Читать книгу The Art of the Japanese Sword - Yoshindo Yoshihara - Страница 9
ОглавлениеCHAPTER I
KANSHO
APPRECIATING THE JAPANESE SWORD
A painting from 1129 showing Prince Arisugawa examining a sword. Notice that the sword rests on the sleeve of the prince’s kimono. He is being very careful not to touch the blade with his bare skin, a custom that is followed even today. Screen from the Kitano-Tenmangu shrine, Kyoto. Reprinted with permission.
Yoshindo holds the sword upright at arm’s length to examine the overall shape and proportions.
EXAMINING A JAPANESE SWORD
Examining all of the critical but subtle details in a Japanese sword is a demanding task that requires good lighting and a properly polished sword in good condition at the outset. There are three major aspects to consider when viewing a sword: its shape, the surface of the steel, and the pattern on the hardened cutting edge.
The sword is held upright at arm’s length so that its overall shape can be easily perceived. Details to notice are the length, the degree of tapering from the base of the blade to the point, the degree of curvature, and the shape and size of the point. The thickness of the blade, along with its weight and balance, should also be noted.
To examine the surface of the steel, a good light source should be placed above and behind the observer as the flat side of the blade is viewed. Points to notice include the color of the steel (which will be rather dark in comparison to most modern steels) and the jihada, which is the texture or visible pattern on the surface. This is the result of the folding of the steel as it is forged. Depending on how a smith folds and forges the steel, one of several different patterns may be visible. A series of fairly straight lines running along the blade’s length is called “masame hada”; a pattern resembling wood grain is “itame hada”; and a very fine and complex pattern resembling the grain of a wood burl is called “mokume hada.” There are many variations on these patterns, depending on how the steel was made and the sword forged.
Yoshindo is examining the surface of the steel, looking down at the sword with the light coming from behind and overhead.
One of the most prominent aspects of a Japanese sword is its hamon, the area of hardened steel along the cutting edge. After forging, Japanese swords undergo a process that results in the formation of a very hard steel called martensite along the edge. Because the crystalline structure of the martensite that makes up the hamon is different from that of the softer steel in the upper body of the sword, the hamon stands out. A good hamon is clearly visible, with a continuous boundary along the body of the sword; it should be present along the entire length of the sword as well as on its point.
To view the hamon, hold the sword slightly below a focused light source such as a bare incandescent or halogen bulb. Around the light reflected on the blade, it is usually possible to see the distinct white line that defines the boundary between the hard martensite edge and the softer upper body of the sword. Many intricate details can usually be seen along this boundary line and within the hamon.
Examining a Japanese sword is an active process: not only must the blade be held in the proper position to examine each part of the sword, but it must be moved continuously so that the light reflected from the focused source moves along the surface of the steel, revealing its features (the jigane and jihada), as well as the details of the hamon. Learning to perceive all of the important aspects of the sword is a task that requires some practice.
To view the hamon, the blade is aimed just below a focused light source such as a bare bulb. Around the light reflected on the blade, the line defining the hamon boundary, as well as all the details in the hamon, should become very clear.
SWORD CARE AND MAINTENANCE
Japanese swords require regular maintenance to remain in good condition. It can take a professional polisher a significant amount of time to polish a new sword or restore an old one, and the resulting finish on the sword must be carefully preserved. Many customs or rules have been developed in Japan to take care of these swords. These rules should be carefully observed to preserve a sword in good condition.
In accordance with Japanese custom, a person bows to the sword before looking at it.
The sword bag is untied and the sword is removed.
A Japanese sword is stored in a specially designed cloth bag. When first picking up a sword, it is customary to bow to the sword before removing it from the bag.
The cloth ribbon securing the mouth of the bag is untied, and the sword and scabbard are removed from the bag. The hilt is then gripped securely with the fingers of one hand, while the thumb of the same hand pushes the scabbard to separate it from the hilt gently and securely. Using this technique ensures that the sword comes out of the scabbard slowly, rather than in a sudden movement that could damage the scabbard or injure the person holding the sword.
If the scabbard is very tight, use both hands and both thumbs to ease the sword slowly out of the scabbard, with the thumbs acting as a brake. Once the blade can move freely, remove it completely from the scabbard. To minimize damage to the highly polished surface, the sword should be drawn from the scabbard slowly, with the cutting edge turned upward toward the ceiling. The blade should slide only along its back surface as it is pulled out. If the blade were removed with the cutting edge down, it would cut through the scabbard; sliding it out on its side would eventually produce visible scratches along the polished surface.
Once the sword is out of the scabbard, the blade is usually removed from the hilt so that all of its features, including the tang, may be examined. The tang is secured in the wooden hilt by a bamboo rivet called a “mekugi.” A hammer-like tool called a “mekugi-nuki” is used to loosen this rivet and push it out of the hilt from one side. Since the bamboo rivet is tapered, its smaller end is pushed flush with the surface of the hilt; the rivet is then removed from the other side.
A Japanese sword is designed to fit snugly into the mouth of the scabbard, so the hilt must be loosened before the blade is pulled out. To begin to remove the sword, Yoshindo grasps the hilt with his right hand and pushes on the scabbard with his right thumb to ease it away from the hilt. This precaution will prevent a tightly fitting sword from suddenly jumping out of the scabbard. The right thumb and right hand on the hilt and scabbard act as a brake, so that initially the sword can move only a short distance out of the scabbard.
The loosened sword is now partly out of the scabbard. Notice that the right hand and right thumb are in contact with both the hilt and the scabbard.
The sword should slide out of the scabbard only on its unsharpened back surface (the mune). Care should be taken to slide the blade along the mune when it is replaced in the scabbard as well.
Yoshindo uses the flat face of a traditional tool called a mekugi-nuki to begin pushing the bamboo mekugi out of the hilt. The end of the mekugi protrudes slightly above the surface of the hilt, so this action loosens it.
Once the mekugi is loosened, Yoshindo can use the pointed end of the mekugi-nuki handle to push the rivet completely out of the hilt.
When the mekugi is out, the hilt can be removed. To accomplish this, hold the blade nearly upright, with one hand gripping the hilt tightly. Form a fist with the other hand and use it to strike the wrist of the hand gripping the sword. This should make the tang of the sword jump slightly out of the hilt. Once the tang is loose, it will be possible to grip the upper part of the tang and remove the blade from the hilt entirely. The habaki (blade collar) can then be removed: it will usually simply slide down and off the end of the tang.
When the sword is out of the scabbard and the mekugi has been removed, the blade is removed from the hilt. The blade is held almost vertically upright in the left hand. While the left hand holds the hilt, the right hand forms a fist and strikes the left wrist at the base of the left hand. This should loosen the sword from the hilt.
After a few gentle strikes with the right fist, the sword should begin to move. The blade is now a couple of inches (5 cm) out of the hilt.
Once the sword is far enough out of the hilt, the bare tang of the sword can be grasped, and the sword can be completely removed from the hilt.
After the blade is removed from the hilt and scabbard, it is wiped with tissue or soft Japanese paper to remove any oil or dust from the blade. Notice that Yoshindo has wrapped the paper around the blade from the unsharpened back surface, and is wiping the blade from the tang toward the point. The blade should always be wiped or cleaned in this direction. Wiping the blade in the opposite direction, from the point toward the tang, is not a good idea. The curvature of the blade increases the likelihood of being cut.
After the scabbard, hilt, and habaki are removed, the blade must be cleaned to allow a clear view of the surface. This cleaning will remove any dust or dirt on the blade, while also removing the thin layer of oil previously left on the blade to protect it from corrosion.
First, wipe off the surface with a clean piece of Japanese washi paper or tissue paper. Holding the paper around the blade from the back unsharpened surface, move it along the blade from the base toward the point. After reaching the point area, remove the paper, replace it near the base of the blade, and move it forward again. Avoid moving the paper and wiping the blade in the opposite direction (from point to tang). Human reflexes and the curved shape of the blade make it very easy to unintentionally grip the blade and cut one’s fingers if it is wiped in this direction.
After the blade has been cleaned of oil and dust, it is next dusted with uchiko. This is a very fine abrasive and absorbent powder that will remove any dust or moisture from the blade’s surface.
Items used to maintain and clean a sword. 1. Clove or camellia oil. 2. Uchiko wrapped in two layers of fabric. 3. Handmade Japanese washi paper used to wipe swords (plain facial tissue may also be used). 4. A small square of cotton cloth used to hold the oil. 5. The mekugi-nuki hammer used to remove the bamboo pin that secures the sword in the hilt.
Yoshindo dusts the entire blade with uchiko powder.
The uchiko is wrapped, first in a layer of cotton and then in a layer of fabric, and tied at its base to form a ball. The fabric trailing from the end of the ball gives it a lollipop-like shape. Holding the trailing fabric, gently tap the uchiko ball along the surface of the blade, leaving a fine layer of white powder behind on the blade surface. Both sides of the blade must be dusted.
Next, use a clean sheet of paper to wipe off the uchiko powder. Move the paper from the base of the blade towards the point in exactly the same manner as was used to initially wipe off the blade. Again, it is best to only move the tissue from the base of the blade to the point. After the uchiko powder is wiped off, the surface of the blade should be very clean, with all traces of dust and moisture removed. At this point, the blade surface can be examined in detail, while noting distinguishing features of the hamon and jigane as described earlier.
When the blade has been wiped off, Yoshindo dusts it with a very fine powder called “uchiko.” This is used to clean the blade thoroughly so that the surface details are easily visible. The uchiko powder is wrapped first with cotton, then with fine fabric, giving it a lollipop shape.
After viewing, the blade is coated with a fine layer of oil to protect it. A small piece of oil-soaked cloth is wiped over the blade from the back surface only, and in one direction only, from the tang toward the point, leaving the surface coated with a very thin layer of oil.
After being dusted with uchiko, the blade is wiped with soft paper to remove the powder. The uchiko is a very fine absorbent, and after it is wiped off the blade, all dust and traces of oil and moisture will be removed. As before, the blade is wiped from the unsharpened back surface, and in one direction only, from the tang toward the point.
After the blade is viewed, it should be cleaned again before being replaced in the scabbard. This is because dirt, dust, fingerprints, saliva droplets, or other moisture left on the surface will damage the blade while it is sheathed. Any foreign substance left on the blade, or any contact between bare skin and the blade, will produce a rust spot in just a few hours. The blade should therefore be wiped again, dusted with uchiko, wiped off, and coated with a thin layer of oil (usually Japanese clove oil or camellia oil).
The tang is replaced in the hilt.
Once the hilt is replaced and the bamboo rivet secured, the sword is returned to the scabbard. The point is carefully put into the mouth of the scabbard along its back surface, with the cutting edge facing up.
The sword is about halfway into the scabbard.
Once the sword is fully in the scabbard, Yoshindo pushes on the hilt to ensure that it meets the scabbard completely and the sword is securely seated.
To oil the blade, put a few drops of oil on a piece of cotton cloth, and then run the cloth over the surface of the blade to leave a thin protective layer of oil. In oiling the blade, use the same method as before: wrap the cloth around the blade from the back unsharpened surface, and wipe from the base of the blade toward the point.
The final step in viewing is to return the blade to its scabbard. Replace the habaki by sliding it over the tang of the blade until it rests against the notch at the base of the cutting edge. Then return the tang to its wooden hilt. Holding the blade with the point straight up, gently tap the base of the hilt with the palm of the hand to ensure that the tang is securely in the hilt. Then insert the bamboo mekugi into the hole in the tang and push it firmly into place.
(Note that if the blade is not set properly in the hilt, the mekugi will not fit all the way through the hole in the tang and into the corresponding hole in the wooden hilt.) After the blade is in the hilt, and the mekugi is in place, return the blade to its scabbard.
Holding the blade in the right hand with the edge facing upward, carefully insert the point of the sword into the mouth of the scabbard. Slowly push the blade into the scabbard, sliding it along its un-sharpened back surface. When the blade is fully sheathed, gently push the base of the hilt until the surfaces of the hilt and the scabbard contact each other. Once the sword is properly seated in its scabbard, the scabbard is usually placed in its protective bag. Fold the top of the bag over the end of the hilt and secure the bag by winding the attached tie around the sword hilt.
ADDITIONAL FEATURES TO EXAMINE
Yoshindo examines the tang of a sword. The signature, if any, and other information will be inscribed on the tang. The color of the tang, along with the rust and the file marks on the surface, can all provide information about the sword.
Once the blade has been removed from the hilt, additional details can be examined. For example, the condition and shape of the tang are important. The color, surface, rust, shape, decorative file marks, and any written inscription on the tang should be examined. If a sword is signed, the signature or other information will be inscribed on the tang.
The polished blade of the sword should always be protected from direct contact with bare skin. Here, Yoshindo rests the blade on a clean sheet of paper. The tang of the sword may be held in the bare hand.
Examining the point of the sword. The shape and condition of the point, as well as the size and condition of the hardened cutting edge on the point (the boshi), are important in evaluating a sword.
The point of the sword is also an important area to examine. Pay particular attention to the shape and condition of the boshi—the hamon on the point — as well as that of the point itself.
The tang can be handled with no precautions, but any contact between bare skin and the polished blade should be avoided. A piece of paper or fabric is always placed between the hand and the blade to avoid direct contact with the polished surface. It is important to avoid touching the polished portion of the sword with bare skin because moisture or salt from the skin can easily and rapidly cause visible corrosion on the blade’s surface. Anyone looking at a sword should always use clean paper or tissue to prevent direct contact between the polished surface and bare skin.
When it is necessary for one person to hand a bare blade to someone else, the blade is held point-up, with the edge aimed at the person holding it. The tang should be grasped near its top and bottom, leaving room for the other person to grip the central portion of the tang and receive it safely.
COMMON PROBLEMS
Although it is usually a simple process to remove the blade from its scabbard and hilt, some problems do arise. For instance, it can be difficult to remove the the hilt or the habaki (blade collar). However, there are routine methods of dealing with these problems.
To remove a tight tang from the hilt, a special tool called a “tsuka-nuki” is used. Here, Yoshindo is holding a tsuka-nuki and a wooden mallet in his right hand.
Yoshindo has tapped the tsuka-nuki with the hammer, moving the tang partly out of the hilt. It can now be grasped and removed from the hilt completely.
The tsuka-nuki tool and the wooden hammer or mallet used to loosen a tight hilt or tight habaki.
The wooden mallet is used to tap on the tsuka-nuki, which extends up along the polished blade to protect it. Several gentle blows will loosen the tang enough to remove it from the hilt.
Sometimes a habaki is wedged very tightly on the tang of the sword and cannot be removed. In this situation, the bare tang is held in one hand while its base is tapped with a wooden hammer or mallet (using a steel hammer could bend or damage the tang). Several strikes with the mallet will usually loosen the habaki.
If the tang is set in the wooden hilt very tightly, it will be hard to remove. In this case, a Japanese tool called a “tsuka-nuki” is used to remove the sword from the hilt. This tool is a special punch that is shaped to fit over the wooden hilt, with a flat place where it can be struck with a hammer. It also has a high projection on one side to prevent the hammer from hitting the blade. With the blade held fairly upright at an angle of 30 to 45 degrees from vertical, strike the tsuka-nuki with a wooden mallet. The impact from the mallet will loosen the tang, driving it a short distance out of the hilt. Once it has begun to move, it is easy to grasp the top of the tang and remove it from the hilt.
Another common problem is that the habaki fits too tightly on the tang and will not slide off readily. In this case, holding the bare tang of the sword below the habaki, with the blade almost parallel to the ground, gently strike the end of the tang with a wooden hammer (a metal hammer should never be used to hit any part of the sword, as it can deform or damage the metal). After a few gentle strikes with the wooden hammer, the habaki will become loose and begin to move down the tang. At this point, it can be removed by sliding it off the sword.
This warrior, girded for battle, wears a long tachi sword slung from his belt with the cutting edge down. From an Edo-period kakejiku (scroll). Private collection.
SWORD TERMINOLOGY
The Japanese people have long appreciated the Japanese sword both as a functional essential weapon and as an object of art. Along with methods of handling and maintaining swords, a wealth of specific Japanese-language terms used to describe a sword’s features has developed over the course of history. There are no exact equivalents for many of these terms in English. The terms that follow are unique to Japanese.
1. The hamon is a visible, patterned band of hardened steel along the edge of the sword. It is this feature that gives the Japanese sword its superior cutting ability.
2. The term “sugata” refers to the shape of a blade. Generally speaking, the Japanese sword is single-edged, curved, and relatively thin, with a clearly defined point. However, Japanese swords come in a variety of shapes.
3. The words “jigane” and “jitetsu” refer to the appearance of the surface steel, its texture and color, and the pattern thereon. Traditionally forged Japanese steel is not bright or reflective: the steel usually appears dark, with a clear pattern visible on its surface.
For definitions of numerous other sword-related Japanese terms, please refer to page 27.
This painting by Yoshihiko Sasama depicts an armored Nanbokucho-period (fourteenth century) samurai wielding a very long sword. Private collection.
PARTS OF THE SWORD
A. SAKIKASANE 先重ね Thickness of the blade at the point
B. MOTOKASANE 元重ね Thickness of the blade at its base
C. KISSAKI NAGASA 切先長さ Length of the point
D. SAKIHABA 先幅 Width of the blade at the point
E. MUNE 棟 Unsharpened back surface of the blade
F. MOTOHABA 元幅 Width of the blade at its base
G. MUNEMACHI 棟区 Notch at the top of the tang where the mune surface begins
H. HAMACHI 刃区 Notch at the top of the tang where the cutting edge begins
I. FUKURA ふくら Curvature of the cutting edge within the point
J. BOSHI 帽子 Hamon on the point area
K. YOKOTE 横手 Line defining and setting off the point from the body of the sword
L. KOSHINOGI 小鎬 Portion of the shinogi in the point area (above the yokote line)
M. MITSUKADO 三ﾂ角 Spot where the yokote line, the edge of the blade, and the edge of the point meet
N. SHINOGI MITSUKADO 鎬三ﾂ角 Spot where the shinogi, koshinogi, and yokote lines meet
O. SHINOGI-JI 鎬地 Surface of the blade between the shinogi and the mune
P. SHINOGI 鎬 The well-defined line running along the length of the blade at the thickest part of the sword (present on shinogi-zukuri–style blades)
Q. JI 地 Steel surface of the sword
R. HA 刃先 Hardened steel along the edge area
S. HASAKI 刃先 Sharpened cutting edge of the sword
T. NIOIGUCHI 匂口 Clearly defined visible line separating the hardened cutting edge from the softer body of the sword
U. ASHI 足 Projections of the nioiguchi line that extend toward the edge of the blade
V. HACHO 刃長 Straight line used to define the length of the blade
W. SORI 反り Measure of the curvature of the sword
X. ZENCHO 全長 Measure of the full length of the sword including the tang (hacho measurements apply to the blade only)
Y. NAKAGO NAGASA 中心長さ Length of the nakago (tang)
Z. MEKUGIANA 目釘穴 Hole in the tang for the mekugi (bamboo rivet used to secure the sword in the hilt)
AA. MEI 銘 Inscription on the tang of the sword (usually the smith’s name, but often includes other information as well)
LONGSWORD STYLES
SHINOGI-ZUKURI 鎬造り
A sword with a shinogi (ridge line) running along its entire length where the blade is thickest. Has a yokote line and a well-defined point.
HIRA-ZUKURI 平造り A flat-sided blade with no shinogi and no yokote line or defined point area.
JOKOTO or CHOKUTO 直刃
(MOROKIRIHA-ZUKURI 両切刃造り)
This is the oldest style of Japanese sword. It is straight, with a shinogi running close to the cutting edge and a very narrow point area. The shinogi and koshinogi are straight.
KATAKIRIHA-ZUKURI 片切刃造り
One side of this blade is flat (hira-zukuri), while the other side has a shinogi very close to the cutting edge. There is no yokote line on the flat side.
SHOBU-ZUKURI 菖蒲造り
This blade has a shinogi extending to the tip of the point, but lacks a distinctive, defined point area (i.e., it has no yokote line).
NAGAMAKI-ZUKURI 長巻造り
This style is basically a shinogi-zukuri sword; however, it has a characteristic large groove starting above the tang. The shinogi-ji is beveled strongly toward the mune edge in front of this groove. A small companion groove (soe-bi) runs below the main groove and below the shinogi line.
KISSAKI-MOROHA-ZUKURI 切先両刃造り
(KOGARASU-ZUKURI 小烏造り)
This style of sword was first seen in the Heian period in a sword called the Kogarasu Maru. It has nagamaki-style grooves and bevels, and the blade is strongly curved. The blade is double-edged; the sharp edge running along the mune surface extends along half of the blade’s length. The small companion groove extends almost all the way to the tip of the sword.
TYPES OF JAPANESE POLEARM
Four types of polearm are shown here.
A naginata has a hamon, strong curvature near the point, and a long tang.
A ken-style blade can be made as a yari with a long tang. It has a shinogi running along its center on both sides.
The yari shown above are long-tanged. Many yari have a shinogi on one side and a flat hira-zukuri–style surface on the other.
Yari often have cross-blades in various shapes or styles. The one shown here is called a “jumonji yari.”
TANTO (DAGGER) STYLES
Several traditional tanto styles are shown here. Tanto are usually 12 inches (30 cm) long or less, and vary in their groove patterns, blade shapes, and the locations of the shinogi and yokote lines.
SWORD CURVATURE: SORI
The sori is a measure of the blade’s curvature. Usually, a straight line is drawn from the very tip of the point to the munemachi (the notch at the base of the unsharpened back of the sword) at the top of the tang. The distance between the top of the mune and this straight line at its greatest point is called the “sori.”
The curvature of the sword is also described in terms of the location of the sori. If the longest part of the sori line occurs in the center of the sword, the blade is said to have a “toriizori” or to be “wazori.” If the sori is forward of the center of the blade (that is, the sori line is above the center of the blade and biased toward the tip of the sword), the sword is said to have a “sakizori.” If the sori line occurs below the center of the sword and is biased toward the tang, the sword is said to have a “koshizori.”
In this figure, all three swords actually have the same amount of curvature in the blade, but the location of the sori varies and they have differently shaped nakago. If a straight line were drawn from the tip of the point to the bottom of the nakago, and the sori was then measured from this line, the three blades would have different types and amounts of sori. Therefore, when swords are shown in photographs, the type of sori and amount of curvature will appear different depending on the vertical orientation of the sword in the photos.
SIZE AND SHAPE OF THE POINT
The size and shape of the sword’s point (kissaki) can vary. A kokissaki is a small point, a chukissaki is a medium-sized point, and an okissaki is a large point. The ikubikissaki is one whose length is the same as the length of the yokote line defining the point.
The fukura is the shape of the curved cutting edge in the point. The fukura can be very full and round (fukura tsuku) or relatively straight (fukura kareru).
MUNE AND NAKAGO SHAPES
The mune is the unsharpened back surface of the sword. The most common style is an iorimune, in which the mune has two sides that come to a peak at the top. A mitsumune has three surfaces: two sides that meet a flat top. A marumune has a rounded surface, and a kakumune is squared-off and flat.
A few of the shapes that the nakago (tang) of a Japanese sword may take.
YASURIME: FILE MARKS ON THE TANG
“Yasurime” refers to the decorative pattern of file marks on the tang of the sword. Individual smiths and schools have characteristic yasurime. The condition of the file marks, along with the shape of the tang and the color of the rust, can provide considerable information about a sword.
HI: GROOVES
Hi (grooves cut into the sword’s surface) usually extend the full length of the sword and run parallel to the back surface. They may have shaped ends, or they may simply be cut into the unpolished part of the nakago without a finished end. They can be wide (bo-bi) or very narrow (soe-bi and tsure-bi). Grooves are usually added for decoration, but they can also lighten a sword or strengthen it by making the blade stiffer.
The name of the hi is followed by the style in which the end nearest to the tang is finished (e.g., “bo-bi/marudome” refers to a straight groove that is finished with a round end just above the tang).
1. BO-BI/KAKINAGASHI
棒樋・掻き流し
A bo-bi is a straight groove. “Kakinagashi” means that the end closest to the nakago is not carefully finished, but simply tapers out below the polished area of the blade on the tang.
2. BO-BI/KAKITOSHI
棒樋・掻き通し
A bo-bi is a straight groove. “Kakitoshi” means that the end closest to the nakago is not carefully finished, but is cut all the way through the full length of the tang.
3. BO-BI with SOE-BI/
MARUDOME 棒樋に添樋・丸止め
This is a straight groove with a smaller parallel companion groove (soe-bi) below the shinogi line. “Marudome” means that both grooves stop above the nakago on the polished portion of the blade and are finished with rounded ends. The soebi runs the length of the blade, but stops before the yokote line and the point.
GROOVE-END SHAPES
4. BO-BI with TSURE-BI/
KAKUDOME 棒樋に連樋・角止め
This is a straight groove with a smaller parallel companion groove. However, in this case, the second groove (tsure-bi) runs beyond the bo-bi near the point of the sword and extends into the shinogiji surface ahead of the larger bo-bi. Both grooves are finished with kakudome, a square end that stops the hi in the polished area of the sword above the nakago.
5. FUTASUJI-BI/KAKUDOME 二筋樋・角止め
Futasuji-bi are twin parallel bo-bi. “Kakudome” means that the grooves are finished with square ends, stopping just above the nakago.
6. NAGINATA-BI with SOE-BI/MARUDOME
薙刀樋に添樋・丸止め
Naginata-bi, the grooves seen on pole-arms (naginata) and sometimes on tanto and katana (as shown here), have a characteristic design. A large bo-bi is finished with a marudome (rounded) end above the tang. The forward end of the bo-bi has a distinctive shape: the side of the hi closest to the cutting edge extends beyond the upper part, so the leading edge of the hi forms an arc. Matching this curve in the forward end of the hi, the upper surface of the blade (shinogi-ji) is beveled sharply toward the mune edge; this beveled surface extends all the way to the tip of the point. A longer soe-bi (companion groove) runs below the bo-bi and extends beyond its leading edge below the beveled part of the shinogi-ji.
BOSHI: THE SHAPE OF THE HAMON ON THE POINT
The boshi is the hamon in the point area. There are a number of styles; individual smiths and schools used characteristic boshi. Schools also changed their boshi styles in different eras.
Three different styles of sword with different points are shown on this page.
At left is a hira-zukuri blade. It has flat sides and no defined point area. The blade has a flat surface from the top of the tang to the tip.
At center is a shinogi-zukuri blade. The point area is defined by the yokote line separating the point area from the body of the blade.
At right is an osoraku-zukuri tanto. It has a very large point that covers about half of the blade’s length. The point area is defined by a yokote line, and is polished to contrast with the body of the blade.
EXAMINING THE HAMON
One of the most singular features of the Japanese sword is its hamon, the visible pattern of the hardened edge. After forging, the swordsmith coats the sword with clay, heats it, and then quenches it in water to produce the uniquely patterned edge. The hamon, which is composed of a form of steel called martensite, is far harder than the body of the sword. A properly made, functional Japanese sword must always have a hamon.
The hamon depends on the condition of the sword. If a sword is in poor condition, or has an old polish, or has been polished many times over the centuries, the hamon may be nearly or com pletely invisible. It may even be absent altogether.
Even if the hamon is in good condition and the sword has a good polish, the hamon might be difficult to see and appreciate. As mentioned earlier, the sword must be clean, examined under the proper light, and held at the correct angle relative to the light, with the sword pointed just below the focused light source. Under these conditions, the line defining the hamon will be visible near the reflected light source on the blade.
Due to the significance of this feature, a person who is interested in Japanese swords should be aware of certain characteristics that the hamon possesses. It will usually have a well-defined boundary (nioiguchi or habuchi) that sets it off and makes it clearly visible against the body of the sword. There should be no gaps or breaks in the boundary line that defines the hamon, and this line should be present throughout the length of the blade, with no faded or weak areas. In addition, a good hamon does not usually have a simple shape or boundary, but contains a complex pattern and numerous details.
A hard, sharp cutting edge is required for a sword to be functional, and the complex structure of the hamon developed in response to this need for functionality. The oldest Japanese swords, which date back to approximately the fifth or sixth centuries, are straight, with narrow hamon. The older hamon were basically a straight band of brittle mar tensite steel running along the cutting edge of the blade. Although a sword made completely of brittle martensite would cut well, it would suffer a large amount of damage in use. Therefore early smiths made the body of the sword from much softer forms of steel called pearlite and ferrite. These gave the sword flexibility and toughness, so that it could bend to some extent without breaking. The design of the Japanese sword uses the particular properties of several forms of steel in different parts of the sword to make a functional, effective, and enduring weapon.
To examine a hamon in detail, the sword is aimed near or below a point light source, so that the details of the hamon can be seen by looking near the light reflected on the blade. As this only allows inspection of a small area, the sword must be moved continuously to examine the entire hamon.
As swords evolved over the centuries, they became larger and acquired curvature; the hamon also become wider and more complex. This change in the hamon developed for a very good reason. As noted above, the simple straight hamon of the earlier swords consisted of a band of hard martensite steel bonded together with a softer steel body in a straight line along the entire length of the sword. Because of the differences in the properties of these two types of steel, sometimes a single blow or strike could cause most of the narrow martensite cutting edge to separate from the body of the sword.
In response to this, swordsmiths learned to make more complex and wider hamon consisting of a series of semicircles or waves, often varying in width and height along the length of the blade. The visible boundary defining a complex hamon can range over the width of the blade from the upper part to the center, and down almost to the cutting edge. The hamon can be described as resembling a series of teeth. These “teeth” make the physical boundary between the martensite edge and softer sword body effectively much longer, and interlace the different types of steel present in the edge and body of the sword. Thus the cutting edge is bonded firmly to the body of the sword with an almost zipper-like structure. Complex hamon also limit the size of chips in the cutting edge and damage that can occur during use.
These hamon were first seen in Japanese swords from around the eleventh and twelfth centuries, and were further developed through the twelfth and thirteenth centuries during the Kamakura period (1185–1333). The modern swords we appreciate today are direct descendants of such Kamakura-period swords.
Many details can be seen when examining the hamon. The nioiguchi—the boundary defining the hamon, also called the “habuchi”—should be clear and unbroken along its length. Hamon often have extensions or projections called “ashi” going from the habuchi toward the edge of the sword, which help define the details of the hamon. Ashi usually form straight lines roughly perpendicular to the boundary of the hamon. They can be very short and almost invisible, or very prominent and long. Their presence indicates that the hamon steel is well interlaced with, and bonded to, the steel in the body of the sword.
This sword from the Kamakura period has a well-developed choji hamon.
HAMON PATTERNS
OSHIGATA AND HAMON
A swordsmith needs years of training to be able to master the extremely difficult process of making a hamon, and no two smiths carry it out in exactly the same way. In fact, a properly made complex hamon can function as a smith’s “fingerprint.” There are many smiths, or groups of smiths, whose work can be identified from their hamon alone.
Photographs of swords usually show only the outline of the hamon against the body of the sword; fine details are generally not visible. Traditional texts on Japanese swords are illustrated with oshigata, tracings of the shape of the sword with the hamon drawn in by hand in fine detail. Since the hamon is such an important aspect of a Japanese sword, the best way to present it in a text is to have a photograph of the sword alongside an oshigata of the same blade showing the hamon in detail.
In the illustration at right, a full-length photo of a tanto (dagger) is presented alongside its oshigata. The photo shows the overall shape and form of the blade, as well as the color and some details of the steel surface. However, few details of the hamon are visible beyond its general outline. The oshigata shows a thick, complex hamon boundary with an intricate shape, along with details such as ashi (lines of softer steel extending into the hamon to the cutting edge). When hamon are described or discussed, the details shown in the oshigata are used to describe the hamon and compare it to others.
Photographs of swords can show the hamon outlines, but the intricate and complex details in the hamon usually are not visible. Traditionally, an oshigata is drawn by hand on a tracing of the blade’s outline to show all the important details. Here, a photograph and oshigata of the same tanto are shown side by side. Although the photograph shows several important features of the tanto, the hamon is only visible in outline. The accompanying oshigata of the same tanto shows the hamon in detail. Presenting a photo and an oshigata together is the best way to show a sword in a publication.
THE STEEL AND STRUCTURE OF THE JAPANESE SWORD
Because the properties of the Japanese sword depend on the steel it is made from, it is helpful to learn something about the unique qualities of traditional Japanese steel. Broadly speaking, steel is a combination of iron and carbon. Japanese steel is made in a traditional Japanese-style smelter called a “tatara,” using satetsu, an iron ore that is found in sand form. The steel that comes from the tatara as a result of this process is called “tamahagane.”
When the satetsu is smelted in the tatara, the resulting steel has a high carbon content—up to 2 or 3 percent. However, to make a functional and practical sword, steel with a final carbon content of 0.6 to 0.7 percent is ideal. Thus, the swordsmith’s first task upon receiving tamahagane from the tatara is to refine the steel and reduce the carbon content to this level.
The goals of the smith are to make the steel more homogeneous, to produce a uniform carbon content, and to remove impurities in the steel. This is accomplished by hammering out the tamahagane into a thin plate, then breaking up the plate into small pieces about an inch (2–4 cm) in size. These pieces are then stacked, heated, and hammered out into a billet. The billet is then repeatedly refolded over onto itself.
Throughout the process of hammering and folding the steel, the smith reduces the carbon content by about 0.2 percent with each fold. The steel is repeatedly folded until it reaches the appropriate carbon content of 0.6 to 0.7 percent. The smith can judge the carbon content of the steel by its behavior during the folding and forging process. Once the steel reaches the proper carbon level, it is forged out into the shape of a sword, and some filing and grinding work is done to further refine the shape.
The steel has to be worked in this manner for several reasons. First, the process optimizes the carbon content. Second, it removes slag and impurities; furthermore, the steel is more homogeneous after the forging process. The original tamahagane is very inhomogeneous, and would not make a good sword. In addition, the forged steel is tougher; that is, it is far more ductile than the original tamahagane and less likely to bend or break under use. Once the steel has been sufficiently worked and the sword has been shaped, the process of making the hamon, which requires a high level of carbon in the steel, can be carried out.
The basic principle involved in making a hamon is fairly straightforward, and utilizes an important property of steel: when steel is heated to a high temperature and then rapidly cooled, its crystalline structure will change, making it much harder than it was before. In practice, however, the details are critical; it took the Japanese perhaps five hundred years to progress from making the earliest basic hamon to being able to create the characteristic sophisticated hamon we see today.
Making a hamon requires some important conditions: the steel must be very pure and have almost no elements in it except iron and carbon. The carbon content must be fairly high: as stated earlier, 0.6 to 0.7 percent is ideal. The area of the steel where the hamon is to be produced must be heated to a critical point—typically close to 1470°F (800°C), the temperature at which steel loses its magnetism. Once it has reached the proper temperature, the steel must be cooled rapidly, usually by immersing it into a tank of water. The process of forming a hamon by heating and quenching the blade is called “yaki-ire.”
There is another very important element in making a hamon. The hardened steel that composes the hamon must be restricted to the edge of the sword. If the entire sword is hardened, it will be very brittle and likely to break in use. Only the area along the edge of the sword is to be heated and rapidly cooled. To solve this problem, Japanese sword-smiths developed a method of hardening only the edge of the sword by coating the blade with clay in a complex pattern before beginning the heating and cooling process. Because the entire blade must be heated during this process, the clay coating is added in such a way as to allow the edge to cool very rapidly while at the same time slowing down the rate of cooling on other parts of the sword. The slower cooling rate on the body of the blade will prevent it from hardening during this process. Ide ally, the result will be a hard edge with an intricate hamon pattern and a relatively soft body that will remain ductile and tough. If the hamon is properly designed and made, it will be unlikely to suffer much damage in use. In addition, a properly designed hamon will limit the size of nicks and damage that the edge will suffer during use.
The diagram on page 47 shows why it is possible to make a hamon in high-carbon steel. The horizontal axis of the iron-carbon diagram shows the percentage of carbon in a pure iron-carbon mixture, while the vertical axis shows the temperature. When iron and carbon are combined, the percentage of carbon and the temperature of the compound determine the form that the steel will take. Each form has different properties, the most important one for a sword being how hard the metal will be.
Steel assumes various forms, including martensite, austenite, ferrite, pearlite, and cementite, as it is heated and cooled. The relatively soft body of the Japanese sword is largely composed of ferrite and pearlite, which form below 1340°F (727°F). The iron-carbon diagram shows a line labeled “critical temperature” that goes from 1340°F to over 1650°F (727°C to over 900°C), depending on the carbon content of the steel. If the steel is heated to this critical temperature or higher, it will lose its magnetism and take the form of austenite. However, a sword cannot remain at these high temperatures in normal life or use. If the blade is heated to above the critical temperature and cooled very rapidly, the austenite structure will break down and transform into another structural form called martensite. Unlike austenite, martensite can exist at room temperature; it is also very hard. Martensitic steel along the edge of a sword creates an optimal cutting edge.
To create a hard martensite edge while simulta neously leaving softer ferrite and pearlite in the sword body, the blade must undergo the yaki-ire process. The major problem is to insure that the edge area cools much more rapidly than the body of the sword, so that the edge becomes martensitic steel while that in the body of the sword remains in the form of ferrite and pearlite. As mentioned above, this is accomplished by coating the blade with a layer of clay that is very thin over the edge area and relatively thick over the body of the sword. The areas covered with the thicker layers of clay require only a few thousandths of a second longer to cool than the edge, but this is sufficient to leave the steel in a softer state after yaki-ire.
If the sophisticated clay coating functions as it is supposed to, this heating and quenching process will result in different hardnesses in the different parts of the blade. While the pattern of the clay affects the shape of the hamon, it does not exactly resemble the final hamon. Only after a great deal of experience and training will a swordsmith be able to create a clay coating that will give him exactly the hamon he wants. Similarly, it takes years of experience for the smith to be able to heat the blade to the precise temperature needed in order to produce the desired hamon.
In addition to the process already described, the construction of a Japanese sword usually requires an additional step: the forging of a softer steel core into the center of the sword. This core serves as a kind of shock absorber to protect the blade from extreme stresses and fracturing. Thus, the process of constructing a properly made Japanese sword results in a composite structure containing three types of steel:
• The soft steel core (the shingane);
• The hard, high-carbon outer steel jacket that forms the surface of the sword (the kawagane);
• The hardened edge formed of martensitic steel (the hamon).
The structure, composition, and metallurgy of the Japanese sword are unique. First, the quality of the steel makes possible its slender and graceful shape. The cutting edge has a visible pattern along the edge, unseen among other swords in the world, indicating that the edge has been hardened to a far greater degree than the rest of the sword. The steel itself shows signs of the forging necessary to make such a high-quality steel, and a pattern (jihada) can usually be seen on its surface. These features are all essential to the appreciation and evaluation of a Japanese sword.
A piece of tamahagane, the high-carbon steel used to make a Japanese sword. Tamahagane is smelted from iron ore found in sand form.
This iron-carbon diagram shows the names of the different crystalline or structural forms taken by steel depending on the conditions. The two variables here are the temperature (shown on the vertical axis) and the carbon content (shown on the horizontal axis). To form the hamon, the blade must be heated above the critical temperature contour, where it loses its magnetism. A typical Japanese sword, with a carbon content of 0.6 to 0.7 percent, must be heated to around 1380°F (750°C) or higher to form a good hamon on cooling.
Yoshindo applies a two-component clay coating to a new sword to form the hamon. The pattern of the clay can be very detailed; it is the experience and skill of the swordsmith that will determine what the resulting hamon will look like.
Cross-section of a typical Japanese sword. The blade has a core of soft steel (shingane) at its center, and is wrapped in a hard high-carbon steel jacket called the “kawagane.” The yaki-ire process results in a cutting edge made of martensitic steel, which is far harder than the steel in the body of the sword. Thus, a properly made Japanese sword is composed of three different types of steel.
JIHADA AND JIGANE
There are customary ways of viewing and appreciating the Japanese sword, as previously described. The sword’s singular appeal as an art form derives from the fact that innumerable features to be appreciated and evaluated lie in the blade and the steel itself. Although steel is used in other art works, generally speaking the shape is the feature of prime importance in such pieces. In appreciating the Japanese sword, there are many other elements to observe as well. Of course, the shape itself is a consideration: a good sword has a graceful shape and a very functional appearance. Its purpose is to cut well, and it is well designed for that. It is usually single edged, and is very slender and graceful, with some curvature. In addition, a well-made Japanese sword also feels well-balanced and very comfortable in the hands.
The steel on the surface of a Japanese sword (the jigane) has a definite color and texture. As the steel has a rather dark appearance, a good polish is required to bring out the details. In examining a well-made and well-polished sword, a clear color and fine texture can usually be seen. In addition, there is usually a distinct surface pattern that results from the repeated folding of the steel during forging. This pattern, which is called the “jihada,” will vary from sword to sword depending on exactly how the smith made the steel for a particular sword, and on what kind of steel he used. The surface texture, color, and jihada are all features that should be carefully observed when evaluating a sword.
The appreciation of a Japanese sword also encompasses the properties inherent to the steel itself; that is, the different forms of steel and crystalline structures in the steel. When looking at Western swords, in contrast, the hilt, engraving, and other embellishments can be an integral part of the sword, and are considered alongside the blade itself when evaluating the sword. In this respect, appreciating and evaluating a Japanese sword is different from appraising other swords or edged weapons. Japanese swords are examined and appraised by looking only at the bare, unmounted blade.
JIHADA PATTERNS
The process of repeatedly hammering out and folding the steel over onto itself produces a pattern, or jihada, in the steel surface. Jihada can vary extensively due to differences in the forging techniques of different swordsmiths. A sword must also have a very good polish for these patterns to become easily discernible. The patterns shown here can be seen on swords from different smiths of various historical periods.
MASAME HADA 柾目肌
This is a straight pattern.
ITAME HADA 板目肌
This pattern resembles wood grain.
MOKUME HADA 杢目肌
This is a very fine pattern with many visible circular motifs.
NASHI-JI HADA 梨子地肌
This type of pattern is very fine and difficult to see.
NIOI AND NIE
The hamon of the Japanese sword is formed when the cutting edge is selectively hardened and the body of the sword remains relatively soft. This means that there are two types of steel in a typical Japanese sword: the harder steel in the edge area (the ha), and the softer steel in the body of the sword (the ji). Where these two types of steel come together and mix, a clear visible boundary is formed between them. This boundary usually appears as a line composed of very tiny crystalline particles called “nioi.” The individual particles forming the line are too small to be resolved by the eye, and the resulting line appears continuous and unbroken. The nioi line is usually white, and clearly separates the hamon from the ji. Sometimes the boundary is composed of larger particles called “nie.” This is the same as nioi, but the individual nie particles are large enough to be clearly seen by eye. Many hamon are composed of nioi, but also contain some nie particles. If the nie particles are visible in the ji above the hamon, they are called “ji nie.” The exact appearance and composition of the nioi and nie lines and particles depend on what the swordsmith does, the steel he uses, and the details of how he performs yaki-ire.
A hamon with a very complex nioi line. The clear white line defining the hamon boundary is composed of microscopic nioi particles.
A hamon containing nioi and many nie particles. Many distinct nie particles can be seen in the white area of the hamon, and discrete nie particles can be seen just inside the hamon area. Nie particles can sometimes be seen in the body of the sword as well; here, large clear nie particles (ji nie) are visible above the hamon, up to and above the shinogi.
Above the hamon, the steel shows a white appearance. This effect is called “utsuri.”
SWORD MOUNTINGS: KOSHIRAE AND SHIRASAYA
Japanese swords are mounted in one of two ways: they can be preserved or protected in a simple unfinished wooden scabbard called a “shirasaya,” or in a koshirae, a functional traditional mounting that includes a lacquered scabbard, sword guard, other metal components, and a braided hilt wrapping.
When new swords are made today, the smith usually has them put into a custom-made shirasaya. If the owner wants a traditional practical koshirae, it must be commissioned from another group of sword craftsmen after the smith has finished his work. Most old Japanese swords seen in the West today are mounted in shirasaya because their koshirae have deteriorated over the years. Older swords must be re-polished periodically; when this is done they can then be mounted in new shirasaya to protect the newly polished blade. Thus, most of the Japanese swords one sees today will be in shirasaya.
Shown at left is a complete practical and functional mounting, or koshirae. This includes a lacquered scabbard, a braided hilt wrapping, and a sword guard (tsuba), as well as other metal components.
At right is a simple shirasaya. This unadorned, unfinished wood scabbard is not suitable for practical use of the sword. The writing on the shirasaya, called “saya-gaki,” is an inscription added by the owner or maker of the sword. The saya-gaki contains information such as the sword’s maker, its length, the date it was made, and the owner’s name.
KOSHIRAE COMPONENTS
TSUBA: SWORD GUARDS
1. A simple iron tsuba from the Muromachi period with carved and inlaid skull and bone images. This is signed by Kaneie, one of the earliest smiths to use decoration on his tsuba.
2. An iron tsuba made by a smith in the Muromachi period. The simple iron plate is decorated with the carved outline of a dragonfly.
3. An elaborately carved tsuba from the Edo period showing the outline of a crane.
4. An iron tsuba decorated with images of gods and a kabuto (helmet). The images are carved out of the iron body of the tsuba in very good detail, and gold leaf is used for color in places. This was made during the Edo period.
5. A copper tsuba with a silver rim made in the Momoyama period. This tsuba has colored metal in its body and rim, and is decorated with punch work and filing. There are simple circular filed lines in the body of the tsuba.
6. This tsuba, also from the Momoyama period, uses brass and extensive, well-delineated engraved lines for decoration.
7. These two images show both sides of an iron tsuba made by Natsuo at the end of the Edo period. The engravings show a peony and rain.
8. This tsuba is made from shakudo (a copper and gold alloy) with a beautiful black patina. The decorative motif, a regular series of black dots, is called “nanako” (fish eggs). Each dot is made with a single chisel punch. The two inlaid shi-shi (lions) are made of gold and shakudo. This was made during the Bakumatsu era (1800–1850) that occurred toward the end of the Edo period.
9. This is a gendai (modern) tsuba made by Toshiyuki Tamaoka. It is signed “Toshiyuki” and dated 2009, and is described as a “Yoshindo sukashi zogan tsuba.” It has cherry blossoms carved out of the iron body of the tsuba in the sukashi style. The rim and some of the cherry blossoms are highlighted with gold wire inlay (zogan). Yoshindo refers to an area in Kyoto that is famous for cherry blossoms in the early spring.
KODOGU: EXAMPLES OF SWORD FITTINGS
1. This is a pair of fuchi and kashira made for a daisho (large and small swords worn by samurai as a set). A fuchi is a metal cap that fits around the base of the wooden sword hilt; the kashira fits at top of the hilt. This pair is made from shakudo. Their surfaces are decorated with a punched nanako pattern. The detailed inlaid hawks on each piece are made from gold.
2. These three pieces comprise a set that includes a tsuba, along with a fuchi and kashira. They are decorated with grains of rice made from gold drops and leaves made from shakudo. The rice plants were inlaid on the iron tsuba, and the clouds and moon were carved out at the top. The moon on the tsuba is gold leaf, and there are gold raindrops around the clouds. The fuchi and kashira are made of shakudo; their surfaces are decorated with a nanako pattern.
3. This is a pair of menuki, ornaments to fit on either side of the sword hilt. One is a deer, and the other is a mythical figure holding a turtle. Both are carved from shakudo and have inset gold details.
MITOKOROMONO: ADDITIONAL SWORD FITTINGS
4. A mitokoromono set comprising three items used for sword mountings. This type of set includes a pair of menuki, a kozuka (the hilt for a small utility knife), and a kogai (an implement used for arranging the samurai’s hair). In this set, the menuki are gold shi-shi (lions); the kogai and kozuka also display shi-shi on a shakudo surface.
5. A mitokoromono set. The menuki in this set are carved birds made of gold and shakudo. The gold-edged kogai and kozuka are made of shakudo decorated with a punched nanako pattern; they are decorated with carved shakudo birds and plum trees with blossoms of inlaid gold.
ITOMAKI NO TACHI KOSHIRAE
This type of tachi koshirae, which was first seen from the late Kamakura period to the Muromachi period, was used for formal attire in the Edo period. As it is the mounting for a tachi, which was worn edge-down, it has an attached belt to suspend the sword from the waist. The two hangers, or ashi, on the scabbard were used to attach the scabbard to the belt. The braiding around the hilt extends into the upper part of the scabbard. The detail photos show the hilt and the bottom of the scabbard.
DAISHO KOSHIRAE
By the Edo period, samurai wore a paired set of swords (a katana and a wakizashi) called a “daisho.” This is an example of a daisho koshirae. The large and small blades are mounted in matching koshirae, but there are often subtle differences between the two in a daisho set. The detail photo shows the hilt of the small koshirae, in which the Tokugawa mon (crest) is featured as a decorative element on the menuki, fuchi, kurikata, tsuba, and kojiri.
KATANA KOSHIRAE
Two katana koshirae are shown here. The katana koshirae is worn through the obi (sash) with the edge up. The upper example is very elaborate, with many fine details. The Tokugawa mon, or crest, appears on some of the metalwork and on the body of the scabbard, which is covered with lacquered same (ray skin). The lower koshirae is less elaborate, but also has a scabbard covered with lacquered same; the same under the hilt wrapping is lacquered black as well.
AIKUCHI: TANTO KOSHIRAE
Aikuchi tanto koshirae do not have a tsuba. The koshirae above, which dates from the latter part of the Edo period, features very elaborate metal-and lacquerwork on the scabbard. The decorative theme consists of ho-o (phoenix) birds and clouds in gold over a black lacquered scabbard and hilt. The inset photos show details of this koshirae.
Two aikuchi tanto koshirae. The koshirae at left has a scabbard with carved ribs featuring designs of vines made of makie and mother-of-pearl inlay over black lacquer. The hilt is wrapped with a type of fiber. At right is a simple but very elegant koshirae with a smooth black lacquered scabbard and a hilt wrapped in ray skin. This is a formal type of koshirae.
THOUGHTS ON THE JAPANESE SWORD
JIM SANDLER
Jim Sandler is a sword enthusiast living in San Francisco, California. He works as an administrator for a nonprofit foundation focusing on environmental issues and new green technologies. Jim’s participation in Japanese martial arts as a young man led him to cultivate an interest in Japanese swords. Having inherited a passion for art collection from his parents, whose avocation is modern art, Jim focused his interest on Japanese swords. He collects both old and modern blades, along with their accompanying koshirae.
I find that there is something quite strange about holding a piece of steel in my hands. Here is something that is created from nature, yet is totally unnatural, an object that gives a sense of artificial permanence in a world that is constantly in flux. Steel, in most of its functional forms, can be cold and unfeeling. Yet, when shaped by an artist’s hand, it can give an impression of spirituality and vitality, becoming something that is both inanimate and alive at the same time. A knife or sword blade has many of these contradictory aspects flowing through its form. However, a sword is very different from a bronze sculpture, as it is a tool whose main function is to kill another human being. For me, this is both scary and thrilling. As I pass an unsheathed sword to a fellow sword enthusiast, I am always aware that I am relinquishing my power over their life and giving them power over mine.
All knives and swords have some of these characteristics. A sword wielded by a knight in the Middle Ages has a particular shape and majesty all its own, and definitely possesses the ability to kill. A good hunting knife can have aggressive contours, yet feel wonderfully balanced in the hand. The European rapier has elegance and subtlety combined with a lethal thrusting range. Such distinct characteristics come from the practical usefulness of these blades, combined with the personal touches imbued in them by their creator. For me, however, the Japanese sword takes everything to a higher level. There is a commitment by these smiths to create something that is so lethal that it becomes beautiful—not to mention the intriguing use of heat and steel alloys to produce a sword that is light, sturdy, and supple.
When I first started to learn about the Japanese sword, I was fascinated by the reverence that enthusiasts showed for the blades and the swordsmiths that produced them. Smiths of ages past are revered for their sword-making skills, yet each subsequent generation seems to have produced smiths that excelled in crafting noteworthy blades.
For a thousand years the sword seemed to evolve with Japan’s politics and fighting styles, yet it remained faithful to certain higher principles. Like fine wines that have to be produced within particular parameters that are recognized by all wine experts, the Japanese sword adheres to its own set of values. One that appeals to me most is that the sword must have practical use as a weapon. Because of this, the range of options in which to manipulate the shape, weight, and balance of the blade is very small. If there is too much tweaking or variation, the sword changes from something useful into something impractical, not only becoming useless as a weapon, but also losing its appeal as a collectible work of art. Many artists who make knives, for example, add flashy and decorative elements to make them appealing to collectors. To me, these elements detract from the essence of the knife, serving only to avoid the exploration of the true nature of the weapon. In contrast, the simplicity found in the shape of the Japanese sword reflects the commitment to continually strive for perfection.
CLIVE SINCLAIRE
