Improving nihonto museums in Japan.

[TumiM]

Hi all. Long-time lurker of NMB, but first-time poster, so apologies if this is the wrong place to post this.

 

Quick bit of background. I currently work at the Bizen Osafune Japanese Sword Museum in Okayama Prefecture, Japan, and have been trying to get their English-language info up to at least the bare-minimum standard over the last few years (anyone here with experience of Japanese institutions can probably imagine what a pain that's been). I've also been working with them and local government in a limited capacity to try and improve our sword-related offerings for international visitors.

 

As I am in the lucky position where I can in some small way influence what you might get to experience, should you ever decide to pop over to our neck of the woods, if any of you have a moment to spare, it would help us massively if you could share your opinions on swords and sword museums in the form linked below:

Nihonto Tourism Questionnaire

 

Thanks!

[Lewis B]

I will be visiting Japan next May and I have your museum on my list of must sees. Do you know if you will have a special exhibition in May 2025? If you can show us some of the English langauge info cards we would be happy to make suggestions. The more information the better IMHO.

 

I didn't attend this exhibition in person but the information provided on the info cards for these Soshu blades was the right amount of detail. I liked that the swordsmith is given some context and his relative importance within the Den and that the features on the sword are described in detail, so that the observer can understand what they are seeing. All this adds to the experience, especially if the number of exhibits are limited.

 

 

[SteveM]

Hello Tumi

This is a topic of huge interest to me. I visited the Japanese Sword Museum in Ryōgoku earlier in the year. It was my first time to the new museum building since they moved from Yoyogi several years ago. The facility is beautiful, and, I think, for tourists it is in a much more interesting location than Yoyogi. But I found the display itself to be underwhelming, and I think of very little interest to anyone outside of sword aficionados. I think this is somewhat natural for any museum that specializes in one particular field. Anyone not interested in swords probably won't be going out of their way to visit a sword museum. But I think it is a lost opportunity to bring more people into the hobby. I've studied swords for a while, and I know a bit about swords, and I walked away from the sword museum feeling they could have done much more to educate, and to make the subject more inviting to the non-enthusiasts (for example, the partners or children of people who visit the museum, or maybe the people who are in Ryogoku and who have a vague interest in Japanese history, but aren't necessarily sword fans). 

 

My first thought was: for a three-story museum, the actual sword display area (one room on the top floor) feels small. I somehow expected the new facility would have three levels of sword displays. Or that they might have a floor dedicated for sword-related items. The small room on the first floor near the entrance gives a brief overview of the sword-making process, but that seems somehow dated and not really of great interest. (It's like a room with a couple of artifacts, with a video loop of the sword-making process. Very 20th century if you ask me). 

 

Up on the third floor, it was nice to have the QR code for English explanations, but it really was the bare minimum of effort. The translations of the explanations seem inconsistent (maybe translated by several different translators, or different translation software), and, again, only meaningful for very hard-core sword enthusiasts. The translations I saw contained spelling errors, and were in need of editing. The explanations sometimes seemed quite different to what was being displayed - for instance there was more than one occasion where the explanation described a sword as having utsuri, but the actual sword had absolutely no visible utsuri. Was it a problem of lighting? Was it a lazy description made without examining the sword? Was the description card switched with a different sword? Or was it a problem of my vision? It is (presumably) the world's premier Japanese sword museum, so you would imagine the lighting and descriptions would be perfect. In the end I walked away feeling doubt about my own ability to view swords. I wondered how bewildered a novice must feel. 

 

The swords themselves were broadly arranged according to time of manufacture, with the oldest swords at the entrance, and then getting progressively newer as you go around the room. But it was a somewhat vague timeline, and it required to visitor to intuitively understand why sword shapes changed. There was no effort made to educate newcomers about how the times influenced sword shape or sword production. I agree with Lewis that some information about the gokaden and how the gokaden influences our understanding of swords would also be of enormous benefit. 

 

The center of the display room has long cases for the display of tosogu, but here too the explanations are very perfunctory. Some paperwork was on display (like Hon'ami certificates), but these weren't even rendered into modern Japanese. It was just an old document full of old, indecipherable cursive writing, which had zero educational value, and only minimal value as an artifact. I say this as someone who likes deciphering old Japanese cursive writing. 

 

I hope to not discourage anyone from visiting, because it is worth going to as a sword enthusiast. Better descriptions would be a huge help, and probably the most cost-effective way to improve the overall exhibitions. Some more explanatory information about how/why swords changed over time would be interesting and educational. More "eye candy" in terms of koshirae, tosogu, or armor/helmets would be fantastic. I'm not suggesting the sword museum expand its remit to include a room dedicated to armor, I'm just suggesting that a few items other than swords would help draw in more newcomers, AND could help educate why swords changed over time. A broad overview of the authentication system would be interesting, or even a timeline of the changes in the authentication system would be great. 

 

I was at the Bizen Osafune museum two years ago, and I really enjoyed it, especially the working space next to the museum where the craftsmen are making swords and koshirae. I can't quite recall how the descriptions were displayed. I wasn't looking as critically as I was this year when I went to the Japanese Sword Museum. 

 

If you want more information, or if you want to talk in more detail, feel free to send me a PM. 

[Bugyotsuji]

Interesting reading material above. Thanks.

 

Tumi,

I found the captions at the newly opened Nagoya Token Museum needed editing, especially in the vast sword floor. Can't remember too much about the armor floor, except the standing figure displays were generally awful. The guns floor is much better edited and with more information.

 

Actually apart from the shop and workshops, the Osafune Sword Museum does do several other things very well in my opinion. The cards give both English and Japanese, and for some exhibitions French too. If there is a mistake in the English, I usually point it out to the staff, who always seem grateful, but in recent years this has not been necessary at all. 

 

I really like how they point out the particular features that can be seen in each blade, and using a diagram on a card, where exactly to look for it on the blade. In the starting room there are white lines on the floor indicating where a person of a certain height should stand to be able to 'see' things in the blades displayed. The blades are carefully placed to reflect the light available.

 

One suggestion might be a notice on the wall in several languages inviting guests to ask for guided interpretation if they want it. (I know there are willing volunteer guides available at Osafune. )

[chinaski]

I'm new here as well, but I just answered the questionnaire!  Good luck with everything and greetings from LA, CA!  

[jesup]

I haven't been to a sword museum in Japan.  Got close once; was in Japan for 25 hours in 1992(?), but it was on a Monday... Ueno Museum was closed on monday (written in stone on the entrance).  Called the NBTHK Museum on the other side of Tokyo to make sure they were open.  Someone answered, didn't speak English, but I took that as open.  Went 1/2-way around the city, walked took a local line out further, walked a few blocks, got there and someone was coming out to get something from a vending machine.  Went to the door and .... Closed on Mondays.   The person said they thought that all museums in Japan are closed on Mondays.

 

I was in the Samurai museum in Berlin earlier this year.   If you can make it *anything* like that, it'll be outstanding.  The focus there was on armor much more than blades. The blade descriptions could use some improvements.  But the entire museum was extremely attractive and interesting to non-sword people.  Some of the items have fancy touchscreen multi-lingual displays to tell you more

[sabiji]

A very interesting topic!

 

@TumiM
Unfortunately, I can't say anything about the Bizen Osafune Museum. I was last in Japan in October 2022 and was one of the first "normal tourists" to be able to visit Japan again after the Covid pandemic. Since I was also in Kyoto, I also wanted to visit Osafune. At that time, some museums were still in Covid mode and you had to book a time slot for a visit to the Osafune Museum. To register, you were then redirected to purely Japanese websites. Despite translation programs, I gave up. But maybe I'll manage to visit Osafune in the future.

 

Nevertheless, it touches on a point that is not unimportant: the web presence. The Osafune Museum, the NBTHK Museum or the National Museum are quite good, or sufficiently set up, when it comes to information, for example in English. But I also wanted to visit other smaller museums and exhibitions where information for non-Japanese speaking visitors was already difficult.

 

I always found the lighting of the blades in the Tokyo National Museum or the NBTHK Museum to be excellent. You can see quite a lot, despite the distance, the display case and the glass. In other exhibitions where blades only play a minor role, you can't expect much. The presentation of some important blades in the Nijo in Kyoto is horrifying. Well, it's not a sword museum, but there must be ways and means of displaying such swords in a more interesting and dignified way in a tourist hotspot like this.

 

Randell talks about the Samurai Museum in Berlin. I have very good contacts with the staff and the museum management. And of course, as a "Nihonto lover" you would do a lot of things differently. But you shouldn't forget one thing: how many "experts" are there? More than 90% are interested laypeople, and in my opinion the museum is well equipped for that. A museum should always address a broad public so that it can pass on art, culture and history in this way. Compromises are always necessary, and as a knowledgeable person you should overlook some things.

 

Well, and then of course there is the economic factor. Previous exhibitions had a more academic structure. Then the exhibitions became more modern, more interactive and more entertaining, like the Samurai Museum in Berlin. The costs of a museum, the running costs alone, are not insignificant. You have to weigh up what makes sense and what doesn't.

 

I and a few other enthusiasts organize so-called "study evenings" four times a year in collaboration with the museum to go into more depth on certain topics for interested museum visitors. Here you can look at some objects very closely without any annoying glass in between. But here too you quickly notice that you have to adapt a lot to the interested layperson so that what you are explaining is interesting, entertaining and understandable.

 

Tips and advice and criticism from experts are always important and helpful. There is always something to improve. But first and foremost, we need to reach laypeople, because that is where the next generation comes from.

[Gakusee]

The Samurai Museum in Berlin is excellent for 'non professional' and not knowledgeable visitors, such as children, plus advanced students. Whether it is the stage with the virtual taiko drummers, or the dioramas, or the tea house or the mounted samurai figures or the electronic displays with the cheeky animal asking questions. It is educational, modern (eg they have touch-glass displays where you can point to the tsuba underneath the glass and the video screen broadcasts info about it), futuristic and has the latest technology. But clearly it has been built with a lot of love and money from Peter. It is a product of personal affection and built so that one can really enjoy oneself there. 

 

This is not really attainable at smaller state museums like the Osafune one or the NBTHK one. They just do not have the funds or decision-making power to undertakes such expensive and extensive technology investment.  The second floor of the NBTHK museum is all admin offices and the ground one is a combo of a small shop, a cafeteria-like area and indeed the introductory room. I have not been to the Osafune one, or the Nagoya one, but I have been to the Hosokawa one, Fukuyama one,  and some others (eg National etc).  What always needs to be there is the bilingual explanations. Then the quality of the items of course.

 

What the smaller museums cannot achieve is what Steve is mentioning - this all-encompassing (from beginner to advanced) multilingual catering to different levels of understanding, different educational materials (particularly tactile/interactive/electronic), great technology  and so on. The Japanese museums naturally cater to the more advanced taste and knowledge. The visitor is expected to know what they are looking at. Also, only very recently (perhaps the last 10 years or so) they started bothering with English explanations. Until then it was all in Japanese really. Perhaps in the next 15-20 years they will catch up and places like Nagoya will introduce more modern technology. For now, I am content that they do best what I need of them - provide the quality and depth I am after when I go to these museums. The junior / lay education etc is sort of left to the National Museum. 

 

Thomas has made numerous excellent points above. Physical size and collection scale of the museum, the large upfront investment in technology and the running costs all determine the approach to curating and exhibitions. 

 

I would say in summary, the minima are:

- very good lighting

- appropriate placement 

- adequate spacing between items

- English explanations of the item / maker /some of its history and why significant

- background info 

- and then you either go a) thematic/narrow/specialist of b) broader/more generalist/more inclusive/accessible when you approach an exhibition

- additional facilities (toilets, cafeteria, lockers)

[Lewis B]

I think a lot can be learned from other successfully designed museums. Case in point was the wonderful museum at Bibracte in France. A totally immersive experience that guided the visitor through the history of the Gaulish village, a recreation of a forge, sanitation and many other aspects of life in the prehistoric settlement. The visitor downloads the museum app and by standing near the floor markers they get a 2-5 min account of what is being viewed using a GPS locator function. One of the best designed museums I have visited. Another is the Tintin museum near Brussels, which again used an app-centered guided tour of a museum designed from the ground up to enhance the visitor experience.

I think apps are the way of the future especially for international visitors. So many more languages can be accommodated. Its how the app is integrated into the displays that is critical. It also cleans up the display cabinets and allows for a lot more detailed information about the exhibit to be conveyed.

[Ghoul]

21 hours ago, jesup said:

I was in the Samurai museum in Berlin earlier this year.   If you can make it *anything* like that, it'll be outstanding.  The focus there was on armor much more than blades. The blade descriptions could use some improvements.  But the entire museum was extremely attractive and interesting to non-sword people.  Some of the items have fancy touchscreen multi-lingual displays to tell you more

 

I was actually in the Berlin museum today - it's really good! The multi-lingual displays were a life saver. Never been to Japan yet (but I very much hope to at some point), but this sort of thing would definitely be amazing if possible (it would be nice if they went into more about schools and styles though):

 

 

[Tohagi]

I was at the NMT this afternoon for the first time.... so disappointed.

 

I cross alf the world to see the great Yasutsuna's Dojigiri, and it wasn't there. Very few swords in reality, 2 or 3 great swords only counting an over the top Sadamune...

 

Overall, the descriptions and the lightening where so poor...

 

I don't understand...

 

Best regards 

Éric VD 

[Lewis B]

2 hours ago, Tohagi said:

I was at the NMT this afternoon for the first time.... so disappointed.

 

I cross alf the world to see the great Yasutsuna's Dojigiri, and it wasn't there. Very few swords in reality, 2 or 3 great swords only counting an over the top Sadamune...

 

Overall, the descriptions and the lightening where so poor...

 

I don't understand...

 

Best regards 

Éric VD 

Sounds like the V&A London's Japan room exhibit. Only 2 swords in very poorly illuminated cabinets. Really should do better.

 

[Gakusee]

3 hours ago, Tohagi said:

I was at the NMT this afternoon for the first time.... so disappointed.Sadamune...

 

Overall, the descriptions and the lightening where so poor...

 

I don't understand...

 

Best regards 

Éric VD 

Really? Not my experience of the TNM (at least not the first 4-5 cabinets where they normally display the choicest swords….

[Benjamin]

Hi

 

Examining a sword is basically playing with light, it's adjusting three objects in space : the blade, the light, your eye.

 

In museum the blade can't move but I dream about a system of moving light on a mechanical arm or more simply on a rail, manipulated by a joystic outside the glass, or more simply automatised to alternate positions.

 

That could be a bit complex to install (whatever..) but that could be very fun for neophyte and very exciting for connoisseurs.

 

And let me dream more, add adjustable magnifying glass, telescope...

 

 

 

[Gakusee]

Meito Nakigitsune followed by Meito O-Kanehira at TNM. Had to downsize them and take screenshots of actual photos so you can imagine what some of the raw images look like.

 

I consider theTNM lighting some of the best museum lighting I have experienced when it comes to Nihonto. Bear in mind - again, these are the first 4-5 cabinets where the lighting is superior and where the show pieces usually are. The following 20 or so vitrines are indeed inferior.  

[Tohagi]

They changes the expo for the summer.

Onlyvcabinet 5 and 6 at second floor and 13.1 &2 at rdc. 15 swords overall, nonne national treasure.

 

A desaster IMO.

Saw better pièces at Ginza Seiyudo...

 

Kind regards,

 

Éric VD 

[SteveM]

Wonder whatever happened to @TumiM.... 

 

Hope some of this information is useful.  

[sabiji]

I am also very surprised and can only agree with Michael. I've been to the NMT twice so far and have always been very satisfied with the illumination. I'm really sorry for you, Eric. I don't have any pictures as good as Michael's at the moment, but here's an Awataguchi Yoshimitsu on a visit in 2022.

[Tohagi]

Sorry,

 

I strictely respect the no picture rule, so I can't show you the exhibit tokay (onbo day). Most swords are shownd ha down, to show public the meï, but in that way  you can't appreciate hamon.

 

IMO 2 very beautifull nihonto only, a wonderfull tanto and the Sadamune.

 

Éric VD 

 

[Jussi Ekholm]

My thoughts might be bit all over the place but I am super happy you are looking for feedback from international members. Unfortunately I have not yet visited Bizen Osafune Sword Museum but I will in the future.

 

My biggest wish to all museums, shrines etc. in Japan would be that they would list all the items in their collection on their website. Of course that is a huge task but I feel even us not able to visit the museum could enjoy the items. I would be perfectly happy with all Japanese short listings and basic picture of item. Of course this is just my own personal preference as I am addicted in researching items. I feel that way people could enjoy the items.

 

I can take an example of Bizen Osafune Sword Museum, unfortunately so far I only have info of 3 of your swords, 山鳥毛, 78,9 cm Kanemitsu 兼光, and 69,1 cm Yoshioka Ichimonji tachi SukeX 一備□吉岡住助.

You have amazing current exhibition going on: https://www.city.set...site/token/1315.html

I would want info on items 16-29 and 38 & 36-2 37-2. However unfortunately I only have info on 18, 24, 36-2, 37-2 so far.

Also I appreciate greatly that you have info on old exhibitions available https://www.city.setouchi.lg.jp/site/token/list7-251.html Would it be possible to include the listings of items similarily to the current exhibition?

 

I am very happy you have the Morimitsu ōnaginata on loan for the latter part of the exhibition. I love ōdachi and ōnaginata and I hope museums could display them if possible. Of course they do take up a lot of space and I suppose majority would rather see something else as they are not that popular. Personally I don't care about the descriptions that much, just to be able to view the amazing items is my goal. Some shrines for example have sometimes extremely limited info on items, descriptions put to wrong item etc. However they house some amazing items that you cannot see anywhere else. Of course I admit I fall into fanatic category and I feel what I enjoy is not enjoyable to general public. I feel other members have given excellent advice above.

 

 

[Bryce]

G'day,

I have only been to the Tokyo National Museum, but thought the nihonto display there was excellent. My only criticism would be the relatively small number of blades on display, but the lighting was excellent.

Cheers,

Bryce

 

[OceanoNox]

On 8/13/2024 at 1:43 AM, Benjamin said:

And let me dream more, add adjustable magnifying glass, telescope...

May I introduce these?

https://rank-king.jp...4EAAYASAAEgLlC_D_BwE

Apparently made specifically for museums and the like.

[Kanenaga]

I've been to the NBTHK Museum (both old and new), the Tokyo and Kyoto National Museums, and the Sano Museum. In each of these I thought the lighting was acceptable for a static display of swords. But "static" is not how we usually appreciate blades, so I would like to see museums get over their prohibition against bringing and using a small flashlight of one's own. TTBOMK, light cannot injure steel (curator alert!).

 

I second Arnaud's suggestion about the usefulness of a quality monocular, especially for viewing fittings behind glass. These take a little practice for orientation, because the field of view tends to be very small. When the Mitsumura collection was on display several years ago, the Nezu Museum would actually lend you one of these, and it was perfect for seeing the fabulous details.

[Lewis B]

The largest sword museum in Japan, in Nagoya just opened. Curious what others think. The lighting appears adequate but the signage, especially in English is hardly progressive. Opportunity missed? Its an extensive collection covering so much Japanese Militaria and art. The nihonto 'petting' section made me smile. 

Whoever designed the museum certainly loved gold,,,,,

 

 

[TumiM]

Hey guys,

Apologies getting back to you all, especially in view of the great feedback. Unfortunately I've been without a working computer for the last week, but back up and running now!

 

Thanks everyone who's answered the questionnaire. Been a massive help.

 

Thanks for the photos a couple of you sent of the Berlin museum. I haven't had the chance to go there before and it looks like they're doing a lot of the  kinds of things that would be valuable in Japan.

 

Now for a block of text, but just want to address a few of the points that have come up in several people's comments and give you guys a little insight into the inner workings of museums. 

 

1. Multi-lingual info: This is a massive one. I'm very sad to hear that the Nagoya museum isn't up to snuff, especially in view of the amount of money put into it. And I agree totally that even the bigger national museums could really improve what they're offering. As for our museum, here's what we currently have/ are working on re: multi-lingual info.

 a. The Japanese info panels that we have are fairly detailed for each individual sword, giving appraisal notes and historical details of the smith/blade. Because of this, when we tried to put the English info in physical form within the cases, they took up too much room and became rather cluttered. At the mo, I've been putting all the English caption info online, accessible through a QR code in the exhibition room. Not 100% ideal, but at least it also allows for auto-translation into languages other than English. We've also got a couple of folders with print-outs which people can carry around with them as they go through the exhibitions.

b. I definitely agree with the utility of a museum app. While I doubt I will be able to secure funding for a fully custom-made app like those at the museums mentioned, I am trying to get some kind of audio-guide made so that people can listen as they look, likely using an off-the-shelf, free utility like Izi Travel or SmartGuide. If any forumites have experience with audio-guides or museum app production and have advice, I would absolutely love to hear it!

On 8/10/2024 at 12:41 AM, Lewis B said:

I think a lot can be learned from other successfully designed museums. Case in point was the wonderful museum at Bibracte in France. A totally immersive experience that guided the visitor through the history of the Gaulish village, a recreation of a forge, sanitation and many other aspects of life in the prehistoric settlement. The visitor downloads the museum app and by standing near the floor markers they get a 2-5 min account of what is being viewed using a GPS locator function. One of the best designed museums I have visited. Another is the Tintin museum near Brussels, which again used an app-centered guided tour of a museum designed from the ground up to enhance the visitor experience.

I think apps are the way of the future especially for international visitors. So many more languages can be accommodated. Its how the app is integrated into the displays that is critical. It also cleans up the display cabinets and allows for a lot more detailed information about the exhibit to be conveyed.

c. If anyone has any inventive/low-cost solutions that they've seen in other places, absolutely all-ears.

 

2. Technology: This too is a real sticking point. As you might imagine, a countryside museum like ours doesn't have the largest budget, so I've been struggling to get anything technology-related funded. Something like those screens in the Berlin museum I feel would be ideal, as they would allow people to switch between multi-lingual captions, but alas. An interesting point that some of you may not have seen is that even the national museums are struggling. It was covered in the news quite widely here last year but, for example, the Tokyo National Museum had a several-million dollar shortfall in their budget last year because their electricity bill had gone up massively. As you will all probably know, swords have to be kept at a cool 21 degrees celsius and <45% RH, which can lead to just the climate control in summer costing upwards of 100K for even a smaller museum like us.

 

3. Purchasing policies: Following on from the last point, Michael.S is absolutely correct re: funding issues. We have been able to get a bit of money from central government to improve our museum's permanent introductory area, but for regular exhibitions, the funding is fairly limited. Another thing is that any museums run by local government are rather hamstrung by their purchasing policies. Basically, if a company is not local, the city office and museums can't buy anything from them (supposedly to support local businesses). This may not be a problem in large cities, but for us, that means spending huge amounts for even the basics, due to economies of scale. Honestly, this is one of my biggest bugbears and a major cause of contention.

 

4. Lighting: This, I think, we do pretty well, though I suppose comes from being set up specifically to look at swords. When we set up an exhibition, we adjust the angle and bulb-type of every single light fitting to best show off each individual blade (e.g. switching between LED and halogen to better show off hada or hamon). Unfortunately, new laws are coming in that require that use of LEDs across the board in museums, so we will be slightly limited in that respect potentially going forward. We regularly discuss with local polishers to get advice on lighting too, so we are definitely attempting to improve in this area.

Unfortunately, despite the high-quality of the collections in the TNM, not all rooms are set up for sword displays, so I must agree that when I went to see their National Treasure exhibition last year, the swords were not in their usual room, and so the lighting left a lot to be desired. That said, their sword curator (Sato san) is top-class, so it's definitely more an issue with the facility, and not the staff, and the main sword gallery is well-lit.

 

5. Monoculars: We actually lend these to customers for free if they ask, so be sure to check with us for one if you ever visit (ask for a 'tangankyo').

7 hours ago, Kanenaga said:

I've been to the NBTHK Museum (both old and new), the Tokyo and Kyoto National Museums, and the Sano Museum. In each of these I thought the lighting was acceptable for a static display of swords. But "static" is not how we usually appreciate blades, so I would like to see museums get over their prohibition against bringing and using a small flashlight of one's own. TTBOMK, light cannot injure steel (curator alert!).

 

I second Arnaud's suggestion about the usefulness of a quality monocular, especially for viewing fittings behind glass. These take a little practice for orientation, because the field of view tends to be very small. When the Mitsumura collection was on display several years ago, the Nezu Museum would actually lend you one of these, and it was perfect for seeing the fabulous details.

 

6. National Treasure displays: This may be new info for some, so out of interest I thought I'd mention it! All Municipally/Prefecturally/Nationally-Designated Important Cultural Properties (including National Treasures) can only be displayed for a max of 60 days/ year by law to aid in preservation. While this is the legal max, many objects are displayed for much less time, due to their condition. For instance, the Sanchomo's koshirae is in a delicate state, so we generally limit it to 10 days/ year.

 

7. More info on the web: Thanks for the recommendation Jussi. I'll see what I can do. While I don't think a fully searchable collections database (a la British Museum, MET, etc.) will be possible, mostly due to the limitations of our website CMS, I will try to make sure that at least the translated English exhibition index is uploaded for each new exhibition from now on.

On 8/14/2024 at 3:25 AM, Jussi Ekholm said:

My thoughts might be bit all over the place but I am super happy you are looking for feedback from international members. Unfortunately I have not yet visited Bizen Osafune Sword Museum but I will in the future.

 

My biggest wish to all museums, shrines etc. in Japan would be that they would list all the items in their collection on their website. Of course that is a huge task but I feel even us not able to visit the museum could enjoy the items. I would be perfectly happy with all Japanese short listings and basic picture of item. Of course this is just my own personal preference as I am addicted in researching items. I feel that way people could enjoy the items.

 

I can take an example of Bizen Osafune Sword Museum, unfortunately so far I only have info of 3 of your swords, 山鳥毛, 78,9 cm Kanemitsu 兼光, and 69,1 cm Yoshioka Ichimonji tachi SukeX 一備□吉岡住助.

You have amazing current exhibition going on: https://www.city.set...site/token/1315.html

I would want info on items 16-29 and 38 & 36-2 37-2. However unfortunately I only have info on 18, 24, 36-2, 37-2 so far.

Also I appreciate greatly that you have info on old exhibitions available https://www.city.setouchi.lg.jp/site/token/list7-251.html Would it be possible to include the listings of items similarily to the current exhibition?

 

I am very happy you have the Morimitsu ōnaginata on loan for the latter part of the exhibition. I love ōdachi and ōnaginata and I hope museums could display them if possible. Of course they do take up a lot of space and I suppose majority would rather see something else as they are not that popular. Personally I don't care about the descriptions that much, just to be able to view the amazing items is my goal. Some shrines for example have sometimes extremely limited info on items, descriptions put to wrong item etc. However they house some amazing items that you cannot see anywhere else. Of course I admit I fall into fanatic category and I feel what I enjoy is not enjoyable to general public. I feel other members have given excellent advice above.

 

 

Fun fact, it was touch-and-go as to whether we would be able to display the onaginata due to its size. Luckily, there is exactly one spot where we can actually get it into the case. 

 

7. Sensible exhibition orders and expositive info: This too is something I think we are doing reasonably well, though I do think that, if anything, we actually have too much explanatory info and could do with reducing the amount. Even so, while we do generally also put items in time order (simply because we want to go out on a 'bang' and the best stuff tends to be oldest), we make sure to have info for each item and thematic info given after every 2-3 blades.

 

7. Curatorial eccentricities: Another bit of info that people might be interested in and may explain some of the problems people have seen at museums. As some have already surmised, many museums don't actually have a specialist sword curator, which explains the poor lighting in a lot of places. However, even where there is one, each tends to have a very specific way of doing things. For instance, despite most museums displaying tachi curve down, and katana curve up, I believe it was the curator at the Kyoto National Museum who does everything curve up, as he's worried about chipping the edge if it's edge down.

In our case, the curator was originally a researcher/writer, so we tend to be very heavy on caption info, with less effort placed into graphics/broader considerations around visitor knowledge-levels etc. None of these ways of doing things is necessarily correct or incorrect, but they are reflected in the exhibitions.

 

Lewis B, unfortunately no special exhibition in May 2025, but in fact it is likely that that will be when we are hosting the first exhibition that I will be in charge of, likely themed on comparisons between Japanese swords and those from other countries. If you happen to visit, give me a shout!

 

On 8/7/2024 at 8:17 PM, Lewis B said:

I will be visiting Japan next May and I have your museum on my list of must sees. Do you know if you will have a special exhibition in May 2025? If you can show us some of the English langauge info cards we would be happy to make suggestions. The more information the better IMHO.

 

I didn't attend this exhibition in person but the information provided on the info cards for these Soshu blades was the right amount of detail. I liked that the swordsmith is given some context and his relative importance within the Den and that the features on the sword are described in detail, so that the observer can understand what they are seeing. All this adds to the experience, especially if the number of exhibits are limited.

 

 

 

For those interested in seeing captions for our current exhibition, don't currently have a link, but will grab that tomorrow and post here so people can see what they're like (I will say in advance, many apologies for the rough formatting, again, the CMS is not great).

 

 

 

[Lewis B]

Thanks for the detailed feedback and response to our suggestions. Some here are true experts and their considered opinions are highly valued. I read an article last week in Japan Forward describing how Japanese sword making had been influential in your career path. With your roots and clear passion for the field I think you are an invaluable member of the team at the museum. 

I'm guessing the decision to ban lighting other than LED was made by bureaucrats who have no idea how best to display nihonto. Some styles of Jihada and Hamon certainly benefit from a halogen light source. 

 

For a specific reason my plans are evolving and I will be travelling to Japan for next years Dai Touken Ichi. Dates are yet to be confirmed for this annual event and as soon as they are announced I will make arrangements. Plan is still to visit the Bizen Osafune Museum though. 

[Bugyotsuji]

Lewis, if you pass through Okayama City on the way to Osafuné, (most catch the local train there) then check out in advance what is on at the Hayashibara Museum of Art opposite Okayama Castle. Often they have blades from their own good collection on display.

[Lewis B]

59 minutes ago, Bugyotsuji said:

Lewis, if you pass through Okayama City on the way to Osafuné, (most catch the local train there) then check out in advance what is on at the Hayashibara Museum of Art opposite Okayama Castle. Often they have blades from their own good collection on display.

My plan is take the Sunrise Izumo sleeper train from Tokyo to Okayama so I will certainly follow your advice. I have been following the travel vlogs on YT from the likes of Solo Solo Travel and they make this an absolute must. I will purchase a 3 week JR Rail Pass and this offers a discount on the sleeper. 

[Jussi Ekholm]

Thank you for very throughout reply Tumi. It was very enjoyable to read and gave us a lot of background information. Was also nice to read the article the Lewis B mentioned, to get to know you bit better.

 

I think one "free" thing to add might be an activity corner of some kind. Of course having never been into your museum I do not know the layout, just looking at the pictures online it seems your sword displays are top notch. I think some kind of activity area might appeal to general people, for example at Atsuta-Jingū you could try to lift up the replicas of their famous ōdachi, Tarōtachi and Jirōtachi, and average katana in comparison. In the new Nagoya Tōken World there is also section for holding a sword & gun. Perhaps you could feel different tsukamaki types/bare rayskin handle etc. As I believe you have craftsmen working in the premises, there might be lot of things you could do, that might appeal to general public. I am far too deep in this hobby to really understand what general public wants to see and learn.

[Brian]

Love the fact that you are engaging with the public and looking for input. That already is miles ahead of most museums. Great having you here, and we are delighted to help where we can. Hope to be able to visit oneday in the future, will drag Piers along.