The detailed study of Japanese swords is a difficult process and tiempo.Hay consuming process to examine the blade of a Japanese sword and is used in the practice of Kantei NYUSATU. In Kantei sessions, is presented to a participant a sheet with any registration that may be on the Nakago cover and he must guess the name of smith. The procedure for Kantei is as follows:
Sugata first or shape of the blade must be examined. The form must appear strong, the natural curvature and KISSEKI must be in proportion to the length and width of the blade. The MUNE or back of the blade must also be reviewed in its shape and height. When examining the Sugata can provide much information about the age of the blade until the region was made. However, if the blade has a good shape and is comfortable in hand, there is a good chance to be of good quality. It is impossible for a good sword has a bad shape unless it has been altered, damaged or repaired in any way. This happens frequently and is very important then imagine UBU (unchanged) in the next area to be studied hoja.La is HAMON, often known as the next "warm". This is where the sword has been pressed to form an area of high carbon content to maintain a sharp side. It should be noted in contrast with the body of the sword. The Hamon can have an infinite number of patterns, but it is a milky white in a polished sword properly. The top edge should be formed by HAMON small martensite crystals called NIE. Sometimes they are too small to see with the naked eye and are then called Nioi. The NIE and the surrounding Nioi and HAMON HAMON form the pattern should be examined closely, ideally holding the blade at eye level and backlit. The Nioi-guchi (HAMON line) should be a sustained and unbroken from the area of MACHI (TSUBA leaf background) to the end of it. A break in the Hamon is a serious flaw and should be avoided; called Nioi-giri. It is also important that the Boshi (HAMON area within the KSSEKI) cntinúe over the edge. This is also a serious flaw and is only allowed swords historical and cultural importance. Exceptions are not accepted in this punto.Si the HAMON Sugata and pass the test, the sword should be good, however, we must ensure that the sword is handmade and not mass produced cleverly as a SHOWATO (mass produced during the Second World War). This ensures examining and Jihada JIGANE well. The JIGANE the steel with which the sword is and can show subtle changes in color and texture while Jihada is the pattern of JIGANE surface caused by the forging process, accentuated by polishing. The Jihada parking as wood grain and is described by its type and size (eg KO-Mokum, "little puff"). There are many criteria for judging the quality of Jihada. Sn explanatory but for the purpose of this essay, I think it suffices to say that if the present is Jihada a sword forged mano.Mientras do this thorough examination, faults or errors will become visible. Some of these are more acceptable than others, depending on the age of the leaf. In other words, a sheet of XII century may have some defects that would not be tolerated in a modern piece. However, all faults or weaknesses obviously reduce the beauty and value of a leaf. Look for holes or air bubbles that may indicate or impurities that were introduced during the forging process and may be under the surface of the leaf. Also check the HA-SAKI (edge) looking hairline cracks that will edge the Hamon called HA-GIRI. These are serious failures caused by misuse of the sword in the cut. At the height of HA-GIRI would double or break. The HA-giri is not acceptable under any circunstancia.Finalmente Nakago inspection begins. The Nakago a good sword should always be finely finished. Slippage should be of good color and rust should not be cleaned under any circumstances. If you have any inscription, this will be of great interest. A good MEI will be carefully and skillfully written confidential, not sloppy, shaky or dubious. Almost does not matter if someone can read it (most Japanese can not read kanji in the inscriptions of ancient swords) while etching seguro.Por look confident and I will refer to last a couple of points that can avoid committing error costs. Most of the swords found in the West are of above-TO SHOWA. These were made in the Showa period (1926-1989) and the vast majority were manufactured in mass by the imperial army and navy during the Pacific War. These swords are not considered real NIHON-TO and seen as a reflection of the recent past Japanese militarism, they are still illegal in Japan. The Showa-to reasonably easily recognized by their small labels on the Nakago (usualemte SEKI or show) and are often signed with sloppy and careless character. There is often an inch or more blunt (known as UBU-HA) is found just above the HABAKI. These heavy and clumsy swords are usually found in Gunter (army). Generally military appeal to collectors and not recommend for practicing Iai or the serious study of Japanese Art at the armas.Habiendo said, I must add that during the Showa period, there were several blacksmiths were very thin sheets. There are also a few questions that leaves leaves family were traditionally made.
Sugata first or shape of the blade must be examined. The form must appear strong, the natural curvature and KISSEKI must be in proportion to the length and width of the blade. The MUNE or back of the blade must also be reviewed in its shape and height. When examining the Sugata can provide much information about the age of the blade until the region was made. However, if the blade has a good shape and is comfortable in hand, there is a good chance to be of good quality. It is impossible for a good sword has a bad shape unless it has been altered, damaged or repaired in any way. This happens frequently and is very important then imagine UBU (unchanged) in the next area to be studied hoja.La is HAMON, often known as the next "warm". This is where the sword has been pressed to form an area of high carbon content to maintain a sharp side. It should be noted in contrast with the body of the sword. The Hamon can have an infinite number of patterns, but it is a milky white in a polished sword properly. The top edge should be formed by HAMON small martensite crystals called NIE. Sometimes they are too small to see with the naked eye and are then called Nioi. The NIE and the surrounding Nioi and HAMON HAMON form the pattern should be examined closely, ideally holding the blade at eye level and backlit. The Nioi-guchi (HAMON line) should be a sustained and unbroken from the area of MACHI (TSUBA leaf background) to the end of it. A break in the Hamon is a serious flaw and should be avoided; called Nioi-giri. It is also important that the Boshi (HAMON area within the KSSEKI) cntinúe over the edge. This is also a serious flaw and is only allowed swords historical and cultural importance. Exceptions are not accepted in this punto.Si the HAMON Sugata and pass the test, the sword should be good, however, we must ensure that the sword is handmade and not mass produced cleverly as a SHOWATO (mass produced during the Second World War). This ensures examining and Jihada JIGANE well. The JIGANE the steel with which the sword is and can show subtle changes in color and texture while Jihada is the pattern of JIGANE surface caused by the forging process, accentuated by polishing. The Jihada parking as wood grain and is described by its type and size (eg KO-Mokum, "little puff"). There are many criteria for judging the quality of Jihada. Sn explanatory but for the purpose of this essay, I think it suffices to say that if the present is Jihada a sword forged mano.Mientras do this thorough examination, faults or errors will become visible. Some of these are more acceptable than others, depending on the age of the leaf. In other words, a sheet of XII century may have some defects that would not be tolerated in a modern piece. However, all faults or weaknesses obviously reduce the beauty and value of a leaf. Look for holes or air bubbles that may indicate or impurities that were introduced during the forging process and may be under the surface of the leaf. Also check the HA-SAKI (edge) looking hairline cracks that will edge the Hamon called HA-GIRI. These are serious failures caused by misuse of the sword in the cut. At the height of HA-GIRI would double or break. The HA-giri is not acceptable under any circunstancia.Finalmente Nakago inspection begins. The Nakago a good sword should always be finely finished. Slippage should be of good color and rust should not be cleaned under any circumstances. If you have any inscription, this will be of great interest. A good MEI will be carefully and skillfully written confidential, not sloppy, shaky or dubious. Almost does not matter if someone can read it (most Japanese can not read kanji in the inscriptions of ancient swords) while etching seguro.Por look confident and I will refer to last a couple of points that can avoid committing error costs. Most of the swords found in the West are of above-TO SHOWA. These were made in the Showa period (1926-1989) and the vast majority were manufactured in mass by the imperial army and navy during the Pacific War. These swords are not considered real NIHON-TO and seen as a reflection of the recent past Japanese militarism, they are still illegal in Japan. The Showa-to reasonably easily recognized by their small labels on the Nakago (usualemte SEKI or show) and are often signed with sloppy and careless character. There is often an inch or more blunt (known as UBU-HA) is found just above the HABAKI. These heavy and clumsy swords are usually found in Gunter (army). Generally military appeal to collectors and not recommend for practicing Iai or the serious study of Japanese Art at the armas.Habiendo said, I must add that during the Showa period, there were several blacksmiths were very thin sheets. There are also a few questions that leaves leaves family were traditionally made.
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