Studio: international art (52.1911)

yapanese Art and Artists of To-Day.—V. Metal-Work

JAPANESE ART AND ARTISTS OF
TO-DAY.—V. METAL-WORK* BY
PROF. JIRO HARADA.

Japanese artists in metal pride themselves
on the fact that their art is in the truest sense
a native product; for whilst almost all other
branches of Japanese art were originally im-
ported, mainly from China, the art in metal
work is exclusively Japanese. It can, there-
fore, be said to be a genuine product of the
creative genius of the nation, whose capability
in imitation and assimilation has already been
fully recognised throughout the world. Then
it is not only a native art, but unique, having
qualities not easily copied by other people. As
Japanese painting possesses characteristics and
aspects not to be found in other pictorial. art,
so their metal work, with its varying styles of
carving and diverse methods of inlaying different
alloys, devised after years of experiment, re-
veals tone and character not to be found in
the similar creations of other countries. It
is thoroughly Japanese, easily maintaining its
position against the encroachment of Western
influence.

This branch of art reached its highest de-
velopment in connection with swords and
armour. Perhaps none but those who are
thoroughly familiar with the innermost charac-
ter of our people can fully realise what an
important role the sword has played in Japanese
life. The sword was considered to be the soul
of the Samurai. Many beautiful stories are
told concerning the incredible care taken in its
manufacture by the artists of old. They even
went to the extent of purifying themselves by
cold baths on wintry mornings and robing them-
selves in a dress of pure white, after the fashion
of Shinto priests, before commencing work.
They began their task with a prayer after
sprinkling some salt upon the forge to sanctify
it, and whilst at work they held a sheet of
folded white paper in their mouths, lest the
sacred object should be defiled even by being
breathed upon.

The utmost respect was paid to the sword
not only during its creation but also when in
use. In this connection the writer cannot help
recalling an incident that occurred on a New
Year's Day when he was a mere boy. Accom-

* In spite of his announcement in the November
number of The Studio, in the article on Wood and
Ivory Carving, the writer regrets that this subject has
not been dealt with by an abler critic. J. H.

panied by a young man who was then serving
his three years in the army, he went to pay his
respects to a sergeant. After the usual cere-
monious greetings, we sat down, and sake cups
were exchanged several times between host and
guests.

I will show you to-day something grand—
my precious treasure," said the sergeant, who
then retired into another room.

Presently he returned with a long sword, sat
down before us, carefully untied the cord, took
off the embroidered silken bag, and handed the
sword to his guest, holding it in both hands.
The latter received the weapon, and examined
closely the exquisite workmanship on the sheath
and hilt—inlaid with gold, silver and ivory.
Light sparkled in the eyes of our host, who
tightened his lips. But his guest proceeded
to unsheath the sword, completely absorbed in
admiration. Then the sergeant clenched his
fists tight in furious anger. However, not
noticing this, the man unsheathed the whole
blade, muttering, ' This is grand ! "

" What an insult! " exclaimed the officer in
guttural explosives.

" How so, sir ? " replied the other, looking up
and staring his host in the face, apparently at
a loss to understand him.

But the innocent look of the offender seemed
to treble the anger of his host, who said, " It
is more than I can bear. You may keep the
sword, but I call upon you to defend your life
with it. I will with mine." He then fetched
a sword and challenged his guest.

Come out, sir," demanded the host, pointing
his flaming weapon towards the garden. There-
upon the man jumped to his feet with drawn
sword. It was only after a tactful intercession
on the part of the ladies who appeared upon
the scene that a duel was averted.

The writer's father subsequently explained
that when such a sword is presented for inspec-
tion, according to the old custom it is the rule
to hold a folded paper between one's lips and
receive the weapon in both hands ; also that
the sword should only be held above the level
of one's mouth, so that no impure breath should
soil it; and that the sheath and hilt should be
examined first. Then if one wished to inspect
the blade the weapon ought to be so handled
that the sharp edge of the sword should never
be turned towards the host.

Although this incident is, perhaps, a some-
what extreme case of its kind, owing to the
sergeant being very old-fashioned, and to his

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