“The Art of the Japanese Sword” is an extensive tour through the methods of sword creation, preservation, and appreciation. More than that, it is a celebration of the creativity and dedication of a culture in refining a tool of war into an implement of extreme philosophical and aesthetic beauty.
In this review I would like to present the contents of the book as well as its pros and cons as a title. I will give my opinions on whether or not it is worth the investment, and provide links for those interested in learning more.
What’s In the Book?
This book is broken up into five major sections exploring different aspects of the Japanese sword. The sections are as follows:
* Kansho – Appreciating the sword
* Rekishi – History
* Tamahagane and the Tatara – Traditional steel making
* Sakuto – Making the sword
* Finishing the Sword – Polishing, habaki, and saya
Japanese martial arts are known for their extreme attention to detail and extensive usage of etiquette. The katana is the most revered of all weapons and as such features no shortage of etiquette in its handling. Many people do not realize that even in the viewing of a blade there are correct and incorrect methods of handling. These subtle matters are important philosophically as attention to them reflects a person’s own character and understanding of the art of the sword. Small etiquette techniques can also help the viewer in comprehending minor but important details in the sword itself, such as weight, balance, construction method, reflectivity, and more. The first chapter is entirely dedicated to educating the reader on these matters.
The rest of the chapters are just as detailed in their coverage. High quality pictures are used throughout to add historical context to the work as well as demonstrate to the reader the differences in sword construction described by the expert authors Yoshindo Yoshihara, Leon Kapp, and Hiroko Kapp.
All aspects of the katana, down to the most minute portions of the blade and furniture, are done with careful attention. By comparing and contrasting the different styles, “The Art of the Japanese Sword” provides the reader with a rare glimpse into the painstaking precision of the sword making process.
Book Pros and Cons
Pros: This book spares no expense in terms of production quality. It utilizes a thick paper stock and glossy print due to the high number of images. Many of the images are generously sized and in clear resolution, making this one of the most visually interesting books ever made on the Japanese sword. The design and structure of the information presented is also well done, utilizing easy to read fonts and digestable organization. A book with this much content could easily become overwhelming or boring, but this book manages to avoid those issues through clever usage of color and images.
The level of informational detail is probably the strongest aspect of this book. I have personally been studying Kenjutsu for about eight years and there are a lot of details and subtleties brought up in this text that I was not fully aware of. It was enlightening and a resource that I suspect I will come back to frequently as my understanding of the Japanese sword continues to grow.
Cons: The level of detail in this book may be considered overwhelming or tedious by some. This book is not a thrilling adventure, filled with stories of Samurai and test cuts that penetrate multiple bodies. This book does not deal much in the intrigue and mysticism that draws many people toward the Samurai. That being said, if you are interested in the nitty gritty details of hours upon hours of extreme focus and labor that goes into the creation of a sword, this book will show you the way.
Final Thoughts and Where to Buy
Most of my martial arts books are used for research and personal development. I mark them up, put sticky notes in them, and otherwise abuse them. Not this book. I find myself handling “The Art of the Japanese Sword” very gingerly, carefully scrolling through pages as I appreciate the images and information. I realize now the intentional effort put into this title – it’s own beauty and refinement reflecting the nature of its source material. I intend to have this book on display either in my home or in my dojo.
The price point is, in my opinion, very reasonable for the quality of the book. If you are a Kenjutsu lover, someone looking to understand the fine details of sword construction and etiquette, this book might be for you. Click the link below to learn more:
Sparring with short weapons for the first time can be a jarring experience, especially when facing longer implements like bo, shinai (bamboo sword), or spear. Kata and pre-arranged drills can teach good handling and combinations, but when the opponent is live and aggressive short weapons can feel a little lacking.
One of the first things students usually realize when they take up short weapons in a sparring environment is that the opponent rarely hangs around long enough for combinations to work as planned. They find themselves poked, prodded, and otherwise harassed while catching nothing but air with their own attacks. One of the most common end results when watching a match such as this is an agitated small weapon user, slowly losing ground until they decide to execute a full out bum rush into short distance range. They usually get in, but only after taking two or three solid shots on the way. Of course, if it weren’t for the padding and control of the opponent the small weapon user would have been severely injured before completing their attack run.
Having been on the receiving end of this kind of treatment and seeing it happen to others, I know one of the most common mistakes small arm practitioners make– living too long in the dead zone.
What is the Short Weapon Dead Zone?
Most martial artists are used to setting distance in empty hand sparring. Typical distance for sparring is just about close enough for the lead hand of both contenders to touch when extended. Hitting the body or head of the opponent would require an aggressive step inward, allowing the defender an opportunity to react (theoretically).
When using a short weapon such as tonfa it feels as if the distance should be set the same way. However, that empty hand sparring distance is almost exactly the ideal distance for a bo user to strike without needing excessive body movement. The end result is unfortunate for the tonfa user – getting hit swiftly and with little warning.
Take a quick look at the picture below. Observe the standard distance set between the bo user on the left and the tonfa user on the right.
If you look specifically at the black tonfa figure, you’ll notice he/she is in typical fighting distance for empty hand (roughly). However, you will also observe that the action end of the bo is already in range to strike. A clever bo user will keep their opponent in this range for as long as possible.
Understanding Superior Zones
Look again at the image above. The shadowy gray tonfa figures show two zones where the tonfa user is no longer at prime risk. The farther out figure has an action end of the tonfa near the end of the bo. Although this will likely feel far away to the tonfa user, it is actually the ideal passive distance for him/her to set.
On the other hand, the close in shadow shows the ideal active distance. Although the tonfa user is still at risk, he/she is in prime location to do direct damage to the bo user. Once the dead zone of the bo is penetrated the short weapon user, with duel weapons and quicker manipulative speeds, is at a distinct advantage.
If the tonfa user is able to acquire either of these zones, the fight should be more manageable. Of course, that begs the question, how does one go from the passive outside distance zone to the close action zone? It inevitably requires moving through the dead zone.
Moving Through the Dead Zone
At first most small weapon users try the same tactic for penetrating the dead zone. They wait for an attack, try to block, and then rush into their opponent. Unfortunately, a bo or sword can be retracted at exceptional speeds and the small weapon user tends to eat multiple attacks on the way in. This is generally where an over-reliance on pre-arranged drills do a disservice to the student. A tonfa user may be in the habit of blocking, then swinging in retaliation, and finishing with a punch or swinging strike. Unfortunately, when attempting kumite (sparring), as soon as the block is made the bo user is retracting and striking again. The short weapon user tends to find themselves gaining no ground.
There are multiple tactics that can be used to avoid this core problem, but I’d like to share three in particular: simultaneity, sticking, and braving the gap.
Eventually most good empty hand fighters discover that if they block and counterattack at the exact same moment they tend to have better results. The same goes for weapons, especially if you happen to have two of your particular implement (sai, tonfa, tecchu, etc). There’s an added twist with small weapons work though. As the long weapon attacks, the defender needs to have an aggressive inward movement. The small weapons user needs to engage forward at the same time as the attacker, thus cutting the distance in a surprising fashion. This can be difficult because it requires moving deeply into an attack.
In Okinawa tode and kobudo we use the term “muchimi”, or stickiness. It is the essence of making contact with an opponent and maintaining that contact so as to better feel their intentions and manipulate their body and balance. Muchimi is more difficult to execute with weapons due to the unusual angles and hard deflections of the implements, however it is still very possible to achieve. Instead of hard blocking as a small weapons user, one can instead block-and-trap or parry-and-follow in order to keep contact with the aggressors implement. As a result, the small weapon user can “ride” the longer weapon as the opponent attempts to free it or retract it.
Braving the Gap
I often call tonfa and other short implements “weapons of bravery”. The movements required to make them effective demand complete resolve and commitment. A tentative attack or half-hearted leap will inevitably be deflected, dismissed, or suppressed. Braving the gap means waiting for a moment of over-confidence or laziness in the opponent’s defense and then completely cutting through the dead zone with a leap or short dash. This of course is one of the highest risk tactics but when effective can completely overwhelm the opponent.
It’s important not to confuse braving the gap with simply running in with abandon. Braving the gap requires pinpoint control of distance, waiting patiently in the passive distance range until the opponent reveals him/herself.
A Piece of the Puzzle
Distance control is only one piece of the combative puzzle. Timing, angling, psychology, and technique all play a factor. Not to mention, this article assumes combative engagements begin with a chance to establish distance (ignoring the reality of surprise attacks). Of course, that is one of the natural weaknesses of sparring, and the value in diversifying training. That being said, there is no feeling quite like having a bo or sword swung at you with unpredictable and focused intent.
One Final Note
As a weapons practitioner gets more experience the zones mentioned above tend to get tighter. The difference between the dead zone and passive zone can seem almost imperceptibly small, especially to the opponent. When this occurs, the opponent tends to swing, fully expecting to hit their target but missing just slightly. It requires a masterful understanding of the opponent’s length, technique availability, and mental intent to control distance in this manner. A worthy goal to strive for!
Hey everyone. I wanted to check in with a personal post and let you know about some changes going on with my writing, projects, and general life status.
As you may know, I spent the last two years living in Colorado. It was a great chance to experience a different lifestyle out West and explore the beautiful Rocky Mountains. My wife had an opportunity to go to grad school in Denver, which she successfully completed a few months ago. Since then, both she and I have had renewed opportunities on the East Coast (Pennsylvania to be specific). As a result we made the cross-country trek back to the land of trees and cheese steaks.
It was a multi-day move but we got through it relatively unscathed. This was my first extended experience with a moving truck and it had been years since I last drove a vehicle with a trailer. Despite these obvious potential problems we managed to avoid any extreme traffic complications and I only kissed a handful of curbs while making turns and leaving gas stations.
Now that I’m back, I have fresh focus and will be looking to finish a few serious undertakings. Let me share some of those thoughts and updates.
Reflections on the CSV’s and Castle Rock Karate Kobudo
While in Colorado I took on a number of challenges in order to improve my overall martial arts maturity. One was to join the Community Safety Patrol operated by the Douglas County Sheriff’s Office. The program is essentially a posse building unit that allows qualified citizens to undertake the county police academy, puts the graduates in uniforms and marked cars, and has them assist full deputies in crime prevention and crowd control situations. I learned a lot about self defense, human tendencies, and matters of the law. It gave me a peek into the world of law enforcement and after two years of training and patrolling I can definitely say I have a new appreciation for how martial arts fit into the modern world. I intend to create a more complete blog post recounting my experience, so keep an eye out for that.
Two of the saddest things about leaving Colorado for me was leaving the mountains and the Castle Rock Karate Kobudo program. The CRKK was my first independent school despite having taught for over 15 years before that. The students I acquired there were great and I’ll be doing my best to make sure their martial arts journey does not end with my leaving.
Establishing an Eastern Dojo
Now that I am back East one of my primary focuses will be to establish my own dojo facility. I will be working in close collaboration with my instructor, C. Bruce Heilman, to ensure that the school carries on the traditions and methods of Okinawa Kenpo. When I secure a location and begin operation of the program I will be sure to inform all the readers here. Perhaps you can even help me develop my initial group of students!
Finishing My Latest Book Project
There has been some murmurings around IkigaiWay regarding my latest book project. It is still under the radar but I have been working hard on it for over a year. It is coming together and I am approaching the phase where I will begin revealing it to the public. This is my most ambitious undertaking ever and I hope everyone will be as excited to read it as I have been to write it.
Thanks for your time and stay tuned for more updates and articles!