Rowlinson, born in 1990, received his artistic education at the prestigious Ruskin School of Art, studying Fine Art, and pursued an MA in Sculpture at the esteemed Royal College of Art. Through expressive gestures and emotions conveyed through hands, he offers nuanced commentary on these fundamental aspects of human identity. The hand emerges as a recurring motif in Rowlinson’s work, representing an exploration of gender and sexuality. By juxtaposing these sharp, masculine symbols with soft fabrics, he challenges traditional associations of violence and toughness. Within his artworks, Rowlinson incorporates layered motifs such as barbed wire, arrowheads, and chains, evoking a sense of confinement or imprisonment. As someone who grew up surrounded by medieval symbols, Rowlinson associates them with his queer identity, recognizing their potential as gateways to an alternative past. Influenced by contemporary fantasy fiction and captivated by medieval illuminated manuscripts and gothic architecture, he draws inspiration from the enchanting worlds they portray. Medieval symbols and ornaments hold a significant place in Rowlinson’s compositions, inspired by his fascination with the medieval fantasy genre and its magical past. By dyeing the felt using natural elements from Hampstead Heath, he establishes a connection to the environment in his work. Felt, in particular, symbolizes both a versatile collage medium and a representation of healing and self-care. Working primarily with felt and tapestry, Rowlinson is drawn to their tactile nature and timeless appeal. Influenced by the Final Fantasy franchise and profoundly moved by Francis Bacon’s emotional portraits, he developed a deep appreciation for art. Rowlinson’s creative inspiration stems from artbooks and fantasy artwork, including the alluring illustrations found on book covers and video games. Within these captivating landscapes, Rowlinson incorporates contemporary stylized symbols. These compositions are enriched by lush green moss, ferns, and foliage, harmoniously blending the natural and the symbolic. Employing collage techniques and working with felt, he merges decorative patterns inspired by medieval designs and manuscript marginalia with organic iconography. So far, I feel I got exactly what was advertised and expected.Jakob Rowlinson masterfully blends the natural world with medieval symbolism in his thought-provoking artworks, exploring the evolving perceptions of masculinity. Blade gradually increases in sharpness as you proceed to the tip, all as expected.Īll in all, I'm fairly pleased. As to be expected from 5160 carbon steel, the blade is bendy. Balance point is approximately 5 inches above the crossguard. I haven't done much with it yet, but I did give a few practice swings. Smears and shows any amount off fingerprints or oil from the hand quite easily. Grip appears to be made of the same leather as the sheath. Sword does rattle a bit in the tip of the sheath. Draw is fairly easy, but with a nice snug fit with a fair amount of resistance. Nice cap on the bottom with a flat tip for resting the sheathed sword on the ground. Sheath is black leather, not sure if genuine leather or not. Received this item today, so these are simply initial thoughts and impressions.
Our products are made of high carbon steel and other authentic materials and forged with state-of-the-art technology, guaranteeing both substance and style! These are just a sample of the many excellent one-handed swords in the selection. Also, we offer a wonderful range of American Civil War sabers and swords.
Those more into the Renaissance will find the Schiavona and the Mortuary Half Basket Hilt Swords particularly enjoyable. These include such weapons as the Sword of King Richard, Ulfberht, and Scimitar. For instance, the medieval period is well represented by swords of the Crusades and from Viking, Scottish, and Middle Eastern history. Museum Replicas offers an array of these fantastic weapons. However, the swords were still capable of inflicting damage with slashing strokes on lightly armored rank and file soldiers. As armor evolved in the High Middle Ages into complete suits of plate, the blades developed into more effective thrusting weapons. One-handed swords saw use across Europe for cutting through mail armor and leather armor, and slashing (draw-cutting) for mounted and foot combat. Similar longer bladed swords were quickly adopted by the Romans in the form of the Spatha which was used by their mounted troops. One-handed swords were first developed by the Celts of northern Europe and the British Isles, who fought from horseback.
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