LIFE & CULTURE

HANS KOGA
Born in Stockholm, Sweden, in 1972.
After working for a yacht builder inSweden, he moved to Japan in 2011. Hestudied at a Japanese sword studio inTokyo before moving to Kumamoto
Prefecture in 2015, where he learned thetechnique of Higo-koshirae. Today, heworks as a koshirae craftsman devoted toboth production and restoration.

SWEDEN

Kumamoto(JAPAN)

THE SWEDE INHERITINGTHE SOUL OFJAPANESESWORDCRAFT
Hans Koga, a Swedish craftsman of koshirae (outer sword components) in Kumamoto, is not only helping preserve
traditional techniques but also conveying the soul of the samurai to the world and future generations.

Japanese swords vary instyle depending on theregion. The Higo-koshirae
is a style that marries
function with beauty. It
was established by a local
lord who was also a masterin sado (Tea Ceremony).

The Japanese sword, which
was once a samurai weapon, now
attracts many overseas enthusiasts
as a piece of art. In addition
to being appreciated for its
functionality on the battlefield,
it is also revered for its aestheticvalue. The two major factors thatdetermine this beauty are thecylindrical saya (sheath), whichhouses the blade, and the tsuka(hilt). Those components ofthe sword are collectively calledkoshirae, and one of the few
craftsmen still actively producing
koshirae is a Swede by the name ofHans Koga.
“When I was a boy, I had
the opportunity to watch ademonstration of iaido (martialarts using Japanese swords) in
Stockholm, and I was completely
fascinated by the Japanese swords.
With their extraordinary power,
they really seemed to possess thesoul of the samurai,” he recalls.
After graduating from apolytechnic high school, heworked as a ship carpenter. But
when a major injury forced him
to quit that line of work, hisinterest in Japanese swords wasreignited. He moved to Japan andwhile studying at a sword studio,
he learned about the various

regional styles of koshirae. Amongthem he became particularly
attracted to the Higo-koshirae ofKumamoto Prefecture in Kyushu,
southwestern Japan (Higo is theold name for Kumamoto).
“The Higo-koshirae have robust
and functional structures withno tolerance for the unnecessary.
But, at the same time, they havean aesthetic quality as refined
as any tea ceremony. And the
proportions of the hilt and theblade are excellent.”
Koga moved to Kumamoto in
2015. While receiving guidancefrom a retired senior craftsman,he also expanded his skill andknowledge by studying oldmasterpieces and materials. Even
after his house was destroyed in
the 2016 Kumamoto earthquake,he says he had no plans to leave
the area.
“I want to continue working topass on this wonderful culture.
I also love the people and natureof Kumamoto, and I admire
everyone’s tenacity in the face ofnatural disaster.”
After the earthquake, Koga
built a workshop in a corner of a
traditional house that is over 300
years old. Benefiting from active
promotion using social media, hehas a constant backlog of orders
from both Japan and overseas. He
must work hard to keep up, but henever lowers his standards. “Thekoshirae, which are made using
the same natural materials andtraditional techniques as in theolden days, are guaranteed to lastfor more than one century. They
are labor-intensive, but I hope
to continue putting all my careinto making high-quality pieces
as my lifelong work,” Koga says.
His words clearly indicate thathe shares the strong devotionof the Japanese craftsman whoworks hard every day at hiscraft without compromising on
workmanship. The process called tsukamaki (hilt wrapping) involves wrapping
leather cord around the hilt to strengthen it and provide a bettergrip. The diamond-patterned tsukamaki is so solidly wrappedthat it must have been indestructible on the battlefield.