Sword And Scabbard Analysis

Sword and Scabbard, a metalwork of art created in Iran, seventh century A.D. by the Sasanian culture (Sword and Scabbard).
The seventh century metalwork serves as a form of identification for kings and representing both their position of power, and their validation of victory in combat (Sword and Scabbard).
Traces to the origin of the work can be found in the Hunnish nomads of the 6th century (Sword and Scabbard). The nomads influence spread across both Europe and Asia leaving behind combat traditions that serve as a model for the Sasanian culture entering seventh century A.D. (Parvari-moghadam). The sword’s sheath and P shaped handles that hold the sword on a warrior’s waist gold plated surface and garnet inlaid

metalwork is complimented with feathers that mirror the Sasanian warrior’s helmets (Sword and Scabbard). Though the metalwork’s design and detail is exuberant for combat, its functional use of the metalwork suggest the work of art not only exemplifies power but, that its intended use is that of combat (Sword and Scabbard). The sword itself has inspires very few other works; but, its span of influence is in large part due to the Hunnish nomads of the sixth century who praised the God of Victory, Verethragna and participated in battle often (Sword and Scabbard). The Sasanians metal works come to see several centuries of ingenuity as it establishes its presence all the way into feudal japan as the “horseman’s sword” (Nickel). Metalmarks such as, “Blade and Mounting for a Slung Sword (Tachi)” by the Japanese swordsmith Normitsu and, “Blades and Mountings for a Pair of Swords (Daishō)”, by Sukemitsu of Bizen modenize the “Sword and Scabbard” of the Sasanian period and show not just the advancement of art but, the battlefield as well (Nickel).
The metalwork uses scale and proportion with the use of its exuberant gold garnets to give the metal work a grandiose sense of importance and royalty that disarm the life threatening implications its existence originally implicates. Such similarity can be seen in the monument Augustus of Prima Porta, a 6’8 monument of a man that make the image seem believable to that of man but, its size subtly allow the image to give the audience a sense that the figure has been elevated to that of something more (Frank). Such is the work of Sword and Scabbard. The work at its core is a weapon; but, the artist’s abundant use of emeralds with its gold plated surface disarm the audience of its harmful nature and elevate the weapon to a creation of beauty, royalty, power, and radiance.
The artist uses both emphasis to create a work of art whose deadly origin lays limbo between exuberantly lavish and divinely humble.

The handle is the smallest part of any weapon. The handle of the metalwork Sword and Scabbard is no different. The artist uses garnets at the hilt of the weapon and sheath to allow the audience to see the metalwork as a complete composition instead of the weapon being broken down into segments that only yield viewers divided segments of authenticity. The Pianist, by Lyubov, Papova uses color at the bottom of the work to keep its audience omnipotent of the work in its entirety instead of drawn to a central focal point. The irony of the artwork in the artist use of emphasis allow the work to exude a central statement that balances beauty in totality without

distraction.
The artist uses color in the gold plated texture of Sword and Scabbard to disarm the audience of the sword’s practical application.

As seen by the works of “Blade and Mounting for a Slung Sword (Tachi)” by the Japanese swordsmith Normitsu and, “Blades and Mountings for a Pair of Swords (Daishō)”, by Sukemitsu of Bizen swords are generally black. Their appearance suggest a message of seriousness and convey to the audience a sense of responsibility to the nature of the work which they witness. Felix Naussbaum’s Self Portrait with Jewish Identity Card, is a work shrouded in dark tones of grey and black (Frank). The already critical issue of the Holocaust exudes a sense of fear and emotion that not just encapsulates a reader but holds them accountable to see with their sight but their hearts. The cold nature of weapons are complimented to the colors and tone wielded and heated still and iron. The artist use of color to gold plate Sword and Scabbard allow the work to transcend from a weapon and be seen in totality as a decorative motif capable of delivering both beauty and death to its

audience.
Texture is undoubtedly the most important component of the artist’s artwork Sword and Scabbard. The garnet and glass inlaid in the work of the structure create a rugged texture that allows the audience to not forget both the luxury of the work and its lethality. Meret Oppenheim Object (Breakfast in Fur) without such text would simply be a display of fine china. The texture allows the work to become something beyond routine…something beyond familiar. Garnets and glass create a texture on the sword that allow it to appear beautiful but, enable its texture to feel rugged. With the deadly purpose of the sword transparent the texture creates a piece that visually reminds us of its beauty while physically reminding us of its lethality.
The sword’s glass and garnets compliment the gold plated texture to create a message that unifies its audience with both beauty and battle. The use of glass garnets and the emphasis of its handle and hilt allow the audience to see a work that does not compliment the sword but transcend it beyond its deadly nature. The artist does this to create a piece of the work that invites the viewer but equally commands its respect. The single garnets inlaid in the handle and hilt of the sheath standalone only to be complimented by a sea of gold plated infused glass to thus the artists shows a unifying connection between the weapon and sheath of the work. Both being independently made for each other. The artist use of texture, emphasis, color and proportion allow the metalwork Sword and Scabbard to have an aurora like that of a queen in a game of chess… both beautiful and deadly.