The Japanese sword is art in several different ways. Besides the functionality, it can be used to depict history, show the distiction of the owner and of the maker, and of the art by which the sword itself is made which uses the imagination and techniques of the sword maker. .
There are several parts of the Japanese sword that can be considered works of art in itself. One part, the tsuba, is the hand guard mounted on a Japanese sword. It serves to keep the user's hand from sliding up onto the blade of the sword, to counterbalance the weight of the blade, to communicate the social standing, beliefs and tastes of its owner, and to some degree, to protect the hand from an opponent's blade. Tsuba are made from a wide variety of materials including soft metals such as copper and its alloys(brass, bronze and others) along with silver, gold, leather and even iron. A tsuba can simply be a plain undecorated plate. But most however are embellished to some degree with surface texturing, cut-out sopenwork in positive and negative silhouette or inlay/overlay of various metals. Time, region and the imagination of the maker contributed to the style of the tsuba. But the tsuba, decorated or not, must first meet the basic demands of its function.
The second main part of the Japanese sword is the tsuka, the handle or hilt of the sword. Made usually out of wood, it is wrapped in either the belly skin of a stingray or shark skin, because of the duribility and the coarseness which provided excellent grip during battles. A pin made of bone or some precious metal was used to hold the blade inside the handle. A fuchi, which was a metal collar with a shaped hole for the blade to fit into, was used to prevent spliting of the handle and to help with wear and tear. A kashira, which is a metal cap, is fitted on the butt end of the handle to also help with spliting. How the tsuka is wrapped is an art in itself, for there are many techiniques and materials used, and, like the tsuba, is a distinction of the maker and the owner of the sword.
He woos her with his sword. ... As described in the critical essay by Shirley Nelson Garner, the dominating male power and strange sex roles of the characters is fluent throughout the play. ... (Scott 376) The essay written by George A. ...
It is said that their art is based upon a great Chinese military text written by a general named Sun Tzu, The Art of War. ... The art was then brought to the western World. ... A ninja is not likely to bond with his sword. ... So, they could not afford beautifully crafted swords such as a samurais' Katana which had a curved edge for maximum damage. ... Ninja were not too fond of using long weapons such as swords or staffs, because they made too much noise and limited flexibility. ...
Corder's essay, "Argument as Emergence, Rhetoric as Love," introduces us to the idea that arguments, which are essentially a rhetoric - the art of using language effectively and persuasively - must "begin, proceed and end in love." ... This whole process of communication is done via the use of language, the double-edged sword, which may fail us but when used in a "commodious" perspective, creates that reality for "Argument as Emergence, Rhetoric as Love." As mentioned earlier, Corder's essay might come across as long, monotonous and even boring to some. ... Another point to note ...
Taking that into consideration, this essay is met to educate those that couldn't find the clues in the first 5 of 6 attempts. This essay will to try to point out and explain the many supernatural and paranormal events which were considered oninous during his time. ... For example, "O Julius Caesar, thow art mighty yet, thy spirit wakes aboard and turns our swords in our own poper entrails." ... This essay only explains a few of the many links to the supernatural events of this play. ... But one hopes that the reader of this essay has a better understanding of the events....
In the following essay I will argue the major differences in the clothing worn by royalty and commoners during the Heian Period. ... The royal family were very exact about the type of clothing they wore and the type of clothing common people were allowed to wear, "solemn edicts fixed the color of official robes, the length of swords, and the nature of salutations" and even had different styles of clothing for different occasions, as well as, for different types of jobs (Meyer 60). ...
In this essay I will examine how it fits into its Viking Age context, and also what we can learn about the Nordic culture and history of the time, taking evidence from an archaeological perspective. ... There are six main recognized stylistic periods in Viking Age art, the earliest one of them being known as the 'Oseberg style' after the multitude of artistic findings attributed to the Oseberg ship burial. ... Nordic art during the Viking Age is characterized by its animal designs, though it is difficult to give an exact definition of the 'Oseberg style' in particular b...
These leads into her mother teaching her the art of invisible strength, "In Chinese we say, Come from the South, blow with wind "poom! ... This art of invisible strength greatly improves Waverly's chess playing ability and later helps in the relationship between her and her mother. ... Waverly finally was able to peer over her mothers barriers for a brief instant while they were having a good conversation and she realized how innocent her mother was: But in the brief instant that I had peered over the barriers I could finally see what was really there: an old woman, a wok for her ...