BOOK REVIEW

The Japanese Sword – The Soul of the Samurai

by Gregory Irvine

Mr. Gregory Irvine is a curator in the Far Eastern Department of the Victoria and Albert Museum in west London, where he is obviously well placed to study the Japanese art in the museum’s collection. In this book he has used well-produced photographs of a number of swords from the V & A’s collection, whilst he has also been able to access a number of further photos of well-known swords from the Tokyo National Museum at Ueno. As well as swords from the V & A collection, Mr. Irvine has reproduced in full colour, a number of wood-block prints from the V & A’s prestigious ukiyo-e collection. These illustrate legendary swordsmiths at work and armoured samurai in combat and compliment the text in an interesting manner.

The book’s purpose is to describe the historical context in which the Japanese sword in particular and other arms and armour in general, developed from the earliest time beginning with the excavated swords from the Kofun period (AD 300-600) continuing through to the post Pacific war and into modern times. Photographs of swords illustrate most periods. The fact that the characteristics (shape, construction etc.) of each type of sword are accurately and clearly described, shows that Mr. Irvine has a good understanding of this difficult subject.

As previously mentioned the book aims at describing Japanese swords, as well as other arms and armour, in their historical and social context. This gives the book a wider dimension and appeal than would a more academic and strictly technical treatise on Japanese swords. An English language book such as this is of great help to the younger or less advanced student of the Japanese sword as well as the non-Japanese reader, providing as it does such useful background material and an introduction to the historical development of the Japanese sword.

Personally, I was very interested in those swords illustrated from the V & A’s own collection. All of the swords from the Tokyo National Museum’s are already illustrated in many other books and have often been exhibited in Japan. Swords such as Kogarasu-maru, Dojikiri Yasatsuna and Kokuho Rai Kunimitsu need no introduction to most western collectors. However, through my own shortcomings, I have never been in the position to study the Japanese swords in the V & A, some of which appear to have interesting historical associations. For instance, Mr. Irvine shows an impressive suriage Nambokucho period tachi that has a kinzogan-mei (gold inlay inscription) attributing the blade to Tomomitsu as the maker and the date as Kemmu Ninen (1335). Apparently, the Meiji emperor at a private audience presented this sword to Sir Harry Parkes (first British ambassador to Japan) in May 1871. A superb gold mounted Ito-maki tachi koshirae accompanies this blade and is shown on a colour spread on the following pages. In a similar vein, a specially ordered sword by Ishido Korekazu is featured, that was part of a diplomatic gift from the shogun Tokugawa Iemochi to Queen Victoria in 1860 and was then given to the museum in 1865.

I am not sure that a hira-zukuri tanto signed Kanemoto, complete with fully developed sanbon tsugi hamon and an elaborate horimono of bodhisattva Monju standing on a shishi, can possibly be as early as the 1530 date Mr. Irvine gives it, but this is speculation. I also question the wisdom of including swords with obvious fake signatures such as the Bizen Kanemitsu blade dated 1362 which, Mr. Irvine quite rightly I think, believes to be a 19^th century piece from the Bizen Yokoyama school. This is another example of how the study of Japanese swords has progressed since this sword was acquired by the museum and what were previously readily accepted as genuine blades, with the benefit of better study and education, are now obvious fakes. Further I doubt that I would not have used a Kanefusa tanto, the genuineness of which Mr. Irvine admits is questionable and the quality of which is not immediately apparent, both inside the book and as an illustration on the outside back cover.

Having said this, who could fail to be impressed by the superb and restrained taste of a Daisho from the V & A'’ collection? This, illustrated over a spread in full colour, has shakudo and shibuichi fittings with details in other soft metals and matt black lacquered saya that are highlighted with stylized clouds in a glossier black lacquer. Most impressive, but one is left wondering what blades are contained in such a fine koshirae! Pieces such as this lend some credence to the thought that the collection of swords at the V & A is better appreciated for the quality of its koshirae rather than its blades.

In conclusion I would say The Japanese Sword – The Soul of the Samurai is an interesting and well presented book and I do not believe that it makes any pretensions to being an indispensable reference book on the subject of Japanese swords for the more advanced collector. It does, however, provide an insight into some of the V & A’s collection, which I enjoyed and found informative and it may provide early collectors with some background information and a desire to learn more. It is not unreasonably priced at £25 and is published by Victoria and Albert Publications – Far Eastern Series and is available from October 2000.

(ISBN 1 – 8517 7314 – 2)

Reviewed by Clive Sinclaire,

September 2000

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