Japanese Sword:

History

Art

Science
 Sword in Japanese History and Mythology

Imperial Regalia of Japan: Three Sacred Treasures

Sword Ama-no-Murakumo-no-Tsurugi or Kusanagi-no-Tsurugi

Sword of the Gathering Clouds of Heaven
Grasscutter Sword
Valor
Atsuta Shrine in Nagoya

Necklace Yasakani no Magatama

Benevolence
Kokyo (the Imperial Palace) in Tokyo

Mirror Yata no Kagami

Wisdom
Jade magatama necklace
Grand Shrine of Ise in Mie prefecture from Japanese burial
"The Eight Hand Mirror"
Susanoo
Amaterasu Withering Wind of Summer
(that which) illuminates Heaven" God of the sea and storms

Initially belong to Sun Goddess Amaterasu Since 690 A.D. central part of the imperial enthronement
lured out of the cave with the mirror no public viewing, location is unconfirmed
sword: from Susanoo as a reconciliation gift no known photographs or drawings exist
sword was in the tail of fire spitting serpent may be not originals

She gave the regalia to her grandson Ninigi-no-Mikoto After the WWII Potsdam Declaration on July 26, 1945
sent to pacify Japan and plant rice fate of the regalia was uncertain
ancestor of the Japanese imperial line Emperor Showa ordered to secure regalia
undisclosed location, protect "at all cost"
 The History of Nihonto

Muromachi period (1392 1573)

Warring States period (Sengoku Jidai)
Large demand, decline in quality
Nanbokucho period (1336 1392) Dark age of the Japanese sword
Gokaden (Five Traditions) 200,000 nihont imported to China
Bizen Development of the uchigatana
Soshu (Sagami) about 24 inches, worn edge up
Yamashiro one hand close quarters fighting
Yamato curve is similar to tachi
Mino
Tachi by Ichimonji.
National Treasure. TNM
Koto: Old sword

Kamakura period (1185 1333)

Heian period (794 1185) Golden age of the Japanese sword
Improved technology Retired emperor Gotoba (1180 1239)
Horseback fighting patron of the finest smiths
Curved blade, up to 4 ft. forged blades himself
Hung from the waist Mongol invasion attempts, 1274 & 1281
Edge down: tachi footlong tanto, hand-to-hand combat
wider, heavier two-hand tachi
Chokuto (Ken): Ancient sword

Nara period (710 794)

Technology imported from China
Oldest swords ~ 400 A.D.
Straight blade, single cutting edge
Faulty tempering
 The History of Nihonto

1953
Imperial Japan (1912 1945)
Mass production for imperial army prohibition is lifted
Gunt swords: stamped, oil tempered
Swords making prohibited after WWII
Lost generation of swordsmiths

Edo period (1603 1867 )

Tokugawa shogunate
Strict class hierarchy Gendaito: Modern sword
samurai (shi)
farmers (no)
artisans (ko) Meiji Restoration (1867 1912)
merchants (sho) Abolishing samurai class
1971 edict forcing samurai to cut top-knots
Appointed Chief Swordsmith 1873 creation of the Imperial Japanese Army
grant competency certificates 1873 hereditary samurai stipends terminated
910 licensed smiths 1876 wearing swords is prohibited

Shinshinto swords

Shinto: New sword

Momoyama period (1568 1603)

Evolution of the uchigatana
katana (24-30) and wakizashi (18)
daisho
Symbol of power and status
Shogunate decree for all samurai to wear daisho
Schools are mixed: brighter steel, flashy blades
Evolution of the Nihonto

Time
Line
Time
Line
 Contemporary Sword: Shinsakuto

Nippon Bijutsu Tken Hozon Kykai (NBTHK)

Society for the Preservation of the Japanese Art Swords

Founded in 1960
Strict regulations are enforced:

To register the sword with NBTHK:

produced by licensed swordsmith
blade over 6, hamon, rivet hole in the tang
less than 6: knifes ( kogatana ), no regulation

Getting a license:
apprenticeship under licensed swordsmith
for a minimum of 5 years

Number of swords:
NBTHK Tokubetsu Hozon Wakizashi from
2 long swords (>2ft.) and 3 short swords (<2ft.) per month Mutsu no Kami Fujiwara Kanenobu, a Mino smith in 17th century
based on meticulous style of eminent smith Akihira Miyairi

All swords must be registered with the police

NBTHK Competition
one sword per swordsmith
300-500 swords entered into competition
15 judges: swordsmiths, appraisers etc.
2 rounds with covered and open signature
swords ranked first to last
determine the value of the next year swords

mukansa: above the competition

ningen kokuho: living national treasure
 Anatomy of the sword

Cut well Not bent Not break

Conflicting properties of steel:
hardness: maintain sharp edge, brittle
ductility: withstand hard blow, soft

Solution
core of the soft steel, shingane
jacket of the hard steel, kawagane
harden only the edge, hamon

kawagane shingane

habuchi

hamon

blade cross section

 Properties of the Steel: Fe-F3C Phase Diagram

Phase diagram:
Equilibrium between the distinct material phases

Ferrite:
-Fe, fairly ductile
Max. [C] solubility = 0.022%
[C] atom ~ 2x interstitial
Body Centered Cubic (BCC) structure
Cementite:
Fe3C, carbide, hard and brittle, ceramic
Orthorhombic crystalline structure

Pearlite: Cementite
-Fe (88%) and Fe3C (12%) composite
Two-phase lamellar structure

Austenite:
exist above critical (eutectoid) temp. : 727 C
-Fe : solid solution of carbon and iron
Max. [C] solubility = 2.1% , ductile
Face Centered Cubic (FCC) structure

Steel [C] < 2.1% , Martensite:

Cast Iron [C] > 2.1% Rapid quenching of austenite
Traps carbon atoms, no time to diffuse out
Body Centered Tetragonal (BCT) lattice
 Microstructure of the Iron Iron Carbide Phases

Austenite:
start above critical temperature: 723 C
carbon content: 0.83%

Pearlite:
-Fe / Fe3C lamellar composite
-Fe matrix
Fe3C stripes

Eutectic transitions: -Fe --> -Fe + Fe3C

Microstructure of the Iron Iron Carbide Phases

Austenite:
start above critical temperature: 727 C
carbon content: 0.83%

Martensite:
metastable, kinetic phase
not on phase diagram
needle-shaped grains
Microstructure of the Iron Iron Carbide Phases

Pearlite + Ferrite:
88/12 -Fe/Fe3C + -Fe

Pearlite: 88/12 -Fe/Fe3C

Pearlite + Cementite:
88/12 -Fe/Fe3C + Fe3C
 Tradeoff : Ductility and Hardness

Properties and appearance of the steel:

- Location on the phase diagram
Austenite: - Subsequent processing & heat treatment
T > 727 C
Martensite:

annealing

quenching
[C] < 0.83% [C] = 0.83% [C] > 0.83%
Pearlite + Ferrite: Pearlite Pearlite + Cementite:

Hardness
Ductility
 The Steel

Smelting :
Iron ore (Fe2O3) comes as a fine black sand, satetsu
The furnace for smelting, tatara
Primitive and efficient method:

combine ore and charcoal C + O 2 CO + O

pump the air trough bellows
temperature: 1200-1500 0C Fe 2 O 3 + CO 2Fe + CO 2 satetsu

Low temperature reduction, no melting

Alloys with impurities are not formed, removed with the slag
Iron combines with carbon to form tamahagane
Tamahagane mother of metal in kanji

Tatara and Tamahagane:

The Nittoho Tatara operated by NBTHK since 1977
Three operating cycles during the winter - 7 days / 5 people
Clay vessel: 1.2m (H) x 4.5m (L) x 1.5m (W)
10T of satetsu and 12T of charcoal ~ 2.5T of tamahagane
Typical carbon content: 0.6 -1.2 % ( optimum: 1.0-1.2% )

dense, heavy
silvery color
fine crystallites

tamahagane kera
 Refining the Steel: Oroshigane

Tamahagane - nonuniform, mixture of low and high [C] pieces

Outside jacket kawagane, [C] ~ 0.7-0.8%
Inside core shingane, [C] < 0.5%

Continuous loss of carbon during the process adding [C] removing [C]
Start forging with high carbon content, [C] ~ 1.0-1.5%
Fe + 3C FeC 3 2FeC 3 + 3O 2 2Fe + 6CO
kawagane shingane

habuchi

hamon

oroshigane
Assembling Steel for Forging: Tsumiwakashi
T (C) T(F)
700 1292
1200 2192
1300 2372
1500 2732
oroshigane, [C] ~ 1.0-1.5%

heated to 1200-15000C and

flattened into plates

broken into pieces and sorted

bright and clear high [C],
kawagane
dark and muddy low [C], shingane

plate with similar to tamahagane

composition is formed

4-5 lb. of selected pieces stacked

and wrapped in rice paper

wafers are fused at 13000C and bar

twice the length of the original
tamahagane is prepared
Forging: Kitae Foundation forging: Shita-gitae

Total of 6 folds: cleft, fold, hammer

Each fold: 30 min. / 3 heat ups
make a cleft with a chisel
divide bar into two equal parts
Each fold: 3 min. of hammering
Remove impurities, homogenize, air bubbles
Consumes of the original tamahagane

fold the bisected bar, fuse the halves

and flatten the bar sorted

repeat the folding, remove impurities

and bubbles, homogenize

The way metal is folded will affect

jihada and jitetsu - depends on smiths
style and school

the final block is 10 x x 1 , divided

with chisel into three equal parts
Forging: Kitae Finish forging: Age-gitae

for katana four steel pieces Initial tamahagane [C] ~ 1.4%

are stacked an fused 0.3% lost in shita-gitae , 0.4% in age-gitae
Typically another of the steel lost

another 6-7 folds Kawagane is ready, [C] ~ 0.7%

prevent oxidation with
clay and straw
 Forming the Steel Stock: Tsukurikomi

kawagane Shingane: prepare and shape long and narrow bar

Folded about 10 times, drive impurities out
Typical shingane [C] ~ 0.2-0.5%

Forging temperature: 1300 0C

Extremely delicate and vital process
shingane perfect weld, no voids or gaps
shingane completely covered by kawagane

Piercing tip (kissaki) is always made from the best kawagane

Kobuse-gitae Hon-sanmai-gitae
 Forming the Blank, Shaping and Rough Grinding the Blade

Sunobe:
Sword blank with no curve or edge
10% smaller, uniform thickness
Define nakago and kissaki

Hizukuri:
Drawing the cutting edge: ha-saki
hummer 6 at a time A fully formed kissaki, shinogi,
and mune from a sunobe
yellow (~1100 0C) and cherry red (~700 0C)

Require fast work and precision hammering

overheated: separation of kawagane and shingane
to cold: damage or fracture the sunobe
kissaki , shinogi and mune are formed
blade is growing in a straight line
deceptively simple process

Shiage:
Preparation to harden the sword edge
rough grinding and filing
use sen to shave off irregularities
Use carborundum stone to rough grind the blade
Shape is well defined, edge is ~ 1/10
 Creating the Cutting Edge: Tsuchioki

Yakiba hard cutting edge

The hardest but brittle form of steel is martensite
How to simultaneously:
convert the edge to martensite
keep the rest of the sword as ferrite + pearlite

Heat treatment process:

kawagane [C] ~ 0.6-0.7% (optimum, see HRC)
heat the blade above eutectic temperature: 723 C
fast cooling: austenite -> martensite
slow cooling: austenite -> ferrite + pearlite

Hardness vs. carbon steel carbon content:

Sharp decrease in hardness No gain, brittle

kawagane shingane

Hamon:
- martensitic blade pattern
Habuchi:
- transitional zone

habuchi

hamon
 Controlling Cooling Rate with Insulating Clay

Tsuchi-dori clay mixture

Stick well to roughened during shiage stage surface
clay for insulation
charcoal powder for heating control
sandstone (omura) to prevent cracking
school specific ingredients

Thin layer on the edge, thicker towards the back

Control cooling rate via:
thermal insulation
increase surface area
Prevent formation of the water bubbles on the surface
Faster cool down with thin clay layer

Distribution and thickness of tsuchi-dori

will determine hamon pattern
hardness is the objective of the process

Making ashi
literally means foot or leg
thin tsuchi-dori strips perpendicular to the yakiba
create pearlitic veins on hard martensitic edge
stop crack propagation originated at the edge
 Hardening the Edge: Yaki-ire

Yaki-ire quenching in the cold water Strict attentiveness followed by swift and uncompromised action
metal is transformed and the sword is born (zen calligrapher, strike in kendo)
performed at night to accurately judge the temperature
color of the steel is like the moon in February or August
skill and experience each sword is unique

Draw the sword through the hot coals

slow and steady
first edge up: 10-15 times
then edge down: 2-5 times

Achieve even and uniform color

edge: bright red or orange
back: red or cherry red

Plunge the blade into the water

Tale of the severed hand
Yaki-modoshi tempering at 160 0C
of the swords do not survive yaki-ire reheating and quenching again
relieve the stress, break down martensite crystals
 The Science: Yaki-ire

Heat treatment CCT diagram for hypoeutectoid steel [C] < 0.8%
heating to a high temperature Circles DPH ( diamond-pyramid hardness )
holding at temperature
cooling down at a specific rate

Continuous cooling transform. (CCT) diagram

follow cooling curves
from the top left to bottom right
steel and sample specific

a austenite
f ferrite
p pearlite
b bainite
m martensite

Fast (~10sec): austenite > martensite

Medium (~1min): austenite > mixture
Slow (~3min): austenite > ferrite:pearalite

Steel cracking is the problems during quenching

high rate of cooling: surface cooler than interior
surface forms martensite before the interior
constrains from outer martensitic layer leading to residual stresses
 Heat Transfer Modeling: Yaki-ire

Prifile of Measured heat transfer coefficient Temperature distribution during yaki-ire

yakiba-tsuchi

s
e 2
c
o
n
d 3
800 - 400 0C:heat transfer coefficient with thin clay s
is higher than that of without any clay
4
Nucleation boiling:
rapid, explosive, formation of bubbles
strong local velocity within the liquid film
increases heat transfer
surface dependant 5

Film boiling:
continuous layer of vapor covers the surface
insulating effect of the vapor 10
reduced the rate of heat transfer
Leidenfrost effect

Thin clay nucleation boiling Temperature, 0C

Thick clay film boiling
Bare metal film boiling gyaku-sori: reverse bending ~ 1s
sori : normal bending ~ 10s

Inoue Tatsuo, Mat. Sci. Res. Int. Vol.3, No.4 pp. 193-203 1997
 Heat Transfer Modeling: Yaki-ire

Longitudinal stress distribution and residual stresses

Simulation of quenching with
different tsuchi distribution

(a) 1

tsuchi: uniform 0.8 mm

s
e
(b) 2 c
o
n
tsuchi: uniform 0.1 mm d
s

(c) 4

0.8 mm on the back

0.1 mm on the edge

yaki-modoshi
10
volume fractions of martensite %
Stress , MPa
Significant stress in yakiba
Fracture stress 1600-1700
Inoue Tatsuo, Mat. Sci. Res. Int. Vol.3, No.4 pp. 193-203 1997 MPa
 Adjusting the Curvature: Sorinaoshi

Sunobe is almost straight before quenching

During yaki-ire curvature is increased by almost
Volume change between austenite and martensite
Adjusting the curve
straightening by hammering
heating on copper block and quenching
addjust sori locally

Martensitic transformation:
No long range diffusion
( FCC ) ' ( BCT )
No compositional change Quench

Transformation occurs by shear 0.8 %C 0.8 %C
Austenite to Martensite 4.3% volume increase

Two FCC unit cells:

- contract by 20% in the z direction
- expand by 12% along the x and y directions

(111) <=> (011)

[101] <=> [111]
[110] <=> [100]
[112] <=> [011]
Bain model structural transformation with a minimum of atomic motion
One-to-one correspondence between and atoms
 Just a Beginning.
Kajitogi : rough polishing
Hi : decorative grooves ( add surface area! )
Horimono : decorative carvings ( tatoo )
Nakago : the tang, filed, never cleaned
Mekugiana : the rivet hole
Mei : the signature, testing, owner etc.
engraved in the very end
often forged or destroyed
legend of Kanemitsu
Polishing: the art by itself
put a sharp edge
reveling the hamon, jihada, jitetsu
bring the sword to life
Habaki: blade is floating in the scabbard (saya)
Shirasaya simple white scabbard
ho tree (magnolia obovata)
glued with sokui, paste from cooked rice
carved with shallow lip for the edge
 Saya Fully Mounted Sword: Koshirae
kurigata
kojiri
sageo
koiguchi

Tsuba
habaki
seppa

Tsuka
fuchi / kashira
makishitasame
tsukaito
menuki

Shinto katana. 1600s. Signed Suruga no Kami Kunimasa. Yasusada School. Soshu style. Notare
hamon. The mounts are original to the blade. Fuchi kashira done in shakudo and gold with a floral
design. The tsuba is a large iron sukashi with a design of ginger leaves.

http://www.ricecracker.com/
 What Makes Katana a Superior Sword?

Forging
optimal [C] content
folding process

oroshigane

Design
kawagane jacket
shingane core
hamon

Heat treatment
controlled quenching
volume fractions of
martensite %
martensitic edge
 Hagakure

A certain swordsman in his declining years said the following:

In one's life there are levels in the pursuit of study. In the lowest level, a person studies but
nothing comes of it, and he feels that both he and others are unskillful. At this point he is
worthless. In the middle level he is still useless but is aware of his own insufficiencies and
can also see the insufficiencies of others. In a higher level he has pride concerning his own
ability, rejoices in praise from others, and laments the lack of ability in his fellows. This man
has worth. In the highest level a man has the look of knowing nothing.

These are the levels in general. But there is one transcending level, and this is the most
excellent of all. This person is aware of the endlessness of entering deeply into a certain
Way arid never thinks of himself as having finished. He truly knows his own insufficiencies
and never in his whole life thinks that he has succeeded. He has no thoughts of pride but
with self-abasement knows the Way to the end.

It is said that Master Yagyu once remarked:

"I do not know the way to defeat others, but the way to defeat myself. ''

Throughout your life advance daily, becoming more skillful than yesterday, more skillful than
today. This is never-ending.
Extra
 The Science: Yaki-modoshi

Tempering Cold work: mechanical deformation of at relatively low temperatures

heating below eutectoid temperature increase point defect and dislocations
holding at temperature followed by cooling stronger material

Martensite Tempered Martensite Pearlite

(Fe) tempering
(Fe) + Fe3C (Fe) + Fe3C
T<TE

Tempered martensite:
distribution of fine particles of Fe3C in matrix
hardness more than pearlite, ductility more than martensite
hardness and ductility controlled by tempering temperature and time
 Fe-C diagram:
austenite: FCC -Fe ductile
ferrite: BCC -Fe fairly ductile
FCC unit cell > BCC unit cell

cementite: 2nd phase [Fe3C] brittle

cementite: [C] is in excess of the solubility limit

pearlite: two-phase lamellar structure

pearlite: -Fe (88%) and Fe3C (12%) whiskers

Eutectic transitions:
Cementite: -Fe --> -Fe + Fe3C
Ledeburite: L --> -Fe + Fe3C

Martensite:
tetragonal lattice
rapid quenching of austenite. change in volume
Fe-Fe3C traps carbon atoms, no time to diffuse out
 Heat Treatment

T holding

ng
heati

AT A
Q
T N
time
Annealing Furnace cooling RC 15 Coarse pearlite

Quenching Water cooling RC 65 Martensite

Tempering Heating after quench RC 55 Tempered martensite

Normalizing Air cooling RC 30 Fine pearlite

Quench to an intermediate
Austempering RC 45 Bainite
temperature and hold
 Continuous Cooling Transformation Diagram for Eutectoid Steel
Cooling curves
Constant rate
800
Coarse peralite
723

600
P
Austenite 500 Water qu

Fu
T( 0K)

No

ll a
rm
400

nn
enc

eal
li z
in g
h

300
Oi
lq
ue
200 chn
Coarse P Fine peralite

Martensite:
100
M M+ P Fine P

0.1 1 10 102 103 104 105

t (s)
 Time Temperature Transformation Diagram for Eutectoid Steel

Formation of bainite austempering

Bainite: short needles of Fe3C in plates of ferrite
Less strong but more ductile than martensite
Austenite

Bainite

Upper bainite: Lower bainite:

Austempering
Martempering
 References

Front Picture: Blacksmith Munechika (end of the 10th century), helped by a fox spirit,
forging the blade kogitsune-maru ("Little fox"). Engraving by Ogata Gekk (18591920), 1873.

Materials Science and Engineering: An Introduction , 6th Edition William D. Callister, Jr., Univ. of Utah
Phase Transformations in Metals and Alloys David Porter & Kenneth Esterling Van Nostrand Reinhold Co. Ltd., New York (1981)
The Samurai Sword: A Handbook Yumoto, John M. Tuttle Publishing, 2002
The Craft of the Japanese Sword by Leon and Hiroko Kapp and Yshindo Hoshihara; Kodansha America, Inc; 1987
THE JAPANESE SWORD : The Material, Manufacturing and Computer Simulation of Quenching Process
Inoue Tatsuo, Material Science Research International Vol.3, No.4 pp. 193-203 1997
The Forging of a Japanese Katana Michael Morimoto Colorado School of Mines June 14th, 2004
Samurai: The weapons and spirit of the Japanese warrior by Clive Sinclaire; First Lyons Press; 2001
The Japanese Sword: The Soul of the Samurai by Gregory Irvine; Weather Hill Inc; 2000
The Arts of the Japanese Sword by Basil W. Robinson; Charles E. Tuttle Company; 1971
The Japanese Sword by Kanzan Sato and Joe Earle; Kondansha International Ltd. And Shibundo; 1983

http://web.iitd.ac.in/~rajesh/
http://www.engr.usask.ca/classes/ME/324/Class-notes/Lecture3-Week11-2005.doc
http://yakiba.com/
http://legacyswords.com/fs_gen_sword6.htm
http://www007.upp.so-net.ne.jp/m-kenji/asj_lecture.htm
http://www.tnm.jp
http://www.samuraisword.com/nihontodisplay/CUTTING_TEST/Munehiro/index.htm
http://www.ksky.ne.jp/
http://www.thejapanesesword.com/
http://www.shibuiswords.com/
http://zenkou.com/books.asp/
http://www.arscives.com/bladesign/mino_uchigatana.htm
http://www.geocities.com/alchemyst/terms/terms.htm
http://www.nihontoantiques.com/jigane_and_jihada.htm
http://www.arscives.com/historysteel/japaneseintroduction.htm

http://www.youtube.com/watch?v=xzJAUKZGyNQ&feature=related
http://en.wikipedia.org/wiki/Japanese_sword
 The Beauty of the Sword

Cut well Not bent Not break

The appearance is purely a side effect
 Jihada and Jitetsu

Foundation forging: Shita-gitae

Ji blade surface above hamon

Hada grain pattern
Tetsu iron color, texture, quality

High temperature metal pastry dough

13-16k layers per inch (214 = 16,384)

Basic Jihada:

Itame:
wood grain, fold alternatively
intermixing of the layers
Masame:
straight grain pattern, fold in one direction
remnants of the original tamahagane wafers masame itame
Mokume:
itame with 'whorls
Ayasugi:
regular wave lines
selectively file away masame pattern

Nashiji Hada:
pear skin dense form of komokume
Konuka Hada (Hizen):
rice bran coarse form of nashiji
Muji Hada:
plain unfigured very tight and small

itame masame mokume ayasugi

 Jihada

itame
Ko-itame muji

-itame ayasugi -mokume

itame itame-nagare -mokume

ch = medium Ko = small = large

 Osafune Yukisada. Tachi blade. 1376. choji
Hamon

Yakiba the line of the hardened edge

Takes on white color when skillfully polished
More than 130 documented types of hamon

Magoroku Kanemoto. circa 1450.

value rating of 100 pieces of gold." sanbonsugi

Kozaemon Yukihira. 1998.

Mukansa rank by NBTHK. gunome/notare

martensite
 Utsuri

Irregular pattern relating

Utsuri reflection, print, impression with the choji pattern hamon
Misty white shadow above the hamon
Typical to Bizen blades, very difficult to produce
Bright cloudy areas of pearlite + ferrite

Pearlite + Ferrite:

Mune is below eutectic temp.

Narrow temperature tolerance
Uniform temperature gradient
 Nie and Nioi

Hada Mune Martensitic crystals embedded in pearlitic matrix

nioi konie nie aranie

(smallest) (small) (large) (rough)
Hamon

Nioi vapor, white and misty

Not visible to the eye
Lower quenching temperature

NIOI NIE
Nie resemble stars in the night sky
Visible to the eye, large martensite grains
Longer at higher temperature
Perfected by Masamune
 Activities or Workings on the Blade: Hataraki

Bright martensitic streaks in high carbon areas

Kinsuji golden lines parallel to the blade edge
Inazuma lightning bolt zigzag or perpendicular to the blade

kinsuji inazuma

Large ferrite conglomerates on the tempered steel

Different from martensitic particles on the hamon
Not the same as jihada, free from layer pattern

jinie chikei jifu

(fine) (curved lines) (islands)
 Bugei Tameshigiri - James Williams

Shizan by Nakamura Sensei (Ningen Kokuho)

Shito
Extra
 Tameshigiri

Tameshigiri: the purpose of cutting ( test-cutting )

closely related to criminal justice in Edo period
public execution ritual
test cutting of convicted felons to evaluate the quality of swords

Suemonogiri: the object/target to be cut ( fixed (non-living) object cutting )

specific form of tameshigiri (typically corpse as stationary target)
skills and abilities of the swordsmen

Until early 1700s: The swords were rated as:

- very popular amongst higher ranking samurai
- even Daimyo lords engaged in tameshi on
corpses by themselves
Mid 1700s:
- otameshi-geisha - professional sword testers
- suemono-shi - lower ranking samurai with
recognized swordsmanship skills
Late 1700s:
- Yamada family monopolized tameshi
commissions from the Shogunate
- Monopoly lasted for 8th generation
until Meiji Restoration
- The family remained ronin in official record
Saijo O-wazamono - best cutting swords
O-wazamono - excellent cutting swords
Ryo-wazamono - very good cutting swords
Wazamono - good cutting swords
Modern tameshigiri can be divided into two categories
Shi-zan - test of the swordsmans skills by cutting
maki-wara, tatami-omote, and bamboo.
Shi-to - test of the quality of the blades through the
use of harder cutting media

S. Takeuchi, Ph.D. Department of Sociology University of North Alabama 2003

Tameshigiri

Shinshinto katana. 1865. Signed by Munihiro.

Ryokuruma cut performed by Goto Shintaro
in execution of a criminal
 The Legend of Masamune and Muramasa

A legend tells of a test where Muramasa challenged his master,

Masamune, to see who could make a finer sword. They both worked
tirelessly and eventually, when both swords were finished, they decided
to test the results.

The contest was for each to suspend the blades in a small creek with the
cutting edge facing the current. Muramasa's sword, the Juuchi Fuyu
(10,000 Winters) cut everything that passed its way; fish, leaves floating
down the river, the very air which blew on it. Highly impressed with his
pupil's work, Masamune lowered his sword, the Yawaraka-Te (Tender
Hands), into the current and waited patiently. Not a leaf was cut, the fish
swam right up to it, and the air hissed as it gently blew by the blade. After
a while, Muramasa began to scoff at his master for his apparent lack of
skill in the making of his sword. Smiling to himself, Masamune pulled up
his sw ord, dried it, and sheathed it. All the while, Muramasa
was heckling him for his sword's inability to cut anything.

A monk, who had been watching the whole ordeal, walked over and
bowed low to the two sword masters. He then began to explain what he
had seen. "The first of the swords was by all accounts a fine sword,
however it is a blood thirsty, evil blade as it doesn't discriminate as to
who or what it will cut. It may just as well be cutting down butterflies as
severing heads. The second was by far the finer of the two, as it doesn't
needlessly cut that which is innocent and undeserving."
 Masamune vs. Muramasa
Masamune Okazaki, also known as Goro Nyudo Masamune (Priest Goro
Masamune) is widely recognized as Japan's greatest swordsmith. As no exact
dates are known for Masamune's life, he is believed to have worked in Sagami
Province during the last part of the Kamakura Era (1288 - 1328)
The swords of Masamune have a reputation for superior beauty and quality,
remarkable in a period where the steel necessary for swords was often impure.
He is considered to have brought the art of 'nie' to its perfection.
Perhaps the best known Masamune sword is Honjo Masamune, a symbol of the
Tokugawa shogunate and passed down from one shogun to another.
Signed works of Masamune are rare. The examples "Fudo Masamune",
"Kyogoku Masamune", and "Daikoku Masamune" are accepted as his genuine
works. His swords are the most frequently cited among those listed in the
Kyho Meibutsu Cho, a catalogue of excellent swords in the collections of
daimyos edited by the Hon'ami family of sword appraisers and polishers.
An award for swordsmiths exists called the Masamune prize which is awarded
at the Japanese Sword Making Competition. Although not awarded every year it
is presented to a swordsmith who has created an exceptional work.
Muramasa Sengo
The founder of the school of sword-making at Ise province. The
earliest known work of the school is dated at 1501; the Muramasa
school continued into the late 1500's during Muromachi Era.
Muramasa's swords fell out of favor with the Japanese government
when Tokugawa Ieyasu became shogun. It is said that Ieyasu had
lost many friends and relatives to Muramasa blades and had cut
himself badly with one, so he forbade his samurai to wear blades
made by Muramasa. Since opponents of the Tokugawa Shoguns
would often wish to acquire Muramasa blades, forgeries of
Muramasa blades were also often made.
Due to the stigma attached to them, many Muramasa blades had
their signature changed or removed. It has also been told that once
drawn, a Muramasa blade has to draw blood before it can be
returned to its scabbard, even to the point of forcing its wielder to
wound himself or commit suicide. Thus, it is thought of as a
demonic cursed blade that creates bloodlust in those who wield it.
 Legend of Amakuni

Amakuni () is the legendary swordsmith who created the first single-edged

longsword with curvature along the edge in the Yamato Province around 700 AD. He
was the head of a group of swordsmiths employed by the Emperor of Japan to make
weapons for his warriors. His son, Amakura, was the successor to his work. Although
there are almost no modern examples of signed works by Amakuni, legend has it that
the double-edged katana, Kogarasu Maru, was forged by this man. The true author of
this work is not known, though the work bears similarities to works of the various
Yamato schools so it is thought to be an early example of work from this province.

The Legend
One day, Amakuni and his son, Amakura, were standing in the doorway of
their shop, watching the Emperor's warriors return from battle. Although having
done so on previous occasions, the Emperor did not give Amakuni any sign of
recognition. Having always looked upon these gestures as a sign of appreciation
for his efforts and hard work, Amakuni suddenly noticed that nearly half of the
returning warriors were carrying broken swords. Determined to make things right,
Amakuni and Amakura went about gathering remnants of the swords and examined
them. It appeared that the chief reasons for breakage were that the swords had
been improperly forged and that the soldiers had struck hard objects, probably
armor or other weapons, with them. Once again, the Emperor's subtle yet audible
rebuff ran through his mind. Tears filled Amakuni's eyes, and he said to himself,
"If they are going to use our swords for such slashing, I shall make one that will
not break. With this vow, Amakuni and his son sealed themselves away in the
forge and prayed for seven days and seven nights to the Shinto gods. Amakuni
then selected the best iron sand ore he could obtain and refined it into steel.
Working without rest, the two worked at their apparently impossible task.
Thirty days later, Amakuni and his son emerged gaunt and weary from the
forge with a single-edged sword with curvature.

Undaunted by the other swordsmiths, who believed them to be insane, Amakuni and Amakura ground and polished the new sword. During the
following months, Amakuni and his son continued with their work, forging many types of improved swords. In the following spring, there was
another war. Again the samurai returned, and as they passed by, he counted over thirty-one swords with perfect, intact blades. As the Emperor
passed, he smiled and said, "You are an expert swordmaker. None of the swords you have made failed in this battle." Amakuni rejoiced and
once more felt that life was full and joyous. No one knows when Amakuni died.

The Samurai Sword: A Handbook. Yumoto, John M. Tuttle Publishing, 2002

 Legend of Kanemitsu

Bizen Kanemitsu

He was undoubtedly amongst the foremost makers of his day, and that ever lived. It is recorded
that he was born in "ko-an" 1278 and died in "en-bun" 1356 at the age of 83. At the age of 42
Kanemitsu was invited to study with Masamune, the most famous sword maker of his day. Later
on his popularity nearly equaled that of Masamune, especially in his native Bizen province.
Kanemitsu swords were well known for there exceptional beauty, and functionally. His swords
are considered to be the sharpest swords ever known. They were also the subject of much
folklore.

Kabutowari - the helmet cutter

Ishikiri" - the stone cutter
Teppo kiri" - the gun cutter

One story sights an incident when during the course of a battle a samurai was cut with a
Kanemitsu blade. The cut was so clean, and painless that the man swam across a river in
retreat. When he attempted to climb from the water, his body fell to the shore in two half's.

The Legend

One day Kanemitsu was enjoying a moment of rest in his shop. He suddenly found
himself listening intently to the sound of the chisel of his neighbor in the shop nest door.

Angrily he arose, dashed nest door, and seized the sword on which the other smith had
been chiseling the name. You were putting my name on that sword said Kanemitsu.
The other smith admitted that he had been doing so and apologized.
How did you know? the guilty one asked. Were you watching?

No, answered Kanemitsu, but I was listening. You used a greater number of strokes
that was necessary if you had been writing your own name

The Samurai Sword: A Handbook. Yumoto, John M. Tuttle Publishing, 2002

http://www.samuraisword.com/nihontodisplay/Hozon/Nobushige/index.htm
 References

Front Picture: Blacksmith Munechika (end of the 10th century), helped by a fox spirit,
forging the blade kogitsune-maru ("Little fox"). Engraving by Ogata Gekk (18591920), 1873.

Materials Science and Engineering: An Introduction , 6th Edition William D. Callister, Jr., Univ. of Utah
Phase Transformations in Metals and Alloys David Porter & Kenneth Esterling Van Nostrand Reinhold Co. Ltd., New York (1981)
The Samurai Sword: A Handbook Yumoto, John M. Tuttle Publishing, 2002
The Craft of the Japanese Sword by Leon and Hiroko Kapp and Yshindo Hoshihara; Kodansha America, Inc; 1987
THE JAPANESE SWORD : The Material, Manufacturing and Computer Simulation of Quenching Process
Inoue Tatsuo, Material Science Research International Vol.3, No.4 pp. 193-203 1997
The Forging of a Japanese Katana Michael Morimoto Colorado School of Mines June 14th, 2004
Samurai: The weapons and spirit of the Japanese warrior by Clive Sinclaire; First Lyons Press; 2001
The Japanese Sword: The Soul of the Samurai by Gregory Irvine; Weather Hill Inc; 2000
The Arts of the Japanese Sword by Basil W. Robinson; Charles E. Tuttle Company; 1971
The Japanese Sword by Kanzan Sato and Joe Earle; Kondansha International Ltd. And Shibundo; 1983

http://web.iitd.ac.in/~rajesh/
http://www.engr.usask.ca/classes/ME/324/Class-notes/Lecture3-Week11-2005.doc
http://yakiba.com/
http://legacyswords.com/fs_gen_sword6.htm
http://www007.upp.so-net.ne.jp/m-kenji/asj_lecture.htm
http://www.tnm.jp
http://www.samuraisword.com/nihontodisplay/CUTTING_TEST/Munehiro/index.htm
http://www.ksky.ne.jp/
http://www.thejapanesesword.com/
http://www.shibuiswords.com/
http://zenkou.com/books.asp/
http://www.arscives.com/bladesign/mino_uchigatana.htm
http://www.geocities.com/alchemyst/terms/terms.htm
http://www.nihontoantiques.com/jigane_and_jihada.htm

http://www.youtube.com/watch?v=xzJAUKZGyNQ&feature=related
http://en.wikipedia.org/wiki/Japanese_sword