experts in the art of scamming and misrepresentation. If you have sword-related questions, I recommend contacting Mr. Weissberg at Nihonto.com (http://nihonto.com/). For sword appraisal and polishing, I recommend Mr. Benson of www.bushidojapaneses-words.com, who can read and translate modern and ancient Japanese swordsmith signatures. Top-level Japanese polisher, Abe Kazunori, has graciously offered to assist non-Japanese with questions about sword origin, valuation, and polishing. Feel free to contact me for an introduction through my website: www.mountain-winddojo.com. There are other reputable experts, but I have had personal experience with these three men as being honest and trustworthy. Plus, these gentlemen are “in the know” regarding other legitimate sword dealers and can tell you whether you are purchasing from a reputable seller—or more importantly, if the sword you are considering buying is actually worth $12,000.
Purchasing Swords
Purchasing swords from Japan can be a little trickier—unless, of course, you speak Japanese. Here I will describe three outstanding stores, all of which have English-speaking sword experts who are willing to assist you in whatever ways they can. There are posh, fancy stores, catering to very discriminating clientele, where only the finest swords, fittings, armor, and so on, are sold. An example of such a store would be Ginza Choshū ya (http://world.choshuya.co.jp/). While visiting Ginza Choshū ya in the spring of 2009, I was honored to meet and visit with Mr. Abe Kazunori, the mūkansa-level sword polisher featured in this book. This shop is a “must-see” for any sword enthusiast going to Tokyo! In top stores like these, you will pay a fair price for outstanding swords—nothing more, nothing less.
Another fantastic place for the would-be collector to start is AOI-ART, also in Tokyo. The owner, Mr. Tsuruta speaks English fluently and is very helpful. Aside from the thousands of swords, fittings, and fascinating bits of metallurgical history, AOI-ART (http://www.aoi-art.com) is small and homey. It would take days and days to see and admire all the swords in Mr. Tsuruta’s store. Given that it is only a block away from the National Sword Museum in Yoyogi (a neighborhood of Tokyo), AOI-ART is another “must-see” for those visiting Tokyo. If you are looking for a great deal, Mr. Tsuruta’s shop may prove to be a fantastic starting point.
Many martial artists are interested in swords—some modern and some antique. Those who might want a sword for practice have far more choices about where to buy a sword. Scores of martial arts teachers and students struggle with poor merchandise and even worse service from American and Chinese companies. Experiencing this problem myself, I have come to work only with a select group of Japanese manufacturers. I have seen over one hundred swords ordered from a company called Tozando (http://www.tozandoshop.com/). I’ve held each one and inspected the quality. In every case, the quality was outstanding and the price was equally impressive. For those interested in būdō gear, swords, and reproduction armor, I recommend that you start your collection by contacting Tozando’s Mr. Yamamoto. He speaks English fluently, is very knowledgeable, and is always willing to help get the “just-right” item for a customer.
Remember, you get what you pay for, and when it comes to Japanese equipment, nobody has gotten it quite right other than the Japanese. Furthermore, the product quality, warranty, and commitment to customer service makes shopping Japanese worth every penny! Many Martial arts supply shops carry swords of varying ages and qualities. I have worked with many martial arts supply companies over the last twenty years. For those who want to be sure they are getting a great deal, I recommend Tozando as a starting point for any martial artist shopper. And if you find yourself in Kyoto, you should definitely stop by their store. It is conveniently located across the street from the Kyoto Handicraft Center (a tourist landmark). More importantly, Tozando is right around the corner from the Butōkūden, a historically important dojo located behind the Heian Shrine.
As the examples of organizations and shops above demonstrate, there are innumerable avenues for sword enthusiasts to pursue. Whether shopping for a $700,000 museum piece, or a newly made $8,000 art/practice sword, opportunities abound. Swords are art objects. They are traded as such and are subject to market trends. When times are good, swords sell and exchange hands. When times are tight, people keep their wallets in their pockets. The sword-crafts go on though; despite international threats from charlatans who feed on buyers’ ignorance.
Meeting mūkansa-level polisher Abe Kazunori at Ginza Choshūya affords me the opportunity to view Juyo Token-level swords that he has polished.
Charcoal provides consistent heat for the production of a Japanese sword.
Chapter 2
Creating a Japanese Sword
The Japanese sword represents the quintessential instrument of warfare. Unlike similar weapons developed throughout time, the Japanese sword evolved to a degree of metallurgical sophistication unmatched the world over. Indeed, modern swordsmiths still experiment with various techniques in an effort to reproduce some of the subtle effects of medieval Japanese swords. Shining like stunningly unique gems, nihōntō have stirred innumerable people to devote lifetimes to their appreciation. The functionality, complexity, and visual beauty of these art pieces have inspired many areas of study. Volumes have been written on distinguishing minute but distinctive characteristics produced by different smiths and schools throughout history. A comprehensive study of all the sword-related crafts is beyond the scope of this text, however, a brief introduction to how swords are made will be useful in promoting their appreciation.
Producing a finished sword is not the work of the swordsmith alone. The process of manufacturing a nihōntō requires the collaboration of several independent and highly specialized artisans. Each undergoes a lengthy apprenticeship. Swordsmiths apprentice for five to seven years before receiving licensure. The sword polisher’s apprenticeship can last up to ten years, depending on the school and teacher, while the habaki maker trains for up to eight years before being able to stand on his own. Consequently, these are celebrated artisans; their work highly honored, scrutinized and sought-after. Small ornaments or figurines wrapped into the handle, called menūki, provide another example of the appreciated details of nihōntō. Each of these craftsmen strives to produce work with a technical perfection where visual composition, subtlety, and infinite attention to detail leave the viewer in awe.
The swordsmith and his apprentices mix, refine, fold and forge the steel into the blade. The smith then passes the blade to the polisher, or tōgishi, who carefully refines the surfaces and lines of the blade on various grades of waterstones. Once the basic geometry of the blade has been refined, the polisher sends the blade to the habaki maker. After the habaki has been made, the blade is transferred to a scabbard maker who will carve a scabbard to fit its exact measurements. Once the scabbard has been made, the blade goes back to the polisher for shiage-tōgi—the final polishing stages that meticulously bring out the hamon features and texture of the grain using the finest-grade stones. Only after receiving the blade back from these artisans will the swordsmith sign his name to the blade tang.
Apprentices are allowed to play a part in their master’s work according to their dedication and developed skills. Their efforts pay off in their growing ability to produce good works, and the honor that goes with a job well done. The beauty and genius of these trades emerge as we look deeper into the art and craft of the sword.
This
