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Visual glossary of Japanese sword terms. Japanese swordsmithing is the labour-intensive bladesmithing process developed in Japan beginning in the sixth century for forging traditionally made bladed weapons [1] [2] including katana, wakizashi, tantō, yari, naginata, nagamaki, tachi, nodachi, ōdachi, kodachi, and ya.
The word katana first appears in Japanese in the Nihon Shoki of 720. The term is a compound of kata ("one side, one-sided") + na ("blade"), [6] [7] [8] in contrast to the double-sided tsurugi. The katana belongs to the nihontō family of swords, and is distinguished by a blade length (nagasa) of more than 2 shaku, approximately 60 cm (24 in). [9]
Katana, showing the hamon as the outline of the yakiba. The nioi appears faintly as the bright line following the hamon; especially visible at the tip (kissaki). In swordsmithing, hamon (刃文) (from Japanese, literally "edge pattern") is a visible effect created on the blade by the hardening process.
Because American bladesmiths use this design extensively it is a common misconception that the design originated in America. A hole is punched through the tang nakago , called a mekugi-ana . It is used to anchor the blade using a mekugi , a small bamboo pin that is inserted into another cavity in the handle tsuka and through the mekugi-ana ...
Tamahagane. Tamahagane (玉鋼) is a type of steel made in the Japanese tradition. The word tama means 'precious', and the word hagane means 'steel'. [1] Tamahagane is used to make Japanese swords, daggers, knives, and other kinds of tools.
A diagram of a katana and koshirae with components identified. Fuchi (縁): The fuchi is a hilt collar between the tsuka and the tsuba.; Habaki (鎺): The habaki is a wedge-shaped metal collar used to keep the sword from falling out of the saya and to support the fittings below; fitted at the ha-machi and mune-machi which precede the nakago.
Iaijutsu is a combative sword-drawing art but not necessarily an aggressive art because iaijutsu is also a counterattack-oriented art. Iaijutsu technique may be used aggressively to wage a premeditated surprise attack against an unsuspecting enemy.
Musashi eventually focused in the kenjutsu and nitōken and developed his own style. [4] Around 1640, Musashi intended to pass on his art to three successors from among his thousand students; specifically, to Terao Magonojo, his younger brother Kyumanosuke and to Furuhashi Sozaemon. He considered Magonojo to excel in technique but to lack in ...
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