The swordsmith forges the actual blade. He starts usually with a special kind of traditional Japanese steel called tamahagane, and works with hammer and forge to fold it a number of times. There are two processes in general, one to make core steel (shinganae) and the other to make jacket steel (kawagane). Kawagane is folded more times and ends up being harder and less ductile than shinganae. In the most simple construction, a piece of kawagane is folded around a piece of shinganae to form a jacketed core. Thus the shinganae allows the sword to flex instead of breaking on impact, and the kawagane allows it to take the famous razor edge. More complicated construction methods can produce swords made of as many of 5 pieces of steel, all forged differently.
The folding process is used to closely control the uniformity and carbon content of the steel. An accomplished smith can tell by eye to within a tenth of a percent the carbon content of a piece of steel.
When the basic blank has been constructed, the smith will continue to work what is essentially a metal bar into the shape of the sword. When the forging is done, the blade is the correct length, curvature and general shape, but lacks a finish and certain of the various edges and features. The smith will then use coarse polishing stones to further define the blade before passing it onto the polisher.
The polisher uses successive grades of stone to finish the blade. The polisher is responsible for the famous edge, but that is only one part of his job. His real job is to bring out the beauty of the smiths art. Properly polished, the complexity of the construction is revealed. Improperly polished, the blade is ruined.
A woodcarver makes a saya (scabbard) for the sword. Each saya is custom carved out of wood from the ho tree. The actual blade is required, as the carver will use it as a template to make a properly fitting saya.
A jeweller makes the habaki, the small but critical metal piece which is constructed to fit exactly on the blade next to the tang, and provide the snug friction fit which keeps the blade from rattling in the saya.
Further craftsmen make the finishings. There can be separate craftsmen for the tsuka (handle), tsuba (handguard) and menuki (hilt ornaments).
The folding process is used to closely control the uniformity and carbon content of the steel. An accomplished smith can tell by eye to within a tenth of a percent the carbon content of a piece of steel.
When the basic blank has been constructed, the smith will continue to work what is essentially a metal bar into the shape of the sword. When the forging is done, the blade is the correct length, curvature and general shape, but lacks a finish and certain of the various edges and features. The smith will then use coarse polishing stones to further define the blade before passing it onto the polisher.
The polisher uses successive grades of stone to finish the blade. The polisher is responsible for the famous edge, but that is only one part of his job. His real job is to bring out the beauty of the smiths art. Properly polished, the complexity of the construction is revealed. Improperly polished, the blade is ruined.
A woodcarver makes a saya (scabbard) for the sword. Each saya is custom carved out of wood from the ho tree. The actual blade is required, as the carver will use it as a template to make a properly fitting saya.
A jeweller makes the habaki, the small but critical metal piece which is constructed to fit exactly on the blade next to the tang, and provide the snug friction fit which keeps the blade from rattling in the saya.
Further craftsmen make the finishings. There can be separate craftsmen for the tsuka (handle), tsuba (handguard) and menuki (hilt ornaments).
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