How to display Nihonto

[downunder]

I have been lucky enough to collect a few Nihonto now. I am having a glass display cabinet with adjustable glass shelving especially made to display my katanas in my home. What is the best way to put a katana on display. Do you leave it in its saya? Is it wise to leave the blade out of the saya on display? If you have koshirae and shirasaya, would you display the blade in shirasaya, the koshirae in the saya, or would you not bother with the shirasaya on display at all? Not all of my Nihonto have shirasaya but all have koshirae. All are in full polish. I have never seen katanas displayed in a museum. I would appreciate any advice.

 

Glenn

[John A Stuart]

I have seen a quite a few displayed, with sword without any koshirae or shirasaya, with sword and koshirae mounted on a tsunagi, in its koshirae, every which way. It depends on what you are emphasising in the display. Always there seemed to be a glass of water in the glass cabinets to maintain humidity. John

[sanjuro]

The following is my understanding of how to display katana.

 

Since the Edo period it became the practice to display katana which had a full Koshirae and a shirasaya on a katana kake The uppermost item would be the koshirae mounted on a tsunagi so that it resembled the mounted and sheathed sword as it would be seen when being worn. Tsuka to the left when looking at it front on. The sheathed blade in shirasya would then be placed on the lower fork of the katana kake. The reason for this being that the blade and the koshirae could be examined seperately, ie. the blade could be examined without handling the koshirae and possibly soiling the tsuka ito. Smaller blades such as wakizashi and tanto are treated similarly. In the event of a daisho pair being displayed, they are displayed fully mounted, the katana above the wakizashi on a two sword stand or as above, on a four forked stand if the shirasaya and tsunagi were present for both blades. As John suggests however, there are many variations on the theme which is adapted to cater for the presence or lack of shirasaya tsunagi and the like.

In antiquity, prior to the Edo period, the sword (usually a tachi) was kept fully mounted, resting on a tachi kake.

The glass of water that John alludes to, I would imagine would depend upon the humidity/time of year and general climate. Australia for instance (Where your avatar suggests you live), is relatively humid except in the interior and far North West .

[IanB]

Glenn, Just a word of caution. The worst enemy of most historic artefacts incorporating organics is light. This is particularly true of both lacquer and textiles. A lighting level of 50 lux is considered reasonably safe provided the objects are not exposed to these levels for years. I know it seems illogical, but you would be surprised just how rapidly both the silk bindings on a sword, and its lacquer scabbard can deteriorate. I am thinking of a superb tanto in the Royal Armouries collection that has a saya done in dark red lacquer. The omote is now a very dull matt finish, the ura being a bright gloss. Somebody, before it came to the Museum left this tanto exposed and damaged it irretrievably. Silk bindings can also suffer from the same cause. Dyes absorb light energy that is mainly dissipated as heat, but some dyes transfer the energy to the textile molecules themselves, destroying the long polymer chains. We must have all seen a tsuka in which clouds of silk dust fly off every time it is handled. Being an armour freak I know how severe the red and purple dye can be on silk.

So, although it is nice to see swords on a stand, displayed in the traditional way, minimise the time they are exposed this way. The Japanese didn't keep swords in brocade bags, in tansu or other containers for nothing. Similarly, old texts suggest airing armours on the veranda during the humid season, but covered with a cloth to keep off the light. Ideally, these objects should be in a vacuum or inert gas, to avoid oxidation, total darkness, and in zero gravity, to avoid stressing. A bit tricky to achieve in an average home but we should at least try.

Ian Bottomley

[Justin Grant]

Ian- Sir-

 

You bring up a point I have thought about for a few weeks. Inert gas filled storage container... I have been thinking about building a display box with, at minimum, a glass front. Placing the sword in the box, sealing it, applying vacuum, and then filling with argon gas. I would leave a vacuum/pressure gauge on it to see if it leaked over time. As a welder by education, not trade, I have access to argon, and other gases. My question would be the material to construct the box out of. Ideally it would be made of wood, but I am unsure if the wood will absorb or leak the argon over a period of time. Constructing the box of metal would render it heavy and less aesthetic.

 

I am in the process of trying this for a Tsuba I recently purchased from Grey. The box is roughly 5" x 5", with a glass front and back. I figured the cost of materials is almost free, and just time. If this smaller box will hold the argon, I can move up the process for a sword.

 

Sorry for hijacking the thread, back to your regularly scheduled discussion.

[Nobody]

As far as I understand, vacuum or inert gas environment is not always preferred condition or is even worse for some objects such as koshirae which needs proper humidity.

BTW, it is impossible to maintain inert gas in a box using wood.

[Justin Grant]

...

BTW, it is impossible to maintain inert gas in a box using wood.

 

Wood yes, sealed wood? By sealing the wood, it may hold, I don't know. If not, aluminum with wood clad may suffice. maybe this is only good for Tsuba and other such items.

[John A Stuart]

Using argon is way over the top. Koshirae need the humidity to remain viable, no doubt about it. You are worried about oxidation, correct? Well, proper cleaning and oiling occasionally is all that is needed for the blade itself. Doing that is part of the fun and you can always see something new you've missed before. Keeping your koshirae away from environmental grime in a cabinet is a good idea. John

[hybridfiat]

How is your display cabinate designed?

[John A Stuart]

Hi Steve, Are you asking me? I keep my swords in a katanadansu or in a safe. Very few people know of my collection. I had a break-in in the late ninties, some guns ruined and some swords used on my couch. I have stainless steel expanded metal on my study window and four locks on a re-inforced door to the study. I am very careful about whom I let see my collection, whether coins, stamps, art or weapons. I was lucky that what was taken was only my daughter's jewellry and my wine and scotch which was their main booty. So, no display, too vulnerable. John

[IanB]

Justin, My comment about inert gas was meant to be rather tongue-in-cheek prompted by numerous battles I have had with conservation staff over the years. My main point was about keeping the light levels low for the saya and tsuka. Lacquer does indeed need humidity. About 60% Relative Humidity is considered ideal for the lacquer but this would be rather high if the koshirae contains a blade. There would be absolutely no problem with an inert gas provided it was humidified, but to be honest, I think it is a bit overkill. The amount of oxidation of a blade that is looked after regularly will be very small. One experience I did have which surprised me was at Sendai Museum. This was virtually new and very much state-of the-art, but the store rooms were lined and fitted out with wood. In the UK, this is kept to an absolute minimum because of fire risk. At Sendai I was told it was deliberate to buffer humidity changes. Similarly, at Graz in Austria, the armoury there is full of wood racking and storage and has been since the late 16th C. The armour there has survived in wonderful condition with almost no deterioration other than to the leather strapping. There is however the matter of the type of wood. Some, like oak give off acidic vapours, even when properly seasoned. If my recognition of woods was correct, I think Sendai used mainly cedar or something similar.

Ian Bottomley

[hybridfiat]

It was directed to anyone really, just design hints that may help.

[Justin Grant]

Justin, My comment about inert gas was meant to be rather tongue-in-cheek prompted by numerous battles I have had with conservation staff over the years. My main point was about keeping the light levels low for the saya and tsuka. Lacquer does indeed need humidity. About 60% Relative Humidity is considered ideal for the lacquer but this would be rather high if the koshirae contains a blade. There would be absolutely no problem with an inert gas provided it was humidified, but to be honest, I think it is a bit overkill. The amount of oxidation of a blade that is looked after regularly will be very small. One experience I did have which surprised me was at Sendai Museum. This was virtually new and very much state-of the-art, but the store rooms were lined and fitted out with wood. In the UK, this is kept to an absolute minimum because of fire risk. At Sendai I was told it was deliberate to buffer humidity changes. Similarly, at Graz in Austria, the armoury there is full of wood racking and storage and has been since the late 16th C. The armour there has survived in wonderful condition with almost no deterioration other than to the leather strapping. There is however the matter of the type of wood. Some, like oak give off acidic vapours, even when properly seasoned. If my recognition of woods was correct, I think Sendai used mainly cedar or something similar.

Ian Bottomley

 

I understand what you are saying, my area of the US is known for the ultra high humidity, 100+ % in the summer, or about 120+ WG PPM. The tools in my shop will rust in a period of days if not coated with something and or wiped down almost daily. The house has several large de-humidifiers to keep the house from swelling up like a tick! My thought was that if I constructed a box (material non specific), I could ensure the items in my collection were preserved from being exposed to such high amounts of water. I can see how it would be considered over the top, but then again, most of what I do is also over the top.

Building a tsuba box that has had a vacuum applied, without imploding the glass, filling it with an atmosphere of inert gas, but being careful not to explode the box. Maybe it was more of the task than the service of the device.

 

I will slip back into the shadows..

 

Carry on.

[Nobody]

Justin,

 

After reading your post, I think that these dehumidifying boxes are more suitable and easily available for your purpose.

http://www.dry-cabi.co.jp/eng-01.pdf

http://www.dry-cabi.co.jp/inglish-catalog.html

 

BTW, I am using one of them to keep my knives and cameras.

[O koumori]

Justin,

For your cabinet, you might consider fabricating it out of thick acrylic. It is very easy to see through, and you can chemically "weld" it together to form air-tight seams. It is also much stronger than glass, if security is a problem -makes it very hard to "smash & grab."

Also, there is no need to pull a vacuum; use an inlet and outlet valve on opposite ends of the case; open both and flood the cabinet with yout inert blanket gas, then close 'em.

If you use wood to line the case for a humidity buffer, avoid oak, pine, walnut - anything acidic or resinous - poplar, alder, some cedars are probably a safe bet.

Good luck,

Dan K.

[Justin Grant]

Moriyama-san

 

おはようございます

Thank you for the link. Very interesting!

 

Dan-

 

I have tons of Spanish cedar and poplar- I was going to use it to build standard tsuba display boxes. My main media is metal, but wood is just as easy for the simple stuff. I have used acrylic, used it to make a very large aquarium, but it did not cross my mind to use it for this, thanks for the memory jog!

 

While I realize that my ideas are "overkill", the trek is most of the fun.

 

 

Thank you!

[O koumori]

Justin,

Nitrogen would probably work as well as Argon, and I'd imagine a lot cheaper - though Argon's probably more readily available as welding gas.

Enjoy the journey - hope to see you at some future sword show marketing your priemere Nihonto dispolay cases!

 

Regards,

Dan K.

Formerly of Ellettsville, Nashville, and Nineveh IN

[Justin Grant]

I actually have a bunch of Nitrogen. I use it in the air shifters and air actuated controls of the race car I own (not drive). And it is far less expensive than Argon.

 

Let me build one and see what people think of the look.

 

Ellettsville.... My brother owns a large far out there. I live on Lake Monroe.

[Ken-Hawaii]

Moriyama-san, are there any places in the U.S. that sell these cabinets? I'm in high gear to buy or build a new case for my Nihonto collection, but the high humidity out here in Hawaii is a definite factor, plus I live right across the street from the Pacific Ocean with lots of salt air blown our way.

 

My wife & I currently use a cabinet like what you see in stores with a removable acrylic plastic front. But with my latest acquisition, we definitely want something better looking & a LOT more secure! I'll post the blade for comments as soon as the transaction is completed.

[Nobody]

Moriyama-san, are there any places in the U.S. that sell these cabinets?

.............

I found similar products in the US for now.

Ref. http://www.totechamerica.com/

[Stephen]

Ken

 

this may work if you have a gun case to keep your swords

 

http://www.brownells.com/.aspx/pid=1703 ... HUMIDIFIER

 

i have another brand n my guncase with no rust going on.