is still considered by many as just a traditionalist teacher.
However, those who read the Analects will recall that, when
confronted with what was his interpretation of Li or Ritual, the
Master replied: To question is also part of Ritual.
Therefore, to question is also to enquire within oneself
about innovation or renovation.
I should begin with my own interpretation of what is a
It is my belief, and this has been stressed in some papers that
I delivered in designers' meetings as well as other seminars,
that a designer is someone who interprets the Past and the
Present in order to project an idea of a Future that is embedded
in a consequent link with what is known, yet bearing sufficient
In other words, a designer intermediates with his creativity
between what has been seen and what is to come.
By nature I need innovation, I do not just accept passively what
is given to me. It is not a question of rebellion, but rather an
inquisitive attitude that is not satisfied by studying past
designs. This attitude by no means represents a belittling of
History. Very much on the contrary, it requires the admiration
of the Past to create something that can somehow become an
This is to say that while I enjoy tradition as a source of
information and of beauty, and have experimented with some
traditional Japanese fittings with the swords I bought, I feel
the spiritual need to design new swords.
Now, among other areas of my
I decided to design swords on a professional basis. Contemporary Swords, such
as the one on the left. Swords that have been designed in past
centuries do bring out my admiration and I rejoice in seeing
I have now been designing swords for 10 years and have made many
people happy. It is not my supreme aim, just one more field in
which I apply my design.
I don't seek your business. You may eventually seek me to
conceive something unique.
My ultimate goal is to assist people who can understand
that not only metallurgy is an art form by itself, but the
weapons that are produced require innovative designs that will
substitute the traditional patterns or shapes, and bring
uniqueness into swords which may be recognized everywhere as
total works of contemporary art as a whole.
It is time that contemporary swords are regarded by Art Centers
and Museums as artwork pieces and not only as historical pieces,
or cutters to be bashed around.
As an example, the sword on the left was originated in my mind
when I saw the metal brake of a Harley Davidson wheel. The
design struck me as very contemporary, and I did recognize the
shape-function relationship. Then I came home and a few days
later I started to design this hybrid sword, a mixture of
Eastern and Western styles. But that's exactly what I am myself.
In fact the sword guard is based on the Japanese Tsuba, but it
has also been inspired by the motorbike wheel. And I did a two
pieces guard, exactly like if it were the two sides of the
Then I designed a two edged blade but I added a long blackened
habaki shaped in the western fashion of what I would like to
call the birth of the blade so that the scabbard will allow for
a nice blade hold.
Yet the blade is western, made of L-6 steel polished to high
brilliance. The handle is made of precious wood, and instead of
a pommel, it will bear a hybrid rendition of the kashira.
I strongly recommend that you go to
samples and read that page.
While I state my preference to design new swords and also
provide them to you, I am available to conceive combinations of
traditional Japanese style katana, wakizashi and tanto
furniture, which is from where I started to combine the fittings
of my modest
collection . If you have navigated through this menu and
found the contents of this site to be attractive, you are
welcome to contact me.
Meantime please note that the examples listed in this site are
my intellectual property and are copyrighted. Thank you.
Antonio Conceição Júnior