Andrew Graham-Dixon's I, Samurai.

[Ford Hallam]

I was quite surprised to discover that a serious art historian and critic had actually done a programme on the Samurai.

 

I watched this last night on youtube, it's a BBC4 production.

It's in 6 parts,

 

I thought the conceit of him wanting to become a Samurai was a bit lame but I suppose it provided some sort of vehicle for the story.

 

Those of you who are knowledgeable in matters related to Japanese blade making will find his bungled explanation of hamon and hada creation a bit irksome but ignore that part, you know better anyway .

 

Victor Harris makes a brief appearance in Yoshindo Yoshihara's forge....and muses quite esoterically on the matter of when the kami enter the steel via the fuigo (the bellows)

 

There's some beautiful images to enjoy in the film and despite a few of the usual clichés there are some moments of real insight that are well worth savouring. In particular the bit where he compares the ineffability Chinese landscape painting (actually Japanese interpretations) with the mysterious qualities of a hamon as well as his observations on imperfection in teaware.

 

There's a fairly satisfying segment on the Ryoanji rock garden (they obviously got the loudspeakers turned off for the filming to help create the right atmosphere ) that provides some food for thought.

 

And before you all sneer at the bit where he gets to dress up as a Samurai at the Toho film studios and act in his own mini chambara film just be honest enough to admit that if you had the chance you'd be in like Flynn. :D

 

Enjoy,

 

Ford

[k morita]

Hi,

Thank you for sharing the link.

Ginza Choshu-ya on 2 of 6 is interesting. (I have not visited the shop yet.)

[kusunokimasahige]

I quite liked the documentary seeing Yoshihara sensei at work was great.

 

A nice entry level documentary i would say.

 

KM

[paulb]

Hi Ford,

I saw this when it first came out. I am normally a fan of Graham Dixon, who is extremely knowledgeable about fine art. I am afraid i fall in to the "Unimpressed" category on this one. I fail to see why he had to trivialise the subject to such a degree. I also thought Victor,s "listening to the spirits of the forge" also came across as pure excentricity. All in all I dont think it did very much to promote the subject and is one better forgotten.

Regards

Paul

[Ford Hallam]

Hi Morita San,

 

yes, I was wondering how many people would recognise Ginza Choshu-ya :D

 

Henk,

 

I think that in general all documentaries intended for the general public have to be "entry level" having said that, and as I wrote, I think there are some significant insights to be gleaned from listening carefully to what is being said.

 

Paul,

 

I would agree that there is an unfortunate degree of "silliness" about the film but I still maintain that he does in fact offer some valuable insights. For myself I'm prepared to look through the mud to find the jewels I seek. I had hoped others might also find something of value there and not merely dismiss it outright. You saw it some time ago and dismissed it without, evidently, passing it on. Had you told me I'd have been quite pleased to see it.

 

As for Victor appearing eccentric...he is actually merely reflecting what many active smiths today feel. In this I thought it offered an intriguing glimpse into a world we only think we understand.

 

Perhaps you might view the film differently after having sat for a while in the Ryoanji garden and merely experienced it rather looking too analytically. or perhaps I merely feel slighted that the insight he offers, and which I drew attention to, you judge to be "better forgotten". Clearly, by your standards, those things I value are not of relevance or interest to you.

[Bugyotsuji]

Many years ago I was given a secret copy of an in-house video "TAKUMI" made privately for Hayashibara, a bio-technology company. The CEO has a fabulous collection of Nihonto. They flew Lyall Watson over to have him do the narration, and it was produced in both a Japanese and an English version. I was warned that I should never show it to anyone.

 

Reading your description, Ford, of I Samurai above, I was struck by the similarity. I just wonder...?

 

Just ran a search and discovered some French sites mentioning it:

http://www.google.co.jp/search?q=Hayash ... =firefox-a

[Ford Hallam]

Piers,

 

obviously I haven't seen the film you're speaking of but knowing Lyall Watson's books very well I can imagine...and yes, I reckon this is exactly the sort of charm that flies at the mere touch of cold philosophy.

[Lorenzo]

Near the end of the second part:

 

"can I put it down?"

 

"no no no"

 

cracked me up

[paulb]

Clearly, by your standards, those things I value are not of relevance or interest to you.

Ford,

nothing could be further from the truth, other than on this occasion where we can agree to disagree. I fully accept that the problem is as much mine as the programmes. I totally lack the patience to sit through and see through the silliness to enjoy the things that you obviously do. Regarding Victors comment I wasnt commenting on what he said, which one can choose to believe or not, I felt the way it was filmed and Dixon's reaction to what was said appeared both dismissive and patronising.

Without wanting to labour the point (because I actually dont think it or my opinion of it are worth great debate) I think it was indicative of the BBC's continued attempt at dumbing down. If you have seen the latest programme on the Royal Insitutes summer exhibition with one of Dixon's team waliking round in beret and striped shirt carrying brush and palette (just in case we failed to realise he was talking about painting) you might undertand my over sensitivity to their current approach.

Signed

Miserable old English Git (AKA Paulb)

[k morita]

Near the end of the second part:

"can I put it down?"

"no no no"

cracked me up

 

Hi,

She should have prepared the sword pillow("makura"). :lol:

[Ford Hallam]

Paul,

 

of course we can agree to disagree, l'll still let you buy me beer in a pub of your choosing anytime

 

I do have to say that I really didn't see the segment in the forge in the same light as you though. I actually thought it was quite respectful and even deferential. As for dumbing down, well that depends on where you expect the base line to be. I thought this was a pretty decent introduction for the general public and wasn't condescending towards the tradition at all. The only piss take was Graham-Dixon allowing himself to be the joke..which revealed him, to me at least, to be someone who didn't always take himself too seriously.

 

regards,

 

Ford

[paulb]

maybe thats the problem I do take myself too seriously all the time!!! :D

BTW I thought the next round was on you not me :?

[Clive Sinclaire]

As for Victor appearing eccentric...he is actually merely reflecting what many active smiths today feel. In this I thought it offered an intriguing glimpse into a world we only think we understand

Strangely enough I had a drink with Victor only yesterday as he had just purchased a Gassan Sadayoshi katana in a London auction. He has been a close chum of mine and fellow kendo practitioner for several decades and I can assure you that he is a sincere and knowledgable individual with a very good understanding of Japanese swords, having been a pupil of Sato Kanzan in the 1970's. He also has a great appreciation of Japanese culture. His contribtion to sword preservation, whilst head of the Japanese Dept of the British Museum, should also not be underestimated. I know of no other museum (in the UK at least) which has had over 100 swords proffesionaly restored and polished in Japan.

Do not be misled by this rather naive documentary which was made for a wider and less well-informed audience than may generally be encountered on this message board.

Clive Sinclaire

[IanB]

I too have known Victor Harris for many years and have learned to respect his judgement - he is a wonderful scholar with a deep knowledge of swords and many other aspects of Japanese art and culture. On one memorable evening at the Northern ToKen Society he began a talk by explaining he had brought one of his favourite swords to show the members what good masame hada should look like. He then withdrew from a brocade bag a bokuto. Unexpected yes, but the perfect teaching aid.

Ian Bottomley

[Brian]

Many years ago I was given a secret copy of an in-house video "TAKUMI" made privately for Hayashibara, a bio-technology company. The CEO has a fabulous collection of Nihonto. They flew Lyall Watson over to have him do the narration, and it was produced in both a Japanese and an English version. I was warned that I should never show it to anyone.

Hmm..interesting. I have had it for a while. It's ok as an introduction. Guess I better watch it again sometime.

 

Brian

[paulb]

Dear Clive and Ian,

Just to make sure I am not misunderstood due to lack of clarity in my earlier posting:

Clive- the comment you quoted was Fords not mine and I think very much supported your point. What I actualy said was:

Regarding Victors comment I wasnt commenting on what he said, which one can choose to believe or not, I felt the way it was filmed and Dixon's reaction to what was said appeared both dismissive and patronising.

My issue was not with Victor whom I have respected for as many years as I have been collecting. It was the response to what he said that I was commenting on.

Again I dont really want to take up peoples time on this, Ford pasted a link to a documentary saying he liked it and why. I said why I didnt like it. We can differ in our view. I was not being critical about Victor only the style of the programme and the presentation which I still think does little to foster interest in the subject. I can accept that I am in the minority on this (as with many other things)

If I gave the impression I was attacking Victor Harris in my earlier posting this was emphatically not the intention and I apologise. If it appeared I was commenting negatively about the BBC I have at least in part been successful.

regards

[watsonmil]

Dear Ford,

I just finished watching Mr. Graham-Dixon's ... I, Samurai. For what my opinion is worth, ... I found it both entertaining and I for one also gleaned ... " some significant insights from listening carefully to what is being said ". An example if I may ... would be when the potter's work is being discussed, and the beauty being seen in the imperfections. The idea of " perfection " is all too often what we wish for or attempt, ... but rarely achieve. There can be great beauty in IMPERFECTION if we care to achnowledge imperfection.

I also enjoyed reading the numerous opinions ( reviews ) on this site the NMB. In particular the comments on ECCENTRICITY. My God, ...

talk about the POT CALLING THE KETTLE BLACK. I for one am glad to be eccentric ( or considered eccentric ), .... who in their right mind would want to be what the masses consider NORMAL. Good grief that would be boring.

The BBC's documentary/series is not perfection, ... it was not meant to be perfection. If it were, it would be as dry as reading an article on the molecular structure of marsenite comparing nie to nioi. It brings to mind the English Proverb .... " Separate the wheat from the chaff " fellow members and I'm sure we can all learn at least a little, ... no let me correct that to a lot !

Thanks Ford for at least an hour of diversion from the stress of living and work. I enjoyed your link to the youtube.

... Ron Watson

PS. Paul, ... I for one did not think your criticism was directed at Mr. Harris or necessarily anyone else but rather the scene. I am quite sure you are as eccentric as any of us who study the Arts of the Samurai, ... and your opinion is certainly as valuable as anyone's.

[paulb]

Hi Ron,

Yes i am sure my eccentricities are as great or even greater than many others! However they are not generally seen on national TV.

As said earlier it appears my negative view on this work is in the minority (so far of one) is that another proof of eccentricity?

regards

Paul

[Ford Hallam]

Morning Ron,

 

thanks your positive response...I was beginning to feel a bit plebeian in my populist taste :lol: I pleased you managed to find the little kernels of value in the film too.

 

I'm a little amused that my use of the word "esoteric" when refering to what Victor said has apparently been seen by some (yourself and did Paul understand me) as being a criticism. I had a similar misunderstanding on my own forum. I don't regard the "esoteric" as being a negative thing at all, in fact, in my view, at some point it's an inevitable aspect of this world of swords we choose to inhabit or visit.

 

To clarify my own feeling on Victor's "esoteric musings" here's what I wrote on FTIB;

Perhaps he was just telling it like he saw it? it's perfectly possible, in this instance, to hold to 2 world-views (the scientific and the spiritual. added for clarification.) at the same time. Victor clearly felt a less prosaic answer would offer a glimpse of something less commonly recognised.

 

Anyway, I trust some of our members got a little something out of the film .

 

regards,

 

Ford

[paulb]

Every other mail on this thread seems to be clarifying a point made before.

Hi Ford,

No I didnt misunderstand you nor did I for a moment think you were criticising Victor, quite the opposite. I was concerned when Clive and Ian seemed to jump to his defence that my posting, not yours, had been taken in the wrong way (my fault not the readers)

I have learned over the years that there are as many views, scientific, spiritual, and historical as there are students of the subject. While there are many I either dont understand or fail to agree with I would certainly suport their right to hold and express their opinion.

[estcrh]

An example if I may ... would be when the potter's work is being discussed, and the beauty being seen in the imperfections. The idea of " perfection " is all too often what we wish for or attempt, ... but rarely achieve. There can be great beauty in IMPERFECTION if we care to achnowledge imperfection.

And yet when it come to nihonto perfection is often seen as the ultimate goal and anything less is viewed as abject failure not to be tolerated.

[IanB]

Paul, I fully understood your comments about Victor Harris and didn't think for a minute you were criticising him. Although I chose not to say so, Victor can be surprising - hence my comment about the bokuto.

Like Ford, I enjoyed the programme on the whole. Yes, it was somewhat superficial but for a general audience it had to be. I thought it brave and imaginative of the BBC to attempt a programme on aspects Japanese art and culture using the idea of the sword as a tag to hang it all on. I thoroughly enjoyed seeing places I had visited such as Ryoan-ji again. I spent a wonderful afternoon there, sat where Graham-Dixon sat and having a chat with the head priest about the way the rocks look their best in the rain. And talk about eccentric, that same head priest asked as I was leaving if I was American or English. When I told him, he dialled a number into a remote control and an illuminated globe descended slowly from the ceiling of the entrance porch whilst the strains of 'God save the Queen' played from speakers!

Ian Bottomley

[paulb]

Eric,

that is an interesting point and reminds me of a discussion we had at an NBTHK UK branch meeting. We spent time in the morning looking at some beautiful swords and the afternoon included an excellent talk on Higo tsuba. One of the tsuba shown had a very prominent hole in the metal as a result of either an air pocket or corrosion. This was heralded as an important work and the fault regarded as a significant enhancement. If such a fault had been seen in the blades we looked at earlier it would have been regarded (rightly so) as a major problem.

I confess despite very detailed explanation as to why it was felt this fault added to the tsuba I could not see it as anything other than an ugly hole which detracted from the piece. ( I guess I can see why I am not a fittings person!)

[Ford Hallam]

It's interesting to me to read how others, like yourself Paul, regard varieties of "irregularities" in tsuba in the same light as in swords rather than as being more like "hataraki". It's a natural enough thing to do if one's eyes are attuned to blades but does illustrate very well the need for various art forms to be understood on their own terms. Perhaps blades are more akin to fine porcelain while certain tsuba (the Higo for example) have more in common with earthenware.

 

I experienced this mis-apprehension with a work I made myself some time ago. You may remember the Umetada Myoju utsushi I made about a year ago.

 

 

Typically shakudo will not patinate properly when inlaid into brass type alloys such as those evidently used by Myoju. In fact, I was told in no uncertain terms, in Japan, that it simply couldn't be done. I fiddled around with the actual composition of shinchu until I hit upon a mix that did allow for the two alloys to be coloured together. However, as I forged this new alloy down to a suitable plate it cracked in a few places. I'd noted exactly the same "flaws" in Myoju's own tsuba so I felt I was on the right track and embraced these "flaws" as being signs of the integrity of the approach I'd chosen. I soldered the cracks as they appeared, to stop them growing. This was something Myoju himself also did and allowed for the fact that in time these fine hairline cracks in silver would mellow and create an element of intrigue in the finished piece.

 

I wrote about all this at the time when I first posted the images of the finished tsuba but there was still a great deal of suspicion, I suspect, that I was simply trying to make up an elaborate story to excuse what was simply seen as a mistake and evidence of a lack of skill.

 

Happily, someone did appreciate the work for what it's now and it's safely preserved in a collection near you

[paulb]

I know and have seen it. It is beautiful but if I am really honest I would prefer it without the cracks

With a name like Bowman I come from a long line of peasant stock what do expect sophistication???

[Ford Hallam]

Thanks ...I can make one for you without cracks The cracks cost extra so it'd be a bargain

 

I always thought the bowmen of England ( I used to shoot a longbow myself) were a cut above the rest, let's not mention the Welsh

[paulb]

yes but we try and hide behind a humble facade, hadnt you noticed?

Bowmen were expensive. They were regarded as superior to men at arms but were not part of the nobility. I think they were paid 6d a day at Agincourt where the average foot soldier was paid 2d. This was their ultimate undoing later on as a foot soldier with a musket was a lot easier to train and a lot less expensive.

sorry for going off topic.

I am hoping to see more of your work next week and will pay special attention to the cracks :D

[Ford Hallam]

pay special attention to the cracks

a motto to live by

[paulb]

amen

[estcrh]

. Perhaps blades are more akin to fine porcelain while certain tsuba (the Higo for example) have more in common with earthenware.

 

A very interesting concept, I havnt heard it described like that, any examples of the "earthenware" look?