the house. It would be
taken, very deferentially, by a servant or a page who handled it with a silk
cloth, who then placed it on a sword rack ready for collection on departure. The
visitor would be allowed to keep his short sword, which he would be careful to
keep in a position in which he could easily draw it if surprised or attacked. No
samurai should ever be totally unarmed! Even with the sole comfort of the short
sword, care was taken to keep the left hand away from the Tsuba, as a thumb
pushing the Tsuba forward, thus loosening the blade in the Saya, was the first
preparatory move in drawing the sword.
The
display of non-aggressive intentions was even more important if the long sword
accompanied one to a meeting or social engagement. Here it would be removed from
the Obi or belt as one made oneself comfortable and sat on the Tatami mats. The
sword should ideally be removed with the left hand, passed over to the right
hand and placed on the mat on the right hand side of the owner. Here it was
relatively difficult to pick up and draw quickly, whilst if placed on the left
hand side, the opposite is true. It was seen, therefore, as highly suspicious if
the sword were placed on the left, especially with the cutting edge of the blade
away from the owner. From this position it was very easy to grasp the Saya with
the left hand whilst reaching across and drawing the blade with the right hand.
The significance of where the sword was placed meant that the owner was either
relaxed and expecting or offering no trouble (if on the right) or wary and maybe
ready to fight (if on the left). Whatever the case, the mood of the meeting was
quite obvious to all. Today, in a modern Kendo Dojo, the members always kneel in
Seiza both when formally starting and finishing the session, with their Shinai
to their left, in imitation of a state of preparedness and Zanshin (awareness).
Incidentally. even today in a modern Kendo or Iai dojo, the practitioners and
teachers start and finish a session with a formal bow with everyone kneeling in
a prescribed order. All should know their position in this line, which is in
ascending order of rank or status, the lowest being at the end nearest the door.
Apart from easily seeing one's Gohai / Sempai situation, in the case of an
attack on the dojo, the lowest grades would provide themselves as delaying
cannon-fodder and sacrificial lambs, whilst the higher ranks had time to
prepare themselves for defence. This no doubt provided a great incentive to
advance in the art and progress down the line towards relative safety.
There
are also correct ways of placing a sword on a Katana-kake or sword rack. If the
sword is a traditional Katana or Wakizashi or a Daisho, it should be placed on
the rack with the cutting edges uppermost, the Katana at the top and the
Wakizashi on the bottom. This is in the manner in which they are worn. A further
refinement might be that the Kurikata (retaining knob on the Saya) should be
visible, in other words that the Omote side of the sword is showing and the
Tsuka (handle) is to the left hand side. Once again, it is surprisingly
difficult to pick up a sword so arranged and draw it immediately without,
changing hands and slowing the action down. To my mind, the swords happen to be
also better presented in this way. To display the swords with the Ura showing
was also acceptable, but as they could be drawn from this position in an
instant, it was seen as a far more aggressive position and for this reason,
favoured by many warriors. Indeed, it would be possible to tell the state of any
house or castle's martial preparedness, simply by seeing how the swords were
displayed on their racks.
A
Tachi or slung sword, ideally has a differently designed rack than that made for
Katana. A Tachi rack or stand has a shaped base and a vertical stem with a slot
to accept the Saya. Tachi should be placed on these racks with the end of the
handle, the Kabuto-gane, resting on a small indentation on the base. It will
then stand vertically with the but-end of the Saya free in the air. Should it be
necessary to place a Tachi on a conventional Katana-kake, then it should be
placed with the cutting edge down, in the opposite manner to a Katana. Once
again, this is the position in which the sword would be worn. A beautifully made
and lacquered sword rack will enhance the display of a sword at rest" but
it is incredible how un-natural a sword looks when placed incorrectly on the
rack or stand.
There
would have been occasions when a fully mounted sword was passed between two
persons, possibly for inspection, study or appreciation.. This would usually be
accomplished whilst in Seiza, the formal kneeling position on the Tatami, (Seiza,
with legs folded under the buttocks and toes also flat, is considered to be a
position from which an attack is difficult to mount swiftly). After a short bow
to the sword, the giver would remove it from the rack, clean it and pass it
across, usually in a horizontal plane, with both hands fully outstretched. The
cutting edge would be towards him and the Tsuka to his left. The right hand
would be near to the end of the Saya and the left would be palm uppermost near
the Tsuba with the thumb on the Mimi or rim of the Tsuba. This ensured that the
blade did not inadvertently slip from its Saya. The recipient would grip inside
of the giver's hand on the Saya and take over the position by the Tsuba. He
would immediately turn the cutting edge towards himself, give a slight bow of
respect and proceed to examine the piece. In the days of yore, this might be
accompanied by a bow from the giver and if the rank of the receiver was exalted,
or the sword was known to be especially important, the bow would place the sword
at head level. An indication of
good manners and respect for another's property, especially should exceptional
lacquer work be evident on the Saya, a silk cloth called a Fukusa would be used
to handle the sword. This may be supplied by the host, but it is advisable to
carry one's own and be fully prepared.
The
normal method for removing the Tsuka, from either a mounted sword or one in
Shira-saya, is, after first removing the Mekugi or peg with a Mekugi-nuki, hold
the Tsuka near its base in the left hand with the blade at a slight angle, say
20 to 30 degrees from the vertical, with the inclination across your front side
and the cutting edge uppermost. With a tight left hand grip, strike the top of
your left hand smartly with your clenched right fist, on the little finger side
rather than with the knuckles. The shock of the strike transmits through your
left hand, through the Tsuka and usually loosens the hold of the Tsuka on the
Nakago, allowing the blade to be easily removed from the Tsuka.
After two or three attempts at this, apart from the sometimes not
inconsiderably pain of this self-flagellation, it probably means that the blade
is unlikely to be freed in this manner. I have occasionally found myself in this
position where, on asking permission to remove the Mekugi it has not easily
tapped out. or if it does, the Tsuka proves stubborn. In this situation, not
wishing to be responsible for causing any damage, either to my left hand or the
sword, I have invariably asked the owner to remove it for me. If he, who is
familiar with the sword, also has difficulty, it is best to leave it in tact.
An
alternative method of passing a sword from one person to another, might involve
passing the sword, maybe minus its Saya but retaining its Tsuka. In this case,
the giver would hold the end of the Tsuka firmly at the end nearest the Kashira
with his left hand, again most definitely keeping the cutting edge facing
himself. The danger and possible aggressive intent in doing it otherwise will be
readily understood. This time the receiver will accept the sword by grasping
above the giver's hand with his left hand and nodding to acknowledge that he has
a firm grip, possibly acknowledging this verbally also. It will be noted that in
this latter procedure both parties always have their right hand's free!
After
observing the correct procedures as described above, finally the sword, complete
with mounts, is safely in the viewer's hands and he may be permitted to study
it. He should make himself aware of whether or not the Mekugi (peg) is inserted
in the Tsuka, rather than find out by accident when the blade falls out of the
Tsuka! A close examination of the fittings and the lacquer work would proceed
the drawing of the blade. A sword with fine fittings should be examined whilst
wearing white cotton gloves if possible, but with a Fukusa as described above,
if not. The sweat from hands may cause discoloration or even rust and this is
obviously to be avoided. To draw the blade, the Saya should be gripped in the
left hand held slightly lower than the Tsuka, but with the cutting edge
uppermost and drawn in one smooth action. The Saya should be placed safely
aside, beside you on the Tatami if that is your situation, or back on the rack
or table, depending on the circumstances. It is good form to cover the end of
the Saya with a cloth, or the flap of the sword bag if one is present, whilst
you are examining the blade, in order to prevent any dirt or grit entering the
Saya and causing damage later to
the blade.
Most properly, a silk handkerchief should be placed in one's
mouth to prevent spittle fouling the blade and speech should be avoided when a
naked blade is present for the same reason. As previously stated, a blade should
only be withdrawn in its entirety from the Saya. It is considered the height of
bad manners to examine a blade with only a few inches at a time being withdrawn
from the Saya. Care should be taken that it is not waved around and pointed at
anyone else. The handle should only be removed to inspect any inscriptions with
the express permission of the owner. The blade may be examined in detail, but
should not be handled other than with a Fukusa or some other suitable soft
fabric. If the Tsuka is removed, it is permissible to handle the Nakago, whilst
supporting the rest of the blade with a Fukusa. It is usual to leave the habaki
in place whilst examining an otherwise bare blade.
To
pass a fully stripped blade, the Nakago must be gripped in the same manner as
the Tsuka on a mounted blade. The sword will be passed vertically to the
receiver in exactly the same manner as described when the sword retains its
Tsuka. However, in this circumstance, it is advisable that the free right hand
be placed under the Nakago-jiri for extra support. When replacing the sword into
the Saya, the back of the Kissaki is rested on the inner part of the Koi-guchi
and the blade is then replaced in the exact opposite method to that described
for drawing it. This applies in all circumstances.
The
over-riding consideration is that the person handling the blade, at all times,
is at the mercy of the blade should he mishandle it. This was, and remains the
etiquette involved in handling a mounted sword. It emphasises great respect for
the sword, personal safety and a high degree of Zanshin or awareness. Although
today we may not fear an attack, the other components still remain and should
always be practised, showing respect also for the Samurai owners of the past,
whose swords we are privileged to examine and enjoy.
Unmounted
swords present similar problems, but also one or two others. When swords are
laid out for Kantei sessions, for instance, they usually rest on a table with
the few inches nearest the Kissaki supported by a small silk pillow, a Makura.
When lifting this naked blade, care should be taken that the Kissaki does not
dip and touch the table itself. In other words the sword needs to be almost
scooped up so that the Kissaki immediately rises rather than falls. It goes
without saying that the blade should not be pivoted on the Kissaki. When clear of the table the methods and rules for examination
are as described above. When replacing the sword back on the Makura, similar
care should be taken.
In
modern days a light source is usually available when studying a blade. This
enables the hamon and Jihada to be seen clearly and in detail but often involves
a certain amount of twisting and turning in order to obtain the best angle
between light and blade. Great care must be taken in this situation and a good
grip must be kept on the Nakago, whilst the other hand supports the blade with a
Fukusa.
Often
this viewing will entail several people studying several blades between them, at
the same table, either standing or in a kneeling position. It is then of the
utmost importance that all blades are kept facing to the front and not waved
around. A clash of swords would be an unforgivable breach of etiquette and
probable result in the perpetrator catching the next aeroplane home. It is
difficult to imagine how one would ever be invited to return under such
circumstances. In all other respects, group viewing should follow the same rules
as previously described.
I
am aware that on various visits to closely study good swords in Japan, both
accompanied by others and on my own, sword handling etiquette and ability has
been closely scrutinised by our Japanese hosts and Sensei. Often in this
situation exalted sword personalities, such as museum curators or NBTHK
officials, will be watching closely and have been known to comment on the
"manners" of the guests. It certainly does not go unnoticed and is a
direct reflection on oneself and one's teacher, whether good or bad. I hope that
you will see that the etiquette of handling the Japanese sword is based on
safety and good manners and that it leads to greater enjoyment and appreciation
when matters are conducted in the proper manner.
Sword viewing and appreciation at an NBTHK convention in Japan
Previously
written for British Kendo Assoc newsletter, revised and adapted for website
Clive
Sinclaire
Bexley,
Kent
May 2008