The Hon’ami Family Enhanced the Value of Japanese Swords

When I see the nameplate “Hon’ami,” I flip back to my Japanese history textbooks in my mind.The name may remind many people of Hon’ami Koetsu, a calligrapher and potter active in the Edo period.Hon’ami Kōzu is the owner of a Japanese-style house in a quiet residential area in Tokyo’s Ota Ward.He is a living national treasure (holder of Important Intangible Cultural Property) who appraises and polishes Japanese swords.
During the Kamakura period (1185-1333), long swords were the norm for fighting on horseback, but by the Muromachi period (1333-1573), short swords were being used for ground fighting.At that time, instead of making a new sword, the part of a long sword with the swordsmith’s name on it was cut off to shorten it, so it became difficult to tell who made the sword, which is why the job of appraising swords became necessary.Swords were an indication of a samurai’s rank, so it was very important to know what kind of sword he had,” says Hon’aya Kosyu.

The Hon’ami family has been involved in appraising and polishing swords for generations since the first Hon’ami Myomoto served as swordsmith to Ashikaga Takauji, and has served as the producer of Japanese swords.The word “origami” comes from the sword appraisal certificates issued by the Hon’ami family.The word “origami” was coined because the value of a sword increased when it was certified as having been authenticated by the Hon’ami family.A Japanese sword is a highly artistic work that can be appreciated for its various sword forms and blade patterns, as well as its cap, stem shape, and inscription.The process of making a complete sword involves many different craftsmen, including a sword smith who hammers iron from tama-hagane (tamahagane), sharpening, engraving, and arranging the sheath and handle, known as a koshira.Hon’ami Koetsu’s main occupation was the appraisal and polishing of swords, but he also demonstrated his artistic ability in many other fields, such as calligraphy, painting, ceramics, lacquer, and gardening.

Mr. Kosyu, the current head of the school, not only produces excellent Japanese swords, but also plays an important role in the preservation of cultural assets by polishing many swords designated as national treasures and important cultural properties.

Carefully crafted one-of-a-kind sword

The sound of shuffling swords is echoing in Kwangju’s workshop.The room for the sharpening process, with wooden flooring and a north window, is filled with a serene and sacred atmosphere, where master swords owned by museums and collectors from all over the country are waiting to be sharpened.
‘Is there a sharpening method unique to the Hon’ami family?'(Nakada)
The Hon’ami family has a unique way of sharpening swords.The blade should be sharpened softly like snow on a pine tree.The technique itself has not changed.There are some so-called secret techniques, but what is important is how to bring out the best of what the sword originally has,” says Hon’aya Kosyu.
Mr. Koshu’s polishing process is said to be highly acclaimed as a way to maximize the beauty of each sword and complete it by carefully proceeding through each step while highlighting the highlights in accordance with the personality and style of the modern swordsmith.

The blade is checked by natural light and sharpened using only natural whetstones.I am sure I am not the only one who feels as if even the spirit of the samurai that resides in the shiny Japanese sword comes to life when I see it.

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Yamato Tradition, swords revived by Masamune Date

There are several swordsmiths still existing all over Japan, and in Miyagi, there is a workshop that creates Japanese swords according to the old tradition. We visited the workshop of Hokke Saburo Nobufusa who creates swords in the Hosho School of Yamato Tradition method. The swords of Yamato Tradition have a wide and high ”shinogi”, and the blades have beautiful and fine ”masame-hada”

Yamato Tradition is a classification of old Japanese swords. The method was originally established in Yamatono-kuni Takaichi-gun (Nara Prefecture) at the end of the Kamakura period. Although it declined at one time, the Sendai Clan revived it in times of Lord Masamune Date. At the time, the first generation of Hokke, Kiyofusa, went to study sword making with a prominent swordsmith called Kunikane and inherited the Yamato Tradition.

The revival of the Yamato tradition

After a while, the method of Hokke changed to another method called Bizen Tradition during the reign of the fifth generation Hokke. However, the eighth generation Hokke studied and revived the Yamato Tradition. He was recognized as a true heir of Hosho School of Yamato Tradition, and was designated as a Tangible Important Cultural Property of Miyagi Prefecture. When we visited the workshop, Daiki Takahashi, the ninth generation of Hokke Saburo Nobufusa, was in the middle of forging a sword.

Culture born from the rich iron sand and forest of Japan

Daiki’s son, Eiki is also working as a swordsmith. On our visit, Eiki explained to us about the swords. His first words were ”iron does not exist without humans.” In nature, iron does not exist in the form of pure iron. Iron exists in many different forms. Sand iron, for example, must be treated for it to become the substance we call ”iron”. Using sand iron and coal, iron must be refined. Japan is rich in sand iron and coal. People treated it to create iron. Iron was turned into swords, a symbol of Japanese culture. Japanese sword is a culture of its own that is closely related to the everyday life of Japanese people. ”Swords existed closely to people’s lives.” said Eiki. ”People possessed short swords not only for self-defense but as a charm to protect themselves. There are many idioms and proverbs in the Japanese language that use sword terminology. That shows how close the swords were to people’s lives.”

A sword made of “iron meteorite” that came from outer space.

As previously mentioned, iron is made by man, but short swords existed in Egypt and the Chinese Dynasty when iron manufacturing was not yet established. How were these made?
”They used material from outer space.” said Eiki. It is believed that they used iron meteorites.
Daiki and Eiki have forged a Japanese sword using only iron meteorites, on commission from a museum. We were given a special viewing of the sword and iron meteorites. It took the iron an incredible one million years to cool in outer space, so the metal composition was completely different from the iron on earth. It also could not be forged repeatedly. After multiple attempts over a period of two years, they were finally able to make a sword.

They will last one thousand years

Swords were first made as items to be used in rituals or as a symbol. At the end of the Heian period, swords became an important weapon as the ”samurai” gained power. It became essential to be able to evaluate swords. After a while, swords were not only used as weapons, they also became spiritual symbols of ”samurai”. It was important to develop methods to create better swords, but it was also important for appraisal methods to be developed.
In the Kamakura period, when ”samurai” had gained power, appraisal standards were established, and one could look at a sword and tell who created it and where.
”As a result, there is no compromise when we forge or when we appraise, because swords will remain for the next one thousand years.” Even though times change, the unwavering beauty and refined shape will remain as they are. We felt the weight of history in Daiki’s words.

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Beauty living in “katana”

”Aren’t ”katana” beautiful?” These were the words of Yoshindo Yoshihara, the swordsmith that is undoubtedly at the forefront of the swordsmith industry. His ”katana” are accredited not just in Japan, but also globally, and are part of the collection at the Metropolitan Museum of Art and Boston Museum. One of the most beautiful features of ”katana” is the ”hamon”. There are a variety of ”hamon” including the straight ”suguha”, and each school and region has their own features.
Yoshihara specializes in ”choji midare”. The magnificence of the designs are depicted in large waves of different heights, which have a gorgeous beauty like flower petals. As the question ”Aren’t ”katana” beautiful?” implies, at first the majestic force takes our breath away, then we are drawn into the gracefulness.

”Katana” are Weapons that Support the soul

”Katana” are ”weapons” to attack people. However, Yoshihara claims that swords are ”weapons that protect the samurai spirit”, more than a weapon to take people’s lives. ”During the Sengoku era, guns were introduced from abroad, replacing swords as practical weapons during the war. Despite this, swordsmanship continued and developed, which were the same with ”kanatan”. During the Sengoku era, countless notable swords were made and valued. Although they had no use in the battlefields, people still wore them. Swords acted as moral support for the samurai.” To support this theory, Yoshihara told us the number of ”kanata” that are designated as National Treasure or as an Important Cultural Treasure. Of all National Treasures, swords outnumber all the rest.
He added, ”I think Japan is the only country that designate swords as National Treasures.” In Europe, there are sheaths that are designated as cultural assets, but most treasures are jewelry and decorations. In Japan, ”katana” are cultural assets and dedicated to shrines. This symbolizes that they are not just regarded as weapons, but serve as moral support.

Relaying to the next generation

Currently there are approximately 300 swordsmiths in Japan. However, there are only about 50 swordsmiths that make a living in the profession. To become a swordsmith, you need a licence. You need to go into apprenticeship for 5 years and then take an exam conducted by the Ministry of Culture.
The next generation aims to continue the culture even if it means that they to face this challenge. Yoshihara welcomes young apprentices. There is no age or gender restriction, but ”I don’t think there are any females. Maybe there is an image that this world forbids women.” As Yoshihara pointed out, there are very few females who work in the industry.
In the workshop, an apprentice was hammering steel for the ”katana”. With a pair of bellows on the right and a furnace with coal to the left, the sword is heated and hammered repeatedly. It requires long periods of strength and concentration. ”I learned complex skills out of love for the profession,” says Yoshihara. Currently, he creates the blade as well as the sheath and guard of the ”katana”. The Japanese tradition that lives on in the ”katana” is succeeded by the master swordsmith who has a strong love for ”katana”.

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“Scabbards” of various colors

Mitsuhide Koyama is a lacquer artist who specializes in scabbards. He applies lacquer on decorative scabbards which are classified as mountings of swords.” Nakata interviews Koyama as he studies one of Koyama’s scabbard. “I usually picture only black scabbards but there is great variety here,” Nakata says as he observes them in various hues. “It was probably because there were no longer any battles in Edo era that scabbards began to be lacquered in various colors. But as you say, black and persimmon are the most popular colors for sword scabbards.”

Always use Japanese white-bark magnolia to make scabbards

Looking at the lacquered scabbards made by Koyama, he tells Nakata that swords were not always stored in scabbards “Is that true?” Nakata cannot hide his surprise. “It is not ideal to keep the sword in the scabbard as it will rust the blade. Swords are put into the scabbard only when going out with the sword. Swords are best kept in a plain-wood scabbard called “shirasaya.” Scabbards are usually made with Japanese white-bark magnolia. Even when another kind of wood is on the exterior, using a technique called “iriko-zaya, Japanese white-bark magnolia is inserted to the interior so that it comes in direct contact with the sword. “The edge of the scabbards are delicate so water buffalo horns or metal carvings are applied. This is traditional, conventional practice.” Koyama keeps the tradition of his predecessors’ attention to detail.

Cherishing the present

Koyama makes other lacquered pieces for traditional art crafts exhibitions or shows to continue his own artistic activity. ”I continue to produce these pieces to cherish the present. People tend to connect traditional art craft with the old.” ”I suppose we have a preconceived idea. Talking with you and seeing you work, I see that you are doing something new. We should change the preconceived image,” answers Nakata. It takes time for our work to be shown to the world. I guess that is why people picture older men working on these pieces. It does take certain amount of time to learn the technique. It also takes time to express oneself using the technique, as much as ten or even twenty years.” Koyama exchanges information with friends that are also craftsmen. He maintains traditional craftwork in lacquered scabbards and producing lacquer artwork, concurrently incorporates something new in his pieces.

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To know nothing about “katana”

You rarely see a Japanese sword in everyday life. They are intimidating when you actually see them. Today, Nakata visited swordsmith Akitsugu Amata, holder of the title of Important Intangible Cultural Property, his studio and “Token Densho-kan” museum (within Carrion Culture Center.) Kanesada Amata, Amata’s younger brother and his apprentice gave us a tour. His head wrapped in “tenugui” cloth, he was the perfect image of a swordsmith. First he told us the basics of Japanese swords as we observed the display. Nakata asks a simple question, “Why do the curves differ from sword to sword?” “Yes, the blades curving upward when displayed are ’katana’ swords and the ones with the blades curving downward are called ’tachi.’ The difference is whether you hang the sword on your waist and attack the enemy from a standing position or if you are on a horse and attack the enemy.”. The swords differ in shapes, sizes, usage and names. The shapes also differ depending on style or school the user belongs to.

Forging the steel

Next at the studio, Akitsugu Amata joins us and he explains to us about the unique Japanese tradition. At this studio, the sword is made from ironmaking. ”We used to collect iron sand with a bucket.” They would put the iron sand in a brick making furnace and make ”tamahagane.” steel. Then they would heat the ”tamahagane” and forge it. The scene we often imagine of swordsmiths pounding on iron is done at this stage. Nakata tries forging the metal. It is hot sweaty labor with blaze of the furnace close by, the iron repeatedly heated in the fire and stroked over and over again.

Make it or break it

Nakata was only able to observe up to this process, but the actual process continues to further forging, shaping and polishing. The sword is straight during the whole process until one point. “The most difficult step is the Yakiire’ process when we curve the sword. It takes one month to fully forge a sword, and the sword may break in a moment when we apply ’yaki ire.’ It is literally, a make-it-or-break-it moment. The Japanese expression for make it or break it is “Noruka Soruka’ noruka soruka’ (whether it will be straight or be curved)” came from this process,” says Kanesada Amata. At the end of the tour, Nakata was invited to their room to hold an actual sword. Nakata sat on “tatami” in “seiza” style and looked very serious. There was a tense atmosphere in the air.

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