"CORRECT PLACEMENT OF MENUKI" VS "HISTORICALLY MORE ACCURATE MENUKI PLACEMENT" IN SPECIFIC KOSHIRAE STYLE.*
S. Alexander Takeuchi, Ph.D.
Department of Sociology
University of North Alabama
January 27, 2003
I. Introduction: Which way is "correct"?
Just like anything about Nihon-to that shows considerable variations,
“appropriate” menuki placement on
Nihon-to - culturally, historically, and functionally - does vary widely
depending on the reference to which (or the context in which) the particular
style of koshirae is studied. That is
because the variations of Nihon-to koshirae
that we know in existence today have developed largely out of the combination of
the followings (Hirato, 1994[1973]; Kokubo, 1993; Ogasawara, 1994; Tsuji,
1994[1973]):
a) functional demand (e.g., Kurourushi-tachi
koshirae, Kawazutsumi-tachi koshirae, Toppei-koshirae, Shingun-to koshirae),
b) ritualistic demand (e.g., Hyogokusari-tachi
koshirae),
c) bureaucratic requirement (e.g., Eifudachi
koshirae, Tojo-zashi koshirae, Kenjo koshirae)
d) regional sub-culture (e.g., Ezo koshirae,
Higo koshirae, Owari koshirae, Satsuma koshirae, Shonai koshirae, Yagyu koshirae),
e) associated school of sword art (e.g., Jigen
ryu for Satsuma koshirae, Yagyu Shinkage ryu for Yagyu koshirae, Keishicho ryu
for Junsa/Saber koshirae),
f) historical period and popular culture of the era (e.g., Keicho
koshirae, Momoyama koshirae, Tensho koshirae),
g) artistic expression (e.g., dashizame-tsuka
aikuchi koshirae),
h) political/ideological expression (e.g., Kobusho
koshirae)...
[And the list goes on... Also, this is why it is critical to also select a
proper set of koshirae kanagu in the
same tradition/koshirae style if one is
to make an artistically tasteful yet historically accurate and “culturally
correct” koshirae for an antique
Nihon-to. (See, Hiroi, 1994[1973]).]
II. The Evolution of the Functions of Menuki and the Emergence of Morphological Patterns.
From a pure functionalist point of view, menuki
was basically born out of rather pragmatic demand to serve primarily as “mekugi
osae” or the cover (or lid) over mekugi
pin. Examinations of old Kara-tachi and Kazari-ken
koshirae made in Nara through early Heian periods, such as the ones in
Shosoin Museum and Tokyo National Museum, tend to confirm this functional origin
of menuki among the earliest styles koshirae.
(See Ogasawara, 1994 for photos.)
However, soon its secondary function to serve as a pair of ornaments began to be
emphasized equally (Suzuki, 1995). Additionally, many other “latent functions
(i.e., not originally intended or obvious but still important eu-functions)”
were discovered (e.g., tactile indicators to tell the correct orientation of the
edge or correct “tenouchi,” palm
swells, status/rank symbols, religious charm, etc.). Then over the course of the
evolution of Nihon-to koshirae, those
secondary and latent functions of menuki
seem to have taken over its “manifest function (i.e., originally intended and
well recognized purpose)" completely.
This kind of phenomenon and the transformation of secondary or latent functions
into manifest functions is commonly observed with any material culture/cultural
artifact that has one thousand years of evolutionary history... However, the
functional evolution of menuki and its
placement in the context of specific style of koshirae
it is not all random, either. Over the course of its evolution, placement of menuki
has certainly developed morphological patterns that can be recognized in each
style of koshirae. (See for example
Takeuchi, 2003, on historically more accurate menuki placement in two
different versions of so called “katate-maki.”)
III. Historical Accuracy.
Today, depending on the function(s) that the particular style of koshirae
emphasizes, “historically accurate” (rather than the “correct”)
placement of menuki can vary, yet still
be *identifiable* to a certain extent (Hirato, 1994[1973]). Based on the shared
norm amongst the makers and the users of the Nihon-to (in the particular koshirae),
it is possible to identify the most “stereotypical” or “popular”
placement of menuki in that particular
style of koshirae. Interestingly
enough, there is even a particular style of traditional Nihon-to koshirae
that does not use menuki at all. Since the recent release of a book
by Zusho (2003) entitled Satsuma koshirae, this particular style of koshirae
has gained some attention of Nihon-to collectors and craftsmen. Actually,
many “duty spec”simple Satsuma koshirae that were developed to meet
specific demands of Jigen ryu samurai were equipped with rather simple
steel fuchi/kashira, and they were completely “menuki-less” (Kokubo,
1993; also see Zusho, 2003 for detailed information on Satsuma koshirae
and it relationship with two schools of Jigen ryu). Thus, even a
"menuki-less" koshirae of this genre, if made
according to Jigenryu-Satsuma koshirae tradition, is "historically
accurate"...
Does this mean the most “stereotypical” or “popular” placement is the only “correct” one? Most Nihon-to experts would agree that it is not the case. What we can say, however, is that such a placement of menuki is “more accurate historically” with some confidence.
IV. "Okite" or Traditional Rule on the Orientation of Properly Placed Menuki.
While I mentioned that the recognizable patter of placement menuki
does vary significantly depending on the specific style of koshirae,
one thing that seems to be very consistent across various styles of uchigatana
koshirae is the “orientation of heads/tails of menuki”
on tsuka (Hirato, 1994[1973]; Suzuki, 1995). At least among the variations of uchigatana
koshirae that are worn in edge-up position, the normative orientation of menuki,
according to "okite or traditional
rule of koshirae making, is as follows
(Suzuki, 1995):
a) in case of an animal motif, the “heads” should be oriented toward fuchi
while the “tails” should be oriented toward kashira;
b) in case of a plant motif, the “roots” should be oriented toward fuchi
while the flowers, leaves or fruits should be oriented toward kashira.
[Note. The rule applies to menuki on
both "omote (front)" side and
"urau (back)" side.]
Of course, just like anything with Nihon-to, exceptions to this rule still do
exist among antique koshirae. However,
according to one of the most sought after koshirae-shi
of the Showa period, Koichi Hirato (1994[1973]), the reversed orientations of menuki
on some antique koshirae seem mostly due
to the craftsman’s lack of knowledge of proper orientation...
References:
Hirato, Koichi. (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.
Kokubo, Kenichi. (1993). Zukan toso no subete.
[The complete illustrated book of the Japanese
sword furnishings.] Tokyo, Japan: Kogei Shuppan. ISBN4-7694-0094-2.
Ogasawara, Nobuo. (1994). 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.
Takeuchi, S. Alexander. (2003). "Typology of katate-maki (i.e.,
battle wrap) and its relevance to historically accurate menuki placement."
In Dr. T’s Nihon-to Random Thoughts Page.
University of North Alabama, Florence Alabama, USA.
http://www2.una.edu/Takeuchi/DrT_Jpn_Culture_files/Nihon_to_files/Katate_maki.htm
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.
Zusho, Ichiro. (2003). Satsuma koshirae. Tokyo, Japan: Ribun Shuppan. ISBN4-89806-192-3.
**********
* Edited and reprinted from the author's original posts on Bugei Sword
Forums.
Copyright © by S. Alexander Takeuchi, Ph.D.