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Japanes Samurai Sword Wakisashi Blade
JAPANESE WAKISASHI SAMURAI SWORD
The Samurai sword has risen to be one of the most desirable military antiques in the market. The popularity is due in part to its use in movies, television and printed media. The vast majority of the swords found in the United States were brought back from Japan after the end of WWII.
The blade is the most valuable component of the sword. Therefore, it is of utmost importance to ensure it does not get damaged. For that purpose, swords would be encased in special wooden containers. Such as the one featured in this page. The blade would remain in storage until it was ready to be issued. At which point it would be outfitted with military or family fittings depending on the needs of the owner.
The sample shown here is a Wakisashi. The blade is hand-made and dates back to the early 1800's.
The Wakisashi was creted during the Momoyama period. It was designed to be the companion to the Katana. The purpose behind its creation was to have a weapon that could be used in more confined places, such as the room of a house. The Katana would be harder to manipulate in such places.
The blade shows some surface rusting and minor pitting to the edge. The temper line is not easily seen. It is important for sword owners to learn how to properly handle blades in order to avoid costly damage and value reduction. Some tips on how to handle Samurai blades include:
This page is a recognition and identification guide for Samurai swords. Multiple detailed photos of a specific sample are provided. Descriptions point out clearly defined points that should be noted.
One of the most commonly asked questions is "How much is my Samurai Sword worth?". A price guide is included here to address this question. The value of the swords is reviewed over a period of several years. A trend can be observed. The present worth of the edge weapons in the collector's market is illustrated.
This service is provided free of charge to the visitor/enthusiast courtesy of MilitaryItems.com, a company dedicated to the preservation of military history and to providing quality military antiques and collectibles to museums, institutions and the general public.
The tip shows some wear. The rust is likely to be a byproduct of improper storage. The rest ripling effect could have been caused by use. The blade has lost the Hamon. These marks were the signature of the swordsmith that created the blade.
Polishing may bring back some of the original characteristics of the blade. Polishing should be performed by a person with the proper training.
The blade of the sword is the most valuable part. Therefore, it is very important to make sure that no damage occurs to it. Blades were encased in wooden containers, such as the one illustrated here, as a means of safely storing it. At a later date the blade could be outfitted with military fittings or any other style of accessory to meet the user's needs.
This is a hand made Wakisashi blade. This sword was manufactured in the early 1800's.
The Wakisashi was developed during the Momoyama period. The intent was to create a weapon that was easier to manipulate in confined quarters, such as the room of a house. The Wakisashi was meant to be the companion of the Katana, which is a larger sword.
The Wakisashi had a length of up to 24 inches. Because it was a lighter and smaller weapon it was possible to wield it with a single hand. .
The blade shows some surface rusting but not in bad shape. The temper line still visible. This line is important because it was used by the maker as a form of signature. The shape of the temper can be used to identify the master who made the sword.
The Tang is not signed. Original rust is present (has not been cleaned). Two holes have been bored for handle-mounting purposes. Wooden pegs are used for this purpose.
The size and the shape of the Tang could help identify the school that made the blade.
The tip shows minor pitting and remains strong. No signs of improper sharpening are present. The blade still retains some of the original heat treatment. It is important that owners learn the basics of blade handling. This will avoid expensive damage and loss of value to the sword. Some basic tips include:
This Samurai Sword may be currently reproduced. It is becoming more difficult to be able to tell the fake ones from the real ones because the quality of the reproductions is improving. The collector must become familiarized with the construction style and materials employed in the manufacturing of this item. Attention to the details is critical in order to be able to determine the authenticity of the collectible.
If you have an interest is seeing other Japanese Samurai swords, you can do so by going to our Japanese Samurai Swords Guide identification guide. Where we cover Samurai swords from all periods
The Samurai sword has risen to be one of the most desirable military antiques in the market. The popularity is due in part to its use in movies, television and printed media. The vast majority of the swords found in the United States were brought back from Japan after the end of WWII.
The blade is the most valuable component of the sword. Therefore, it is of utmost importance to ensure it does not get damaged. For that purpose, swords would be encased in special wooden containers. Such as the one featured in this page. The blade would remain in storage until it was ready to be issued. At which point it would be outfitted with military or family fittings depending on the needs of the owner.
The sample shown here is a Wakisashi. The blade is hand-made and dates back to the early 1800's.
The Wakisashi was creted during the Momoyama period. It was designed to be the companion to the Katana. The purpose behind its creation was to have a weapon that could be used in more confined places, such as the room of a house. The Katana would be harder to manipulate in such places.
The blade shows some surface rusting and minor pitting to the edge. The temper line is not easily seen. It is important for sword owners to learn how to properly handle blades in order to avoid costly damage and value reduction. Some tips on how to handle Samurai blades include:
- DO not touch the blade. The hand contains oils that are damaging to the blade. Your fingerprints can be edged into it.
- Store in a dry place. Avoid placing in basements. They tend to retain humidity, potentially causing water damage.
- Clean the blade with a soft cotton rag.
This page is a recognition and identification guide for Samurai swords. Multiple detailed photos of a specific sample are provided. Descriptions point out clearly defined points that should be noted.
One of the most commonly asked questions is "How much is my Samurai Sword worth?". A price guide is included here to address this question. The value of the swords is reviewed over a period of several years. A trend can be observed. The present worth of the edge weapons in the collector's market is illustrated.
This service is provided free of charge to the visitor/enthusiast courtesy of MilitaryItems.com, a company dedicated to the preservation of military history and to providing quality military antiques and collectibles to museums, institutions and the general public.
The tip shows some wear. The rust is likely to be a byproduct of improper storage. The rest ripling effect could have been caused by use. The blade has lost the Hamon. These marks were the signature of the swordsmith that created the blade.
Polishing may bring back some of the original characteristics of the blade. Polishing should be performed by a person with the proper training.
The blade of the sword is the most valuable part. Therefore, it is very important to make sure that no damage occurs to it. Blades were encased in wooden containers, such as the one illustrated here, as a means of safely storing it. At a later date the blade could be outfitted with military fittings or any other style of accessory to meet the user's needs.
This is a hand made Wakisashi blade. This sword was manufactured in the early 1800's.
The Wakisashi was developed during the Momoyama period. The intent was to create a weapon that was easier to manipulate in confined quarters, such as the room of a house. The Wakisashi was meant to be the companion of the Katana, which is a larger sword.
The Wakisashi had a length of up to 24 inches. Because it was a lighter and smaller weapon it was possible to wield it with a single hand. .
The blade shows some surface rusting but not in bad shape. The temper line still visible. This line is important because it was used by the maker as a form of signature. The shape of the temper can be used to identify the master who made the sword.
The Tang is not signed. Original rust is present (has not been cleaned). Two holes have been bored for handle-mounting purposes. Wooden pegs are used for this purpose.
The size and the shape of the Tang could help identify the school that made the blade.
The tip shows minor pitting and remains strong. No signs of improper sharpening are present. The blade still retains some of the original heat treatment. It is important that owners learn the basics of blade handling. This will avoid expensive damage and loss of value to the sword. Some basic tips include:
- Do not touch the blade
- Do not apply oil to the blade
- Store in a dry place
- Wipe the blade clean with a soft cotton rag.
This Samurai Sword may be currently reproduced. It is becoming more difficult to be able to tell the fake ones from the real ones because the quality of the reproductions is improving. The collector must become familiarized with the construction style and materials employed in the manufacturing of this item. Attention to the details is critical in order to be able to determine the authenticity of the collectible.
If you have an interest is seeing other Japanese Samurai swords, you can do so by going to our Japanese Samurai Swords Guide identification guide. Where we cover Samurai swords from all periods
Japanese Samurai Sword Reading Signature
READING SAMURAI SWORD SIGNATURES
The Samurai sword can have a series of markings in the tang(Nakago) area. These markings are known as the signature(MEI). While a large number of swords bear some form of signature, it is important to notice that not all Samurai swords are signed.
Translating the signature found in the Samurai sword can be a challenging task. This section explains the basics of how to decypher the characters.
TYPES OF SIGNATURES
Most of the signatures are carved into the metal itself. In some of the World War Two period swords the markings are painted. Most of the time in red or white paint.
Some blades will contain both types of signatures, painted and carved/punched.
Additional markings may include arsenal stamps or the Showa (WWII) era stamp.
LOCATION OF THE SAMURAI SWORD SIGNATURES
The Samurai swords are signed in the area known as the tang. The tang is covered by the handle of the sword, which is normally secured to the tang via the use of one or two wooden pegs. Once the pegs are removed the handle comes off easily revealing the signatured.
Swords can be signed in one side or in both sides of the tang.
FORGED SIGNATURES
unfortunatelly some of the signatures in the Samurai sword may be forgeries. The signatures that may be faked are normally those of renouned sword makers.
Some of the forgeries may date back to the time when the master sword maker was alive. In other cases the origin is more modern. The forgeries are normally perpetrated by an individual wanting to increase the value of the sword.
INFORMATION PROVIDED BY THE SIGNATURE
The information that can be obtained from interpreting the signature in the Samurai sword includes the following: Date, Swordmaker's name (Master), City in which the sword was made, etc.
Additional stamps in the same area provide the arsenal and period.
SIGNATURE BASICS
The signature is generally composed of 5 or 7 characters. The following section provides a breakdown of each type.
FIVE CHARACTER SIGNATURE
The following is an example of a tamg that has 5 characters in the signature.
Where the five character signature:
HI - Usually Province name
ZEN - Usually Province name
TADA - Usually the title
KUNI - Usually the makers name
SAKU - Usually the makers name
SEVEN CHARACTER SIGNATURE
The following is an example of a tamg that has 7 characters in the signature
TRANSLATING SAMURAI SWORD DATES
Some of the Samurai swords are dated. The dates are found in the tang of the sword. There were different methods that the swordsmith employed to date the blades. Some of them are discussed in this section of the website.
Dates are read from the top down. Dates are most commonly written on one side of the tang while the other side holds the master's signature. However, this is not always the case. there are times when the signature and date are located in the same side of the tang.
The characters employed to write a date consisted of numbers, written in kanji, and the symbols for year, month and day. See the following chart.
Additional characters such as those used to describe the different seasons of the year may have also been added to the date in order to indicate when in the year the sword was produced.
SOUTHERN COURT EXAMPLE
The following is an example of how a sword is dated using the Southern Nengo method. This is a sword from the Showa period, starting in 1926, which covers the WWII period. The dates were based on a period plus the number of years into the period where the sword was made. The date inscriptions on the sword are read from the top down.
The following picture illustrates the Japanese names for the different date components.
The following table provides a list of the different periods for sword making and the year it represents in the Western calendar.
ARSENAL MARKING
Here are some examples of the arsenal markings stamped in the tang. The stamp shown on the left photo was placed on the spine area. The stamp shown on the right photo was placed at the base of the tang.
PAINTED MARKINGS
As discussed earlier, there are times when the sword has engraved and painted markings. These are usually either production markings from the factory or arsenal markings. The following is an example of such case.
ADDITIONAL CHARACTERS IN THE SIGNATURE
There are examples where more characters than normally expected are found. The signed tang featured here is one of those instances.
One side of the tang has been marked primarily with date related information. The upper section of the inscription refers to the 2,604th year from the foundation of the empire. It was common for the Japanese to refer to years in terms where you had to add two numbers to come up with the proper date.
The other side of the tang includes a small saying: "I gladly give my life". Probably a refernce to the willingness of the soldier to commit to battle until death. The next section of the signature bears the name of the maker. What is interesting to note is that "Ikansai" was actually the middle name of the maker. However, it appears that in this case is being used as a first name. His last name was "Kunimori".
The entire set of characters basically states that Kunimori was a resident of Tokyo and he made the sword.
If you have an interest is seeing other Japanese Samurai swords, you can do so by going to our Japanese Samurai Swords Guide identification guide. Where we cover Samurai swords from all periods.
The Samurai sword can have a series of markings in the tang(Nakago) area. These markings are known as the signature(MEI). While a large number of swords bear some form of signature, it is important to notice that not all Samurai swords are signed.
Translating the signature found in the Samurai sword can be a challenging task. This section explains the basics of how to decypher the characters.
TYPES OF SIGNATURES
Most of the signatures are carved into the metal itself. In some of the World War Two period swords the markings are painted. Most of the time in red or white paint.
Some blades will contain both types of signatures, painted and carved/punched.
Additional markings may include arsenal stamps or the Showa (WWII) era stamp.
LOCATION OF THE SAMURAI SWORD SIGNATURES
The Samurai swords are signed in the area known as the tang. The tang is covered by the handle of the sword, which is normally secured to the tang via the use of one or two wooden pegs. Once the pegs are removed the handle comes off easily revealing the signatured.
Swords can be signed in one side or in both sides of the tang.
FORGED SIGNATURES
unfortunatelly some of the signatures in the Samurai sword may be forgeries. The signatures that may be faked are normally those of renouned sword makers.
Some of the forgeries may date back to the time when the master sword maker was alive. In other cases the origin is more modern. The forgeries are normally perpetrated by an individual wanting to increase the value of the sword.
INFORMATION PROVIDED BY THE SIGNATURE
The information that can be obtained from interpreting the signature in the Samurai sword includes the following: Date, Swordmaker's name (Master), City in which the sword was made, etc.
Additional stamps in the same area provide the arsenal and period.
SIGNATURE BASICS
The signature is generally composed of 5 or 7 characters. The following section provides a breakdown of each type.
FIVE CHARACTER SIGNATURE
The following is an example of a tamg that has 5 characters in the signature.
Where the five character signature:
HI - Usually Province name
ZEN - Usually Province name
TADA - Usually the title
KUNI - Usually the makers name
SAKU - Usually the makers name
SEVEN CHARACTER SIGNATURE
The following is an example of a tamg that has 7 characters in the signature
TRANSLATING SAMURAI SWORD DATES
Some of the Samurai swords are dated. The dates are found in the tang of the sword. There were different methods that the swordsmith employed to date the blades. Some of them are discussed in this section of the website.
Dates are read from the top down. Dates are most commonly written on one side of the tang while the other side holds the master's signature. However, this is not always the case. there are times when the signature and date are located in the same side of the tang.
The characters employed to write a date consisted of numbers, written in kanji, and the symbols for year, month and day. See the following chart.
Additional characters such as those used to describe the different seasons of the year may have also been added to the date in order to indicate when in the year the sword was produced.
SOUTHERN COURT EXAMPLE
The following is an example of how a sword is dated using the Southern Nengo method. This is a sword from the Showa period, starting in 1926, which covers the WWII period. The dates were based on a period plus the number of years into the period where the sword was made. The date inscriptions on the sword are read from the top down.
The following picture illustrates the Japanese names for the different date components.
The following table provides a list of the different periods for sword making and the year it represents in the Western calendar.
| Period Name | Year | Period Name | Year | Period Name | Year | |||||
| Kosho | 1455 | Genwa | 1615 | Meiwa | 1764 | |||||
| Choroku | 1457 | Kwan-Ei | 1624 | An-Ei | 1772 | |||||
| Kwansho | 1460 | Sho-Ho | 1644 | Tem-Mei | 1781 | |||||
| Bunsho | 1466 | Keian | 1648 | Kwansei | 1789 | |||||
| O-Nin | 1467 | Jo-O | 1652 | Ko-Wa | 1801 | |||||
| Bunmei | 1469 | Meireki | 1655 | Bunkwa | 1804 | |||||
| Cho-Ko | 1487 | Manji | 1658 | Bunsei | 1818 | |||||
| Entoku | 1489 | Kwanbun | 1661 | Tempo | 1830 | |||||
| Mei-O | 1492 | Em-Po | 1673 | Ko-Kwa | 1844 | |||||
| Bunki | 1501 | Tenwa | 1681 | Ka-Ei | 1848 | |||||
| Eisho | 1504 | Jo-Ko | 1684 | Ansei | 1854 | |||||
| Dai-Ei | 1521 | Genroku | 1688 | Man-En | 1860 | |||||
| Ko-Roku | 1528 | Ho-Ei | 1704 | Bunkyu | 1861 | |||||
| Tembun | 1532 | Shotoku | 1711 | Genji | 1864 | |||||
| Ko-Ji | 1555 | Ko-Ho | 1716 | kei-O | 1865 | |||||
| Eiroku | 1558 | Gembun | 1736 | Meiji | 1868 | |||||
| Genki | 1570 | Kwanpo | 1741 | Taisho | 1912 | |||||
| Tensho | 1573 | En-Ko | 1744 | Showa | 1926 | |||||
| Bunroku | 1592 | Kwanen | 1748 | Heisei | 1989 | |||||
| Keicho | 1596 | Horeki | 1751 |
ARSENAL MARKING
Here are some examples of the arsenal markings stamped in the tang. The stamp shown on the left photo was placed on the spine area. The stamp shown on the right photo was placed at the base of the tang.
PAINTED MARKINGS
As discussed earlier, there are times when the sword has engraved and painted markings. These are usually either production markings from the factory or arsenal markings. The following is an example of such case.
ADDITIONAL CHARACTERS IN THE SIGNATURE
There are examples where more characters than normally expected are found. The signed tang featured here is one of those instances.
One side of the tang has been marked primarily with date related information. The upper section of the inscription refers to the 2,604th year from the foundation of the empire. It was common for the Japanese to refer to years in terms where you had to add two numbers to come up with the proper date.
The other side of the tang includes a small saying: "I gladly give my life". Probably a refernce to the willingness of the soldier to commit to battle until death. The next section of the signature bears the name of the maker. What is interesting to note is that "Ikansai" was actually the middle name of the maker. However, it appears that in this case is being used as a first name. His last name was "Kunimori".
The entire set of characters basically states that Kunimori was a resident of Tokyo and he made the sword.
If you have an interest is seeing other Japanese Samurai swords, you can do so by going to our Japanese Samurai Swords Guide identification guide. Where we cover Samurai swords from all periods.
Japanese Samurai Sword Tang
The Japanese Samurai Sword Tang - This page is dedicated to the study of the Samurai Sword blade tang. The different aspects of its construction are discussed here. Several photos and drawings are provided to facilitate its understanding. This information is brought to you courtesy of MilitaryItems.com . The provider of military antiques and collectibles on the web.
The tang is the end of the blade opposite to the point. Its promary function is to provide a place where the handle of the sword can be attached.
The tang of the Samurai sword contains a good amount of information regarding the date, swordsmith, school/village and construction of the blade. It is important to note that not all of this information may be found at one time in every blade. Some tangs will contain less information than others.
TANG SHAPES (NAKAGO)
The tangs of the Samurai swords came in a variety of shapes. The following photographs feature some of the shapes. It is important to note that these are not all of the shapes that existed. The Japanese term to describe the shape is Nakago.
The following section shows pictures of the tangs and also provides a graphical interpretation as a means to provide a different way in which to look at the shape of the tang.
Tang type Funagata - This tang style is commonly found in swords from the Showa period (World War Two) as well as older blades.
Tang type Futsu - The tang featured here is found in most swords from the World war Two period (Showa).
Tang type Shiribari - This shape of tang is commonly found in blades that are from the early 1800's and older.
THE TANG FILING MARKS (YASURIME)
Another distinguishing factor found on various Samurai sword tangs are the filing marks. These consists of a series of straight lines that were applied by the swordsmith by using a file on the surface of the tang. The Japanese term used to describe the markings is Yasurime.
The following pictures and graphics illustrate the different types of tang file markings. Where available a photograph of the markings is provided. It is important to notice that the patterns shown here may not be all of the ones that were available but are the most commonly found.
FIRST SET OF FILE MARKS
 |  |  |
 |  |  |
| Gyaku Taka No Ha - This design of tang file markings is known as the "V" pattern due to the fact that its lines are very similar to the letter. This is a fairly common pattern. | Kesho - This is a more complicated design. The file markings are made in three different directions. | Kiri - The pattern formed by this design consists of a series of horizontal lines. This is a fairly common type. |
SECOND SET OF FILE MARKS
 |  |  |
| Higaki - Know as the "X" pattern due to the fact that the file marks follow the same pattern as an X. Also known as the checkered pattern. | Katte Agari - A file pattern consisting of perpendicular lines at an angle. The downward direction is from right to left. Very similar in design to the Sagari pattern except for the angle of inclination. | Kiri Sujikai - This tang file pattern consists of one side with a straigt set of lines then the other side angling downward. |
THIRD SET OF FILE MARKS
 | ||
 |  | |
| Sujikai - This pattern consists of a series of perpendicular lines at an angle. The downward direction goes from left to right. | Katte Sagari - A file pattern consisting of perpendicular lines at an angle. The downward direction is from right to left. Very similar in design to the Katte pattern except for the angle of inclination. |
This page is dedicated to the study of the Samurai Sword tang. The different aspects of its construction are discussed here. Several photos and drawings are provided to facilitate its understanding.
One of the most commonly asked questions is "How much is my Japanese sword worth?". A price guide is available and can be seen by visiting our Samurai Swords section. A trend can be observed. The present worth of the items in the collector's market is illustrated.
This service is provided free of charge to the visitor/enthusiast courtesy of MilitaryItems.com, a company dedicated to the preservation of military history and to providing quality military antiques and collectibles to museums, institutions and the general public.
THE TANG - TIP SHAPE
The tang of the Samurai sword comes in a variety of shapes. Some of these were created by the swordsmith as a trademark. Others are the result of the shortening of a blade. The shape of the tang is known as "Nakago-Jiri".
The following photos illustrate some of the different shapes of Nakago found on the swords.
 |  |  |  |
 |  |  |  |
| Kuri Jiri tang style. This type is characterized by the use of a smooth rounded surface. Composed primarily of a single line. | Haagari tang style. Two rounded lines are meeting at one point. Usually one line is shorter than the other. | Kengyo tang style. This tang tip is identified by the presence of teo straight lines meeting at one point where one line is usually shorter than the other. | Kiri tang style. This is the type of tang normally seen on swords that have been shortened. Consists of a flat end. |
 | |||
| |||
| Liyamagata Tang. This type is composed of three lines. Two of them coming to a small flat section found at the very top. |
If you would like to learn more about Samurai swords you may visit our link website di Katana Sword Indonesia
Japanese Learning
Articles Japanese Learning
Saigo Made Eizoku Suru
Persist to the End
We have provided here a few interesting articles for your enjoyment.
KENDO GLOSSARY OF TERMS
JAPANESE NEO-CONFUCIANISM
TSUKA SHORTENING
NIHON-TO
Blade Polishing
Tameshigiri with videos
Philosophical
The WAY by Don fogg
HARMONY by Antonio CeJunior
Techniques, Kata and Waza
ZNKR Seiteigata
Meishin Kyudojo – Kyudo Technique
Hyoho Niten Ichi Ryu
Tamiya ryu Iaijutsu
Shinkage Ryu Noble House Kenjutsu Dojo
Saigo Made Eizoku Suru
Persist to the End
We have provided here a few interesting articles for your enjoyment.
KENDO GLOSSARY OF TERMS
JAPANESE NEO-CONFUCIANISM
TSUKA SHORTENING
NIHON-TO
Blade Polishing
Tameshigiri with videos
Philosophical
The WAY by Don fogg
HARMONY by Antonio CeJunior
Techniques, Kata and Waza
ZNKR Seiteigata
Meishin Kyudojo – Kyudo Technique
Hyoho Niten Ichi Ryu
Tamiya ryu Iaijutsu
Shinkage Ryu Noble House Kenjutsu Dojo
Sword Information
How To Do
Hen Doku I Yaku
Change Poison to Medicine
We have attempted to answer some of the more frequent questions which have been asked over time. The information provided has been collected from a wide variety of sources and we hope that it helps.
Questions Pertaining to Swords:
Q. How do I select a sword that is suitable foe me??
A. Sword selection guidelines based on size.
Q. Is there a general glossary of Japanese sword terms??
A. Japanese Sword Glossary
Q. Is there a visual glossary of the Japanese Sword??
A. VISUAL JAPANESE SWORD BLADE
Q. What is the terminology used in describing a Japanese Sword Blade??
A. SWORD BLADE TERMINOLOGY
Q. What flaws in a Japanese sword should I be aware of???
A. JAPANESE SWORD FLAWS
Q. How do I recognize a good Japanese Sword??
A. How to Recognize a Good Sword
Q. How do I read the Mei (signiture) on a Japanese Sword Tang??
A. TIPS ON READING SWORD SIGNATURES
Q. What are the major historic provinces which produced Japanese Swords??
A. JAPANESE PROVINCES KANJI
Q. What are the common factory logos (kanji) for production Military swords??
A. JAPANESE SWORD COMPANY LOGOS
Q. What is the history of Japanese Sword Making??
A. History of Japanese Swords
Q. How is a Japanese Sword Made??
A. The making of a sword
Q. How do I recognize the Japanese Military swords??
A. JAPANESE MILITARY SWORDS
Q. Is there a good general form for collecting information on Japanese Swords??
A. Japanese Sword Inventory Sheet
Q. What is differentially clay tempered mean??
A. Yake-ire and the use of Tsuchi
Questions Pertaining to Sword Mountings:
Q. What are the mountings of a Japanese Sword??
A. Japanese Sword Mountings
Q. What is the historical background of the Japanese Sword mountings??
A. A Brief History of the Development of Koshirae
Q. Where can I find information on Tsubas??
A. Tsuba (Art of the Japanese Sword)
Questions Pertaining to Sword Maintenance:
Q. I have bought a traditional sword cleaning kit, how do I use it??
A. Care and Maintenance of your new Japanese Sword (simplified)
JAPANESE SWORD CARE GUIDE (traditional)
Q. How do I sharpen my new Sword??
A. Sword Sharpening
Q. Where can I find information on Sword Polishing??
A. A Hybrid approach to sword polishing
Q. Where can I find more information on Sword Restoration??
A. Gai-Jins guide to sword restoration.
Other Questions:
Q. How do I tie a sageo on my saya??
A. sageo TYING TECHNIQUES
Q. How Are Mekugi Rods Made??
A. The Making of Mekugi
Q. Where can I buy Tameshigiri supplies??
A. Mugen Dachi Tatami Omote for Tameshigiri
Q. What types of clothing were worn by the Samurai??
A. A History of Japanese Clothing
Q. What are some of the Various Martial Arts Forms/Styles???
A. A GLOSSARY OF THE MARTIAL ARTS
Q. Where can I find information on Chinese swords??
A. CHINESE SWORD HISTORY
Q. Where can I find information of the types and use of Shuriken??
A. Secrets of the Shuriken, the Art of Blade Throwing
If you haven’t found it here or require more in depth research we recommend you visit Richard Stein’s website at:
The Japanese Sword Index
Harmony for Natural and Universal
What should preside to our condition as human beings is to understand the entire mechanism of Nature, to which we belong.
In Nature everything is balanced: from day to night, the four seasons, from cold to heat, from light to darkness, from heavy to lightness. Everything refers to the natural order (of Nature) and to its rhythms.
However, when we move away from what is natural, that is, what is part of Nature, of which we are an integral part, unbalance happens. And of this lack of equilibrium the lack of harmony arises, which is nothing but to go against the order of nature in its deep meaning.
Heaven and Earth
For the Chinese, the term Heaven meant not only the deity, but the entire Universe. Earth was understood as Nature in its whole and very early the Chinese understood that there was a connection between Heaven and Earth through the concept of Tai Qi:
The Yin and Yang, the balance of opposites and the duality of life. Represented by the symbolic Tai Qi, Yin and Yang are the negative and positive energies governing all human life and all things in the universe. Yin the black segment in the Tai Qi is the heavy, passive, feminine, receptive or contracting quality of nature and life. Yang the white segment in the Tai Qi is the rising, forceful, masculine expansive side of nature and life.
For the Chinese, the term Heaven meant not only the deity, but the entire Universe. Earth was understood as Nature in its whole and very early the Chinese understood that there was a connection between Heaven and Earth through the concept of Tai Qi:
The Yin and Yang, the balance of opposites and the duality of life. Represented by the symbolic Tai Qi, Yin and Yang are the negative and positive energies governing all human life and all things in the universe. Yin the black segment in the Tai Qi is the heavy, passive, feminine, receptive or contracting quality of nature and life. Yang the white segment in the Tai Qi is the rising, forceful, masculine expansive side of nature and life.
Neither the qualities of Yin and Yang are better than each other; they are equally attracted, repelled, and dependent and stimulated by each other, hence the small spot of the opposite colour in each segment. They are constantly in flux flowing back and forth, expanding, contracting, and maintaining a balance within the universe.
Therefore the positive energy does not necessarily mean Goodness nor does the negative principle means Evil. Day is not better than Night, it is just its opposite.
It is in this sense that when Yin and Yang were formulated through the Tai Qi it referred to what exists in both the Universe and on Earth.
Today science explains that electricity can only flow, like magnetism, if we have a negative and positive poles. Magnetism, electricity, gravity, all are natural forces that exist both on Earth and the Universe. So this is the connection between Heaven and Earth. The Universe pulses with all kinds of energy flows, magnetism, radio signals, gravity and what not. For this reason the Tai Qi principle is Universal, that is, it is part of the Universe.
In just a century we managed to seriously damage our planet. We destroy the rain forests, the ozone layers and we are beginning to feel the reaction of Nature. Why, because we parted from Nature in our “civilized ways”.
We dare want to control the Earth instead of understanding that we are part of it. Now everything is already changing. However we still consider ourselves “civilized”, despite being drawn away from Nature.
Conflict
Earth has no agenda, the Universe has no agenda. Nature exists beyond good or evil, animals have no agenda, and they just accomplish their survival task. Humans were the only ones to create agendas, to want power, to have greed. This drove us away from what the Taoists call The Way, which is to seek for a deeper understanding of everything under Heaven, as Chinese civilization so wisely put it.
Conflict always existed among humans because of selfishness and of the need to possess and control.
Earth has no agenda, the Universe has no agenda. Nature exists beyond good or evil, animals have no agenda, and they just accomplish their survival task. Humans were the only ones to create agendas, to want power, to have greed. This drove us away from what the Taoists call The Way, which is to seek for a deeper understanding of everything under Heaven, as Chinese civilization so wisely put it.
Conflict always existed among humans because of selfishness and of the need to possess and control.
When we see two people talking heatedly in a TV show, what we see is that none of them is listening to the other. They are only interested in conveying their views and the result is always catastrophic because both become deaf and at the same time they show their autism. This is far from wisdom, the real conclusion that men who try to follow the Way draw from observing the laws of Nature.
Harmony is wisdom. Wisdom is the understanding of yesterday and tomorrow and of the laws of Nature and the Universe, yet living one day at a time. Conflict is what the Archimedes’ Principle explains.
When things cannot be changed, it is useless to try to change them. Each thing has its own intrinsic nature. It must be understood and respected. In fact what happens is that we are seeing something under our own biased perspective, not under a neutral perspective which would enable us to understand it better.
Therefore, when Buddhism says that true form has no form, it is not rhetoric, and it means more than its literal meaning:
Observe the waters of a river. Do they fight the rocks in the river bed? No, they circumvent the rocks. However we do tend to forget this, and instead, we try to impose our points of view. When forget the lessons of nature, we do loose our possibility to achieve more wisdom.
Therefore, water has no shape or form. It takes the form or shape of its vessel. This is the way of Nature. Having no shape is true shape.
Observe the waters of a river. Do they fight the rocks in the river bed? No, they circumvent the rocks. However we do tend to forget this, and instead, we try to impose our points of view. When forget the lessons of nature, we do loose our possibility to achieve more wisdom.
Therefore, water has no shape or form. It takes the form or shape of its vessel. This is the way of Nature. Having no shape is true shape.
Sight and Vision
The Japanese used to categorize sight and vision in five different ways:
Very few in the West and even in the East understand the concept of Shingen. The word is composed of Shin, which also signifies Kôkoro (heart) and it is connected with the spirit, while gen means both eye and sight, vision.
From this heart associated with sight or vision, we have a first transcription of what is compassionate vision. It is important to state that the word compassion is composed of passion (the original meaning is “suffering”) hence compassione is sharing the suffering.
This being clarified, compassionate vision means the clairvoyant view of a vision void of passion (now in the sense of a prejudice, a way of seeing things, a vision blinded by emotions). Passion becomes, therefore, uncontrolled emotion.
Shingen, the compassionate vision, therefore the clairvoyant vision has already surpassed the uncontrolled emotions.
Nikugen • the naked vision
This is nothing more than the simple image received my the retina, void of any mental or emotional process, as it is known that the mechanical vision is purely of the realm of optics.
First and foremost, Nikugen is entirely superficial. It is the lowest of the five levels of vision. The naked vision does not carry any deeper understanding and does not see beyond the objects in its field of vision. It only “sees” the side of the objects that are facing the viewer. These characteristics do not simply apply to the physical vision. Someone who wants to view a problem using Nikugen only sees its most superficial aspects. For instance, without money the person with Nikugen realizes he is without anything. If he wishes to eat he will only realize he has a total impossibility to buy food. This bi-dimensional vision blinds its bearer of other possibilities such as trading work for food, or selling something to obtain money for food.
Tengen • the neutral perspective
The following stage of vision development is Tengen, literally meaning “celestial vision” not in the angelical or transcendental sense, but only on the point of view of the observer or viewer.
With Tengen, the observer is no bound to his point of view, but rather under a neutral perspective as if seeing the entire scene/situation from a great height. Literally Tengen allows you to view the “forest by the trees”.
Therefore, with a less self-centered perspective, the vision of the observer is not so susceptible to the distortions of pre-conceived ideas, emotional reactions or life conditions.
Using the same previous examples, someone with this perspective can now perceive the hidden side of objects. Using knowledge and experience his mind will allow for a broader vision. That is, someone using a neutral perspective, instead of strictly perceiving the lack of money for food, will see the situation as a need for food, which offers new options for a solution.
However still with this elevated perspective, the observer’s emotions, prejudices, and life circumstances interfere with the real understanding of his vision which is still limited by what his eyes see.
Egen • the interpretative vision
Literally it means thinking vision. It is in a higher level, in which the received image in the brain is better understood trough the perception of the implications of things and observed situations.
However it is important to note that it is not an analytical thought. It is rather an automatic and subconscious process in which the sight and the mind operate together and interpretation of the images received by the brain, producing a much deeper interpretation than the mere physical sight.
An example most certainly experienced by many: someone observing two cars coming to a crossing at the same time, from two perpendicular streets which do not allow each driver to see the other, can see an accident about to happen.
If we saw this seen with a Nikugen or Tengen vision, we would just see two cars moving, without being able to establish a cause relation. Unfortunately, most people possess on interpretative sight, however they lack Egen at another level.
With true Egen we would recognize a clash of personalities or wills would be imminent. We would see an event not only through its physical shape, but also in the context of the forces in movement and the effects that would later result as an immediate consequence.
The real benefit with Egen is that the observer is now capable to naturally and subconsciously the cause and effect relationship of things that he observes or participates in. However, Egen still has insufficiencies.
Shingen-Hōgen • the compassionate sight.
The next level of vision, Shingen, provides the most vital ingredient of all: compassion (as explained earlier) the spark that motivates the warrior of light.
Compassionate in the sense that it is not charitable, but rather of true solidarity.
With this compassionate vision, the warrior of light sees an event not only through his own perspective, or how it will affect him, but also how the event will affect the lives of all those involved. Moreover he sees with understanding and compassion for all those involved, in such a way that his action will not be guided by what is more convenient to himself, but to the society or the community in its whole, independently of the scale of the concept.
The warrior of light does not look at feelings, actions or wishes of others as right or wrong. This way his judgement will not be blinded by the need to prove himself right or to surpass the natural hesitation that someone else has to admit that he is right or wrong. What is important and what motivates him is what is more valuable.
In a conflict between personalities, the warrior of light observes the visions of others as alternatives, then, using Shingen he analyzes which alternative can be more valuable for all.
The evaluation of the warrior of light is in absolute tune with the unchanging laws of Nature. He understands the principles of cause and effect and that even “wrong” actions are originated by the powers of cause and effect.
Sometimes Shingen is referred to as Hōgen, whose literal translation can be best understood as Universal Perspective, in the sense that having equal compassion for all people under a natural and unchanging order, in which the warrior of light may choose to intervene.
It is under this universal order of things that the warrior of light seeks to observe and act in the most beneficial way.
Unlike the ancient samurai, today’s warrior of light or of global peace recovers these principles for actions more noble than warfare.
Therefore, those who see through Shingen-Hōgen has walked through the primitive Nikugen until Shingen-Hōgen. He gained more insight, more compassion became more natural by tuning in to the laws of the Universe.
Quoted from Flashin Steel by Masayuki Shimabukuro and Leonard J. Pellman
Of Good and Evil
What distinguishes Good from Evil, is the type of energy that is manifested from each of these principles.
Good possess a characteristic that is altruistic, generous, and luminous because it is enlightened. It follows the laws of Nature, because both Good and Evil are of earthly nature e specific to mankind. Animals are not bad or good, they just act according to the laws of Nature, amongst which is survival.
What we call Evil comes from a human energy of negative type, that is, something still very confused, containing selfishness and living in the darkness where it cannot see and therefore it manifests itself under the limited scope in which it dwells.
What distinguishes Good from Evil, is the type of energy that is manifested from each of these principles.
Good possess a characteristic that is altruistic, generous, and luminous because it is enlightened. It follows the laws of Nature, because both Good and Evil are of earthly nature e specific to mankind. Animals are not bad or good, they just act according to the laws of Nature, amongst which is survival.
What we call Evil comes from a human energy of negative type, that is, something still very confused, containing selfishness and living in the darkness where it cannot see and therefore it manifests itself under the limited scope in which it dwells.
Nature does not know Good or Evil. The Universe does not know Good or Evil as well. Only man possesses this characteristic that is intrinsic to him. It is up to him to choose.
We all have fallen into the temptation of proclaiming ourselves the owners of truth. We hear proclamations about Evil that are but polarizations, which generate lack of harmony.
For this reason we can understand that The Way has no name. It is nameless, and when we try to define it, it is not the Way anymore. Therefore those who follow the Way do not proclaim anything.
Our Ego is our worst enemy. If we can fight it we have won an important battle for our own selves. For this reason, a man called Jeshua, of the tribe of David, who was part of the Nazarenes sect, (from the Aramaic word Nazar ) said in his sermon of the Mountain:
Blessed are the poor in spirit, for theirs is the kingdom of heaven.
This must be translated correctly as the oldest Gospel was written in Greek more than 130 years after the crucifixion: Blessed are the simple (void of Ego), for theirs is the kingdom of inner peace (heaven).
Buddha also preached that desire was the cause of all suffering, and only removing ourselves of all illusions could we know the essence of things. Peeling an onion layer by layer will lead us into emptiness, the great Void that contains everything.
Hence, knowing the essential is the way to free ourselves.
We were born naked and we will return to earth without anything. Only the spirit will survive. It is the perfection of the spirit that we must pursue, for that is the pursuit of Harmony, the inner peace.
Harmony is, therefore both Natural and Universal.
Antonio Cejunior – BLADESIGN
Exercises Using a Katana Sword
How to swing a sword
There are many differences in the way of swinging a sword by school and so on.
How to swing the sword which we know is introduced here.
But, details can't be transmitted by the sentence.
Therefore, I want to increase detailed explanations and so on later.
Approximate shape was written in the picture.
Therefore, approve it when you can't understand it in the angle of the picture.
Having the teacher of iaido teach directly of the method that a sword is used is the
best.
About the Beginner
The orbit of the proper sword is said as "Hasuji".
A beginner must make the practice which makes "Hasuji" right first more than
swinging it fast.
If "Hasuji" is right, sound rings with the sword which "Hi" carves.
"Hi" is the thing of the groove carved in the sword body.
1, it lighten the weight of the sword.
2, it make a sword not break easily.
3, it ease a shock.
It is good to practice it by using iaito and so on which a gutter carves at first.
Attention
When "mekugi" becomes loose, a sword body comes out of the hilt.
Never turn the edge of the sword to the person.
It is very dangerous to turn the edge of the sword to the person.
Be careful not to hurt yourself and a unrelated person when dealing with a sword.
How to hold a sword
Avoid the fuchigane of the hilt first, and hold a sword lightly with your right hand. And
leave a left hand from the right hand about 4cm(It varies according to the length of
the hilt.), and hold a hilt.
Tighten a little finger and a third finger strongly, and then tighten the middle finger
lightly. And try to float a thumb and a forefinger a little, and hold a hilt. It's the same in
both hands.
At this time, there must not be looseness in the hand. But, don't hold a hilt with all
your strength. A sword is fixed when a hilt is held with all your strength. Then, you
can't swing a sword so that you may think.
The distribution of the power of the right hand and the left hand is about 4(the right) : 6(the left).
Bend an elbow a little, and remove the power of the shoulder a little. And
tighten both armpits lightly. Then, space between the hilt head and the navel is about one fist.
How to „cut a koiguchi“
The part of the entrance of the sheath is said as Koikuchi. Because it has a shape
like the mouth of the carp. A sword is pulled out a little when a sword guard is pushed
in the thumb of the left hand. This is said as "Cut a Koikuchi."
Grip a koikuchi first with your left hand, and put the thumb of the left hand on the
inside on the sword guard. And, push out a sword guard between the point of the
thumb of the left hand and the first joint. At this time, you must not put a thumb right
over the edge of the sword. This is the most careful point. When a thumb is put right
on the edge, a finger is cut on the edge of the sword.
Try to push up a hilt with your right hand from the bottom, and pull out a sword. Then,
a sword comes out easily along the curve of the sheath.
Basic Swing
When a sword is swung, it is the most important that the biggest power is applied to
the kissaki. But, the power sometimes goes into the shoulder when a beginner tries
to put the power in the kissaki. A sword isn't swung fast when the power goes into the
shoulder. Remove the power of the shoulder and the arm, and swing a sword by the
point which throws a fishing rod. Swing a sword by a feeling that a kissaki is thrown
toward the target. Then, stretch both arms enough, and try to draw a big circle. At this
time, the orbit of the sword must always pass through the center of the body. Tighten
a little finger and a third finger strongly when swinging down a sword.
After you finish swinging a sword, make the hilt head of the sword come in front of
the navel. Space between the hilt head and the navel is about one fist. And turn a
kissaki a little below from the level. Then, bend an elbow a little, and remove the
power of the shoulder. And tighten both armpits lightly.
The distribution of the power of the right hand and the left hand is about 4(the right) :
6(the left). The orbit of the sword deviates when the power goes in right hand too
much.
Level (Right)
A fundamental principle is the same as "Basic swing".
But, a sense is really wrong because it becomes horizontal from the vertical.
Therefore, the orbit of the sword deviates easily very much
A point is almost the same as "Basic swing". Therefore, swing it by a feeling that a
kissaki is thrown.
An attention point is to stretch its right arm firmly. When a right arm bends, a hard
target can be hard to cut with a sword.
It is because an elbow becomes a cushion and the power is absorbed.
Level (Left)
A sense is a little different from "Level (right)". "Level (left)" becomes the shape which
swings a bat easily. Be careful, because "Hasuji" deviates when swing becomes the
shape which swings a bat.
A point is almost the same as "Basic swing". Therefore, swing it by a feeling that a
kissaki is thrown.
An attention point is to stretch left arm firmly. Be careful that an elbow must not bend
because an elbow bends easily when "Level (left)" is done.
Kesa Right
"Kesa" is the clothes of the Japanese priest. It is the rectangular cloth to put on the
right shoulder from the left armpit.
Therefore, it is said as "Kesagiri" that it is cut with the sword from an enemy's
shoulder to the armpit.
A sense looks like "Basicswing", "Kesagiri" is thought that it can be done soon.
The power may not go into "kissaki" when it changes from "2" to "3". This is because
an arm isn't stretched enough.
Then, the orbit of the sword draws a little circle. Therefore, the character of the sword
isn't being made use of.
Therefore, stretch an arm enough, and swing it.
Kesa (left)
Because a sense is almost the same as "Basic swing", "Kesa (left)" is thought that it
can be done soon.
When changing from "1" to "2", be careful that the power doesn't go into your right
hand too much.
"Hasuji" deviates when the power goes into your right hand too much. The point of
the rest is about the same as "Basicswing".
Try to stand an edge a little when "Hasuji" deviates. A beginner's case, there are
many cases that an edge becomes oblique too much.
Nukitsuke
A Nukitsuke is the skill which can cope with an enemy's preemptive attack. Of
course, it is effective in the preemptive attack toward the enemy as well. A Nukitsuke
is the important skill which a battle is decided as at a moment.
(1) Bend both knees a little, and stabilize the posture of the body.
(2) Take the left foot forward a little, and then put a hand on the hilt. Do "cut a
Koikuchi" in the thumb of the left hand, and hold a hilt with your right hand from the
bottom. At this time, do it quietly so that an enemy may not notice this movement.
Then, you must not hold a hilt with all strength.
(3) Take the right foot forward greatly, and pull out a sword with turning the edge of
the sword to the top. A beginner may slant a sheath from the beginning. Then, a
sword is easy to pull out from the sheath. (There is a school which slants a sheath
from the beginning without turning the edge of the sword to the top, too.) When a
sword is pulled out, you must not pull it out fast suddenly. Pull it out to become fast
gradually after beginning to pull out it. Then, pull it out from kissaki to 9cm.
(4) Slant a sheath horizontally the moment a sword pull out of the sheath. Then, Cut
a target horizontally with a sword quickly. At this time, pull a sheath backward with
your left hand. This is said as "Sayabiki". If you don't do a "Sayabiki", a sheath is
likely to be shaved by the sword's edge. Nukitsuke's power increases when this
reaction of the "Sayabiki" is used. The height of the right fist after you finished
swinging a sword is the height of the shoulder. And it is improper to raise a sword
point more than the horizontal.
Hasuji
The performance of the Japanese sword is very excellent as a cutlery. But, how to
handle a Japanese sword is very difficult.
Because the body of the Japanese sword is slender and curves. The wide shape of
the body width is more suitable for the cutlery to cut an object. Then, the straight
sword's body is suitable for stabbing an object.
If a Hasuji deviates, a target can't be cut with the Japanese sword.
(1) When a target is hard, the sword is repeled, and a sword body may break.
(2) And, an edge sometimes slides when a bamboo and so on is cut with a sword.
This is because the surface of the bamboo slides easily.
Of course, there is a point which a Japanese sword is superior to, too. A Japanese
sword has a curve moderately. Therefore, the shock is absorbed when a target is cut
with the Japanese sword. Then, a target can be cut easily with a sword without
adding the useless power if a Hasuji is correct.
But, it can't do easily if the person who uses a Japanese sword lacks skill. Therefore,
when an amateur tries to cut straw(Makiwara) and so on with a sword, an edge cuts
into the straw(Makiwara), and it can't be cut well with a sword.
Cut the target which never damages an edge with a sword, and ascertain whether a
Hasuji is correct. Then, use the target which resistance is as small as possible in so
that a sword body may not warp. (Thin paper and so on is good.)
Tameshigiri
How to cut a target(Makiwara) with a sword is being explained here. The Japanese
sword cuts very well. Therefore, even if you don't put the power, you can cut a target
easily with a sword. But, when you handle a sword carelessly, you can't cut a target
well with a sword, and a sword sometimes bends.
(1) Swing up a sword as the figure. At this time, stretch an elbow and a wrist.
Then, Lower the left foot in the time of Kesa (left).
(Lower the right foot in the time of Kesa (right)).
This is the stance not to cut own foot with a sword.
(2) Swing down a sword under the condition that an elbow and a wrist are stretched.
At this time, be conscious so that the power may go into kissaki. The power must not
go into the root of the sword.
You can't cut a target well with a sword if an elbow and a wrist curve when a sword
hits a target.
(3) At this time, be careful not to cut your foot with a sword, and be careful that a
sword doesn't hit ground. Do Chiburi after cutting a target with a sword, and take care
of a sword.
Then, put a sword in the sheath.
Imagine that there are at least three Makiwaras if you can't cut Makiwara well with a
sword. It often fails when a beginner cuts Makiwara with a feeling that only one
Makiwara is cut with a sword.
There are many differences in the way of swinging a sword by school and so on.
How to swing the sword which we know is introduced here.
But, details can't be transmitted by the sentence.
Therefore, I want to increase detailed explanations and so on later.
Approximate shape was written in the picture.
Therefore, approve it when you can't understand it in the angle of the picture.
Having the teacher of iaido teach directly of the method that a sword is used is the
best.
About the Beginner
The orbit of the proper sword is said as "Hasuji".
A beginner must make the practice which makes "Hasuji" right first more than
swinging it fast.
If "Hasuji" is right, sound rings with the sword which "Hi" carves.
"Hi" is the thing of the groove carved in the sword body.
1, it lighten the weight of the sword.
2, it make a sword not break easily.
3, it ease a shock.
It is good to practice it by using iaito and so on which a gutter carves at first.
Attention
When "mekugi" becomes loose, a sword body comes out of the hilt.
Never turn the edge of the sword to the person.
It is very dangerous to turn the edge of the sword to the person.
Be careful not to hurt yourself and a unrelated person when dealing with a sword.
How to hold a sword
Avoid the fuchigane of the hilt first, and hold a sword lightly with your right hand. And
leave a left hand from the right hand about 4cm(It varies according to the length of
the hilt.), and hold a hilt.
Tighten a little finger and a third finger strongly, and then tighten the middle finger
lightly. And try to float a thumb and a forefinger a little, and hold a hilt. It's the same in
both hands.
At this time, there must not be looseness in the hand. But, don't hold a hilt with all
your strength. A sword is fixed when a hilt is held with all your strength. Then, you
can't swing a sword so that you may think.
The distribution of the power of the right hand and the left hand is about 4(the right) : 6(the left).
Bend an elbow a little, and remove the power of the shoulder a little. And
tighten both armpits lightly. Then, space between the hilt head and the navel is about one fist.
How to „cut a koiguchi“
The part of the entrance of the sheath is said as Koikuchi. Because it has a shape
like the mouth of the carp. A sword is pulled out a little when a sword guard is pushed
in the thumb of the left hand. This is said as "Cut a Koikuchi."
Grip a koikuchi first with your left hand, and put the thumb of the left hand on the
inside on the sword guard. And, push out a sword guard between the point of the
thumb of the left hand and the first joint. At this time, you must not put a thumb right
over the edge of the sword. This is the most careful point. When a thumb is put right
on the edge, a finger is cut on the edge of the sword.
Try to push up a hilt with your right hand from the bottom, and pull out a sword. Then,
a sword comes out easily along the curve of the sheath.
Basic Swing
When a sword is swung, it is the most important that the biggest power is applied to
the kissaki. But, the power sometimes goes into the shoulder when a beginner tries
to put the power in the kissaki. A sword isn't swung fast when the power goes into the
shoulder. Remove the power of the shoulder and the arm, and swing a sword by the
point which throws a fishing rod. Swing a sword by a feeling that a kissaki is thrown
toward the target. Then, stretch both arms enough, and try to draw a big circle. At this
time, the orbit of the sword must always pass through the center of the body. Tighten
a little finger and a third finger strongly when swinging down a sword.
After you finish swinging a sword, make the hilt head of the sword come in front of
the navel. Space between the hilt head and the navel is about one fist. And turn a
kissaki a little below from the level. Then, bend an elbow a little, and remove the
power of the shoulder. And tighten both armpits lightly.
The distribution of the power of the right hand and the left hand is about 4(the right) :
6(the left). The orbit of the sword deviates when the power goes in right hand too
much.
Level (Right)
A fundamental principle is the same as "Basic swing".
But, a sense is really wrong because it becomes horizontal from the vertical.
Therefore, the orbit of the sword deviates easily very much
A point is almost the same as "Basic swing". Therefore, swing it by a feeling that a
kissaki is thrown.
An attention point is to stretch its right arm firmly. When a right arm bends, a hard
target can be hard to cut with a sword.
It is because an elbow becomes a cushion and the power is absorbed.
Level (Left)
A sense is a little different from "Level (right)". "Level (left)" becomes the shape which
swings a bat easily. Be careful, because "Hasuji" deviates when swing becomes the
shape which swings a bat.
A point is almost the same as "Basic swing". Therefore, swing it by a feeling that a
kissaki is thrown.
An attention point is to stretch left arm firmly. Be careful that an elbow must not bend
because an elbow bends easily when "Level (left)" is done.
Kesa Right
"Kesa" is the clothes of the Japanese priest. It is the rectangular cloth to put on the
right shoulder from the left armpit.
Therefore, it is said as "Kesagiri" that it is cut with the sword from an enemy's
shoulder to the armpit.
A sense looks like "Basicswing", "Kesagiri" is thought that it can be done soon.
The power may not go into "kissaki" when it changes from "2" to "3". This is because
an arm isn't stretched enough.
Then, the orbit of the sword draws a little circle. Therefore, the character of the sword
isn't being made use of.
Therefore, stretch an arm enough, and swing it.
Kesa (left)
Because a sense is almost the same as "Basic swing", "Kesa (left)" is thought that it
can be done soon.
When changing from "1" to "2", be careful that the power doesn't go into your right
hand too much.
"Hasuji" deviates when the power goes into your right hand too much. The point of
the rest is about the same as "Basicswing".
Try to stand an edge a little when "Hasuji" deviates. A beginner's case, there are
many cases that an edge becomes oblique too much.
Nukitsuke
A Nukitsuke is the skill which can cope with an enemy's preemptive attack. Of
course, it is effective in the preemptive attack toward the enemy as well. A Nukitsuke
is the important skill which a battle is decided as at a moment.
(1) Bend both knees a little, and stabilize the posture of the body.
(2) Take the left foot forward a little, and then put a hand on the hilt. Do "cut a
Koikuchi" in the thumb of the left hand, and hold a hilt with your right hand from the
bottom. At this time, do it quietly so that an enemy may not notice this movement.
Then, you must not hold a hilt with all strength.
(3) Take the right foot forward greatly, and pull out a sword with turning the edge of
the sword to the top. A beginner may slant a sheath from the beginning. Then, a
sword is easy to pull out from the sheath. (There is a school which slants a sheath
from the beginning without turning the edge of the sword to the top, too.) When a
sword is pulled out, you must not pull it out fast suddenly. Pull it out to become fast
gradually after beginning to pull out it. Then, pull it out from kissaki to 9cm.
(4) Slant a sheath horizontally the moment a sword pull out of the sheath. Then, Cut
a target horizontally with a sword quickly. At this time, pull a sheath backward with
your left hand. This is said as "Sayabiki". If you don't do a "Sayabiki", a sheath is
likely to be shaved by the sword's edge. Nukitsuke's power increases when this
reaction of the "Sayabiki" is used. The height of the right fist after you finished
swinging a sword is the height of the shoulder. And it is improper to raise a sword
point more than the horizontal.
Hasuji
The performance of the Japanese sword is very excellent as a cutlery. But, how to
handle a Japanese sword is very difficult.
Because the body of the Japanese sword is slender and curves. The wide shape of
the body width is more suitable for the cutlery to cut an object. Then, the straight
sword's body is suitable for stabbing an object.
If a Hasuji deviates, a target can't be cut with the Japanese sword.
(1) When a target is hard, the sword is repeled, and a sword body may break.
(2) And, an edge sometimes slides when a bamboo and so on is cut with a sword.
This is because the surface of the bamboo slides easily.
Of course, there is a point which a Japanese sword is superior to, too. A Japanese
sword has a curve moderately. Therefore, the shock is absorbed when a target is cut
with the Japanese sword. Then, a target can be cut easily with a sword without
adding the useless power if a Hasuji is correct.
But, it can't do easily if the person who uses a Japanese sword lacks skill. Therefore,
when an amateur tries to cut straw(Makiwara) and so on with a sword, an edge cuts
into the straw(Makiwara), and it can't be cut well with a sword.
Cut the target which never damages an edge with a sword, and ascertain whether a
Hasuji is correct. Then, use the target which resistance is as small as possible in so
that a sword body may not warp. (Thin paper and so on is good.)
Tameshigiri
How to cut a target(Makiwara) with a sword is being explained here. The Japanese
sword cuts very well. Therefore, even if you don't put the power, you can cut a target
easily with a sword. But, when you handle a sword carelessly, you can't cut a target
well with a sword, and a sword sometimes bends.
(1) Swing up a sword as the figure. At this time, stretch an elbow and a wrist.
Then, Lower the left foot in the time of Kesa (left).
(Lower the right foot in the time of Kesa (right)).
This is the stance not to cut own foot with a sword.
(2) Swing down a sword under the condition that an elbow and a wrist are stretched.
At this time, be conscious so that the power may go into kissaki. The power must not
go into the root of the sword.
You can't cut a target well with a sword if an elbow and a wrist curve when a sword
hits a target.
(3) At this time, be careful not to cut your foot with a sword, and be careful that a
sword doesn't hit ground. Do Chiburi after cutting a target with a sword, and take care
of a sword.
Then, put a sword in the sheath.
Imagine that there are at least three Makiwaras if you can't cut Makiwara well with a
sword. It often fails when a beginner cuts Makiwara with a feeling that only one
Makiwara is cut with a sword.