Polishing is an essential stage in the Japanese sword making process. It is through polishing that all external details of the blade such as form, geometry, proportions and appearance of the temper and grain patterns, are enhanced. A good polishing can reveal the blade’s origin, how quickly the edge was cooled and from what temperature, as well as the steel’s carbon content.

Polishing

After the rough blade of a Japanese sword has been finished by the swordsmith, it is handed over to a togishi (polisher). The togishi improves the shape of the blade and enhances its aesthetic worth. Early togishi used three types of stones; modern togishi, seven. More often than not, the polishing process is longer than the crafting of the blade and can take as much as a number of weeks.

A good polish can significantly make a Japanese sword blade even more beautiful, while a bad one can ruin it. Inexperienced togishi can permanently damage a blade by upsetting its geometry or wearing down too much steel. In such cases, the sword’s historic, artistic, practical and monetary values are all brought down significantly.

The contemporary high level of polish came about after the year 1600. On superior quality Japanese sword blades, only the mune (spine) and shinogi-ji (area between the mune and shinogi) are polished to a mirror-like finish. The hira (center portion) and ha (edge) are often given a matte finish to bring out the grain and hamon (temper line). The harder areas are given smaller but more scratches whereas the softer areas receive deeper and longer scratches; thus, the harder areas have less shine.

Shitaji togi

Shitaji togi (foundation polishing) is the first of two phases in polishing Japanese swords. It is here that the geometry of the blade is set. The sword is checked first for straightness. If for some reason it isn’t straight, the togishi must correct the bend by using wooden jigs. He will then shape and grind surfaces and geometry as needed. The kissaki (point) of the blade, small as it may be, is polished area by area. Hi (fullers) are polished with smaller stones, a migaki-bo (burnishing needle), or fine grit sandpaper. These days, artificial waterstones are used for shitaji togi but nearly never for finishing, since the results they yield are poorer than those of natural stones.

Shiage togi

Shiage togi (finish polishing) is what places the mirror-like finish on a Japanese sword blade. In this stage, the stones used are significantly smaller than those in shitaji togi, and the blade stays still, with the tools and abrasives moving over it. In shiage togi, the blade is polished by section with wafer-thin slices taken from the main stones. Afterwards, a nugui mixture is applied to the blade to balance its appearance and bring out the yokote (line between the kissaki and the rest of the blade). Lastly, the rear and sides are fully burnished.

Most Japanese swords have blade decorations. Some are functional, some are aesthetic, while others are both.

Yasurime

While nearly all blades are decorated, not all have adornments that are on the visible part of the blade. The yasurime (file markings) on the nakago (tang) are one of the most important markings on a Japanese sword. The yasurime, which are cut with a file, vary in style depending on the swordsmith and the tools used. The file markings are typically the same on both sides of the nakago, and are done before the swordsmith adds his mei (signature).

Yasurime on Japanese swords can be: horizontal (ichi-monji), slightly slanting left (kosuji-chigai), slanting left (suji-chigai), greatly slanting left (o-suji-chigai), slanting right (katte-agari), horizontal with left slanting ridge area (shinogi-suji-chigai), slanting left with horizontal ridge area (shinogi-kiri-suji-chigai), V-shaped (taka-no-ha), inverted V (gyaku-taka-no-ha), checked (higaki), full dress (kesho-yasuri), and shaved (sensuki).

Aside from aesthetic purposes, yasurime also provides an uneven surface that bites into the wooden tsuka (hilt) of the Japanese sword. It is mainly this pressure fit that keeps the tsuka from moving during a strike; the mekugi (peg) is only secondary.

Hi

The hi is the fuller or blood groove on the blade of a Japanese sword. The purpose of the hi is to allow air to flow more freely when stabbing an opponent, as the human torso is like a vacuum that can cause the blade to get stuck in it. The hi eliminates that vacuum effect and makes it easier to pull the blade out. It also makes the sword lighter while keeping its strength and structural integrity. Hi are always done on either sides of the blade and cause the sword to produce a whistling sound when it is swung.

The different forms of hi on Japanese swords are: wide (bo-hi), short (koshi-hi), twin short (gomabushi), twin narrow (futasuji-hi), twin wide and narrow (bo-hi nit sure-hi), twin long with jointed tips (shobu-hi), twin long with uneven breaks (kuichigai-hi), and halberd style (naginata-hi).

Horimono

Not all marks on the blade of a Japanese sword are for practical purposes; some are for aesthetic reasons, such as horimono, which can be signatures and dedications written in kanji, or engravings of gods, dragons, and the like.

There are different styles of Japanese sword mountings, each with its own structure and purpose.

Aikuchi

Aikuchi, which literally translates to “fitting mouth”, is a type of Japanese sword mounting in which the tsuka (hilt) and the saya (scabbard) meet without a tsuba (sword guard) in between. It was initially used on the koshigatana, a type of short sword, to make close wearing with armor possible. During the Edo period, it became a fashionable upper class mounting style for tanto (daggers). Since they could be easily hidden, kaiken (small aikuchi tanto) became favored by the Yakuza.

Jintachi

Jintachi is the main mounting style for tachi Japanese swords, where the sword is suspended edge down from two hangers connected to the obi. The tsuka usually had a bit more curve than the blade, and it was normally secured with two mekugi (pegs), unlike shorter blades such as katana and uchigatana which only had one.

Shirasaya

Shirasaya, literally “white scabbard”, is a plain wooden mount composed of a saya and a tsuka, worn by a Japanese sword when it is not expected to be used and needs to be stored for a while. Shirasaya were generally featureless on the outside, aside from the mekugi-ana needed to secure the nakago (tang). In some cases, sayagaki (blade information) is there as well. Shirasaya is necessary because extended koshirae mounting is harmful to the blade – an example would be the lacquered wood preserving moisture and promoting corrosion.

Shikomizue

Shikomizue, literally meaning “prepared cane”, is a Japanese sword concealed as a cane or walking stick. Like the swordstick, shikomizue can be carried in public without arousing any suspicion. It was typically used by the shinobi. Some shikomizue also hid chains, hooks, metsubushi, as well as several other things.

The sword guard of Japanese swords is called tsuba. It is usually round, sometimes squarish, and can be found between the blade and the hilt.

Use

The original purpose of a Japanese sword tsuba was to keep the hand from sliding onto the blade during thrusts rather than as protection from an opponent’s blade. It also helps the wielder control the weapon, with the right index finger normally touching it.

In combat, two fighters may lock their katana at the tsuba and push their Japanese swords against each other’s, in order to try to gain a more advantageous position from which to strike the opponent down. This is referred to as tsubazeriai, which literally means “pushing tsuba against each other”. In current Japanese language, it also means “to be in fierce competition”. Tsubazeriai is frequently seen in modern kendo.

Dimensions

The measurement of tsuba differs for each type of Japanese sword. On a katana, the average diameter of the tsuba would be 7.5 cm – 8 cm (2.953 in – 3.15 in); on a wakizashi, 6.2 cm – 6.6 cm (2.441 in – 2.598 in); and on a tanto, 4.5 cm – 6 cm (1.772 in – 2.362 in).

Decorations

During the Muromachi (1333-1573) and Momoyama (1573-1603) periods, tsuba of Japanese swords were more for utility and were made of tougher metals. When peace was restored in Japan during the Edo period (1603-1868), tsuba became more decorative and were made of gold and other less practical metals. Tsuba can be made of various metals and alloys, such as steel, brass, iron, copper and shakudo.

Ornamented tsuba were made by families of craftsmen whose only trade was creating tsuba. These days, finely adorned tsuba are collectors’ items. They are also used as heirlooms handed through generations. Families with samurai ancestry sometimes have their mon (family crest) crafted onto a Japanese sword tsuba.

The Dutch Token Society was established in a rather informal way through spontaneous gatherings of people sharing the same passion for Japanese swords and associated crafts. This started on May 10, 1978 wherein more than a dozen people got together in Amsterdam for to share and express their interest in Japanese sword parts. Hence, the alliance was formed.

Its membership grew thanks to the enthusiasm of its members, and to celebrate their support, “Kanshokai” (sword appreciation) meetings were held several times in the years after the first meeting was held and the society established. The sword should the students exhibited swords in hand to take this study. This society was the first Japanese sword club beyond Japan that organized such a meeting. Presently, the same enthusiasm lives on, and is clearly evident in the proliferating new members who sign up.

The Society’s 5th anniversary in 1983 featured an exhibition at Leiden’s National Museum for Cultural Anthropology. This was dedicated particularly to the Bushido or Samurai, with their swords and its respective decorations. This is one of the most notable milestones that the society achieved, because this exhibition was the first of its kind to be organized in the Netherlands.

During the 400th anniversary commemoration of the Dutch-Japanese relations in the year 2000 the society supported the Association of Symbolic Taikai Euro 2000. This sword show for the public was comprised of a hundred sheets from a Japanese collection, and proved to be successful that it captivated numerous guests from abroad.

For further information about the Dutch Token Society, visit their website at http://www.to-ken.nl/

In pursuance of its rightful goals, the INTK holds meetings, discussions, courses, museum and collection visits, as well as partnerships and subsidiaries. This cultural association also publishes newsletters on a quarterly basis, and the publication presented in Italian, and with translations of foreign, associated publications. These newsletters are sent for free to ordinary and honorary members, certain institutions, as well as related cultural organizations.

Since 1990, the INTK has been responsible for various seminars, Kantei sessions, classes, lectures, trips to museums, shows, exhibits, discussions, and collaborations with other organizations/societies, as well as releasing books and newsletters covering Japanese swords. Led by their president, Massimo Rossi, the members of the society are also active in attending international Japanese sword conventions, like those transpiring in London, and the Kantei of the Token Society of GB. The society was also present in the first travel-study in Japan and participated in the Convention NBTHK (Society for the Preservation of the Japanese Sword).

Presently, the INTK is collaborating with Japanese swords enthusiasts in developing a grand project of theirs. Together, they are evaluating a number of proposals for industrial printers to make a book that features the finest Japanese swords in every Italian collection. If you’re one of these willing collectors, you are more than welcome to have one or more of more of your swords showcased in their marvelous book that will be released in both the Italian and English languages, along with an index at the end that’s written in Japanese.

For an in-depth look at the Itaria Nihon Token Kyokai, visit their website at http://www.intk-token.it/

Fred Fimio has been collecting samurai swords for almost 2 decades before finally establishing Canada’s very own Japanese sword society. Aside from being a collector, he’s also an author, fine arts appraiser for over 55 years, as well as being a teacher and lecturer about this much celebrated craft. He’s also the director and Canadian representative for Nihon Token, and a member of the JSSUS (Japanese Sword Society of the United States).

The society, spearheaded by Fred, has close connections with both the Nihon Bijutsu Token Hozon Kyokai (Society for the Preservation of the Japanese Sword) and the Nihon Token Hozon Kai (group for the preservation and study of the Japanese sword). They all share the same dedication of promoting the edification and preservation of the highly celebrated work of art known as Japanese swords.

The JSSC strives to educate its members and the general public about these crafts through correspondence courses, plotted seminars, as well as exhibitions and shows.  It also renders information about shows and instructive books on swords, and also provides the dates of upcoming events by other sword societies.

The society have had three, immensely successful international shows that swarms of people from different parts of the world attended. Aside from the local and international shows that the society get active in, they also have the Canadian Sword Journal of Japanese Samurai Swords. This journal is published quarterly, and provides its readers with scholarly information to and about Japanese sword tradition, its history and development, schools, as well as talented swordsmiths featuring their workmanship and styles. Their shows, classes, lectures, seminars, and journal all share a specific aim, and that is to enhance the knowledge of students to promote thorough understanding and better enjoyment of the immortal Japanese swords.

For more information or membership possibilities, please visit the JSSC website at http://www.japaneseswordsocietyofcanada.org/
Or contact them at:
Telephone:     705-734-0328
Fax         :     705-734-1358

]]> http://japanese.swords.com/japanese-sword-society-canada/feed/ 0 http://japanese.swords.com/san-francisco-nipponto-society/ http://japanese.swords.com/san-francisco-nipponto-society/#comments Thu, 12 Nov 2009 20:49:07 +0000 angel http://japanese.swords.com/?p=453 The San Francisco Nipponto (Japanese Sword) Society or SFNS, cares for the preservation, collection, restoration, and study of Japanese swords. Aside from educating its members about the proper restoration of Japanese swords and how to detect blemishes and flaws (Kizu) on them, they also have classes covering Japanese history and the Japanese language as well.

The SFNS aims to steer Japanese swords collectors and enthusiasts in the right direction, saving them from unscrupulous dealers and pseudo-Japanese swords that’s prolific in the US. The society works with Japanese government certified colleagues and associates in the form of Japanese swordsmiths, metal workers, cord wrappers, and polishers that often visit the SFNS Dojo. With each visit, these crafters give lectures on Japanese swords and its respective restoration procedures, as well as Japanese history and language. To make the comprehension of such lectures possible for students and members, a number of translators and interpreters are present during these ongoing classes and meetings.

Their bilingual Sensei teaches Japanese sword history and restoration techniques, as well as Japanese martial arts. Aside from these he also offers private sword consultation lessons and meetings in their San Fran Dojo. These private consultation, meetings, and classes were the impetus for the society’s members, colleagues, and sword collectors to becoming the proud owners of various, authentic Japanese swords like those from the exotic Kamakura Era, Nanbokucho Era, Muromachi Era, Azuchi-Momo Yama Era, and Edo Era blades within the past three decades.

This sword society lives with the belief that the lone way of finding success in this certain field of swords is through focused and thorough studying, respect for the history that’s tangled with the craft, and candor from both Sensei and his students.

For more information about the The San Francisco Nipponto Society, visit them at http://sites.google.com/site/sfswordsociety/
Or contact number: ( 4 1 5 ) 5 8 5 – 9 4 9 9

Koshirae refers to the mounting of a Japanese sword when it is being carried by its owner. It has both aesthetic and practical functions. In times of peace, a koshirae should be presented with the hilt to the left. The reason for this is that one cannot unsheathe a sword with ease this way. In times of war, the hilt should be presented to the right, which lets the sword be unsheathed easily. When a sword is in storage, it wears a wooden scabbard and grip called shirasaya.

Components

Boshi
Temper line on the kissaki.

Fuchi
Collar on the hilt.

Ha
Cutting edge of the blade.

Habaki
Metal blade collar that supports the fittings below and keeps the sword in the saya.

Hada
Grain in the steel that results from the folding process.

Hamon
Temper pattern on the blade that divides the ha and the mune.

Hi (or bo-hi)
Fuller (or wide fuller).

Kaeshizuno
Hook-shaped part that secures the saya to the obi while drawing.

Kashira
Butt cap or sword pommel.

Kissaki
Tip of the blade.

Kogai
Hair pick accessory sometimes carried with katana-koshirae.

Koiguchi
Mouth of the saya or its fitting. Traditionally made from buffalo horn.

Kojiri
End of the saya. Traditionally made from buffalo horn.

Kozuka
Decorative handle of the kogatana (accessory knife).

Kurikata
Fitting on the side of the saya for attaching the sageo.

Mekugi
Peg for securing the tsuka to the nakago.

Menuki
Hilt ornaments originally intended to hide the mekugi.

Mune
Spine of the blade.

Nakago
Tang.

Nakago-ana
Holes for the mekugi.

Sageo
Cord for tying the saya to the obi.

Samehada
Ray skin pattern.

Samekawa
Ray or shark skin used for the tsuka wrapping.

Saya
Scabbard. Traditionally made from lacquered wood.

Seppa
Washers or spacers near the tsuba to tighten the fittings.

Shinogi
Ridgeline of the blade.

Shitodome
Small collars on the kurikata for aesthetics.

Sori
Curve of the blade.

Tsuba
Sword guard.

Tsuka
Hilt.

Tsukamaki
Art of wrapping the tsuka.

Tsuka-ito
Tsuka wrapping or tape. Traditionally silk, but nowadays usually cotton and sometimes leather.

Waribashi
Metal chopsticks.

Yokote
Line that between the kissaki and the rest of the blade.

The Japanese sword or nihonto is mainly a cutting, or more specifically, slicing weapon, though its blade’s curve also makes it effective in thrusting. Kenjutsu, which means “the art of the sword”, is the term for traditional schools of Japanese martial arts. In a broader sense, it can also be used to describe any martial art that employs the nihonto.

Techniques

The tsuka (hilt) is held with both hands, with the position of the right hand determined by the length of the tsuka as well as the length of the swordsman’s arm. Some one-handed techniques for wielding Japanese swords also exist, and two martial arts have been developed especially for training to draw the sword and attack in a single motion. These are battojutsu and iaijutsu. They are seemingly alike but have their own methods and training theory.

Ten-uchi is a particular technique for cutting, where a calculated motion is made by the arms and wrists during a downward strike. As the blade is descending, the elbow joint significantly extends at the last minute, locking the sword into place. This causes the wielder’s grasp to twist a little. If done properly, it is supposed to feel like wringing a towel. Ten-uchi enables the Japanese sword to hit its target with quick force and break initial resistance. The arms will then naturally follow the stroke and drag the blade through the target.

It is this dragging motion that allows Japanese swords to cause utmost damage. At maximum speed, the swing will look like a full stroke and the segments of the swing will be barely noticeable, if at all, with the blade passing though the target. If the target is for example a human torso, ten-uchi will break the initial resistance from the shoulder muscles and the clavicle. The blade will continue its slicing motion through anything in its way until it exits, due to its curved shape and the motion.

Since the Japanese sword’s razor edge is so hard, impact with an equally hard or harder object like another sword’s edge means a high possibility of chipping. As a result, blocking a blow blade-to-blade is normally avoided, and dodging is preferred. But if this is impossible and blade contact is inevitable, the back of the blade will be used for defense instead of the valuable edge.

One popular defensive technique would be to simply beat the enemy’s sword aside. An “umbrella block”, holding the blade overhead diagonally with the point towards the ground and the tsuka towards the sky, can be effective in shielding against a downward strike. If the angle was extreme enough, the curve of the Japanese sword’s spine would cause the attacker’s blade to slide off to the side.