2009年1月18日星期日

DATE INSCRIPTIONS - NENGO























Japanese swords have been made for over a thousand years. Many swords are inscribed with the date they were made. Swords with date inscriptions prior to 1200 C.E. are extremely rare; therefore those nengo have not been included. The inscriptions normally read from the top down, nengo (period); nen (number of years into the period); gatsu (month) and hi (day). A typical date inscription would read: "18th year of Showa, 2nd month, 8th day". To arrive at the corresponding Westernized calendar year, add the number of years into the period to the starting year of the period. During much of the 1300's, the Japanese Imperial Court was politically divided into the Southern Court and Northern Court. Most swords will have dates using the nengo of the Southern Court, but occasionally one will be encountered where the Northern Court nengo are used. There are other methods of writing dates, but the use of nengo is by far the most common. During the WW II era, some swords were dated using the archaic zodiacal dating method.
I hope it can help you know more knowledge about the japanese sword :)

























2009年1月16日星期五

MAJOR SCHOOLS OF TSUBA ARTISTS


There are many dozens of schools of tsuba artists from the earliest days of the Japanese sword. The majority of tsuba found today are from the Muromachi through Edo periods. The following chart shows some of the major schools of tsuba makers and the periods in which they worked. The dates should be taken very liberally, more as general ranges rather than precise dates as historical references often are incomplete, vague or contradictory as to exact dates and periods of some schools and artists. This chart was compiled from information from numerous sources. Any errors in interpretation of time periods are mine and not those of the reference work authors. Tsuba made in the early period of the various schools tend to be the most representative of the school with a few exceptions. By the late Edo period many styles were overlaping and the works of various schools "merge" to be almost indistinguishable.
Thus we have later tsuba refered to in mixed terms; i.e., Bushu - Choshu; Nara - Mito; Goto - Waki Goto - Mino Goto, etc. In the mid to late Edo periods, the Shoami and its numerous branches produced tsuba of nearly every conceivable design. In many cases it is nearly impossible to attribute an unsigned tsuba to one specific school or maker; even the major Japanese references vary in their attributions.

2009年1月15日星期四

The sword's Hamon

HAMON The hamon is the design of the tempered edge of the sword blade. It is a result of the differential cooling of the blade (quenching and tempering) after it is forged. There are numerous styles of hamon and quite commonly mixed styles such as choji-midare or midare-togari. Some of the major forms are shown below.


























































































2009年1月14日星期三

BLADE LAMINATION METHODS


One of the things that makes the Japanese sword (Nihonto) unique is the way in which the blade is constructed by laminating different types of steel together to forge the blade. These lamination techniques give the sword its strength, durability and resistance to breakage. Numerous lamination techniques have been tried over time, but the major methods have remained in use for many centuries. These same techniques are used by modern sword smiths when forging new swords (shinsakuto) today. The value of a sword is in part determined by the complexity of its construction. Historically various schools of sword smiths used specific construction methods. These methods of lamination have been determined by metallurgical analysis of numerous antique sword blades. These lamination methods together with the differential hardening of the blade to give a hard edge (hamon) while maintaining a softer blade spine make the Japanese sword one of the most durable and break resistant swords known. .
Code to different types of steel

Of these methods of construction, the "maru" or non-laminated is the poorest. The "kobuse" was and is still used (especially on WW II period swords) ; but the "honsanmai" or simply "sanmai" is the most common lamination technique used in forging the Japanese sword. The famous sword smith Masamune used the "Soshu" seven layer construction method.

2009年1月11日星期日

History of the Japanese Sword -- Recent History

Under the United States occupation at the end of World War II all armed forces in occupied Japan were disbanded and production of nihontō with edges was banned except under police or government permit. The ban was overturned through a personal appeal by Dr. Junji Honma. During a meeting with General Douglas MacArthur, Dr. Honma produced blades from the various periods of Japanese history and MacArthur was able to identify very quickly what blades held artistic merit and which could be considered purely weapons. As a result of this meeting, the ban was amended so that guntō weapons would be destroyed while swords of artistic merit could be owned and preserved. Even so, many nihontō were sold to American soldiers at a bargain price; in 1958 there were more Japanese swords in America than in Japan. The vast majority of these one million or more swords were guntō, but there were still a sizable number of older swords.

After the Edo period, swordsmiths turned increasingly to the production of civilian goods. The Occupation and its regulations almost put an end to the production of nihonto. A few smiths continued their trade, and Dr. Honma went on to be a founder of the Society for the Preservation of the Japanese Sword (Nippon Bijutsu Tōken Hozon Kyōkai), who made it their mission to preserve the old techniques and blades. Thanks to the efforts of other like-minded individuals, the nihontō did not disappear, many swordsmiths continued the work begun by Masahide, and the old swordmaking techniques were rediscovered.

Modern nihonto manufactured according to traditional methods are usually known as shinsakutō ( shinsakutō), meaning "newly made swords". Alternately, they can be termed shinken when they are designed for combat as opposed to iaito training swords.

Due to their popularity in modern media, display-only "nihontō" have become widespread in the sword marketplace. Ranging from small letter openers to scale replica "wallhangers", these items are commonly made from stainless steel (which makes them either brittle or poor at holding an edge) and have either a blunt or very crude edge. There are accounts of good quality stainless steel nihontō, however, these are rare at best. Some replica nihontō have been used in modern-day armed robberies, which became the reason for a possible ban on sale, import and hire of samurai swords in the UK.As a part of marketing, modern a-historic blade styles and material properties are often stated as traditional and genuine, promulgating disinformation.

In Japan, genuine edged hand-made Japanese swords, whether antique or modern, are classified as art objects (and not weapons) and must have accompanying certification in order to be legally owned. It should be noted that some companies and independent smiths outside of Japan produce katana as well, with varying levels of quality.

2009年1月8日星期四

sword impression

Time can't wait
I also can't help to love my sword!
When you see an old sword ,you will begin to think everything about its past .May be the sword once followed a brave officer in the battle ,defended the enemy and made great contributions for his owner.The loyal and silent sword went through the history and kept till now.The ages can't cover its rays of light!Once a friend tell me he don't like fake sword because the fake one like a lamster receive the honor.I think I can understand.However,its history only belongs to it and its master.No one replaces.
Excellent swordsmiths combine traditional forging experience with the modern technique and creat new sword culture.New sword with nice kashirae is born.Thank them for carrying on my sword dream.
Sword a history or a dream? However,I like.

2009年1月7日星期三

The global history of the Japanese sword

I wonder how Western interest in Japanese swords may eventually effect their production. At least one Westerner has already become a qualified swordsmith after a Japanese apprenticeship and I am sure that it cannot be too long before some Gaikokujin is entering the annual sword-making competitions. A foreigner who becomes a Mukansa swordsmith is no more far fetched than one becoming a Yokozuna in another very conservative and traditional Japanese area - Sumo. It would certainly be most interesting to be around in 100 years time to see how today's Shinsaku-to are regarded and the place they have found within the global history of the Japanese sword.