It is often said that the soul of the warrior is represented within his blade to which the spirit of the maker resides there as well. I can’t help but wonder how Japanese swords are forged. As creations of craftsmen, swords are a reflection of the personality of their makers. There are dominant techniques used for creation of swords that have been passed down for generations. It is true that no two authentic Japanese swords are exactly alike.

Before one can be considered a master Japanese sword smith, it takes years of experience to become expert at this craft. The process of forging requires repetition of forging numerous blades that one can learn what material to use, how long to heat/cool the blade, how to fold the steel, how long to hammer the blade, and so on. It takes a keen sense of the nature of the metal itself as well as timing to further distinguish a master’s blade from a run of the mill, factory-produced sword.

Many modern smiths utilize a long method of repeatedly heating, folding and hammering steel for their blades. The makers at Dynasty Forge, for instance, use this process to remove any impurities from the metal of the sword and to highlight the Hada or the grain patterning on the blade).  Smiths from the Imperial Forge also use this process with their Imperial Folded Sword collection to remove imperfections in the blade while assuring maximum power and flexibility.

Another distinctive technique is called differential quenching or the forging of Japanese swords. Clay is placed on the back of the sword during the cooling process. It causes the sword to have a softer edge than the blade. This pulls the blade upward, providing the distinctive curved shape of the Katana. Some sword manufacturers, like Dynasty Forge, cover the majority of the blade of some of their sword lines in clay during the heating process. When clay covers the blade then the force of the fire is on the very edge of the sword to produce maximum sharpness. Last Legend also uses clay to create hamon lines on their blades for pattern distinction and aesthetic purposes.

Sword construction is a process of using multiple layers of different types of steel or metal in the forging process. A good example is Cold Steel swords that use three layers of steel in their “San Mai III” blades for maximum flexibility in outer layers. Its outer layers help keep blade from shattering when struck while providing for maximum strength at the blade’s core. Thaitsuki Nihonto also combines soft iron and steel by hammering them into one piece, again allowing for pliability and strength.

History has it that a famous Japanese swordsmith created this traditional forging process (folding, using multiple layers, using clay for differential tempering) after his daimyo (feudal lord) lost a battle using swords he had designed without these traits. The smith realized that he needed to produce a strong blade endowed with flexibility to sustain sharp blows of the enemy and remain pliable. When we go back in history, swords then were largely comprised in a traditional heat tempering method employing only one type of steel or metal. This typically meant swords were both unwieldy (very heavy) or quick to shatter. Quite expectedly, the new brand of swords of the master smith allotted triumph of his lord winning a battle after another. The smith realized this winning combination of a softer iron/metal (for durability/lack of shattering) with a harder iron/metal (for cutting power/strength) would provide a weapon worthy of a Samurai.

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Swords are not limited to the samurai class. Another class of warriors called Ninja or also known as shinobi, was a class of warriors who originated from lower levels of society. Ninjas are equivalent to modern day spies and were in service of Japanese land lords (a.k.a daymio) and samurai. Ninja may come from lower levels of society but are most often feared even by those who hired them for missions. They were considered professional assassins and mercenaries.

Shinobi-no-mono, as their original name, used to create secret schools or associations for trainings starting on the 15th century. They named their fighting art as ninjitsu. It offered extraordinary skills and physical powers to its trainees even were taught to possess extra natural skills such as flying.

Methods of Fighting

Ninja were naturally feared by others considering that they were actually were very crude warriors! No honor code or any moral rules are regarded by ninjas. Their extremely cruelty does not spare women and children in their killing spree. Thus, it became a primary reason for them to be not respected as noble warriors.

Their underground associations were very handy in times of wars where they fought for samurai executing the most difficult missions. Many regard that the fame of the samurai was made possible by ninjas who utilized their fighting to defeat the enemy with the use of tactics in most of the wars.

The art of ninja fighting was passed down from father to son before creation of schools. Later on it was inherited by best of the students from their masters or sensei. Nakagawa-ry is the first known ninja school and taught ninjitsu.

A ninja was trained from a very tender young age and was taught even more things than a samurai. This warrior was skilled at swords, spears, bows, throwing knives, tagaki (fist weapon), metallic claws for feet (for climbing or leg hits), etc. It is vital for a ninja to cope with explosive and poisonous substances and had to possess surviving knowledge. The variety of ninja weapons, attributes and knowledge was much wider in scope than that of a samurai.

Given the wide array of weapons, there is one weapon that ninja should not leave without. He can never any his home without a possession of his sword as the main weapon of a ninja. A Ninja sword was shorter and straighter than samurai’s katana. It was worn on the back by the left shoulder for easy reach.

Ninja Wearing Apparel

Ninja are remembered to always wear black clothes. It serves as a perfect disguise especially at night. They also wore a light armor when they are in the battlefield, which was designed for protection and the lightness enabled them to move freely.

Ninjas wore shoes called tabi designed as extremely light shoes made of cloth and leather soles.

Ninja are known to be one of the greatest secret of the Medieval Japan history. Up to now, there are schools that teach some of the ninja skills. These skills are more about discipline and physical development rather than aggressiveness and lack of moral principles.

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One of the greatest swordsmiths in Japan is Masamune Okazaki. Masamune is almost legendary in Japan. Most of his work was done during the 13th and 14th century. Most Japanese and historians may agree that Masamune has lived in the Sagami province. His most famous works are the tachi swords and tanto daggers. His works are recognized as the best creations that an award called Masamune prize is given as recognition to top swordsmiths for creating exceptional swords.

Masamune had learned the art of swordsmithing from Shintogo Kunimitu. He often produced blades with a straight temper line. His swords can be distinguished by clear grey lines called chikei and lines that resemble when lightning strike called kinsuji.

Masamune is known to be the most famous Japanese sword maker of all times. The swords of Masamune have a solid reputation for superior quality and beauty. He is considered to be responsible to bring perfection to the art of “nie” where martensitic crystals are embedded in pearlite matrix believed to resemble stars in the night sky.

Masamune swords

Just like in music there are such classics as Bach and Beethoven, Japanese sword-making exist some names that are associated with exquisite perfection and art. Masamune is definitely one of them. His swords are famous for quality and originality and are considered as an example of that fine art of sword-making. What is most amazing is that at 13th century there weren’t any sophisticated forging tools and steel used for sword-making was as a rule impure. Nevertheless, many sword-makers today can’t compete with Masamune swords when it comes to elegance, nie (martensitic crystals in pearlite) and what’s most important - quality.

Legends of Masamune

It is difficult to distinguish fact from fiction on legends of Masamune. The sword of Masamune was said to cut ten thousand Mongol necks, mails, and helmets without suffering any dent during the Mongol invasion of Japanese shoguns in the 13th century.

Legend also has it that his sword can easily cut a blade of grass blown by the wind but the leaf restores its original shape as it travels away. While other stories tell that when a samurai warrior sways a sword created by this well known Japanese sword maker at nightfall, the Masamune sword shines like a lone star in moonless night sky.

Famous Masamune blades

Perhaps the most popular swords created by Masamune are the Honjo Masamune. It became the symbol of the Tokugawa shogunate and is highly regarded as one of the finest Japanese swords to be ever created. It was declared as a national treasure in 1939.

The name of the sword was coined after General Honjo Shigenage who won the sword in a battle. He took possession of the sword from Umanisuke and actually split Shigenaga’s helm with the blade. In the turn of events, Shinenaga survived and took the swords as prize after killing Umanosuke. He managed to keep the sword but had to sell it due to being low on money. Toyotomi Hidetsugu the nephew of Toyotomi Hideyoshi bought the sword and passed the blade on to his uncle who would later pass it down to future shoguns including Tokugawa Ieyasu, Tokugawa Yorinobu, and Tokugawa Ietsuna. Ietsuna was the last of the Tokogawa shoguns. The blade then remained in his family. The sword was soon passed down through the line until World War II. It was when Tokugawa Iemasa surrendered the sword to a police station along with fourteen others. These swords were then passed on to members of the 7th cavalry in 1946. After these events, the swords were missing as the location of the Honjo Masamune remains unknown today.

The sword smith signed one of the few Masamune including the Fudo Masamune. In 1601, it was purchased by Toyotomi Hidetsugu in 1601 and passed down through the Owari Tokugawa. Its designs as a tanto sword shows grooves on one side and a dragon engraved on the part of the blade. It also features an engraving of the Buddha deity Fudo Myo-o, the source of the sword’s name.

Hocho Masmaune refers to the three different tanto blades. The three swords are quite unusual for having wide bodies. In fact, they closely resemble kitchen knives more than daggers. One of these blades is currently displayed at the Tokugawa Art Museum.

There are several but a few Masamune blades found outside of Japan. After World War II, the government of Japan offered a Masamune to President Harry Truman as a show of solidarity and peace between the two countries. This sword is currently on display at the Truman Presidential Library.

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In the history of Japan, there was a legend from the smiths of Yamato Province. The legend was about that the smith Amakumi in Yamato about A. D. 700 who made the first samurai sword. It all began when Amakumi and his son gathered and examined the sword remnants after they found that nearly half of the returning soldiers from the war were carrying broken swords that they made. Upon seeing the sword remnants, Amakumi made a vow to himself that, “If they are going to use our swords for such slashing, I shall make one which will not break.” Amayumi was full of conviction and determination to fulfill the vow he made to himself. He and his son prayed for seven days and nights to the Shinto gods. Amakumi went on to select the best sand ore he could ever find and refined it. They worked hard and tried to improve of making better swords. Later, the father and son smiths ended with a single-bladed sword, which had curvature. Finally, the tandem continued with their work and made many improved types of swords. After the other war during the spring, all the returning soldiers were carrying the swords in perfect condition.

There are mainly four categories of samurai swords as weapons. All of which are made of steel, single bladed, curved, and tempered. The history of samurai swords are divided into four periods:

Ancient sword (Chokuto or Ken) Period (until A. D. 900)

Ancient swords at this period were chiefly made by the smiths from China or Korea or by the early Japanese smiths during this period. The swords were made of steel and mostly were straight (chokuto) type. The imitation of Chinese sword was gradually developed into the typical samurai sword. Top officials usually carried expensive

swords made in China.

Old sword (Koto) period (900 ~ 1530)

Power was only achieved by means of warfare during this time. As a result, the sword became an everyday weapon and was carried constantly by the samurai. The swords with the cutting edge of more than 4 feet were often used. It was at this period that the straight sword for stabbing was replaced by a single-bladed sword with curvature. During the year 900, the smith Yasutsuna in Hoki began forging excellent samurai swords. The most famous swords’ smiths appeared in Japanese history during the years 900 to 1450. The year 1467 saw swords being mass produced to meet the increasing demands for swords. It then resulted to a lower quality of swords thus only few swords can be considered of good quality for fighting.

New sword (Shinto) period

The end of the long civil war caused the sword to lose its functional value. The length of the long sword (daito) was shortened, the cutting edged being reduced to about 2 feet, and the samurai began carrying it by inserting it between the hip and the sash. The smiths engraved extravagant of flowers, shrubbery, and dragons on the swords, instead of the simple Sanskrit characters or grooves of older swords. Besides, pictures of maple leaves, cherry blossoms, chrysanthemums, or Mount Fuji could be found in the tempered lines of the swords. More than half of the samurai swords in today were made during this period.

Modern (Shin-shinto) period

The feudal system and the prestige of the samurai came to an end during the modern period. Swords could no longer be worn. The smiths of swords then lost their trade and turned to make hoes, scissors, and knives for their livelihood. A majority of the swords and its ornaments were exported to Europe and United States. Many books about the swords and its ornaments were published. Since 1926 until now, there has not been a single great smith of sword. A stamp of a cherry blossom with the character for Sho (1/8″ diameter) could be found above the signature of the smith on the tang of many blades. Many swords like police and parade sabers, which were manufactured during the last forty-year cannot be considered samurai swords because of the plating and methods of forging contrary to the conventional methods of hand-forging and tempering of samurai swords.

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KUBIKIRI TANTO

(BOKUWARI or HANAKIRI TANTO)

The Kubikiri tanto dated from the Meiji to early Showa eras. It is a period when most sword makers and koshirae artists had little work making traditional swords. The term “kubikiri” is traditionally translated as “head cutter”. The kubikiri (kubigiri) is a Japanese tanto with an unusual form. The cutting edge on a kubikiri is on the inside curvature (extreme uchi-sori) while most are of the kiri-ha shape and have no kissaki (point).

There were several possible uses and many belief s about kubikiri. It may have been carried by attendants to high ranking samurai whose job was to remove the heads of dead enemies as “trophies of battle”. The function of kubikiri when carried by attendants may be true in ancient times but had gradually changed in later eras when it would have been mainly a ceremonial sword used possibly as a badge of rank. It is also referred to as bokuwari tanto that means wood splitter. Another function of kubikiri in the ancient times is to cut charcoal for sumi or incense for incense game and tea ceremony. Some people even call this style of tanto as a “doctor’s knife.” Kubikiri was supposedly not used offensively because there is no point or kissaki. It was therefore carried by those persons of stature who were entitled to wear a sword but were non-combatants. It is believed that kubikiri tanto was made for the rich class as tools for trimming bonsai and other gardening work (ikebana). Lastly, kubikiri were used by forestry officials for taking trimmings or cuttings for propagation. Regardless of its purpose, this style of tanto is extremely rare in Western collections.

FAN TANTO

Fan style mounts were widely produced during the late 19th and early 20th Centuries as tourist items. Tanto in koshirae imitated a folded Japanese fan which are not particularly uncommon. The majority of this tanto have poor quality blades. Most have rather low grade blades, although some good quality blades are found mounted in this manner. Legend has it that this style of mounting was intentionally modeled to be used by women and retired samurai as well as doctors, monks and others who want to conceal carrying a weapon.

KEN TANTO

Ken proves to be one of the rarer styles of tanto. Ken tanto have double edged blades and were mainly made as Buddhist ritual implements. It is understood that it is not unusual to find them mounted and used as tanto. Some ken style tanto were made from cut down yari.

It was during Koto, Shinshinto and Gendai eras when ken tanto were produced and gradually fewer were made during the Shinto period. In fact, few tanto of any other styles were made during the Shinto era. Ken blades may have parallel edges or double concave shapes as above. Some of the top sword smiths in history made ken as offerings to different temples. It is common to find ken with a vajra (double thunderbolt) style hilt in keeping with their use as Buddhist ritual implements.

Buddhist Ritual Ken
YARI TANTO

Yari (Japanese lance heads) are occasionally found mounted as tanto. The tang (nakago) is drastically shortened to fit into a tanto size tsuka (handle). This means that if the yari was originally signed by the swordsmith, that the signature (mei) is most likely lost. Small yari tanto were sometimes carried as dirks (kwaiken) by women or as armor piercing tanto by samurai. Yari tanto will normally have a triangular cross-section as distinct from ken tanto which have a diamond cross-section. Also yari tanto will have a reduced “shoulder area” where the blade enters the tsuka and normally have no habaki (blade collar). Yari tanto vary in quality. Some were made by swordsmiths and will have hada and hamon, others were mass produced for foot soldiers and have no hamon. The hi (groove) on the flat side of the yari will possibly be colored with red lacquer.

PISTOL TANTO

Single shot pistols in tanto koshirae are relatively rare. Portuguese were responsible for introducing the matchlock gun into Japan in the 15th Century. Most pistol tanto dated from the late 18th and 19th Centuries.

It may not be a weapon worthy of a samurai. The Japanese, however, readily adopted the gun as a weapon of both military combat and personal defense. Pistol tanto were carried as weapons of personal defense. They are single shot pistols with fold down triggers and were not very reliable. Some scholars consider them a fad item for the wealthy of the period.

HACHIWARA

Looks can be deceiving for a Hachiwara. It is not actually tanto as they are not a sword, but rather a forged iron bar designed as a defensive weapon against swords. They are sometimes called sword breakers or helmet breakers. The blades approximately 12 to 15 inches in length are normally of square cross-section with a hook next to the grip. The mounts are commonly of carved wood or carved cinnabar lacquer. Some hachiwara were made by noted swordsmiths and may be signed.

SAW BLADE TANTO

This item is by far the most unusual, it is a saw blade mounted in handachi style koshirae. The forged blade is 9.75 inches long and the brass mounts appear to be original to the blade. There are different guesses as to what the purpose of this item since it is unknown. It is speculated that is a tanto of a fire fighter from the late Edo period. It could also be a pruning saw for bonsai or a carpenter’s or cabinet maker’s saw. Finally, it is believed to be an arborist’s saw for pruning trees.

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Your profound interest in samurai swords may have led you to build your own sword collection. It sounds exciting as a new hobby especially for young collectors. This hobby, however, needs to be taken seriously as it demands for maturity and discipline. What is the next step after you finally gotten yourself your own samurai swords? Next step is to follow these simple guidelines to be a real sword enthusiast.

1. Familiarize the sword industry.

As a beginner, you should know the basics of collectible Japanese swords. You can start out by doing some research and introduce yourself to elemental information such as the anatomy of a sword and its parts. When research on swords is done, you will discover famous and not so famous type of swords which will help you determine the swords you want to look for. You can even go as far as learning the terminologies by heart.

2. Get the know where to get information.

You can talk to experts like knowledgeable collectors or attend swords shows BEFORE you purchase any swords. You will get a good idea on the kind of swords and how to know their authenticity. It will save you from committing grave mistakes that could cost you your time and money.

3. Don’t even think of buying swords online auctions until you know what you are doing.

You will save yourself from learning the expensive lessons. It is quite difficult to distinguish a true value and condition of a sword when you view them online. It may show poor quality photographs, in sufficient descriptions, and make you susceptible to frauds. In the event that you decide to buy a sword on an online auction, try to stick to sellers who you’re familiar with or have a good reputation.

4. Do not buy a “fixer upper” as the first sword in your collection.

The thought of purchasing an “undiscovered treasure” is ultra tempting yet could yield high costs of restoration. Chances could be that many pieces out there aren’t simply worth restoring. You may not be knowledgeable (yet) to identify a real collectible sword from a badly damaged sword with hidden flaws.

5. Purchase your first piece or pieces of swords from a reputable dealer.

Reputable dealers tend to appreciate repeat customers and reputation to protect thus they won’t street you too far off course. For prices that set too high, don’t be afraid to try and negotiate. You can only pay less and if it’s not possible then there’s always another sword.

6. Purchase your initial pieces that are in polish and ideally with papers from any major sword conservation organizations (NTHK o NBTHK).

An already polished Japanese sword can cut back any unnecessary spending. You don’t have to pay for nay restorations and the flaws are plain enough to thus reducing the risk considerably. As a beginning collector, you will have security when having papers from one of the major organizations because it affirms the quality of the piece and the validity of the signature. Not only that, it will make the piece easier to sell in the near future. Every buyer will want to have that same guarantee of quality.

7. Age is not related to the quality of the sword.

There have been excellent swords manufactured during the late Heian period to the present time. There also are great many poor blades produced over the same period.

8. Be cautious of buying an unsigned (mumei) piece or piece that has a forged signature or gimei.

You may be surprised to find such excellent swords for super reasonable prices, but they are also difficult to dispose by selling. Don’t think that by paying more, you are not getting a good deal. Rather, you are greatly reducing the risks if you have a sword organization or independent sword experts to verify it. False signatures can be fairly removed without any hassles but it’s often not worth all the trouble. You actually end up paying more total than the piece would be worth.

9. As obvious as it may be, you know how to care for your samurai sword.

Your sword collection may or may not need any cleaning. It would depend on some factors and the need for cleaning. Don’t make any attempts of cleaning and sharpening the swords yourself as it should be left at the hands of experts. Any mishaps imprinted on the sword can lead to irreversible damages which greatly decrease the value and beauty of your sword.

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Samurai swords are chronicles of how Japan has evolved and are believed to date back as far as 4500 BC. Let’s see how samurai swords unfold to become the swords they are today through the four periods in Japanese history.

Ancient Sword (Chokuto or Ken) Period - until A.D. 900
The Ancient Sword (Chokuto or Ken) or period of antiquity is the time before 900 AD. Swords in this period were made chiefly by smiths in China or Korea or by the early Japanese smiths. The tempering was faulty although they were made of steel. It is common to find most swords of the straight (Chokuto) type. Locations in Japan primarily as centers of the sword making profession were in Yamato, Mutsu and San-in. They maybe manufactured in Japan yet are mere imitation of Chinese blades. During this period, many high-ranking officers carry expensive swords imported from China. Models made from an imitated Chinese sword were gradually developed into typical swords. The first Samurai swords were so thin which bends upon holding them parallel to the ground.

Old Sword (Koto) Period - 900 to 1573
New forging techniques in Japan served as a signal of the Koto period. It came about following the disintegration of the peaceful civil administration under the Fujiwara clan in the latter half of the Heian period. Power was only gained by means of warfare. The opportunity for wars for power was numerous making it practical for samurais to adopt the sword for combat. The samurai leaders maximize the full function of their warriors on horseback at the battle fronts. Swords were designed with a cutting edge of four feet or more as an effective weapon for wars. Swords smith developed the techniques and style producing the unique look and durability of samurai swords.

The predominant weapons used were bows and arrows, naginata and swords. Swords became an everyday weapon and were carried constantly for most samurai. Soon, the straight and thin sword prior to this period was replaced by a single-bladed sword with curvature. It was suitable for slashing rather than stabbing. The transition of the blade design of swords took longer time. It became the standard style of samurai swords yet few swords made during the transitory period still exist today.

New Sword Period (Shinto) - 1574 to 1868
The new sword period is believed to cover from 1574 to the modern period beginning in 1868. Samurai warriors used to carry one sword before this phase. During Shinto period, it saw an important development of samurai warriors carrying two swords. The katana sword was the longer of the two swords and measured between 60cm - 76cm long. Katana swords functioned as the samurai’s primary weapon. The second sword was called the “wakizashi” and measured approximately 45cm long. The partner sword of Katana was primarily ceremonial. The period also saw a decrease in production of samurai swords brought about the outlawing of sword possession by farmers along with the coming to power of the Tokugawa clan which brought with it 250 years of peace.

Modern Sword Period (Gendaito) - 1868 to the present
The modern sword period is the last period of samurai swords. It represents the time period from 1868 to the present. Emperor Meiji oversaw the historic position of modernizing Japan. Feudalism was abolished during this time feudalism enabling the reign of the Samurai Warrior. The Emperor saw the samurai sword as a national art form and allowed sword smiths to continue their work despite the fact that feudalism was dead. When the American occupying force stayed in Japan, they outlawed the production of swords for seven years. It is said that the prohibition of sword making caused massive problems for modern sword makers which took decades to reach the quality achieved in previous centuries.

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Japanese swords remain to be commonly seen. Both antique and modernly-forged swords are easily found and purchased. Modern, authentic nihontō are made by a few hundred sword smiths. Numerous Japanese swords are showcased at contests hosted by the All-Japan Swordsmiths Association. We may constantly look at Japanese swords with amazement at the fine details and their extreme sharpness. Let’s get to know each parts and anatomy of Japanese swords.

Kashira
This is the metal fixture at the very base of the sword hilt. It mainly serves its purpose as a decoration.

Tsuka ito
It is usually made of leather or silk cord. This is the wrapping material that creates the grip pattern of the sword hilt. It should be wounded very tightly and neatly. Poor craftsmanship often produces protruding loose ends or loose binding that can come undone over time. However, it is expected that over time the tsuka needs to be retied or have it replaced completely by a professional due to simple wear and tear.

Tsuka
It serves as a handle or hilt of the sword made of a strong wood. Its function is to provide both impact absorption and shock tolerance. Its width is at least long enough for two hands to grip it comfortably. It is often longer to create more leverage and control of the sword.

Tsuba
It separates the blade from the handle. It is the hand guard shaped circular or sometimes square or octagonal. The tusba is associated with art and long history. It may function as a simple hand guard yet its craftsmanship and design have become equally important in samurai culture. The designs can be cranes, to dragon flies, to clan symbols, to poetic scenery among the virtually endless design possibilities. The highest potential of artistic freedom is found in this part of the sword.

Habaki
The habaki encircles the base of the blade just above the tsuba. Its dual purpose namely are to lock the tsuba into place and also to secure the sword in its scabbard. Habaki and saya is interrelated, the two pieces must fit together like a glove. The habaki and saya opening (or the “throat”) must fit snugly enough so that the sword will not accidentally slide out on its own, but loose enough that the sword can be “popped out” by the thumb. It’s common for a brand new saya and habaki to feel a bit tight. It will loosen up after several draws. The tightness of the brand new saya doesn’t make it difficulty for as long as you can draw the sword without wrestling it loose

Shinogi
The grinded blade portion ends at the ridge of the sword known as the shinogi. The shinogi is the thick part of the sword. Different angles and thicknesses can produce subtle differences in the sword’s ability to cut at various angles and through various substances. However, the beginner sword owner shouldn’t be concerned with these details right away.

Ha
Ha is the overall sharp edge of the sword.

Hi
The “blood groove” of the sword called the hi guides the blood away from the samurai and drip off the sword. In fact, the groove has nothing to do with blood. It is carved into the blade to lighten the sword without weakening it and to remove inherent flaws in the steel. The “blood groove” legend was an after-thought invented mostly by westerners to further mythologize the samurai sword.

Mune
Mune is the flat, non-sharp back or “spine” of the sword. It is a purposely more soft metal than the sharpened edge. The contrast of hard and soft metals is one of the main characteristics of the swords. It makes the samurai sword so strong, resilient, and unique among swords. The mune is almost never sharpened. In a few rare cases, the upper portion of the mune is sharpened to create a double-edged sword although extremely rare. The flattened mune is also functional in deflecting enemy sword blows.

Boshi
This is the edge pattern (hamon) on the curved portion of the tip of the blade. It is a decoration and should not be confused with kissaki.

Same
Same is the ray skin or stingray skin that covers the handle of the sword and lays underneath the cord wrap (tsuka ito). Ray skin is the traditional material used in Japanese sword making. It is the best choice as materials because it’s slightly textured (for better gripping) and it’s waterproof. However, imitation ray skin or leather is just as good and will not hinder the performance of the sword in any way.

Sageo
The cord made of silk or cotton that is used to tie a sword’s scabbard (saya) to the obi of a samurai is called sageo. It is usually kept bound to the saya and never actually tied to the obi for everyday use. Samurai would remove their long sword every time they sat down, and tying and untying the cord would be too much trouble. The samurai would, however, use the sageo to tie the saya to their obi on the battle field to prevent the saya from being lost. There are some who claim that this length of cord could also be used as a rope on the battle field to tie up prisoners or simply used as a spare length of cord when needed. It is tied in various decorative patterns.

Saya
This is the scabbard where the sword “lives” when not in use. It’s usually made of two halves of custom-carved wood sealed together to form a snug fit around that particular blade. The wood is usually highly laquored and sometimes highly decorated. The saya’s relation to the habaki (sword collar) is vital: the two pieces must fit together like a glove. The habaki and saya opening (the “throat”) must be snug enough so that the sword will not accidentally slide out on its own, but loose enough that the sword can be “popped out” by the thumb. It’s common for a brand new saya and habaki to feel a bit tight. As long as you can draw the sword without wrestling it loose, it should loosen up after several draws.

Hamon
The wavy blade pattern of the sharpened portion of the sword is called the hamon. It is a visual effect caused by the tempering process. It serves as a division between the harder edges of the blade with the softer ridge. The pattern is merely the result from the tempering process. During tempering process, the sword smith tries to create a desired transition between the soft and hard metals. Most modern reproductions do not have natural hamon. Their hamon is faked by various processes such as acid etch or more crude ones such as wire brushing. Some modern reproductions with natural hamon are also subjected to acid etching to enhance that hamon’s prominence. However, the lack of a “natural” hamon should not deter you from purchasing an otherwise fine sword.

Kissaki
This is the very pointed area of the sword. It’s often confused with the Boshi. The Boshi is just the wavy hamon design while the kissaki is actual point area. Its length, width and point angle has varied over time depending on the conditions in which the sword was used. Some angles manufactured have slightly better piercing performance intended as armor while others for non-armor use. Other kissaki designs are plainly decorative statements of a samurai’s status. The beginning sword owner should not worry about the kissaki too much for it won’t hinder the overall performance of the blade.

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Japanese swords often hold a high value to which a careful examination is required to determining the real value. A close study of Japanese swords is a highly time consuming and difficult process yet is often highly rewarding. The tips can be no more than a guide to sword appraisal. Learn some points which are highly subjective and benchmark them when you already gained tips as a basis of having examined good swords.

A logical procedure for examining Japanese sword blade has been used in the practice of Kantei Nyusatsu. In Kantei sessions, a blade is presented to a participant with any inscription there might be on the Nakago covered to which the maker’s name must then be guessed. If the process is observed, an intimidating task may be accomplished with minimal difficulty than might be expected. The procedure for Kantei is as follows:

1) Let’s start examining the Sugata or shape of the blade. The shape should appear strong, the curvature natural and the Kissaki should be in proportion to the width and length of the blade. Take note of the Mune or back edge’s shape and height. Hold the blade at upright at arm’s length when examining a blade’s Sugata.
A great deal of information is imparted on the Sugata about the age of the blade and sometimes about the area in which it was made. On the other hand, there is a fair chance of the blade having a good quality if it has a good shape and sits comfortably in the hand. It is impossible for a good sword to have a bad shape unless it has been altered, damaged or repaired in some way. This frequently happens to swords thus it is important to try and imagine the Ubu or unaltered shape of the blade.

2) The next area to study is the Hamon. This is most often referred to as the “tempered” edge. This is where the sword has been quenched to provide a high carbon steel area which will hold a sharpened edge. It will be seen in contrast to the entire body of the sword.

The Hamon may be in an infinite variety of patterns, but appears as a milky white colour on a properly polished blade. The upper edge of the Hamon should be formed from tiny martensite crystals called Nie. There are cases when these are too small to see with the naked eye and are then known as Nioi. It is Me and Nioi that border the Hamon and form the pattern of the Hamon. The ideal way to get a good examination is to hold the blade at an eye level ideally pointed towards a spotlight. The Nioi-guchi or line of the Hamon should form an unbroken and constant line from the Machi area or bottom of the blade along its entire length. Watch out for a serious flaw of a break in the Hamon, called Nioi-giri. It is also important that the Boshi (the area of the Hamon within the Kissaki) does not disappear off the edge. This is also a serious flaw in the blade and is only acceptable on great swords of historical and cultural significance! No compromise should be accepted upon the existence of such flaws as the sword has little or no value.

3) If Sugata and Hamon pass muster, the sword is acceptable. Look carefully for any signs that show the sword hand forged and cleverly mass-produced piece such as Showato during the World War 2. This assurance is done when you examine both the Jigane and Jihada. The Jigane is the actual steel from which the sword is made and might show subtle change colour and texture. The Jihada is the surface pattern of the Jigane caused by the forging process and emphasized by polishing. This is mostly visible between the edges of the Hamon and the Shinogi or ridge line. The Jihada, appearing like a wood grain, is described by its type and size (i.e. Ko-mokume small burl) although there are many criteria for judging the quality of the Jihada. Basically, ascertain if the Jihada is present then it is enough to say that the sword is at least a hand forged blade.

4) Carefully look for any obvious flaws or faults of the sword. There are some of these may be more acceptable than others basely dependent on the age of the blade. Put simply, a 12th century blade is entitled to have a few problems that would not be tolerated in a modern sword. However, all faults and flaws obviously detract from both the beauty and expected value of a sword.

Signs of holes or bubbles in the sword may indicate air or impurities that have been created in the forging process commonly found just under the surface of the blade. Also check the Ha-saki or cutting edge very carefully for hairline vertical cracks running from the Ha-saki into the Hamon called Ha-giri. Ha-giri are very serious flaws as if the sword were used to cut to the point that the Ha-giri would bend or break. Ha-giri is obviously considered unacceptable under any circumstance.

5) Finally, do an inspection of the Nakago or tang. The Nakago on a good sword will always be carefully finished. The patination should be of good color and the rust should not be cleaned off under any circumstances. If there are any inscriptions these will be of interest. A good Mei will be skillfully and confidently written in contrast to an untidy, jumbled or hesitant inscription. It would not matter whether you can read the inscription as most modern Japanese cannot read the old Kanji in sword inscriptions, so long as it looks confidently and evenly executed.

Lastly, avoid making this costly mistake. The most commonly encountered swords in the West are the previously referred to, Showa-to. These blades were made in the Showa period (1926-89) when a vast majority was mass-produced for the Imperial Army and Navy during the Pacific War period. These swords are not considered as true Nihon-to. Showa-to are seen as a symbol of Japan’s recent militaristic past since they are still illegal in Japan. Showa-to is reasonably easy to recognize from their small stamps on the Nakago (usually Seki or Showa). They are often signed with untidy and loosely carved characters. An unsharpened inch or so of blade (known as Ubu-ha) is found just above the Habaki where heavy and clumsy swords are usually found in Gunto (army) mounts. Mostly they appeal to military sword collectors and may not appeal for Iai practice or the serious study of Japanese art swords.

You will understand from the above that there are many subjective judgments to be made when judging a Japanese sword blade. There are many other fine details in both Jihada and Hamon known as Hataraki or activities which add greatly to the beauty of the Japanese sword, however, detailed explanation of these falls beyond the scope of this article.

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The main goal of polishing a sword is to restore/finish a blade by removing the least amount of material as possible while still maintaining the shape the smith had intended. It is very important to bring out the best a blade has to offer without sacrificing the safety of a blade by cutting corners to bring out its activities.

Here is a quick overview on how to polish a sword. You may think that by reading books, websites, buying some stones or attending sword shows talking with other aficionados would make you an expert or traditional polishers. There are more aspects involved in polishing than that. Traditional Japanese sword polishing is a tedious process requiring skills, patience, knowledge, control and a lot more. Provided that you are genuinely interested in learning this craft, look for a professional or experienced teacher who will work with you in person. If you need to have your sword blade polished, make sure you are sending it to a reputable polisher who will do good rather than harm on your sword.

Shitaji as the Foundation Polish

When Japanese blade is polished, it calls for the most important aspect of polishing called Shitaji. The foundation polish of a blade plays a critical role thus it should be done properly form the beginning to achieve a good overall polish. Contrary to the popular belief that polishing is a process of removing scratches until the hamon on a blade is visible, this isn’t so true.

There’s a lot more to traditional polishing than bringing out the activities of a blade. The polishing of blades demands adjustment to maximize the full potential of the finished product, despite the kind of blade you’re going to work on or how much a particular smith prepared the blade for polishing. The standard fare includes the geometry and symmetry of the blade, checking or fixing the niku, wobbles on the surface, crispness of the shinogi-ji and mune among others. Every single blade must be tweaked in some way to correct its symmetry and geometry but not to the extent of risking the shape and trademark of the blade.

Take a look to sets of Japanese polishing stones in either synthetic or natural forms.

Kongo-do
Kongo-do is most often used to make drastic adjustments to the geometry of the blade. It removes heavy rust pits and chips on the blade. Extra care should be given upon using this stone as it easily ruins a blade if used improperly. Don’t use this stone on new swords in binsui-do finish or blades straight out of the heat treat.

Binsui-do

To primarily define a blade’s geometry, use a binsui-do stone. This is one of the stones compatible to set a blade’s geometry and to prime an ample definition. What’s more is it refines the scratches of the previous stone.

Kasei-do
Kasei-do is a follow-up stone to eliminate the scratches left by Binsui-do stone. This is a final stone for setting and defining the geometry. When this stone is used as a foundation stone, it is a must to constantly check the blade’s geometry to ensure that all lines are kept straight, sharp and symmetrical. Even a single stroke can remove too much material, gouge the blade leading to wobbles and various accidents which in turn damaging your blade. Once the blade is damaged, the stone is defeating its purpose of redefining the result of the previous stone.

Chunagura-do
Nagua-do is the stone to remove the scratches made by Kaisai-do stone. Nagura-do primarily acts as a scratch remover although the geometry of the blade is always maintained and checked. The geometry of the blade is a high priority that an incorrect geometry will make the blade look carelessly polished.

Komanagura-do
Komanagura-do stone is very soft and fine. It is used to remove or refine the scratches of the Chunagura stone and prepares the blade for Uchigumori Stage.

Kaishin-do
This stone could be used as a substitute to the nagura stones in groundwork depending on the blade you are working on.

Igumori Hado
Igumori Hado is another fine and soft stone used on the Ha (hardened edge) to define the hamon as well as bring out any hararaki on the yakiba.

Uchigumori Jido
Uchigumori Jido is much finer and usually a little harder stone than the Hado. Jido is used to bring out the Jihada (grain pattern) of the blade.

Perhaps the most difficult stones to master are the last two stones. These stones ask for a higher cost since they are only available in natural form. It involves a lot of patience and skill to use these stones properly. The worst result would scratch a blade easily and render many hours of work to waste due to improper use. Once the blade has shown scratches then you need to take your blade back again for additional polishing work. It is best to have a collection of all necessary stones to match the right one that suits a particular blade although it could be quite expensive.

Shiage - Finishing Polish

Tsuya or finger stone work
This process is where a piece of uchigumori stone is backed with tanned yoshino-gami lacquered and sized to fit underneath my thumb. The stone is as thin as a paper in width and rubbed on the blade with tojiru or polishing paste. The polishing paste is made by rubbing 2 uchigumori stones together.

Hazuya
Haruya are thinned pieces from uchigumori koppa. Its function is to polish the yakiba (hardened edge) of the blade. The habuchi will stand out from the more white and milky look given by the yakiba.

Jizuya
Jizuya are thinned pieces of narutaki koppa. This stone is used on the Ji of the blade to define the blade’s jihada, if any.

Konashi
Konashi is limited to be used on the Ji surface of the blade. It is used with a piece of jizuya along with some tojiru.

Metoshi
Metoshi entails using a piece of jizuya (backed or not backed) broken into little pieces and constantly washing away any residue with clean water.

Nugui
Nugui is the final process of making everything stands out on the blade more specifically the hamon, jihada and any other hataraki which is present on the blade. A proper nugui mixture could make a big difference in the blade’s final look. You can use jitekko, aoko, uchiko, akako, etc. or a combination of powders to make my nugui. The choice of stones, of course, depends on the type of blade and the contrast you want to achieve with your blade. Be aware that some steels are not compatible with nugui due to its vanadium and carbide content. A traditional or hybrid method works best with blades of modern day steel for a more traditional look.

Migaki-Togi
Migaki-Togi is the process of burnishing the Shinogiji and the Mune in order to transform the blade to a high mirror shine. There are three different kinds of burnishing rods in 2 stages namely Shitamigaki (Foundation Burnishing) and Uemegaki (finishing Burnishing). Ibota powder is used so that my migakibo will slide on top of the steel and burnish the surface to a mirror shine.

Sugikiri or Defining the Yokote
Sugikiri is a process where apiece of hazuya to polish out the tip on a shinogi zukuri blade at a 90-degree angle. This gives the kissaki part a more whitish look than the rest of the blade and also brings out the boshi.

Narume - Polishing of the Hakissaki
Narume is the final stage of polishing the hakisaki where a bigger piece of thinned hazuya is placed on top of narume-dai. This is the stage that renders the ha-kissaki to a scratch free finish.

Nagashi - Polisher’s Signature
Most polishers in Japan will put their nagashi on a blade upon completion signifying the school. The lines appear as a series of 7 to 13 lines underneath the habaki on the shinogiji. Sometimes there are also 3 lines on each side of the mune towards the tip area of the blade.

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