What constitutes an “Art Sword”?

[Matsunoki]

The term “Art Sword” crops up often and I guess we all know exactly what that means…..or do we?

 

Would we all agree when looking at any given fine work that it constituted an “Art Sword”

 

Apologies if this has been done to death before but it got me thinking, just what is an “Art Sword”

 

I think it would be interesting to hear one another’s definition or views.

 

For me it prompted some  questions…….many of the answers are (possibly) obvious but anyway……

 

Does it have to actually be made as an Art Sword or is a battle served weapon OK?

Does it have to be an old sword…Heian, Kamakura etc or is Shinsakuto OK?

Does it have to be a top flight smith?

Do Tanto, wakizashi etc qualify?

Must it be packed full of every hataraki?…or is a finely made suguha ok?

Must we see the finest hada 

Is suriage a no-no?

Is mumei OK?

Could a hagire blade still qualify?

Must it have high level papers?

Would all swords made by a high level smith automatically qualify?

Does it have to be an expensive sword?

Is there an actual official definition somewhere?

 

Is it easy to actually articulate or do personal preferences and prejudices get in the way?

 

Just some musings while I wait for my knee to improve🙂. Any views?

 

 

 

[Nihonto student]

Pandora's box has been opened .

[Alex A]

An "art sword" is what we call a sword when it has to go though customs

 

 

Ps, this will no doubt irritate some, but who cares.  I secretly have trouble calling any sword "an art sword" if it was made solely for use as a weapon.

 

Which is most swords.

 

Art sword for me, sword made just "as art", appreciation, tend to think more along the lines of Shinsakuto.

 

As made,

 

 

 

[Ray Singer]

Something that may be informative on the subject is Tamio Tsuchiko's book The New Generation of Japanese Swordsmiths. In particular there's a chapter on Ohno Yoshimitsu, and the focus is on a shift in thinking and considerations he goes through in order to support sword orders for marital arts usage, which is not the same as his typical orders to forge swords for collector appreciation. This is one of the best living Japanese swordsmiths, who produces swords either for appreciation or for practical use. 

[John C]

It's interesting how the word "art" has evolved. Compiled from several sources:

"Art originally meant skill or craft (from old French) adding around 1300 an aptitude for scholarship and learning (from the German)"

So in terms of sword smithing, any well made blade could be considered "art" regardless of aesthetic value. Recently, however, subjectivity has replaced objectivity in defining what art is. Like a lot of things in modern culture, how something looks has become more important than how something functions. 

 

John C.

[GeorgeLuucas]

While it's well publicized, albeit hard to ascertain without experience, what a "well made" Nihonto should be. To me, there's a scale to any art, and ones budget restricts the quality. 

IMO art is subjective, and not all art is equal. My niece makes art at our house every weekend, but none of it will ever be displayed in the Louvre.

Likewise, my sue-bizen late muromachi sword will never be appreciated as a masterful work of art; but I think it's cool, and it reminds me of better works i've seen in other collections. Not in a way I can appreciate for hours on end or anything, but it's just enough to spark my interest, study, and keep the Nihonto ball rolling. 

Just like that oil painting on my wall isn't a Rembrandt - it does remind me of fine art i've seen around the world - just a much lower quality. Should I tear everything down, and criticize it all, because it's not "tRuE aRt"? Not my style.

 

Just my two cents,

fART,
-Sam

[Nihonto student]

Dear Colin,

 

obviously this interesting reflection (Comparable to be or not be) giving rise to many points of view, the word art already in itself has very personal connotations... my 2 cent hoping not to be eaten .

 

The smith's initial approach

 

Looking generally from this side, the approach of the blacksmiths in the Koto period was mainly aimed at functionality, if we look only at aesthetics approach we should consider art starting from the Shinto period with some derivations along the way (Fukkoto movement, WW2 etc.). For some art = shinsakuto, in the book "The Japanese sword. Home of the gods" Kawachi says (I don't have the book at hand) something like:" I hope the world continues to remain at peace but if war returns use my swords to defend yourselves" , making it clear that functionality remains essential for him.

 

Ability

 

If we look at the paintings, what differentiates a Van Gogh worth millions of Euro from a painting by a Mr. Nobody from the same period?
(Obviously without looking at the subject of the work itself)
We can talk about technique, the immediacy in the transmission through image of an abstract concept, the stylistic reflection of the historical period, the personal vision that comes out etc...someone will also see art in the painting by Mr. Nobody (Granted) but at least looking at the Western way an artist and his works must be recognized as such and therefore the "experts" and enthusiasts in the following years have weighed all the above-mentioned characteristics together with other variables and have placed Van Gogh at a higher artistic level.
It is not necessarily the case (in reality in most cases) that the artistic qualities are recognized immediately, in this Van Gogh has a lot in common with Kiyomaro for example as at the time a blade by Masahide was valued much more, today the valuation has changed a lot.
I get to the point by saying that imho in the Nihonto the aestetical qualities and the blacksmith's control over them demonstrated through the proportions of the blade, hada, hataraki, hamon must manifest themselves consistently and (As regards hataraki) in a certain quantity to be able to speak of a work of art, the quality and coherence of these combined with historical/stylistic context differentiate the level of the artist.

 

Ps:my thinking is generally freer and reflects Sam's post, but imho if we have to set limits on the word art in a certain context we must necessarily dissect different topics and give greater and lesser weight to certain factors.

[george trotter]

I may as well make a comment on the meaning of the term 'art sword' also...

 

While  the TOSHO who made traditional Japanese swords are certainly 'artisans', the objects they made were weapons.

The term  'art sword' did not appear until after WWII. It was officially put in place c.1952 by government legislation to allow the re-commencement of the sword making craft. The term 'art' was used  to deflect the expected criticism from the West caused by the disrepute engendered by the Japanese sword in WWII. 

 

So, essentially,  the fact is that all Japanese swords made up to 1945 are weapons and all swords made after 1952 are art. From this, the tern 'art sword' should only apply to  post-WWII swords.

 

I don't collect art swords.

Hope this helps...

[Robert S]

I definitely don't think that it has to have been consciously made as art in order to be appreciated as art.  In fact, that would go against the whole "tea" aesthetic in Japanese art, which includes, and really, is based on, the appreciation of simply made utilitarian objects as art.  To me, art is about focus and investment, and not necessarily about intent.  With the rare truly artists, you don't witness their creation, but rather their witness of their creation.  For instance, with truly great musicians (as versus just technically incredible musicians), I experience that I am listening to their listening, not their playing (Hendrix, for example).  Likewise with swordsmiths, if they have truly "become" their craft, I am seeing the result of their observation and constant re-invention of their own process.  Japanese craftspeople tend to move in that direction by the simple intensity of their apprenticeship - they've learned by watching, not by systematic instruction - which probably explains why so much Japanese "craft" rises to the level of art.

 

Robert S

[Matsunoki]

Thanks to all who contributed, must be honest I was expecting more!

A wide range of views and opinions that tend to suggest that the term “Art Sword” means many different things to different people.

Maybe some members with strong ideas decided not to join the discussion, maybe it’s a daft topic anyway but it always interests me when a phrase is happily thrown around that has no clear meaning but has a wide range of personal interpretations.

Anyone else?

[Baka Gaijin]

What is the difference between a Japanese Sword and a Japanese Art Sword?

 

About £5,000.00 if you are lucky...........

 

[BIG]

NBTHK DEFINITION OF ART SWORD

 

https://nbthk.net/main_english

[Alex A]

Its a touchy subject Colin.

 

Wealthy collectors have to protect their investments and have little time for bottom feeders telling them that the sword they just paid £30,000 for, you could buy similar quality for a lot less. Lost count of the number of folks that have seen a "Juyo" and felt deflated. Its all relative to what you like.

 

Same in a lot of hobbies and its a part of human nature.

 

Its become kind of boring listening to it

 

Modern art swords can be picked up for relatively low prices, your "Enomoto Sadayoshi" type blades etc etc etc.

 

Its open to everyone.

 

As a side note. I do have reservations about folks with zero experience going out and just aiming for "juyo" papers. I know folks always say buy the best you can but for me it has to be a bit of a learning and experience journey.

 

Amazing swords can be had for a lot less, and experience gained.

 

Free world though (kind of), folks can do what they wish.

 

 

[Matsunoki]

@BIG

Peter , thank you. That is very interesting.

 

This is their crunch definition taken from that site

 

“An art sword in the sense of the NBTHK and thus a "collectible work of art" is any Japanese sword made according to the complex traditional method and possessing artistic quality evident in its form, construction and in the various forging and hardening structures.”

 

They also strongly clarify that mass produced gunto etc do not qualify.

 

However, reading the above, it is still wide open to personal interpretation and therefore I  guess tastes and preferences. Given that they issue papers to swords that some would regard as humble, by inference those humble swords are deemed ArtSwords by the NBTHK. Obviously the higher grade the papers the more “Arty” they are?

 

@Alex A

I like touchy subjects🙂

However, wealthy collectors cannot really protect their investments. They can only hope that the market moves in the right direction. As for swords right now…..?????

1 hour ago, Alex A said:

Amazing swords can be had for a lot less, and experience gained.

The above is so true. 

[Alex A]

Hi Colin, when i say "protect their investment" , what i mean is they rain down on other swords to keep theirs above the clouds, so to speak. 

 

Short story, and it kind of sums it all up, as in all relative. 

 

Its all been said before.

 

Again, when asking the dealer what the best sword he ever had is hands on was.?  A dealer that has had thousands of swords in hand, battle swords, art swords, gunto swords, modern swords, Juyo swords, you name it he has held it and had time to study it.

 

Expecting him to say something from the magic Koto era, was really surprised when he stated a wakizashi by Inoue Shinkai as one of his top two.

 

The reason i was surprised, seen two in hand and being honest, they were good swords but never really had such an effect that i ever would rush out and buy one. 

 

Its all relative, i much prefer the likes of Tadakuni. I know i say i look to modern swords as being "art swords" but its hard not to look at some Tadakuni blades with the distinct "cloud like" hamon and not get sucked in as just thinking of it as "art"

 

I guess beauty is in the eye of the beholder.

 

On the other hand, some swords, most swords in fact, i would not consider art,.

 

 

 

[Bazza]

This most interesting discussion wandered around the theme of "What is Art" in general and trawling 10 minutes or so ago I chanced upon this link that approached the theme in far broader terms.  I found it very interesting:

https://www.boredpan...m_campaign=professor

 

BaZZa.

[Alex A]

Final thoughts on "art swords",  its about connection.

 

Someone could look at hundreds of swords and not consider any of them as Art but then come across one they truly appreciate and have to have.

 

For me, guess that's art.

 

 

[paulb]

Colin,

I started what would have been a lengthy reply offering an opinion on what constitutes an art sword but realised I was repeating myself. In 2020 I wrote an article which was posted here and on the Token of GB website. As usual I couldn't find my way to the articles section here (my problem not the sites) so have listed a link to the version on the Token Society website.

I am sorry if this appears idle and or self promotion but I think it explores the idea of a sword being art beyond those expressed here so far.

why article.pdf (to-ken.uk)

 much of what I have said in this was quoted from far better scholars and more knowledgeable people than me. I don't believe those opinions were elitist or based on protecting investment (mine certainly aren't) but I hope the points offered make some sense.

 

[Alex A]

Thanks Paul, good write-up.

[Matsunoki]

Paul, thank you so much for your reply and link. Neither idle nor self promotional!

Greatly enjoyed reading your article, a unique and personal approach to discussing a complex concept. 

 

[Lewis B]

Great read Paul. As with other artistic media, art is in the eye of the beholder. The maxim you know it when you see it, I think applies to swords too. Having just experienced 3 Juyo papered swords, one in particular evoked a visceral reaction. It was beautiful expression of the swordsmiths skill and artistic expression. I could have walked home with that but for the price. The other 2 were very accomplished too, exhibiting many of the characteristics of their respective schools, but they just didn't stir the soul like the first one. 

[Rivkin]

As always I'll take issue with most things said.

Nihonto is not per se a European type of art where a realistic scene is being interpreted and accented via specific technique.

Its closest relations are probably the calligraphy and stone collecting, closely followed by ceramics, two more steps aways - ink painting.

At its best it excels in conveying a particular emotion through an abstract form.

It can be calm, strong, flamboyant, restricted, open, fresh. As long as its not "mundane", the artistic purpose is achieved.

The "quality" assessment emphasizes first details down to individual strikes, then school-specific elements, consistency and finally composition.  

 

Understanding calligraphy does help in understanding what is a good sword. Taking into account that 95% of nihonto is calligraphy done by practicioners who can't even draw the lines at will because the media itself is exceptionally difficult. You see couple of areas where they sort of did what the school requires them to, the rest is smudges or just empty space devoid of ambition.

[Kanenaga]

It seems this is a topic about which anyone can offer an opinion, no matter how lacking their qualifications (meaning me), so here goes:

Is it possible that some clarification about terminology might be helpful?

I personally find it useful to think in terms of different categories of arts. Fine arts (painting, sculpture) share the quality of trying to say something about what it means to be human. They tell us something about ourselves.

Beautiful though they may be, nihonto tell us nothing about the human condition, so they should not be compared to fine art.

Nihonto, I suggest, should be considered applied art, or if you prefer, industrial art. Somewhat like architecture, for example. Making something beautiful when it is primarily a utilitarian item.  

 

 

And that's all I have to say about that.

                                                Forest Gump, 1994

 

 

[Jon]

Well if we look at the meaning of art, the key is actually intent, not the object itself:

 

the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.

 

so essentially it comes down to why the sword was created….was it’s primary function as a side arm or as a badge of office…if either of these were a swords primary function then it is not art. If on the otherhand it’s primary function was for the expression and application of creative skill in the creation of a thing of beauty to trigger an emotion then it’s an art sword…

 

So in reality there are almost no Japanese art swords created before 1945 ( as they all had a primary purpose as a side arm or badge of office) and many Japanese swords created after 1945 are art swords, unless they were created for martial arts purposes. 

[Amy]

Personally, I think the term "Art Sword" is quite subjective. For me, it's more about the craftsmanship and aesthetics rather than the original purpose or age of the sword. I believe both battle-used and specially crafted blades can qualify, as long as they exhibit exceptional artistry. 

[Jussi Ekholm]

I do not think "Art sword" is a really good word to describe good swords. I would rather just use good sword, and also if the sword is famous then it can be famous sword. Historical provenance etc. Also plays a big role.

 

Also I have now understood what my heart wants and what is right for me personally. It is not traditionally "correct" sword appreciation but it hits me.

 

I have seen so many top items of Japanese designations on this trip. Now this might sound crazy but several of the Kokuhō or Jūyō Bunkazai items did not evoke any feelings in me. Sure they were of excellent craftsmanship... but show me a rusty ōdachi or a big naginata with battle damage and I am bursting with joy.

 

I am not an Art sword connoisseur, I like what I like and my feelings just get stronger every year.

 

Now I do feel it is very important to study the best possible items and get understanding of what that work is like. I admit my eyes are not nearly trained enough to understand the fine points of sword appreciation, maybe I never will fully understand quality.

[Matsunoki]

Brilliant Jussi, couldn’t agree more. Straightforward honest opinions.

I’ll chime in again.

Seems to be that using the term Art Sword means totally different things to different people anyway. Maybe I’m alone here but imo Art Sword evokes certain uneasy feelings of elitism and possibly  also disdain for anything carried by most “ordinary” Samurai. 
If I compare it to another type of weapon that features heavily in my collection…..antique pistols, in particular cased pairs of duelling/officers/target pistols….The likes of Manton, Purdey, LePage, Nock, Mortimer, Durs Egg et al (and their predecessors) produced some weapons of incredible quality, ingenuity, workmanship and functionality yet we never hear the phrase “Art Pistols”…..and yes they also produced more modest utility options…..as did (imo) most swordsmiths. Is that an unjustified comparison?

Maybe some who collects Art Swords really mean “I collect bl**dy expensive swords”. At least we’d know what that meant!

I’m a member on the Token Society of GB and I believe they have just revised their reason for existence as follows. It is a massive improvement on the previous one (which I believe did previously refer to Art Swords? Someone will correct me I’m sure). Well done

”Since its foundation in 1964 the role of The Token Society of Great Britain has been to encourage and support the study, appreciation and preservation of Japanese Swords, sword Fittings and associated art“

 

 

[Omne47]

As a quick side note I collect Korean and Japanese ceramics. Some I would consider to be obvious art objects, others utilitarian objects.

My favorite piece is a fairly nondescript Korean blue and white jar, about fist size. No large value but the feel of the glaze is unusual. I like to handle it because it feels right. I have it on my desk and find myself handling it when I am deep in thought. It was made for a utilitarian purpose but I consider it a piece of extraordinary art. I've never run across a similar piece.

 

[sabiji]

Perhaps you first ask yourself the following question: what makes a good weapon?

 

The adjective "good" as a collective term for various characteristics. And that doesn't require complicated thinking.

In relation to a sword: it has to do its job, of course. It should be as sharp as possible and hold its edge for a long time. It should be robust and not bend or break. If it is damaged, it should be easy to repair and the blade should be easy to resharpen. Overall, the weapon should be balanced and easy to handle.

 

But what good is all this if the weapon is too expensive, the production is complicated and takes a long time, and it is difficult to get hold of the required raw materials?

 

That's why the sword must also be cheap and quick to produce. As a warlord, larger quantities must be available in a short space of time. The raw materials for production should be available to me or be cheap to buy.

 

All these points, and certainly more, are what make a good weapon in the first place. I can afford it, I can handle it well, it does what it is supposed to do.

 

Everything that goes beyond that: that my own wishes and ideas are incorporated into the weapon, that higher quality raw materials are used, that more complex technologies and manufacturing processes are used, which in turn require better trained and experienced craftsmen and much more - here we come to arts and crafts, yes, even to real works of art!

 

Of course, these swords are then more expensive.  They are no longer available to the masses of warriors, but to elites. Yes, they even deliberately set themselves apart with these artfully crafted weapons. They appreciate and admire the visible qualities associated with the high-quality materials and elaborate production. The weapons became status symbols, became family possessions and were passed down through the generations. 

 

Although they basically only stab and cut, can get nicks and rust, like any simple sword.

 

But the latter are lost over time because their focus is as a tool, which eventually wears out and is replaced accordingly.

 

Just one example: some Americans will be surprised, but here in Germany it is not at all common to own a firearm. There are only a few exceptions, which are associated with high requirements. One of these is being a hunter (here, too, extensive tests are necessary and required).

Be that as it may, I am currently looking for a hunting rifle. Should it be an inexpensive, international product, uncomplicated, robust, with a synthetic stock? Or would I prefer a rifle from a small German manufacturer, with a few extra features and a beautiful wooden stock? Well - what I can definitely rule out is going to a gunsmith to have a custom-made gun made for me. The latter is simply too expensive for me and is disproportionate to my hunting needs. All three rifles go "bang!" and make holes with the required precision at huntable distances. But the factory rifle will no longer exist in 30 years. The rifle from the small manufactory will certainly still find enthusiasts and be used from time to time. The rifle from the gunsmith will certainly become part of a collection in mint condition. 

 

Ironically, the best gun will probably be used the least. But stop! Is it really the best gun? Or was it the factory rifle that has been used many times and has many thousands of rounds behind it? 

 

Nobody will argue about which of the three guns is the most beautiful and artistic.

 

And one more thing: it doesn't make sense to approach Japanese art with the Western understanding of art. The Western understanding of art has a completely different evolution.

 

There is also no real distinction between "arts and crafts" and "art" in Japan. In Japan, an object that has been reduced to its plain and functional simplicity can be considered beautiful and artistic. Functionality is a basic requirement. In Japan, art has much more to do with aesthetic perception, which is why Japanese art terms such as mono no aware, yugen, wabi, iki are linked to sensations.

 

On the other hand, many Japanese swords today are polished to a level that they were not polished at all a few hundred years ago because they were simply weapons. No one thought about any properties of the steel or the hardening because they were not visible.

 

I don't mean to disparage certain blades that are often posted here for identification. But it should perhaps be kept in mind.

 

The Japanese sword is a very subtle arts and crafts. You have to get very close to see and judge the quality. You can't see everything at the same time like with a sculpture. You have to tilt a blade to the light at different angles in order to be able to see and judge even very small areas.

 

So it's an art to be able to see, understand and judge a Japanese blade. Everything else follows from this...