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The Japanese Sword Is Art? The Japanese Sword Is Art.


Guest Rayhan

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Guest Rayhan

I just finished re-reading Paul Bowman's paper on appreciating the Japanese sword http://www.nihontomessageboard.com/articles/Appreciation.pdfand wanted to see how other collectors approach the issue of art and Nihonto, I also had to add my own 2 cents in relation to some of the logic behind paper levels...

 

What is art?

 

So often the question is raised by collectors on why or what constitutes art and how the Japanese sword falls into that context. So, what is art? Art is transcendence. The transcendence of human capability, vision, capacity for creation and in turn education and enlightenment of those that encounter a work of art, this art in turn continues to inspire and push people to pursue greatness. This transcendence is also by all accounts a measurable quality that can be recognised and tracked. This journey of transcendence is also personal, individual to the traveller and no artist walks the same road, their journeys are as individual as their creations.

 

To better understand how this applies to Nihonto let me use an example most people are familiar with; the great painters of the world stretch across time and for the last 800 years we have seen what the modern world regard as the masters (maestros) in every century. Looking into the 1400’s we were blessed to have Leonardo da Vinci, Michelangelo, Raphael, Titian, etc. All of them gave us the period known as the renaissance, but, what makes a master a maestro? The simple answer to that is, we do. We recognize that these individuals gave a part of themselves to their creations and therefore their creations took on an individuality and a life of their own. We can, today, look at a da Vinci and say “This is a work of art by da Vinci” because we recognise the independent stylistic features (this should remind you of Kantei/Shinsa in the world of Nihonto) and that gives us a connection to the piece in question. The same rings true of Nihonto, where no two are ever alike and their makers’ influences and stylistic features can clearly be seen. In comparison to the great painters of the Renaissance we have the Heian and Kamakura masters of Nihonto, equivalent to the engineers, sculptors and grand painters we revere in modern day. These maestros of swordsmithing from Yamashiro, Yamato, Bizen, Sagami (Masamune) and Mino (as well as other extended lines) were the founding fathers, the sparks that developed their own styles of creating art in their chosen medium, steel.  You could look at a sword from that period and comment on who its maker was just by identifying the definitive features associated with the bladesmith as they were the independent creators of those techniques, is that not the definition of an art form?

 

As we move to the 1600’s in western art we have maestros like Rembrandt and Vermeer showcasing the Baroque stylistic movement and similarly in Japan, Nihonto is moving into the Shinto period of creation where Umetada Myoju, Hizen Tadayoshi, Sukehiro and Inoue Shinkai are developing styles of their own.

 

In the 1800’s we are gifted with Monet and Van Gogh leading the impressionist movement, progressing to Cezanne and even the radical Pablo Picasso in the west, where impressionism gives way to experimentation and the emergence of brand new, out of the box styles. In Japan the ShinShinto period of Nihonto is in full swing with Suishinshi Masahide, troubled souls like Kiyomaro and playful masters like Naotane. This is the period in Nihonto where we see many Utsushi and individual developments are rare. But, art is transcendence, so when looking at the modern post-impressionist and expressionist or even neo-classical styles of 1800 Nihonto we see a very long progression the development of independent techniques and innovations. Smiths at this time would make Utsushi (many of them) in efforts to maintain their skills and indeed progress to higher levels, but they were not inventing new methods of construction. Some would have profiles of older masterpieces but mix the suguta with different Jigane and Hamon that were not localised to those replicated traditions with respect to suguta. Eventually some smiths would be recognised for their own successful individual styles. This is significant in establishing what constitutes and art piece and what constitutes a masterpiece worthy of Juyo or Tokuju. A copy is a copy is an Utsuishi and is not indicative of transcendence. This does not make an Utsuishi a bad sword from a construction stand point but it is a copy from the art standpoint and so not as significant as an original work. In general an Utsuishi of a masterpiece done by a later smith or the masters student is done to test the smiths skill, further their development or at the request of a client. There is however no such thing as a transcendent copy, there is only one original and that is the primary art piece. Utsuishi are comparative towards the original work and progressive indicators against the smiths’ works and their end goal of discovering their own innovative style. So in short, an Utsuishi will not warrant high praise even if it is well made, but, an Utsuishi of a tired or badly made original is even worse so. This is dependent on when the manufacturing smith chose to make the copy since an Utsuishi of a Kamakura sword done in the Muromachi would probably (at the date of completion) look better than the same Utsuishi of the 800 version. Of the same sword, the older a sword gets the more uncertain its condition becomes.

 

 

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Art is the materialization of the "artists" vision. That could be a song writer creating music from thoughts, to a painter or sculpture physically creating a work from his vision. 

My only thought on nihonto as art, is if the "creation" happens through chance or luck, as in the quenching process. Sure the blade could come out a beautiful "masterpiece" but there is always an element of chance versus vision.     

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For me some Nihonto are arts, mostly it is crafts. Art is for leisure not for use. Swords are normaly made for use and they are not made unique. A crafts master made many of them over his lifetime in varietes. Is this art? 

I know that many dont like this view on swords but this is my view. Art is something special. I have that meaning also in paintings or other crafts. Not every Van Gogh or Dali is art. Mostley it is done for money not for leisure. My english is to bad to explain my thoughts, sorry.

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Nihonto should be considered to have artistic quality. SImply because it can evoke an emotional response similar to that of good art/food etc.

Also different collectors have a preference to once type/period/school of nihonto - not because of their cutting ability or originally intended weapon features but due to a visual and emotional connection.

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Hi Ray

Thank you for your post it has made me think again about the appreciation of swords as art. Having read the article you mentioned you will know, I hope, that my personal view is that at its best the Japanese sword is a true example of high art. It goes well beyond functionality and it transmits an image to the observer which can trigger a complex range of emotional response. This, in my opinion, is what fine art does.

In response to a number of points you raised and remembering this is  totally subjective  so the following is offered as a point of view not a statement of fact;

 

A copy can never be as good as an original. A true copy can at best demonstrate the copyist's technical competence. What it lacks is the vison, imagination, originality and spontaneity of the original work. If the later artist modifies or changes the work to add something of their own then by definition it is no longer a copy.

 

I think art was and is primarily a form of communication. It offered a way to transmit ideas and information which was understandable to a largely illiterate population. What the greatest artists did was to take this beyond simple communication imbuing their work with something altogether stronger in terms of emotion, perception and energy. Again I believe the same is true of swords. As Chris points out swords are primarily produced as a functional tool but the greatest smiths go far beyond the creation of a utilitarian object adding a great deal more to what they produce. While much of its form is based on its primary objective, to cut, It reaches a point where the intrinsic beauty eclipses it's primary functionality.

This level of artistic commitment can be seen time and again in the work of master smiths throughout sword making history. In some cases this artistry shouts at you in others in takes effort and concentration to fully reveal the intricacy of the workmanship but in all cases it is there.

In it's truest form an art sword takes supreme craftsmanship, and understanding of materials and combines them with vision and imagination in a completely spontaneous way. This is exactly what the greatest painters and sculptors of their day did as well. 

The above is a point of view, it happens to be mine and one that has developed over a very long time. It is by no means the only view, probably far from unique and many will have their own and different perspective's. That is one of the things that makes this subject so interesting

Thanks Ray for the original post.

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I think there are two tales in terms of artistic merit in Nihonto, the first is the Art of making a supreme weapon that will never fail the user in battle. The second is the Art of making a beautiful sword for looking at and appreciating. Often these two Arts have intertwined by the skill of true Master Smiths and these swords have been treasured for centuries because of this rare and exceptional balance. You can have a sword made of homogeneous modern steel that is through hardened and will be the best possible sword for killing people, defeating armour and resisting other sword strikes & look like something out of a H. R. Giger image. Is this not Art in the sense it has achieved perfection in its intended purpose? On the other hand you can have a beautifully forged art sword with exquisite Hada, breathtaking Hamon, elegant Sugata and incredible Horimono that will shatter like ice because it has no longer used as a weapon but a object of beauty, which by most peoples reckoning is Art. It has eclipsed the original purpose and become something purely for enjoyment. Which of these is the true Art object? 100 people could tell you 100 different answers. I don't think comparing them to paintings in terms of artistic merit is appropriate, they have artistic merit in their own unique regard and the system of Art appreciation has been thrust upon it too heavily by some people.

 

Perhaps it all decides on what an individuals concept of Art is and how they apply that to their life & outlook.

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We did, they were directly compared to the great masters, and therefore the medium of the great masters is in paint. I believe there are absolute parallels to be drawn between them, but the same could be said for any artist working in their own medium. I simply do not believe the system of art appreciation of paintings can be applied to Nihonto, a more accurate medium would be sculpture. Even then the majority of artworks by the great masters are of natural subjects, and direct reproductions of natural subjects at that. Japanese swords are not reproductions of anything but themselves, the pure concept of a perfect weapon, perfect over hundreds of years of use killing other people and the incredible innovation that occurs when Man is at war with himself. This to me is the true expression of Art, the mastery of a system to produce a work of perfect function, the beauty is perhaps an afterthought by the smith, the true purpose is a sword that will cut a man in half, defeat his armour, break his sword and survive to do it again the next battle. The beauty that is coveted in art swords today has direct lineage and inspiration from the master works of the Koto period, and subsequently has filtered down from appreciation and treasuring of fine blades that performed well in battle to recognition of what made these swords such fearsome blades and appreciation of these features. Is not the true Art lost if the sword only replicates these properties without being a superb weapon? 

 

This is only my opinion and I am aware of my limited knowledge of both Nihonto & Art, my focus and love of Japanese swords stems from them first and foremost as formidable weapons and the qualities that make them such.

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In Germany we had a name for these art, "Kunsthandwerk". I dont know if in english is the same meaning in crafts. It means art in the work, but not as art which stand for itself.

Is an art sword art, yes. But is every sword art - no. Is a master sword art because it is made by a master, i think no. Could made someone who is not called a master smith a art sword? I think yes.

 

Look at all that fine shinsakuto that is made now by very skillfull masters. Is this art, because it is called art sword? I think not. They made "Kunsthandwerk" like Tsuba makers or others.

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In Germany we had a name for these art, "Kunsthandwerk". I dont know if in english is the same meaning in crafts. It means art in the work, but not as art which stand for itself.

Is an art sword art, yes. But is every sword art - no. Is a master sword art because it is made by a master, i think no. Could made someone who is not called a master smith a art sword? I think yes.

 

Look at all that fine shinsakuto that is made now by very skillfull masters. Is this art, because it is called art sword? I think not. They made "Kunsthandwerk" like Tsuba makers or others.

 

This is one large and notable difference between Japan and the West - in Japan there is no difference or distinction made between arts and crafts, whereas in the West, critics, scholars and academics are always trying to differentiate between "high" and "low" art and art vs. craft.

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I think we might be getting bogged down in the painting/sword comparison. I am afraid I may have been less clear than I should. The point I was and am trying to make is that regardless of medium and functionality it is when the artist/craftsman/artisan goes over and above the basic function of the object it develops in to art. 

The inital function of a painting was to communicate an image or illustrate a story. Once it goes beyond that and inspires an emotional response it becomes something more.

The function of a sword is to cut as has been said above on several occassions but much of the beauty described in a blade has gone far beyond adding features to improve functionality. At that point a functional object evolves in to a form of art.

The comparison with sculpture is equally valid as is any other craft or art form.

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In attempt to offer something more concrete and less theoretical please take a look at the attached images. This is a sword I have had the opportunity to study at length over the past 10 years. It is extremely robust and although O-suriage retains a magnificent sugata. There is no doubt, at least in my mind, that it was manufactured to fulfill its prime function, to cut and to do that effectively. At the same time the sugata, hada and hamon combine to create something that is stunningly beautiful.

Every time I have looked at it it causes the hair on the back of my neck to rise and a tightening in my throat. Exactly the same physical response I got two weeks ago studying some of the fine art in The Frans Hals museum in Haarlem. I cannot explain this reflex other than to say it is an emotional response in appreciation of something that has been incredibly crafted. The Smith has taken well beyond being a cutting device and made it a work of art. All art is a contest between artist and material, in the case of this blade the smith took iron and charcoal and with fire, a hammer and anvil created an artefact which some 700 years later still has the ability to illicit a strong emotional response. This Is an example of where I believe a sword transcends functionality and becomes something much more than a cutting tool.

 

 

 

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tsunetsugu.tif

 

 

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Guest Rayhan

That is an incredible work of art, functional art :) 

 

There is no doubt in my mind that swordsmiths were trying to achieve a greater purpose than just to cut, as said by a few members here, to cut one does not need to strive to the levels we see in Nihonto of the Kamakura and later periods. The swordsmith took their calling from the Kami afterall and produced these magnificent works under the auspices of the Shinto ways. When one is doing that, it cannot be seen as something taken as lightly as just a function. 

 

Beautiful sword!

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Paul, I thought you were not into Bizen den :)?

 

Facetiousness aside, I concur with what you have so articulately enunciated. It is almost sheer poetry but we need these more philosophical and cerebral threads from time to time.....I was personally becoming a bit dejected that a lot of the recent postings were about items being sold or someone having bought something asking about what had been purchased (so, thanks, Ray).

 

There is nothing more insightful I can add but I also admire beautiful swords which evoke emotions beyond the functional . Especially Bizen and Soshu.

 

One aspect, which people are aware of but might be lost on beginners, is that the functional polish these weapons were in during their Jidai (well, Koto anyway) would not have revealed their intrinsic beauty we marvel at so much. Perhaps partially - yes, by not anywhere near to the extent that leaves us speechless today.

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Hi Michael,

Not Bizen but Aoe :)

I know it is only 40 ish miles away but I always describe Aoe as using the same material as Bizen and working with Yamashiro techniques. Not strictly true but it helps to illustrate the differences

so my non Bizen credentials remain intact (at least for now!!)

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don't blaspheme!!! on a Sunday too

Yes I agree they tend to be lumped together for the sake of neatness and trying to get everything to fit somewhere within the 5 traditions. If you remember in Berlin I was trying to explore the Unji-Yamashiro link. I think the examples there really helped illustrate the idea.

I am increasingly coming to the conclusion that so many of the differences so clearly identified in those text we have all been brought up on are far less concrete and a great deal more subtle. By the time you are back in early Kamakura (this sword isn't it is very late Kamakura) those differences become even more blurred.

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To me the highest sword art is Kamakura Bizen (including Aoe) due to its vibrancy and utsuri (and possibly because I also like the mokume /mokume-itame hada) as well as Kamakura Soshu (with its diamond-like scintillating nie and controlled wildness). Both styles are mostly vivid and ostentatious (even though Go could be subtle) but masterfully executed. Well, this is just my profane taste....

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Hello everyone,

 

I just had an experience that left me a little salty.  I went back to the Minneapolis Institute of Art (Mia) after about six years between visits.  The first time I went there I encountered MANY tsuba, nihonto, menpo, longbows, yoroi, and of course more traditional art (sculpture, paintings, pottery etc). I believe this visit sparked my deep interest in the subject.  I am a Star Wars/George Lucas fan, and upon returning home finally realized the true extent of eastern influence (especially samurai and Japanese film) on Lucas. I have serious Vader helmet and Stormtrooper armor replicas, so in a way I have a kobuto and yoroi set!

 

Back on topic, most of the items were no longer there.  Understanding that museums have permanent, rotating, and traveling exhibits at first I was just annoyed.  I became upset when I entered the room that was dedicated solely to Samurai arts. There are permanent and impressive artifacts however in sum I was disappointed.  The was one sword displayed that in my opinion is a horrible example.  This sword was more of a decorative piece with a snake engraved on the length of the blade.  The sword was displayed with a saya that wasn't even part of the set.  No mention of tsubas (most artistic part of sword in my opinion) or menuki or other fittings... 

 

There were about seven different longbows, that was satisfying.  There was a menpo randomly on its own. Sadly it's very similar to the one displayed with the entire yoroi set. The yoroi set is a beautiful example of armor and the clearly the center piece of the collection.  There are two very large painted room dividers conveying battles. Stirrups for cavalry, a tanto, and two kobutos.  The dragon fly kobuto is extremely impressive, however the other kobuto was in sadly rough shape and not a great display piece.  And that was it.  I was hoping to stay in this section for an hour and I was done in fifteen minutes. 

 

I returned to the area after completing the tour Asian arts, just because I wanted to get my fill. But, I was asked to leave because apparently there was a private tour happening.  God forbid I listen in on a private tour.  I asked the front desk if I could speak to anyone with a few questions. I was handed a comment card... 

 

I searched the Mia site to find other artifacts not displayed.  They have about 70 tsubas, with only a few pictured.  I could only find a few other nihonto, with horrible snapshots.  I didn't find one menpo on the site, not even the one on permanent display.  So, where did these objects go?  I know the permanent display was rearranged last year.  I could tell by the accession numbers on large displays incorporated into the displays, like the entrance into a middle class residence, that things had changed. 

 

Did my mind deceive me?  Did a large part of the collection get de-accessioned and removed from the collection?  Is the online collection database that poor?  

 

Or, has Mia changed its view on samurai objects?  Do they actually fit the mission of the museum?  Are they art? Or just weapons? 

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Guest Rayhan

Hi redinight

 

Well, it could be that items were sold? Museums in general need financing since interest is waning in general, it could also be that there is no reliable curator/caretaker that can look after these items so they go into storage?

 

Many reasons, but do not be disheartened, perhaps it is time for an enthusiastic padawan to take up the good fight and spread the word to the museum?

 

Ray

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I have been waiting for this discussion to make the distinction between "fine art," which usually relates in some way to the human condition;  and "applied art" aka "industrial art," which IMHO is what nihonto are.  Art pottery is another example.

 

Here's the Wikipedia definition:

The applied arts are the application of design and decoration to everyday objects to make them aesthetically pleasing.

 

Couldn't have said it better myself.

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