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Japanese medieval swords: history, classification and manufacturing features. Japanese samurai warrior sword The fighting qualities of Japanese swords and comparing them with European swords

There are many legends about Japanese swords, often unjustified. Probably a lot of people, when asked what the name of a Japanese sword is, will answer - Katana. This is partly correct, but only partly. Classifying Japanese swords is not an easy task. The simplest classification, in my opinion, is by length.

It is known that the samurai carried two swords - long and short. This pair was called Daisho(lit. “greater and lesser”) and consisted of Daito (“greater sword”), we will call it Katana, which was the main weapon of the samurai, and Seto (“lesser sword”), in the future Wakazashi, which served as a spare or additional weapon, used in close combat, for cutting off heads or hara-kiri, if the samurai did not have a Kusungobu or Tanto dagger specially designed for this. If only samurai and aristocrats were allowed to wear the large Katana sword, then artisans and merchants had the right to wear Wakazashi.

Kusungobu - melee dagger

So the long sword was called Daito (Katana)— 95-120 cm, short — Seto (Wakazashi)- 50-70 cm. The handle of a Katana is usually designed for 3.5 fists, Wakazashi - for 1.5. The blade width of both swords is about 3 cm, the thickness of the back is 5 mm, while the blade has a razor sharpness. The handle is usually covered with shark skin or wrapped in such a way that the handle does not slip in the hands. Katana weight is about 4 kg. The guard of both swords was small, only slightly covering the hand, and had a round, petal or multifaceted shape. It was called "tsuba".

Katana and other Japanese swords were stored on a special stand - Katanakake.

Katana has several varieties, one of them is Ko-katana (kokatana) - a variant of a short katana, included together with a katana in a regular samurai set of edged weapons. The handle of the kokatana is straight without a bow, the blade is slightly curved. The specimen described in the domestic literature has a length of 690 mm and a blade length of 520 mm.

Kokatana is a type of katana

The katana was attached to the belt or behind the back. Tied with a special Sageo cord, this cord could also be used to bind the enemy. To carry a katana behind the back, a special sheath was used (Watarimaki is the part of the sheath of a Japanese bladed weapon that touches the back when worn). The sheath has a coupling - a ring that covers the sheath, with the help of which it is attached to a sword belt or belt.

Katana is the most modern and advanced type of Japanese edged weapon; its production has been improved over the centuries; the predecessors of the katana were:

  • Tati - a sword common in Japan from the 10th to the 17th centuries, equal in length to the Katana. Although Katana swords also have a decent amount of blade curvature, it is generally less curvature than Tati's. Their external decoration also differs. It is much simpler and stricter than Tati’s. Has a round tsuba. The tachi was usually carried with the blade facing down in tandem with a koshigatana.
  • Tanto - small samurai sword.
  • Kozuka - Japanese combat knife used as a bladed or throwing weapon. IN Everyday life served as a household knife.
  • Ta-chi - a single-edged sword of slight curvature, worn behind the back. Total length 710 mm.

In addition to Daise, a samurai could also wear Nodachi - "field sword" with a blade more than a meter long and a total length of about 1.5 m, sometimes its length reached three meters! Several samurai wielded such a sword at once, and its only use was to defeat mounted troops.

Nodachi

Katana is the strongest sword in the world

The technology for producing a katana is very complex - special processing of steel, multi-layer (multiple) forging, hardening, etc. Katanas are the strongest swords in the world, they are capable of cutting materials of almost any hardness, be it meat, bones, iron. Masters skilled in the art of fighting with a katana in a battle with a warrior armed with an ordinary European sword could cut this sword into two parts, the force of a samurai’s blow and the steel of a katana allowed this to be done (Monuchi is the part of the blade blade of a Japanese bladed weapon, which accounts for the main force blow).

The katana could be used to stab and chop equally easily. The long handle allows you to actively maneuver the sword. In this case, the main grip is the position when the end of the handle rests in the middle of the palm, and the right hand holds it near the guard. The simultaneous movement of both hands allows you to describe a wide amplitude with the sword without much effort. Both the Katana and the straight European sword of a knight weigh a lot, but the principles for performing cutting blows are completely different. Most of the blows are delivered in the vertical plane. There is almost no division into “block-strike” accepted in Europe. There are knocking blows to the enemy's hands or weapons, throwing his weapon away from the line of attack and making it possible to deal a damaging blow to the enemy at the next step.

Weaknesses of the katana

Speaking about the features of the manufacturing technology of a samurai sword, it is worth noting weak sides This process, namely, gaining greater hardness and power along the axis of the blade, makes this type of sword more vulnerable if hit on its flat side. With such a blow you can break the Katana even with a short mace (or Okinawan nunchucks, which were specially used to break samurai swords). And if a European sword usually breaks at a distance of a palm or two fingers from the guard, then a Japanese sword breaks at a distance of 1/3 or 1/2 of the length of the blade from the guard.

Yes, those stories are also true when metal was cut with a Katana. It's possible! It is documented that when a master is hit with such a blade, the speed of the tip of the sword (Kisaki) exceeded the speed of sound. And if you take into account the fact that Katana swords are among the most durable in the world, then the conclusion suggests itself.

Tati - a sword equal in length to a Katana

Japanese long sword tachi 41 inches. The wavy hamon pattern on the blade is clearly visible.

The most ancient katana self made(the sheath for the katana was also handmade and decorated with ornaments) are most valued and passed down from generation to generation as a family heirloom. Such katana are very expensive, especially if you can see Mei on it - a mark with the name of the master and the year of manufacture on the shank of a Japanese bladed weapon - of any famous master.

Many master gunsmiths from different countries they tried to copy the katana, as a result of which they got such famous swords as: Three - a Tibetan sword copying a samurai; Taijinjian (Chinese sword of the great limit) is a type of jian; Korean sword, Japanese name katana in the 7th-13th centuries; etc. But real katana can only be found in Japan, and if a katana is not made in Japan, it is no longer a katana!

Components of a katana:

  • Decoration adjacent to the tsuba, a ring that strengthens the handle (coupling) - Fuchi,
  • Cord - Ito,
  • Blade - Kami,
  • The upper ring (head) of the handle is Kashira,
  • Entrance to the scabbard - Koiguchi,
  • The tip of the scabbard is Kojiri,
  • Tie loop - Kurikata,
  • Bamboo wedge for fixing the blade in the handle - Mekugi,
  • Decoration on the handle under (or above) the braid - Menuki,
  • Shank - Nakago,
  • Ties - Sageo,
  • Stingray leather on the handle - Same,
  • Scabbard - Saya,
  • Gasket between guard and ring (washer) - Seppa,
  • Hammer for disassembling a sword - Tetsu,
  • Blade - Tosin,
  • Garda - Tsuba,
  • Handle - Tsuka,
  • Braid - Tsukamaki,
  • Clutch for fixing the sword in the sheath - Habaki.

Japanese short sword wakizashi. Blade and sword in sheath.

Wakizashi is a short traditional Japanese sword.

Mainly used by samurai and worn on the belt. Blade length - from 30 cm to 61 cm. Total length 50-80 cm. Wakizashi is similar in shape to a katana. It was worn in tandem with a katana, also tucked into the belt with the blade facing up.

In a pair of daisho (the two main samurai swords: long and short), the wakizashi was used as a short sword (shoto).

Samurai used the wakizashi as a weapon when the katana was unavailable or unusable. In the early periods Japanese history a small tanto sword was worn instead of a wakizashi. And also when a samurai put on armor, instead of a katana and wakizashi, tachi and tanto were usually used. Upon entering the room, the warrior left the katana with the servant or on the katanakake. The wakizashi was always carried with him and was removed only if the samurai remained for a long period of time. The Bushi often called this sword "the guardian of their honor." Some fencing schools taught the use of both katana and wakizashi at the same time.

Unlike the katana, which could only be worn by samurai, wakizashi was allowed to merchants and artisans. They used this sword as a full-fledged weapon, because according to their status they did not have the right to carry a katana.

A more correct classification: It is somewhat conditionally possible to classify weapons according to the length of the blade. "Tanto" must have a blade no shorter than 30 cm and no longer than 40 cm, "wakizashi" - from 41 to 60 cm, "katana" - from 61 to 75 cm, "tachi" - from 75 to 90 cm. "Odachi" from 3 shaku 90.9 cm. The largest odachi that has survived to this day has a length of 3 m 77 cm.

Let's look at the structure of a Japanese sword using an example katanas.

Katana- long samurai sword, sword length 90-120 cm, handle length 25-30 cm or 3 arm wraps, blade width 27-35 mm, deflection equal to or slightly greater than the width of the blade. The handle is covered with stingray skin or shark skin. Garda katanas called tsuboi and is most often round in shape.

The length of the sword blade is calculated as follows: to get the maximum length, you need to subtract 90 cm from your height. To also take into account issues of ease of handling the sword, you usually subtract another 8 cm from the resulting value. For example, 175 - 90 = 85 cm, 85 - 8 = 77 cm. (my personal opinion is that this is not scientific, below is information from another source).

If your height is not in the table, then for every additional centimeter of height you need to add 3 mm to the length of the blade, i.e. you can more accurately calculate the length of the blade (but this is only a recommendation since throughout the existence of the sword its length and technique of wielding it have changed, here the fighter has the right to choose the length of the sword depending on the combat situation).

Frame buke-zukuri, or uchi-gata-na koshirae . Swords mounted in this style were worn tucked into the belt. There was a protrusion on the scabbard kurikata, through which the cord was passed sageo.

Frame details buke-zukuri

Kasira - the head of the hilt of swords mounted in the style buke-zukuri.

Kojiri - the tip of the scabbard of swords in the style buke-zukuri; may be missing, then the tip of the scabbard is simply rounded and varnished in the same way as all the scabbards.

Koiguchi - "carp mouth"; entrance to the scabbard (or kutigane, if the mouth of the sheath is covered with a metal ring).

Kurikata - a protrusion with a slot located one-sixth the length of the sword below koiguchi on front side scabbard omote, through which the cord passes sageo.

Mekugi- a fastening pin passing through the handle and tang of the sword.

Manuki - ornament on the hilt of the sword.

Sageo - cord on the scabbard of the sword.

Same- stingray skin used to cover fart.

Saya - sheath.

Seppa - a pair of oval metal washers covering the shank on both sides of the guard.

Footy - clutch on the handle.

Tsuba - garda.

Tsuka - handle.

Tsuka-ito - handle winding

Most known species style swords buke-zukuri- This katana (daito) And wakizashi (shoto). Wakizashi was just a smaller copy katana. Together they formed daisho(“big and small”). If all the details of the frame daisho were designed in the same style, then this pair was called daisho-soroimono.

Scabbard (saya) swords are usually made from ho-no-ki(magnolia) and consist of two halves. In cross-section, they almost always have the shape of an elongated oval of the same shape and size as seppa(washers) located next to them and remain the same throughout their entire length. Sword scabbards were usually coated with a very durable varnish. U daisho - pairs of swords worn by samurai - this varnish is usually of calm tones, usually black, and all other decorations are designed in the same calm style. Bright, eye-catching colors were preferred by dandies, and bright red varnish, imported from China, was on the swords worn by samurai from the provinces of Satsuma and Hyuga, who were famous for their courage and great ardor.

The surface on which the varnish is applied is either simple smooth, or it may have wide or narrow grooves running diagonally or transversely. The varnished base itself can be either grainy or well sanded, plain or decorated nashiji(gold dust) guri-bori or in other styles, or even striped two-color. Quite often there is also a varnish like stingray fish ( same-nuri). These bases can then receive any form of decoration, but for daisho sophisticated maki-e(loose pattern) does not suit Japanese taste. However, with regard to daggers, the master could allow free flight of fantasy, and inlaid metal ornaments are often found here (kanamono).

The following six pieces of sword scabbard, framed in the style buke-zukuri, could have special decoration details:

    Ring covering the entrance to the scabbard - koi-guchi(“carp mouth”) or kutigane, if it is metal;

    Uragawara - reinforcing bar running across the base of the slot for ko-gatana;

    Lining of slots for ko-gatana And kogai. Typically available in polished black lacquer, polished natural horn, or soft buff leather;

    kurikata(“chestnut shape”) - a protrusion with a slot located one-sixth of the length of the sword below koi-guchi on the side omote, through which the cord passes sageo;

    sori-tsuno("returning horn"), or origane, - a small hook-shaped protrusion even lower on the same side, directed towards the hilt. It serves to prevent the sheath from slipping forward from the belt. It is quite rare and usually wakizashi, but his presence often speaks of good things
    blade;

    Kojiri - scabbard tip. It often doesn’t happen, especially in wakizashi, and the tip of the scabbard is simply rounded and varnished in the same way as all the scabbards. In shape, material and decoration it very often corresponds cashier.

All these parts (except for the lining of the slots for ko-gatana And kogai) usually metal, more or less equally decorated. But in discreet frames they can be made of polished black horn simplest form and the smallest size necessary for their purpose.

Sageo - it is a flat silk cord passed through curicata, with which the sword was tied to the belt. Length sageo was from 60 to 150 cm depending on the size of the weapon, and it could be removed before battle and used as tasuki for tying the long sleeves of a civilian suit to give freedom of arm movements. Sageo They were also used to bind a captured enemy. Color sageo matches the color of the scabbard. If the latter are in good Japanese taste, discreet and strict, the same will be true sageo. Bright and dog have three frames sageo corresponding.

Handle (tsuka) always made from two halves of wood glued together, preferably ho-no-ki(magnolia). There was a hole between them for the shank (nakago), called tsuka-guchi. The tree was usually covered with a single piece of white same- knotty stingray skin. The seam ran down the center of the side hooray, and usually the piece was selected so that the central row of three or four larger knots was on top of the side omote.

A winding was placed on top tsuka-ito(“hilt thread”), consisting of a strip of strong flat silk (less often leather or cotton) ribbon uchi-him o up to 0.6 cm wide. Quite rarely, instead of a flat ribbon, you find a cord wrapped in rows. Usually, tsuka-ito was black, occasionally soft brown, dark blue or green. Sometimes daimyo used katanas with white winding; it was also a trait of a certain type tati. Occasionally, leather cord and whalebone are found. The center of the tape was placed close to the handle coupling footy on the side omote, and the two ends were wrapped around the handle on the right and left, respectively, and twisted twice at equal distances. As a result same turned out to be completely closed, except for a number of diamond-shaped spaces on both sides of the handle. After the tape was passed through the sides of the handle head cashier, it was secured on both sides of the handle with a flat compact unit. Slightly below the center of the handle on the side omote and a little higher on the side hooray the wrapping partially covered and secured the two decorations in place Menuki.

Handle wrap options tsuka and the winding technique resulting in the pattern shown top center

Securing the cord tsuka-ito on cashier

There were many exceptions to this usual tsuka-maki(handle wrapping method). For example, on swords worn daimyo in formal wear, called kamishimo, in the shogun's court during the Edo period, a black silk wrap was crossed over the cashier, instead of going inside; cashier in this case it was made of simple black horn. This style is known as maki-kake-no-kashira, and a sword with such a winding was called kamishimo-zashi.

Certain court swords, as well as most short swords and daggers, had stingray skin hilts left unwrapped. In such cases cashier and both Menuki had to be secured with glue, hidden pins, decorative buttons, or some other suitable method. This style is called hanashi-menuki(free Menuki). There are also many forms of unwound hilt, mostly in daggers whose handles are covered with polished or carved wood, varnish, rattan or metal. Usually, if there was no stingray skin on the handle, the side joints between the halves of the handle were covered with strips of metal called kenuki-kanamono.

The shape of the handle consists of a narrow elliptical section and usually becomes very slightly thinner at both ends towards the middle. Daggers with an unwound hilt have a side omote may have an oblique cut at a distance of 2.5 cm from cashier. In the case when the dagger is worn on the chest in clothing ( kwaiken), This feature allows a person to immediately feel which side the blade is on.

Garda (tsuba) usually has the shape of a disk. The only exceptions are the guards of ancient swords, which have the shape of a small cross and are called sieve-gi(shaped like a Shinto sacrificial rice cake, hence the name). Such guards are also found on some ceremonial types. tati. Cup-shaped guards are found, but quite rarely.

There are guards various forms and sizes, although the most common are round or oval with a diameter of 6 to 9 cm.

Guards are almost always made of metal, although on ceremonial swords they may be patent leather, leather stretched over wood, or papier-mâché. Until the 16th century. Tsuba guards were usually made of iron. Simple in design, they served a purely utilitarian purpose - to protect the hand. Later, as metallurgy developed, the tsuba also became a work of art. Guard decorations reach their peak during the peaceful Edo period. Metals such as gold, silver, copper with various reddish patinas, as well as copper alloys began to be used to decorate them: shakudo, shibuichi, sambo gin, rogin, karakane, nigurome, sentoku and pure brass sintu. The use of various chemical compounds made it possible to give them a variety of colors. To them you need to add interesting contrasting combinations of two or more alloys of different colors.

Guard details (tsuba)

Hira(“flat body”) - part of the guard between Mimi And seppadai.

Mimi - headband

Seppadai(“position for washers”) - place for washers seppa. The oval part of the guard around the hole for the tang. Two washers are adjacent to this place ( seppa) between the guard and the blade and the guard and the handle. When the guard is on the sword, seppadai completely hidden from view. Usually completely unremarkable except for the signature, it is often a slightly convex regular oval.

Nakago-ana - hole for shank. A hole in the center of the guard through which the tang of the sword passes.

Udenuki-ana - holes for lanyard. Some guards have two holes of different sizes. A lanyard was attached to them.

Sekigane - aggregate. A metal filler used to size the tang hole to the specific strip of the sword and provide a secure fit. These holes are found on iron guards and indicate that this is an early guard. The filler is also used in ryo-hitsu.

Kogai hitsu-ana - hole for kogai. This hole is often shaped like half of a four-petaled flower.

Kozuka hitsu-ana - hole for Kozu-ki. This is the hole opposite Kogai hitsu-ana, designed for handle ko-gatana. The hole is often shaped like half a moon. Together Kogai hitsu-ana And Kozuka Hitsu-ana are called ryo-hitsu.

Handle coupling (futi) and handle head (kasira). These two frame pieces are usually considered together since they are usually designed similarly and made by the same craftsman.

Function footy(handle couplings) and cashier(handle head) consists of strengthening the handle at both ends. Term "cashira"(lit. "head") is an abbreviation of the original name "tsuka-gashira"(handle head), and footy- a general term for a boundary. Both things together are usually called futi-kasira.

Footy, as a rule, consists of a flat metal ring band up to 1.3 cm wide, which covers the handle next to the guard and is easy to remove. At the base footy there is an oval plate called tenjo-gane(“ceiling metal”), usually copper, with a hole for the tang of a sword.

Kasira is a small cup usually with a flattened bottom, although it is also common cashier with a completely round bottom. On footy the main part of the pattern is located on the side omote. On cashier the pattern is located on the end of the handle so that it is visible when wearing the sword.

From each side cashier there is an oval slot - shitodome-ana, equipped with a retractable eyelet - shitodome("oat eye") of gilded copper, just large enough to accommodate the cord of the handle. On the hilt with a wrapped handle cashier no longer attaches. However, on a handle without a wrap, it is usually secured not only with glue, but also with two leaf-headed pins large enough to hide shitodome-ana(the loop from which has been removed).

Footy signs on the side omote outer surface tenjo-gane and sometimes on the visible part. On cashier the signature, in the rare cases where it is present, is on a small metal plate soldered on the inside or outside. It is also located at Menuki.

Manuki- this is a pair of small ornaments made of decorated metal located on both sides of the handle. They serve not only as decoration, but also for a tighter grip around the handle. They probably originate from the decorated caps of fastening pins on ancient swords. Together with kogai And ko-gatana (Kozuka) they can form a single set called mitokoro-mono(“three places of a thing”). A single style can extend to a complete set of metal parts for a sword - soroimono(“uniform thing”) or pairs of swords - daisho-soroimono. Mitokoro-mono or soroimono the work of a famous metalworker - preferably one of the Gotos - was a favorite gift among daimyo and others dignitaries on special occasions.

Mekugi- This is a fastening pin that goes through the hilt and tang of the sword and prevents the sword strip from falling out of the hilt. It is usually made from bamboo, but often from dark horn (very rarely from ivory). When the handle is wrapped, it tapers slightly mekugi enters on the side hooray in the center of one of the open diamonds same so that's on the side omote its narrower end is hidden by the winding. But there are exceptions to this rule. In the unwrapped hilts of daggers mekugi can pass through a metal or ivory eyelet or through a metal band - do-gane(“body metal”), covering the handle.

Metal mekugi- This is a striking feature of most non-wrap handles. It consists of a thick copper tube with a decorative cap, often silver, into which a copper pin with the same cap is threaded or screwed on the other side. The threads on the screws are often left-handed, and extreme care must be taken when dismantling such weapons.

Washers (seppa)- this is a pair of oval metal washers covering the shank on both sides of the guard. They are almost always made of copper, plain, gold-plated, silver-plated, or covered with gold or silver foil. Visible surfaces may be polished or lightly streaked. Their edges are usually milled or decorated with holes. Some swords have two or three pairs, and some tati in addition to these usual seppa often there is a much larger pair called o-seppa(large washers). They cover most of the guard and are decorated with engraving, the basis of the design often being an elegant Maltese cross. They say that seppa began to be used in the 12th century. Their purpose is to protect footy and guard from damage and give everything a finished look.

Coupling (habaki). Despite the fact that from the artistic side habaki The least significant, it is absolutely necessary, and is found on all Japanese swords, daggers and spears. This is a thick metal sleeve, the inner side of which fits tightly to the last two to three centimeters of the blade and the first two to three centimeters of the shank ( nakago) (approximate figures for a medium-sized weapon), has several functions. Firstly, it holds the sword tightly in the sheath, eliminating friction of the blade and especially the hardened part of the blade on the inner surface of the sheath. Secondly, it to some extent protects the blade from the appearance of rust in this dangerous place, therefore part of the strip of the sword under habaki should be lightly oiled. But its most important function is that it transfers the impact of a blow through the guard to the entire handle, and not to the relatively weak restraining peg mekugi made of bamboo or horn.

Habaki usually made of copper, silver-plated or gold-plated, or covered with gold, silver or alloy foil shakudo. The surface is either polished or covered with oblique strokes, which are called neko-gaki(“cat scratches”) If a thin foil covering is present, it can be embedded into these neko-gaki or decorated with a stamped pattern. Occasionally also found habaki made of iron, precious metals, or even ivory or wood, but only on swords not mounted for serious use. If the sword strip is thinner than average and thus requires habaki extra thickness, then can be used nid-zyu-habaki- double habaki. It is simply a regular sized habaki, reinforced with a separate but neatly fitted piece that adds two “cheeks” to reinforce the lower part (adjacent to the guard). By habaki you can often evaluate the quality of the blade. Niju-haba-ki and especially habaki, decorated with the family coat of arms mon, usually belong to good swords.

Sword strip terminology

The strip of a sword, dagger or any other bladed weapon consists of a blade and a tang.

Point (kisaki)- This is the most difficult part of the sword to forge and polish. The value of a sword is largely determined by its condition. kitsaki. Hardening line on the tip ( barefoot) may not be the same on different sides of the blade.

There are a great many types of hardening lines on the tip (as well as on the blade itself).

Types of sword point ( kitsaki) and hardening lines (barefoot) are classified:

1. according to the shape of the blade:

- fukura-kareru- direct;
- fukura-tsuku- curved;

2. by size:

-ko-kisaki- small point. Characteristic of the tachi of the Heian period and the beginning of the Kamakura period;
- tyu-kisaki- average. A widespread type for all swords from about 1232;
- o-kisaki- long;
- ikari-o-kisaki- long and curved;

3. along the hardening line (bosi):

- ko-maru- weak rounding;
- o-maru- strong rounding. The width of the hardened part is narrower than in ko-maru;
- jizo- in the shape of the head of the deity Jizo;
- yaki-zume- non-returning. Typically, the hardening line extends to the point and turns back toward the shank. In this case, return ( Kaeri) absent;
- midare-komi- wavy;
- kaen- fiery;
- iti-mai- full. The entire tip is hardened;
- Kaeri-tsuyoshi- straight return line;
- kaeri-fukashi- long return;
- kaeri-asashi- short return.


Sword strip

Komi, or mi,- blade.
Nakago- shank.
Tosin- sword strip.

Sword strip terminology

Bosi - hardening line on the tip.

Yokote - the line separating the tip and the blade.

Dzi (ilihira-ji) - the plane between the blade and Shinogi(its width is called Nick).

Jihad - surface pattern hada.

Ji-tsuya - darker (compared to ha-tsuya) part of the blade (the rest of the blade, except the hardened part).

Kasane - blade thickness, measured along the spine; It happens moto-kasaie And saki-kasane.

Kisaki - tip (sometimes this term refers to the entire area from yokote to the very tip of the blade).

Ko-shinogi - the edge of the blade at the tip.

Mizukage - fuzzy line on a plane dzi, usually occurring when re-hardening the blade.

Mihab - blade width; It happens moto hub And saki-haba.

Mitsu-kado - the point where they meet yokote, Shinogi And ko-sinogi.

Monouchi - the part of the blade that delivers most of the blows is the part of the blade about 15 cm long, located about 10 cm below yokote(data for a long sword; for short swords and daggers it is proportionally reduced).

Moto-kasane - blade thickness mune-machi.

Moto hub - blade width between ha-mati And mune-machi.

Mune - butt of the blade.

Mune-machi - a small cut separating the shank from the blade on the butt side, edge mune.

Mune-saki - the name of the butt near the tip;

Mai - inscriptions (on nakago and etc.).

Mekugi-ana - holes in nakago For Menuki.

Nagasa - blade length (measured between mune-machi and tip).

Nakago-jiri - extremity nakago.

Sabigiwa - border between habaki-moto And Yasuri-me.

Saki-kasane - blade thickness yokote.

Saki-haba - blade width yokote.

Shinogi - edge of the blade.

Shinogi-ji - blade plane between Shinogi And mune.

Sorry - blade curvature.

Sugata - blade shape.

Fukura - blade shape kitsaki.

Ha(or ha-saki) - blade.

Habaki-moto - part of the sword strip that is under the muff habaki.

Hada - steel lamination; the result of the folding of steel during the forging process.

Ha-mati - small cut separating the tang from the blade on the side of the blade, edge Ha.

Jamon - line Yakiba.

Hataraki - “activity”, development on the metal surface ( nioi, nie and etc.).

Ha-tsuya - lighter part of the blade compared to ji-tsuya; almost the same as Yakiba.

Hee - dollars

Horimono - engraving on the blade.

Yakiba - hardened part of the blade.

Yakihaba - width Yakiba.

Yasuri-me - notches on the shank.

Edge of the blade (shinog) missing from blades hira-zukuri. There are two types:

    protruding (Shinogi-takashi). The thickness of the blade between the stiffening ribs is much greater than that of the butt;

  • smooth (shinogi-hikushi).

The plane between the edge and the butt of the blade (Shinogi-ji) can be wide or narrow.

Dol (hee) originally made to increase the strength of the blade and reduce its weight. Later it began to be seen as decoration. Sometimes a fuller was made in order to restore the balance of a shortened sword or to hide flaws in the blade (such fullers added later are called ato-bi). There are 8 types of dols, of which Koshi-hi, Tomabashi, Shobu-hi, Kuichigai-hi and Naginata-hi- on short swords.

In addition, there are 4 forms of fuller at the shank, of which kaki-toshi and kaki-nagashi usually found on strips of swords made by smiths of the Old Sword Period ( koto).

The valley may cross yokote(type hi-saki-agari) and stop a little before reaching yokote(type hisaki-sagari).

Plane shinogi-ji, not cut down, is called tiri. Dol may have tiri on both sides (type ryo-chiri) or only on one side (type kata-chiri).

Types of fullers on a sword strip

Bo-hee- wide dol.
Bo-hi-ni-tsure-hi- wide and narrow valley.
Gomabasi- two short beats.
Kaki-nagashi- extending to half of the shank.
Kaki-toshi- passing along the entire shank.
Kaku-dome- rectangular end.
Koshi-hi- short dollar
Kuitigai-hi- double irregular fuller joining at the end.
Naginata-hi- short wide fuller; typical for naginata, but is also found on swords.
Shobu-hi- double dale joining at the end.
Futasuji-hi- two narrow valleys.
Maru-dome- rounded end.

Engraving (horimono). Found on the blades of Japanese swords Various types engravings. Most common subjects: chopsticks ( Goma-Hasi), ritual sword ken, the Dragon ( kurikara) and inscriptions in Chinese or Japanese characters ( bondzi).

Hataraki
Ji-nie- spots nee V dzi.
Kinsuji, inazuma And Sunagashi- stripes below and above the line jamon.
Ko-nie- small dots nee above jamon.
Uchinoke- “activity” in the shape of a crescent.

The traditional Japanese sword (nihon-to) attracts lovers of edged weapons not only with its exquisite shape and noble shine of the blade, but also with its very intricate frame, which surprised European connoisseurs with its originality. It emphasized and complemented the advantages of the blade, while simultaneously performing both utilitarian and purely decorative functions.

The frame had to be comfortable, reliable and beautiful; correspond to the rank of the owner and the tastes of the era. It consisted of quite a large number of parts; Various materials were used to make it: a scabbard and handle were cut from white magnolia wood; Shark or stingray skin (so-called same), Japanese lacquer (urushi) in black, red or gold, decorative silk or leather cords, as well as a variety of metal parts decorated with jewelry craftsmanship were widely used.

The number and name of such decorative metal plates depended on the type and size of the sword. As a rule, all Japanese swords have the following characteristic removable metal parts: habaki - a soft metal sleeve that separates the blade from the blade and prevents the blade from accidentally slipping out of the sheath; futi (ring near the guard), kashira (heel of the handle), menuki (small funny figures under the silk braid of the handle).

Sword of the 16th century. with a mocha-shaped iron guard with a characteristic welted silhouette of inome-bori

The scabbard also had corresponding linings, usually made in the same style and manner as on the hilt, but not removable. The scabbards of many swords (mostly swords of the uchigatana type, which were worn behind the belt with the blade upward) had special grooves for a small kozuka knife, which was used for both household and combat purposes - throwing, piercing the joints of enemy armor, marking the corpses of defeated enemies and etc. Sometimes the kozuka knife was paired with a multi-purpose pointed stiletto kogai, also adapted for throwing or for penetrating under the protective plates of the shell.

However, the main decoration of a samurai sword was usually its tsuba (guard), which is usually a flat metal plate with a diameter of 5-8 cm and from 2 to 5-6 mm in thickness. In the center of the guard, a groove (nakago-ana) was sawn through for the shank of the sword (nakago), on the sides of it there are often one or two more holes (hitsu-ana) in the shape of an irregular oval - for a kozuka knife and a kogai hairpin. Between these holes on a small field (seppadai) on some tsuba one can find short hieroglyphic signatures of the masters who created them. The signature of the famous master served as an additional decoration. Usually this signature was placed on the side of the guard that was closer to the handle and covered with a thin copper seppa gasket.

There were many schools of gunsmiths who specialized in forging guards and other metal accessories; some such schools took their name from their founder. Among them, the most famous are the schools of Myotin, Umetada, Kaneie, Goto, Shoami, Soten, etc. Others famous schools were called the same as the provinces or cities where they were located: Nara, Higo, Choshu and Goshu, Kinai, Ito, Yanagawa, Hirado...

In different eras there were different fashions for different styles of decorative design. Thus, early tsuba (before the 15th century) were thin round or oval plates of wrought iron, usually devoid of any decoration. Tsuba XV - early XVI centuries. often had a strict and laconic decor: dark gray, almost black, patina and an incised image (sukashi-bori) of a samurai coat of arms, a hieroglyph, a Buddhist symbol, or even some vegetable, such as a black radish.

Artistic guards of later eras amaze the imagination with the masterly use of a wide variety of materials and the abundance of techniques for their processing: engraving, notching, relief carving, appliqué, cloisonné enamel or their combination with slotted silhouettes, straight or inverted.

Guards could have the shape of a circle, an oval, a diamond, a square, a rounded cross (mocha-gata), a chrysanthemum flower (kiku-gata), a mallow flower (aoi-gata) or even an indefinite shape invented by the master himself. Tsuba were forged not only from iron, but also from copper, bronze, brass, silver and gold, as well as from special alloys, which, when properly processed, gave beautiful patinas of a wide variety of colors and shades.

The surface of the guard could be smooth or processed using mokume techniques, reminiscent of the layered structure of wood; nanako - fine grain, literally - 'fish roe'; itosukashi - a thin thread-like pattern, karakusa - openwork engraving in the form of intertwining plants and flowers. As for the decorative motifs found on the tsuba, it is simply impossible to list them all: animals (horses, Chinese lions, tigers, cats, dogs), birds (cranes, phoenixes, eagles, peacocks, crows, geese, cormorants), weapons and insects (crickets, praying mantises, dragonflies, mosquitoes, flies, spiders), various sea creatures, flowers and plants, natural phenomena and famous landscapes, samurai coats of arms and military accessories, images of gods, demons, dragons, as well as Japanese military and court heroes chronicle

Each gunsmith who made accessories for swords tried to give his products a unique, individual look that would attract the eye and capture the attention of the beholder. That is why antique Japanese tsuba evoke an indescribable passion among collectors around the world.

Japanese sword (Japanese 日本刀 nihonto:) - bladed single-edged chopping-cutting weapon, produced using traditional Japanese technology from multilayer steel with controlled content carbon. The name is also used to designate a single-edged sword with the characteristic shape of a slightly curved blade that was the main weapon samurai warrior.

According to experts, more than 2 million Japanese swords have been made throughout history, of which about 100 thousand copies are currently stored in Japan, and the largest collection is in the USA and includes more than 300 thousand blades (exported from Japan after World War II).

Japanese technology for making iron swords began to develop in the 8th century and reached its highest perfection by the 13th century. For about a thousand years, the shape of the sword remained virtually unchanged, changing slightly mainly in length and degree of bending in accordance with the development of close combat tactics. The sword, being one of the three ancient regalia Japanese Emperor, also had ritual and magical significance in Japanese society.

Terminology

Japanese names are often used in literature to refer to varieties of Japanese swords and their parts. A brief dictionary of the most commonly used concepts:

  • Tati- long sword (blade length from 61 cm) with a relatively large bend ( sorry), intended mainly for mounted combat. There is a type of tati called odati, that is, “big” tati with a blade length of 1 m (from 75 cm from the 16th century). In museums they are displayed in a blade-down position.
  • Katana- a long sword (blade length 61-73 cm), with a slightly wider and thicker blade and less bending compared to tachi. Visually, it is difficult to distinguish a katana from a tachi based on the blade; they differ primarily in the manner of wearing. Gradually with 15th century The katana replaced the tachi as a weapon for foot combat. In museums, katanas are shown in the position with the blade up, according to the manner of wearing. In ancient times they called katanas daggers, but from the 16th century this name was transferred to swords uchigatana.
  • Wakizashi- short sword (blade length 30.3-60.6 cm). Since the end of the 16th century, paired with a longer katana, it forms the standard set of samurai weapons, daisholong and short"). It was used both for fighting in close quarters and in tandem with a katana in some fencing techniques. Unlike the katana, non-samurai were allowed to wear it.
  • Tanto(koshigatana) - dagger or knife (blade length< 30,3 см). В древности кинжалы называли не «танто», а «катана». Меч тати, как правило, сопровождался коротким танто.
  • Tsurugi- a straight, double-edged sword, common in Japan before X century. Many samples are not real Japanese swords ( nihonto), as they are made using Chinese or Korean technology. IN in a broad sense the term was used in ancient times to refer to all swords. At a later time it was superseded by the term ken to denote a straight sword.
  • Naginata- an intermediate weapon between a sword and a spear: a curved blade up to 60 cm long, on a handle, the size of which could be from the ground to waist-high. Close in type to glaive or palm tree.
  • Koto - lit. "old sword" Swords produced before 1596. It is believed that after this time many techniques of traditional technology were lost.
  • Shinto - lit. " new sword" Swords produced from 1596 to 1868, that is, before the start of the Industrial Revolution Meiji period. With rare exceptions, Shinto swords are not considered highly artistic creations of blacksmiths, although they may be distinguished by luxurious finishing. By external signs They reproduce koto swords, but are inferior in metal quality.
  • Gendaito - lit. "modern sword" Swords produced after 1868 to the present. Among them are those mass-produced for the army using simplified factory technology gloomy(lit. "sword" Showa period"), including, sin-gunto (Japanese 新軍刀 Shin Gunto:, lit. "new army sword"), and swords forged after the resumption of production in 1954 by modern blacksmiths using traditional technologies, for which it is proposed to use the name shin-sakuto (Japanese 新作刀 Shin Sakuto:"newly made sword") or shin-gendaito(lit. "new modern sword").
  • Tsuba- the guard of a characteristic round shape, in addition to its functional purpose (to protect the hand), served as a decoration for the sword.
  • Jamon- a pattern line on the blade that appears after it is hardened between the blade and the butt as a result of the formation of fine-grained crystalline structures in the metal.

Comparison table of Japanese swords

Type Length
(nagasa),
cm
Width
(motohub),
cm
Deflection
(sorry),
cm
Thickness
(kasane),
mm
Notes
Tati 61-71 2,4-3,5 1,2-2,1 5-6,6 Appeared in the 11th century. The tachi was worn on the belt with the blade down, paired with a tanto dagger. Variety odati could be worn on the back.
Katana 61-73 2,8-3,1 0,4-1,9 6-8 Appeared in the 14th century. The katana was worn in the belt with the blade facing up, paired with a wakizashi.
Wakizashi 32-60 2,1-3,2 0,2-1,7 4-7 Appeared in the 14th century. Wakizashi were worn with the blade up, paired with a katana or separately as a dagger.
Tanto 17-30 1.7-2.9 0-0.5 5-7 The tanto was worn in tandem with a tati sword or separately as a dagger.
All dimensions are given for the blade without taking into account the shank. The width and thickness are indicated for the base of the blade where it meets the tang. Data taken for swords of periods Kamakura And Muromachi(1185-1573) according to catalogs. The length of tachi in the early Kamakura period and modern tachi (gendaito) reaches 83 cm.

History of the Japanese sword

Ancient swords: before the 9th century.

Straight iron Japanese swords of the 6th century. Below is a Chinese type sword with a ring pommel.

The first iron swords were brought to the Japanese islands in the 2nd half of the 3rd century Chinese traders from the mainland. This period of Japanese history is called Kofun(lit. " mounds", III-VI centuries). IN graves kurgan-type swords of that period have been preserved, although badly damaged by rust, divided archaeologists into Japanese, Korean and the most common Chinese samples. Chinese swords had a straight narrow single-edged blade with a large ring-shaped pommel on the shank. Japanese examples were shorter, with a wider, straight, double-edged blade and a massive pommel. IN Asuka period(538-710) with the help of Korean and Chinese blacksmiths in Japan began to produce their own iron, and by the 7th century they had mastered the technology of forging multilayer steel. Unlike previous samples, forged from a solid iron strip, swords began to be made by forging from iron and steel plates

At the turn of the 7th-8th centuries, Japanese swords began to have a curve. Legend connects the appearance of one of the first such swords with the name blacksmith Amakuni (English) from Yamato Province. Amakuni is said to have forged the famous sword Kogarasu-Maru (Little Crow) in 703, and although exact dating is unknown, this sword is considered to be the oldest Japanese curved sword.

At the beginning of the 8th century, as a result of the strengthening of the power of the emperor, Japan began Nara period(710-794). The production of weapons was placed under the control of a centralized state, and blacksmiths were ordered to sign their products. The purchased swords were stored in imperial warehouses and were issued to soldiers for the duration of the war or their service. The development of technology for local hardening of the cutting blade by applying heat-resistant paste to the blade is noted. However, the nobility of the Nara period preferred long straight and curved swords of Chinese and Korean origin, perhaps due to their luxurious jewelry decoration. 44 swords were made in Korea Daito(“great swords”), which the emperor, over the following centuries, presented to a military leader or dignitary as a symbol of the granted powers for the duration of the campaign.

Old Koto swords: 9th-16th centuries

Heian period: 9th-12th centuries

The history of the Japanese sword itself begins in Heian period(794-1185). As a result of clan feuds, Japan isolated itself from the outside world, the centralized power of the state weakened, and real power passed from the emperor to large feudal lords. In the 10th century the class was finally formed samurai, professional warriors who fought at that time mainly on horseback. Swords from this period are characterized by a long blade with a small top.

Straight swords were replaced with curved ones, and if at first the bend was made in the area of ​​the handle with an almost straight blade, then by the end of the period the maximum deflection shifted to the area of ​​1/3 of the total length from the end of the tang (“lumbar bend”). In accordance with the bend, the top of the sword is shaped in a characteristic way, kissaki. Kissaki includes a tip with an adjacent area separated from the body of the blade by a transverse straight edge. Blade edge in area kissaki takes on an arched appearance (early kissaki samples had an inclined edge cut in the form of a straight line).

The classic section of a Japanese blade is Shinogi-zukuri: edge (sharp side edge - Shinogi) stretches along the entire blade to the top. Thanks to the stiffening rib, the blade optimally combines strength and relatively small weight, and so that the side edges of the blade converge to the cutting edge of the blade at the most acute angle possible, the edge Shinogi shifted from the center of the blade to the butt. The cross section in the butt area looks like an obtuse angle. The greatest thickness ( kasane) blade reaches near the tang: 5.5-8.5 mm, typical kasane about 7 mm.

By the end of the Heian period, both Japanese sword manufacturing technology and its appearance had developed. Description of the tati sword according to the certificate:

Blade with an edge, strongly tapering in length from the base to a small tip kissaki; pronounced “lumbar curve”; blade length 80 cm; the surface texture of the steel is similar to sawing wood; wavy line of hamon along the blade; shank with the master's signature.

In the 11th century, Japanese swords began to be highly valued and exported to China.

Kamakura period: XII-XIV centuries

Sword making technology

Blacksmiths-gunsmiths

The blacksmiths had a high social status in Japanese society, many of them are known by name thanks to lists. Lists of ancient blacksmiths begin with the name of Amakuni from the Yamato province, who, according to legend, lived at the beginning of the 8th century during the reign of Emperor Taiho (701-704).

In the old days (koto sword period, around 900-1596) there were approximately 120 blacksmiths schools, which for centuries produced swords with characteristic stable features developed by the founding master of the school. In modern times (the period of Shinto swords, 1596-1868) 80 schools are known. There are about 1000 outstanding masters of the blacksmith's craft, and in total, over a thousand years of the history of the Japanese sword, more than 23 thousand swordsmiths have been recorded, of which the largest number (4 thousand) lived in the period of koto (old swords). Bizen Province(modern prefecture Okayama) .

Since the 10th century, craftsmen have embossed their name on the shank of the blade - mei, often supplementing the inscription with the date of manufacture and the name of their province. The earliest known dated sword was made by a master named Yukimasa in 1159. The respect for the masters is evidenced by the following fact: when outdated long tachi swords were shortened (to the length of a katana) by cutting the tang, the inscription with the name of the master was often transferred to the new tang.

Steelmaking

In Japan, a product of erosion of natural deposits iron ore often found near river beds, mixed with silt and other sediments. The iron in this sand mixture is only about 1%. Iron sand was mined due to its greater density, washing away light impurities with a copious flow of water.

Early smelting technology was not perfect: ore sand was loaded into a small pit and smelted on charcoal, prepared from special types of wood to burn out harmful sulfur- and phosphorus-containing impurities in the iron and saturate it with carbon. Due to the low temperature, it was not possible to completely separate the molten iron from impurities in slag, the result was obtained in the form of sponge iron ingots ( tamahagane ) at the bottom of the pit. More powerful and productive Tatara stoves ( Tatara-buki), while generally preserving the smelting method itself, appeared in the 15th century.

The iron ingots were flattened into thin sheets, rapidly cooled in water, and then broken into coin-sized pieces. After this, a selection of pieces took place, pieces with large inclusions of slag were discarded, and the rest were sorted by color and granular structure of the fault. This method allowed the smith to select steel with a predictable carbon content ranging from 0.6 to 1.5%.

Further release of slag residues in the steel and a decrease in carbon content occurred during the forging process - joining individual small pieces into a blank for a sword.

Blade forging

Cross section of a Japanese sword. Shown are two common structures with excellent combinations in the direction of the steel layers. Left: The metal of the blade will show texture. itame, on right - masame.

Pieces of steel with approximately the same carbon content were poured onto a plate of the same metal, heated to 1300 °C and welded together with hammer blows. After this, the workpiece was forged: after flattening the workpiece, it was folded in half, then flattened again and rolled in a different direction. As a result of repeated forging, multilayer steel is obtained, finally cleared of slag. When the workpiece is folded 15 times, almost 33 thousand layers of steel are formed - typical density Damascus for Japanese swords.

The slag still remains a microscopic layer on the surface of the steel layer, forming a kind of texture (hada), resembling a pattern on the surface of wood.

To make a sword blank, the blacksmith forges at least two bars: from hard high-carbon steel ( kawagane) and softer low-carbon ( shingane). From the first, a U-shaped profile approximately 30 cm long is formed, into which a block is placed shingane, without reaching the part that will become the top and which is made of the best and hardest steel kawagane. Then the blacksmith heats the block in a forge at 700-1100 °C and welds the component parts together by forging, after which he increases the length of the workpiece by forging to the size of a sword.

With more complex technology, up to 4 bars are welded: from the hardest steel ( hagane) form the cutting edge and apex, 2 bars of less hard steel go to the sides, and a bar of relatively soft steel forms the core. The multilayer structure of the blade can be even more complex with separate welding of the butt.

Forging is used to shape the blade of the blade to a thickness of about 2.5 mm (in the area of ​​the cutting edge) and its edge. The upper tip is also straightened by forging, for which the end of the workpiece is cut diagonally. Then the long end (on the blade side) of the diagonal cut is forged to the short one (the butt), as a result of which the structure of the metal at the top provides increased strength in the striking zone of the sword, while maintaining hardness and thereby the possibility of very sharp sharpening.

Blade hardening and polishing

The next important stage in sword manufacturing is heat treatment of the blade to harden the cutting edge, as a result of which a pattern appears on the surface of the sword jamon, specific specifically for Japanese swords. Up to half of the blanks in the hands of the average blacksmith never become real swords as a result of failed hardening.

For heat treatment, the blade is covered with an uneven layer of heat-resistant paste - a mixture of clay, ash and stone powder. The master kept the exact composition of the paste a secret. The blade was covered with a thin layer, the thickest layer of paste was applied to the middle part of the blade, where hardening was undesirable. The liquid mixture was leveled and, after drying, scratched in a certain order in the area closer to the blade, thanks to which a pattern was prepared jamon. The blade with the dried paste is heated evenly along its length until approx. 770 °C (controlled by the color of the hot metal), then immersed in a container of water with the blade down. Sudden cooling changes the structure of the metal near the blade, where the thickness of the metal and heat-protective paste is thinnest. The blade is then reheated to 160°C and cooled again. This procedure helps to reduce the stresses in the metal that arise during hardening.

The hardened area of ​​the blade has an almost white tint compared to the rest of the blade's darker gray-bluish surface. The border between them is clearly visible in the form of a patterned line jamon, which is interspersed with shiny crystals martensite into iron. In ancient times, the hamon looked like a straight line along the blade; during the Kamakura period, the line became wavy, with fancy curls and transverse lines. It is believed that in addition to aesthetic appearance, the wavy, heterogeneous line of the hamon allows the blade to better withstand impact loads, damping sudden stresses in the metal.

If the procedure is followed, as an indicator of the quality of hardening, the butt of the blade acquires a whitish tint, utsuri(lit. reflection). Utsuri reminds jamon, but its appearance is not a consequence of the formation of martensite, but an optical effect resulting from a slight change in the structure of the metal in this zone compared to the nearby body of the blade. Utsuri is not a mandatory attribute of a quality sword, but indicates successful heat treatment for certain technologies.

When the blade is heated during the hardening process to a temperature of more than 770°, its surface acquires a richness of shades and a richness of pattern details. However, this may damage the strength of the sword. Only the blacksmiths of the Sagami province during the Kamakura period managed to combine the fighting qualities of a sword with a luxurious design of the metal surface; high-quality swords of other schools are distinguished by a rather strict manner of design of the blade.

The final finishing of the sword is no longer carried out by a blacksmith, but by an artisan polisher, whose skill was also highly valued. Using a series of polishing stones of varying grits and water, the polisher would polish the blade to perfection, after which the smith would stamp his name and other information onto the unpolished tang. The sword was considered ready, the remaining operations were to attach the handle ( tsuki), guards ( tsuba), applying jewelry was classified as an auxiliary procedure that did not require magical skill.

The blade after forging and hardening before polishing.

16th century blade. The slightly wavy pattern is clearly visible jamon and less pronounced utsuri near the butt.

Fighting qualities

The fighting qualities of the best Japanese swords cannot be assessed. Due to their uniqueness and high price, testers are not able to test and compare them with best works gunsmiths from other regions of the world. It is necessary to distinguish between the capabilities of the sword for different situations. For example, sharpening a sword for maximum sharpness (for tricks with cutting handkerchiefs in the air) will be unsuitable for cutting through armor. In ancient times and the Middle Ages, legends were spread about the capabilities of weapons that could not be demonstrated in modern times. Below are some legends and facts about the capabilities of the Japanese sword.

Modern assessment of Japanese swords

After Japanese surrender in World War II countries anti-Hitler coalition issued an order to destroy all Japanese swords, but after the intervention of experts, in order to preserve historical relics with significant artistic value, the order was changed. The Society for the Preservation of Artistic Japanese Swords was created (Japanese 日本美術刀剣保存協会 Nippon Bijutsu Tōken Hozon Kyōkai, NBTHK, Nippon bujutsu to:ken hozon kyo:kai), one of his tasks was expert review historical value of the sword. IN 1950 In Japan, the Law “On Cultural Heritage” was issued, which, in particular, determined the procedure for preserving Japanese swords as part of the cultural heritage of the nation.

The sword evaluation system is multi-stage, starting with the assignment of the lowest category and ending with the awarding of the highest titles (the top two titles are under the purview of the Japanese Ministry of Culture):

  • National Treasure (kokuho). About 122 swords have the title, mostly tachi from the Kamakura period, katana and wakizashi in this list are less than two dozen.
  • Important cultural property. About 880 swords have the title.
  • A particularly important sword.
  • An important sword.
  • A particularly guarded sword.
  • Guarded sword.

In modern Japan, it is possible to keep a registered sword with only one of the above titles, otherwise the sword is subject to confiscation as a type of weapon (unless it is classified as a souvenir). The actual quality of the sword is certified by the Society for the Preservation of Artistic Japanese Swords (NBTHK), which issues an expert opinion according to the established standard.

Currently [ When? ] in Japan it is customary to evaluate a Japanese sword not so much by its combat parameters (strength, cutting ability), but by the criteria applicable to a work of art. A high-quality sword, while maintaining the properties of an effective weapon, should provide aesthetic pleasure to the observer, have perfection of form and harmony of artistic taste.

Notes

  1. There are discussions in the literature about whether samurai-shaped swords produced using non-traditional Japanese technologies should be called Japanese. The article uses the established term “sword”, but some believe the term “saber” is more correct to designate a curved single-edged weapon (according to the current Russian GOST R 51215-98 (Melee weapons, terminology) “Japanese sword” refers to sabers - “contact blade chopping - cutting and piercing-cutting weapons with a long curved single-edged blade")
  2. Valery Khorev. Japanese sword. Ten centuries of perfection. Chapter 1. Pages of history. - Rostov-on-Don: Phoenix, 2003. - P. 27. - ISBN 5-222-02406-7.
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