Foreword
On the publishing of a manual on japanese swords, the "Nipponto" book.
A practicing old friend of mine, Iaido kyoshi 8° dan, Miyazaki Kentaro.
When in the spring of 1976 I was asked to come spread kendo throughout Italy, I was only 26. At the time, some of the people who were keen on japanese swords also begun the studying of Iaido. I cannot tell for certain when kendo and Iaido histories in Italy actually had their beginning, but a relevant role in setting the italian origins of kendo was played by the japanese sculptor residing in Milan Toyofuku Tomonori, who had asked me to become his kendo teacher. When I first came to Italy, a few small kendo dojos were already existing, such as in Milano, Brescia, Torino and Genova.
The form of laido involving the use of a real blade wasn't familiar to italians yet, but there were a few keen collectors who had interest in japanese swords and kodogù, such as tsuba, fuchikashira and so on. Two antique shops in Milano were also dealing in japanese swords, as well as shops quite close to Italy, i.e. in Lugano (Switzerland) or in Nizza (France), even though the most important european markets were to be found in Paris and London.
I myself began to devote to japanese swords about 40 years ago, but it seems it's not only japanese people who can feel the fascination of japanese swords, a universal spell that mesmerizes those watching them: the thrill of a sharp blade, the beauty of a glowing and shining hada, the appeal of a hamon and its bending, of a saya and its amazing polish, of a mounting embroidered with tsuba, fuchikashira, menuki, all artifacts crafted with the highest skill. It seems that many of those grasping a japanese sword for the very first time get seduced by it multiform charm.
On this occasion, I really want to heartily congratulate Sergio Magotti, a friend in Iaido and japanese swordsmanship, whose book - a proper reference volume on japanese swords - is now being published. I'd be truly happy if this volume could spark off the interest in those many people who haven't got to know the appeal of japanese blades yet. Not only is this text richly illustrated and easy to read even for beginners, but it also features everything the reader needs to know, from the history of japanese swords to their classification, their mounting, the how to read the signatures, how to craft swords and value them, how to do the maintenance. Moreover, a handy and detailed visual glossary has been included in the final chapter, in order to explain the japanese swords terminology.
This long awaited book proves substantial and unavoidable for those wanting to challenge themselves with the understanding of the world of japanese blades at a specialistic level. This volume is also the very first manual on japanese swords being published in Italy, an undertaking that shows how deep the italian knowledge of japanese culture is today. Evidencing the intercultural exchange between Japan and Italy, the publishing of such a beautiful book written by a sword-loving friend of mine fills me with joy.
I really hope that, after having read this book, italian budo trainees will not be content with merely winning competitions, but rather seize the opportunity to go deeper into the complex spirituality and artistry of the traditional japanese culture. Now if that really happened, there would be no greater joy for me.