TYPOLOGY OF TRADITIONAL "KATATE-MAKI" AND ITS RELEVANCE TO HISTORICALLY ACCURATE
MENUKI PLACEMENT*
S. Alexander Takeuchi, Ph.D.
Department of Sociology
University of North Alabama
November 8, 2003
I. Two Versions of "Katate-Maki" and Their Respective Koshirae Styles.
Not many people in Japanese Swords Arts seem to be aware that historically there are actually two distinct versions of what is loosely referred to as "katate-maki" (i.e.,
"one hand wrap") in traditional Nihon-to koshirae. More specifically, in one version of "katate-maki" a single lay of
ito is wrapped over the entire tsuka in a "hira-maki" (i.e.,
"flat wrap") fashion (as to simulate a "coil spring") without forming normal "diamond shape" windows but only forming one "half-diamond" or triangle window for the very first lay at the
fuchi-end and for the very last lay at the kashira-end. In the other version of "katate-maki," the wrap starts as a normal double lay "hineri-maki" (i.e.,
"twist wrap") or "hira-maki" to form several "diamond shape" windows from the
fuchi-end, then it transforms into a condensed single lay "hira-maki" in the mid section, and finally transfers back into a normal double lay "hineri-maki" or "hira-maki" to form several "diamond shape" windows again towards the
kashira-end (Tsuji, 1994). While I know of any specific English translation for the former version of "katate-maki," it shall be referred to as a
"coil wrap" herein for convenience. Because the latter version of "katate-maki" is often called a
"battle wrap" amongst Nihon-to enthusiasts in the English speaking world, it shall be referred to as
"battle-wrap" hereafter.
Historically, those two respective "katate-maki" styles were generally prevalent on two different styles of
koshirae, each of which had been popular in one of two distant periods:
Namely they are "Tensho/Akechi" koshirae, which was once popular in Muromachi period (see photos in Ogasawara, 1994b p. 41 and p. 50; Kokubo, 1993 p. 104) and "Toppei"
koshirae, which was popular for a short while at the end of Edo period (see photos in Ide, 2000 pp. 44-45 and Kokubo, 1993 p. 124, p. 127).
A prime example of the former "coil-wrap" version is the "Tensho/Akechi
koshirae" on early uchigatana (Muromachi period) in the Tokyo National Art Museum (Ogasawara, 1994a). Good graphic examples of the latter
"battle-wrap" version of "katate-maki" can be seen on the existing "Toppei-koshirae" in late Edo period (Ide, 2000).
A very few exceptions to this general trends exist. One is the "coil-wrap" version of
katate-maki used on some late Edo period Satsuma style koshirae (see the photos in Kokubo, 1993 Pp. 120-21). Another exception is the latter "battle-wrap" version of
katate-maki used on some Edo period uchigatana-koshirae that was highly "fashionably modified" from the "tojo-zashi" (i.e., formal "castle duty") style koshirae (see the photo in Ide, 2000 Pp. 58-59).
II. Two Versions of "Katate-Maki" and Their Respective Menuki Placement.
With respect to menuki placement in each of those respective versions of
katate-maki, there are also highly noticeable regularities among traditional
koshirae. In fact, even casual examination of existing antique
koshirae in Japan (Ide, 2000; Kokubo, 1993; Ogasawara, 1994b) do suggest that in the former "coil-wrap" version of
katate-maki, in which almost entire length of tsuka is wrapped with a single lay of ito in "hira-maki" style (as to simulate a "coil spring"), the
menuki is usually placed over the
same-gawa but under the ito on each side. Obviously such a placement of
menuki is only possible because in the "coil-wrap" version of
katate-maki as the entire wrap is done very much "see through" style. (Refer to the photos in above references.)
Similarly, examination of the same do also suggest that the latter "battle-wrap" version of
katate-maki, in which only the mid section of the tsuka is wrapped in a condensed single lay of
ito in "hira-maki" style, the menuki is almost always placed over the
ito in more or less on the center on both sides. (Also refer to the photos from historical examples in abovementioned references.) Again the only exception to this rule among documented antique
koshirae that I am aware of is the aforementioned Satsuma style koshirae in Kobuko's (1993) book, which originally does not have a
menuki on either side of the tsuka.
On the side note of menuki placement indicative of historical accuracy, there is also a convention as to how
menuki was placed based on the side of tsuka (of uchigatana) from the wear's perspective. That is, in the former
"coil-wrap" version of katate-maki or any other traditional styles of
tsuka-maki on Nihon-to koshirae, the traditional okite (i.e, rule) is to place a
menuki slightly offset toward the fuchi-end on the "omote"
(i.e, front) side but toward the kashira-end on the "ura" (i.e.,
back) side (Suzuki, 1995). Again exceptions exist, of course, among some "koryu"
(i.e., old school) kenjutsu schools such as Yagyu Sinkage Ryu that often preferred reversed placement of
menuki called "gyaku-menuki" in a ordinary "hineri-maki" or "tsumami-maki" (i.e, "pinched wrap") styles for practical reasons, but not usually on the latter
"battle-wrap" version of katate-maki.
III. "Katate-Maki"and Menuki Placement and Their Supposed Utilitarian Functions in Historical Perspective.
With regard to "utilitarian purposes" of so-called "battle-wrap" version of
katate-maki, academic studies of Nihon-to koshirae tend to suggest that a
highly publicized common notion in the Western world such as "prevention of blood from getting into same" may simply be a "post hoc" explanation or
even possibly be a misconception perpetuated amongst Nihon-to enthusiasts in the Western world. The English term "battle wrap" to refer to the second type of
katate-maki amongst JSA practitioners and enthusiasts in America tends to substantiate this suspicion. Of course, there may indeed be such an
utilitarian function to this type of handle wrap: However, it is more plausible to understand it as a "latent functions" in
Mertonian sense (i.e., a beneficial byproduct that was not specifically intended initially) rather than a "manifest function" (i.e., originally intended main purpose). Particularly, examinations of early "coil-wrap" version of
katate-maki as adopted more commonly on older "Tensho/Akechi" koshirae
clearly reveal that the ito wrapped much like a loose "coil spring" does not protect the
same-gawa nor tsuka core any more than other conventional styles of wrap do.
As far as the historical records and literature on the academic study of Nihon-to are concerned, it seems that the early "coil-wrap" version of
katate-maki was developed more as an economical style of tsuka wrap during the transitional stage of Nihon-to from
tachi to uchigatana. In that sense, the older "coil-wrap" version of
katate-maki was simply an "utilitarian" warp more "economical" than other decorative
tsuka-maki on tachi and handachi. On the other hand, the same historical records and literature on the academic study of Nihon-to suggest that the later "battle-wrap" version of
katate-maki mainly emerged as another form of artistic/decorative handle wrap.
IV. "Katate-Maki" and "Gyaku-Menuki."
Now the issue of "gyaku-menuki" (i.e., "reversed menuki")
is historically more complex because it also relates to the evolutional history of Nihon-to, particularly from the time when the tachi was worn in "edge-down" position to the time when
uchigatana became the ordinary everyday sword of the samurai. During this transitional stage in Nihon-to's evolution from
tachi to uchigatana, samurai wore handachi and early uchigatana in both "edge down" and "edge up" positions for a while until the norm of "edge up" position for
uchigatana had eventually set in. That time, the norm of proper placement of
menuki (as explained earlier) had also became the norm. Therefore, historical examples of those early
uchigatana that still had "gyaku-menuki" also exist because those earliest
uchigatana swords were also worn "edge down" much like tachi was worn.
On the other hand, it is rather rare to see, in existing historical examples, later models of
uchigatana that has "gyaku-menuki" except for some "odd balls" where
kenjutsu practitioners in specific styles preferred such
menuki placement for very utilitarian purpose. Again, revival of "gyaku-menuki" to emphasize its utilitarian purpose (i.e., fits well in your palms) and its popularization among JSA practitioners also seem to be more of a phenomenon in the Western world, corresponding the growth of JSA practitioners outside of Japan. The bottom line is that it has clearly existed in Japan, though perhaps not as commonly as seen in America today.
As far as the traditional norm is concerned amongst highly regarded koshirae-shi (i.e.,
koshirae craftsmen) and mainstream Nihon-to collectors in Japan, craftsmen's artistic expressions are more positively evaluated if they execute their creativity and artistic talent within the general pre-requisites of traditional norm and historical accuracy (Ide, 2000; Ogasawara, 1994a). Therefore, further deviation from the traditional
ideal-type tends to be perceived rather negatively as an indication of one's possible lack of (or unwillingness for) understanding or appreciation of the nature of this cultural artifact (Hirato, 1993; Hiroi, 1993)....
Of course, these issues apply mostly to rather conservative area of art in Japan such as traditional
koshirae making. As the interests into Nihon-to and Japanese style swords grow worldwide, these "cultural traditions" and "historical accuracy" may well be replaced by individual craftsmen's "expressions of liberal artistic tastes" eventually...
References:
Hirato, Kohichi. (1994[1973]). "Saya: Koshirae shitaji. [Scabbard: Koshirae wood core.]" In Tadashi Oono (Ed.),
Nihon-to shokunin shokudan. [The tales from Nihon-to craftsmen.] (1st Ed.). Pp.155-168. Tokyo, Japan: Kogei Shuppan. ISBN 4-7694-0051-9.
Hiroi, Shinichi. (1994[1973]). "Saya.[Scabbard]" In Tadashi Oono (Ed.),
Nihon-to shokunin shokudan. [The tales from Nihon-to craftsmen.] (1st Ed.). Pp.141-154. Tokyo, Japan: Kogei Shuppan. ISBN 4-7694-0051-9.
Ide, Masanobu. (2000). Edo no Token Koshirae Collection. [The Collection of Japanese Sword Koshirae in
Edo]. Tokyo, Japan: Ribun Shuppan. ISBN 4-89806-125-7.
Kokubo, Kenichi. (1993). Zukan Toso no Subete. [The Complete Book of the Japanese Sword Furnishings,
Illustrated.] Tokyo, Japan: Kogei Shuppan. ISBN4-7694-0094-2.
Ogasawara, Nobuo. (1994a). Nihon-to no Kansho Kiso Chishiki. [The Fundamental Knowledge of Japanese Sword
Appreciation.] Tokyo, Japan: Shibun Do. ISBN4-7694-0053-5.
Ogasawara, Nobuo. (1994b). Nippon no Bijutsu 1, No. 332: Nihon-to no
Koshirae. [The Art of Japan 1, No. 332: The Mountings of Japanese
Swords.] Tokyo, Japan: Shibun Do.
Suzuki, Takuo. (1995). "Toso o tsukuru. [To make sword furniture]." In Sakuto no dento giho.
[The traditional methods of sword making.] Chapter 5. Tokyo, Japan: Rikogaku Sha. ISBN 4-8445-8563-0.
Tsuji, Kyojiro. (1994[1973]). "Tsuka maki. [Handle wrapping.]" In Tadashi Oono (Ed.),
Nihon-to shokunin shokudan. [The tales from Nihon-to craftsmen.] (1st Ed.). Pp. 169-179. Tokyo, Japan: Kogei Shuppan. ISBN 4-7694-0051-9.
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* Edited and reprinted from the author's original posts on old Bugei Sword
Forums.
Copyright © by S. Alexander Takeuchi, Ph.D.