INTERVIEW | Empowering Swordsmiths of a New Generation

In this second installment of a series, renowned Japanese swords specialist Paul Martin delves into the challenges facing modern swordsmiths. Drawing from his extensive experience, Martin discusses the economic pressures on traditional artisans. 

In the interview, he also highlights the undervaluation of historic swords in the global art market. Finally, he outlines steps needed to preserve this ancient craft.

Excerpts follow.

Second of 3 parts

Read the first part: INTERVIEW | Japanese Swords Face Challenges, Says Expert

Valuing Japanese Swords

If the future of Japanese swords is in jeopardy, do you have any solutions?

First, I think the price of new swords made by modern swordsmiths is too low. A sword by a master swordsmith costs about $50,000 USD.

How much is a young swordsmith's sword, about $5,000?

Yes, it is possible to find swords at that price. Moreover, under the current system, there is a limit to the number of swords a swordsmith can make in a month. They are either allowed to make two long swords (tachi/katana) or three short swords (wakizashi and tanto [daggers]). The same rule applies regardless of whether the smith is a veteran master swordsmith or a new young smith.

Additionally, following the nuclear accident in the Tohoku region in 2011, the production of charcoal has dropped significantly. As a result, the price of charcoal has tripled. It is particularly problematic for swordsmiths as sword-making requires a lot of charcoal.

Wouldn't a swordsmith's life be easier if they could make four swords a month?

I don't think making four swords will impact the quality of artisan-crafted swords, which is a concern for the Agency for Cultural Affairs. However, in the current situation, even if the number of swords that can be made is doubled, it will not fix the economic problems faced by swordsmiths.

Why is that?

It's because Japanese swords are completely underpriced compared to the international art world. For example, in 2020, Setouchi City (Okayama Prefecture) purchased the national treasure Yamatorige/Sanchomo sword from a private collector for $5 million. The price sparked a heated debate.

However, compared to other artworks, it's quite affordable. A Rembrandt painting costs about $4 million, while a da Vinci can reach around $400 million. Given that Yamatorige is on par with these masterpieces, I believe $5 million is a bargain.

The Yamatorige, also known as Sanchomo, is a renowned 13th-century sword once owned by the warlord Uesugi Kenshin (1530-1578). It features an exceptionally beautiful hamon pattern called Juka-choji. Many regard it as the finest sword ever crafted in Bizen province (Okayama Prefecture).

Are all Japanese swordsmiths are unfortunate artists.

Yes, it's common for artists to struggle financially early on. However, once they gain a reputation, they can earn substantial amounts—like $500,000 to $1 million for a single piece. In the case of Japanese swords, however, even a master swordsman can only earn $50,000 per blade. If the price ceiling remains at this level, the future for Japanese swords is rather bleak.

What can we do? 

It's crucial to showcase Japanese swords to international audiences to integrate them into the global market. This includes promoting the display of renowned swords in prestigious museums and art galleries worldwide.

If export procedures are too complicated, fewer swords will be shown overseas, which could drive down the price of Japanese swords. Seeing authentic Japanese swords up close will make people less likely to buy imitations, such as those made in China. This could help raise the prices of Japanese swords to levels comparable to Western art.

There are tourists who come from abroad to see Japanese swords, aren't there?

Yes, many foreigners want to see traditional swordsmiths at work. However, most swordsmiths are in inconvenient locations in the countryside, which makes them difficult to visit. Therefore, if three or so swordsmiths team up and build a forge in a tourist area with convenient transportation and take turns forging swords, they should be able to charge admission fees.

Instead of using mechanical hammers, they could employ traditional hammermen, known as sakite or o-tsuchi. This would allow traditional techniques to be passed on to future generations. In this scenario, new swordsmiths could also sell smaller items like sword guards and ornaments. Additionally, they might receive orders for swords, which would help support the younger generation.

Continues in part three: INTERVIEW | Empowering Sword-making in a New Generation

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Read the article in Japanese. 

Interview by: Shohei Nagatsuji