Goemon Ninjato - Ninja Katana, Samurai Katana Forging and Folding

8/3/2019 Goemon Ninjato - Ninja Katana, Samurai Katana Forging and Folding

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Goemon Ninjato

Destinaie: nceptori, Avansai, Experi, ColecionariImportant!Fiecare sabie este forjat manual i pot aparea micidiferene ntre datele din tabelul de mai jos sau ntre sbii de acelaifel. Stativele sau alte auxiliare prezentate n fotografii nu sunt inclusen preul produsului. V rugm verificai auxiliarele oferite, nu toatemodelele au ntregul pachet inclus.


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TeacaLungime 74 cmMaterial lemnCuloare negru

Koiguchi & Kurikata standardSageo matase japoneza - negruSpecial Lama neagra

Auxiliare incluseCutie carton

Stativ nuSet curatare nu

Husa standardAcestea sunt opere de art, individuale i cu propria personalitate!

Parti componente ale katana

Specificaii generaleDimensiuni

Lungime total cu teac 104.5 cm

Lungime total fr teac 101 cmGreutate total cu teac 1520 g

Greutate total fr teac 1170 g

Lama

Lungime

71 cmLaime 34 mm

Tip de oel 1045Duritate 45HRCLaminare Maru

Tratament

forjata manual /c

uniformFinisaj manual / piatre japBo-hi da

Mner

Lungime 28.5 cmTsuba aliaj de zinc

Fuchi/Kashira alamaIto matase japoneza - negru

Samepiele veritabila de pisica

de marePrinderea lamei de mner doua nituri de lemn


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1. a. Parti component ala lamei Kissaki varful lamei, definit ca zona de dincolo deyokote. Yokote - o mica delimitare in unghi drept de la ridicatura central (shinogi) cedelimiteaza kissaki.

Shinogi o muche (ridicatura) deambele parti ale lamei, ce porneste de layokote; usual este mai aporoapede mune (spatele sabiei) decat de ha (tais) Ha taisul lamei Hamon desenul de pe marginea lamei dintre taisul tratat termic si restullamei din metal netratat termic (restul lamei) Boshi desenul tratamentului termic ce se intinde in kissaki Ji zona dintre ha si shinogi Shinogiji zona dintre shinogi si mune Mune muchia din spate a sabiei

Munemachi crestatura in spatele lamei care defineste zona de unde incepemanerul (nakago)


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Hamachi- crestatura in zona taisului care defineste zona de unde incepemanerul (nakago) Habakimoto zona acoperita de habaki Nakago partea nefinisata alamei ce se afla in maner cand sabia estemontata Yasurime hasuratiile de penakago ce difera de la maestru la maestru si de

la scoala la scoala; constituie totodata o semnatura aditionala Mei semnatura; la tachisemnatura se afla pe parte ape care pozitionamsabia cu taisul catre dreapta: la katana se afla pe partea de sus a nakago candpozitionam taisul catre stanga Nakagojiri capatul nakago-ului Mekugiana orificiul de fixare a lamei in maner Nagasa lungimea lamei definite ca o linie dreapta dintremunamachi sivarful sabiei Sori curbura sabiei definite ca distanta perpendicular dintre punctul cel maicoborat al spatelui sabiei (mune)si nagasa Sakihaba latimea lamei in zonayokote Motohaba latimea in zona habakimoto; se foloseste termenul fumbari candlatimea din zona motohaba este considerabil mai mare decat in zona sakihaba

Tipuri de sectiuni ala lamei:

Hira-zakuri plata, fara shinoji(muchie pe laterala lamei), cu aspecttriunghiular al sectiunii transversal

Kiriha-zakuri cu laterale plate dar cu un unghi ascutit intre acestea si tais. Shinogi-zakuri are pe laterale o muchie (shinogi) mai apropiata de spatelesabiei (mune) decat de tais (ha) Kissaki-moroha-zukuri(sau kogarasu-zukuri) are doua taisuri catre varf siun singur taisi catre maner, cu o muchie lateral ce este pozitionata pe central lamei

Tipuri de curburi ale lamei: Koshizori central curburii se afla langa maner sau chiar in maner Toriizori central curburii se afla cu aproximatie in central lamei Sakizori central curburii se afla catre varful sabiei

Uchizori o curbura foarte mica, mai degraba catre capatul manerului decatcatre lama

Tipuri de mune (muchia din spate a sabiei) Iorimune ascutit Marumune rotund Mitsumune cu trei muchii

Tipuri de nakago (manerul lamei) Funagata scurt, retezat; numele sugereaza profilul unui vas japonez depescuit Kujimomo ingustandu-se abrupt dinspre taisul lamei catre mubhia dinspate a lamei (in japoneza traducerea exacta este coapsa de fazan) Ubu nu se refera la forma, doar defineste ca hamachi si munamachi sunt inlocul locul initial si in stare foarte buna; de asemenea manerul lamei poate finumit ubu daca a fost usor modificat sau I s-a dat o alta gaura (mekugiana) datoritaremontarii

Tipuri de profile ale manerului lamei

Iriyamagata asimetric, in forma de V Kengyo simetric in forma de V Kurijiri asimetric rotund, in forma de V

Tipuri de Yasurime (hasuratiile de pe nakago) Kiri in unghi drept pe manerul lamei Katte Sagari usoara inclinatie catre muchia de sus a nakago


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Sujikai inclinatie medie catre muchia de sus a nakago Osujikai inclinatie pronuntata catre muchia de sus a nakago

Tipuri de varfuri ale lamei (kissaki) Ko-kissaki scurt in raport cu latimea lamei in apropierea manerului Chu-kissaki de lungime medie in raport cu latimea lamei in apropiereamanerului

Ikubi-kissaki- scurt in raport cu latimea lamei in apropierea manerului siarecum bont (in limba japoneza este numit grumaz de mistret)

Tipuri de granulatii ale lamei in zonaji Itame reproduce textura lemnului debitat pe inversul fibrei Nagare-itame este o variant in spirala a desenului Ko-itame este o variant a itame cu o granulatie mai fina Masame desen de linii relative drepte si paralele ce alearga pe toatalungimea lamei Mokume reproduce textura lemnului dar intr-o variant mai compacta Ayasugihada desen regula, concentric, sub forma de vbaluri cereproduce desenul lemnului provenit de la copacul sugi (conifer din familia

Taxodiaceae)Tipuri de boshi Omaru larg, cu o curbura accentuate a hamon-ului in zona kissaki Komaru cu o mica curbura catre final Midarekomi cu iregularitati continue ale hamon-ului principal, catre varf Notarekomi unduiri line si continue ale hamon-ului principalcatre varf Hakikake suprafata plana sau cu aspect de pensulare amodelului nie (informaii suplimentare la informatiile despre aspectulzonelor ha siji).

Tipuri de hamon Suguha drept; termenul chu-suguha este folosit pentru o latimea ha medie, hososuguha pentru o latime ingusta si suguha pentru a latime foarteingusta a ha Midareba neregulat: komidare iregularitati mici si frecvente; omidare

neregularitati mai mari si mai putin frecvente Notareba unduire lina; konotare unduirea este mica si frecventa; onotare unduirea este mai larga si mai putin frecventa Choji neregulat, cu linii din hamon ce se extind catre ha Gunome un desen constituit din mici curbe Gunome choji combina aspectul choji si gunome Toranha un desen foarte larg si neregulat Sambonsugi unduiri in unghi ascutit de cate trei, de inaltimi diferite, aledesenului Juzuba similar cuchoji dar cu ub desen mai fin si mai larg Hitatsura cu desenul de tratare termica vizibil de-a lungul muchiei lateralela fel de bine ca si linga taisul lamei

Tipuri de prezentare a ha siji Nie, nioizona stralucitoare a structurii cristaline a otelului, rezultata in urmaprocesului de tratare termica si formarii hamon-lui, in contrast cu zona moale aamei, cu aspect perlat. Cand aspectul este discret se numeste nie: cand aspectuleste cetos se numestenioi. Acest aspect nu poate fi prezentat in schite si este vizibildoar la o examinare apropiata, in conditii de iluminare speciala. Konie cu nie mic Jinie nie aflat mai degraba inji decat in ha Chikei o linie stralucitoare inji


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Ashi - prins in zona de structura martensita (constituent structural al oelurilorclite, cu o densitate foarte mare), proiectat inha in unghi drept fata de hamon. Ko-ashi,saka-ashi si choji-ashi sunt variante tipice Yo ashi detasat, sub forma de frunza in hamon Sunagashi linia nie in ha, parallel cu hamon-ul Kinsuji ca chikei (o linie stralucitoare inji) dar existent in ha; inazuma este

variant unghiulara Utsuri zona usor mata a a cristalelor de metal ce marginesc hamon-ul,deseori aparand ca un reflex al sau peji; este separat dehamon de o zona maiintunecata, mai putin reflectorizanta

BLADE LAMINATION METHODS

One of the things that makes the Japanese sword (Nihonto) unique is the way in

which the blade is constructed by laminating different types of steel together to

forge the blade. These lamination techniques give the sword its strength,

durability and resistance to breakage. Numerous lamination techniques have

been tried over time, but the major methods have remained in use for many

centuries. These same techniques are used by modern sword smiths when

forging new swords (shinsakuto) today. The value of a sword is in part

determined by the complexity of its construction. Historically various schools

of sword smiths used specific construction methods. These methods of

lamination have been determined by metallurgical analysis of numerous

antique sword blades. These lamination methods together with the differential

hardening of the blade to give a hard edge (hamon) while maintaining a softer

blade spine make the Japanese sword one of the most durable and break

resistant swords known. .


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Code to different types of steel

Of these methods of construction, the "maru" or non-laminated is the poorest.

The "kobuse" was and is still used (especially on WW II period swords) ; but

the "honsanmai" or simply "sanmai" is the most common lamination technique

used in forging the Japanese sword. The famous sword smith Masamune used

the "Soshu" seven layer construction method.

REFERENCES:

The Craft of the Japanese Swordby Leon and Hiroko Kapp and Yoshindo

Yoshihara; Kodansha International Ltd, Tokyo and New York, 1987, ISBN 0-

870011-798-X.

Laminating Techniques in Japanese Swords published by W.M. Hawley,

1974.

Comments on the Construction of Japanese Swords by Harvey

Stearn,BUSHIDO: An International Journal of Japanese Arms, Vol 2, No. 3,

January 1981.

Introduction to Japanese Swords by W. M. Hawley, 1973


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Demystifying the Authentic Samurai SwordAn authentic Samurai sword, hand made in Japan, can easily cost upwards of US$30,000.Even Chinese made production level approximations are typically at least $1,000-$2500for something reasonably traditional.

So why all this expense? What separates the real thing from a cheap, mass producedsword like the $60 Musashi Katanas pictured below?

This article serves as a beginners introduction and overview to understanding the realthing: an Authentic Samurai Sword primer if you will. Plus we will also bust a few myths,and yes we will probably upset a few purists in the process (always good fun).

So lets get into it!

FORGING AN AUTHENTIC SAMURAI SWORD

The old Japanese swords, the most expensive ones hand made in Japan, and the high

end traditionally forged Katana feature three distinct processes: folding, laminating anddifferential hardening (i.e. claying them and heat treating them to create thefamoushamon temper line).

But how many of these processes are necessary to produce a nicely performing Katana,especially considering the quality of modern industrial grade steel? Are these processesnow obsolete, and only done for the sake of authentic Samurai sword tradition?

Lets take a look...

FOLDING


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One of Cheness Cutleries only display orientated swords, the folded Kochou Katana

Personally, I think that the amount of mis-information and pure BS about folded Japaneseswords is staggering beyond belief. Some people claim that a real Katana is folded over1,000,000 times to create steel of such high quality that it can cut through gun barrels,armoured personnel carriers and literally everything else it touches (good old Manga andHollywood strike again!).

However if we strip away the BS, the truth of it is in the traditional forging process mostof the steel billets that were destined to become swords were rarely folded over 15 times,creating up to a still numerically impressive 32,768 layers. But what do these mysteriouslayers actually DO?

In actuality, these days at least, not a whole lot...

In medieval Japan, the quality of iron ore wasnt very good. But the innovative Japanesemetal workers took the various slags of impure iron and purified it by flame over a period ofaround 72 hours days in a large specially made furnace called the Tatara, creating a steelcalled Tamagahane (jewel steel).

But even this stuff wasnt as pure as it should be. So the Japanese sword smith would takeit, and carefully fold it to try and homogenize and even out the carbon content.

These days, not too many smiths other than those in Japan still make the sword this way
http://sbg-sword-store.sword-buyers-guide.com/kochou.htmlhttp://sbg-sword-store.sword-buyers-guide.com/kochou.html


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Blade Comparison

The blade body is the most import part of a sword. The Japanese sword has a very traditional way

of forging its blade. Today's swords blade is forged quite differently from the old days. Hammers,rollers, brushes and all other chemical dye are wildly used in production swords. We forge bothtraditional swords and production line of swords. We have forged a wide rang of blades by usingdifferent materials and method in the past. This blade comparison page shows you the differences

blades that are commonly seen in the swords market today. An very easy and simple way to judgea blade type is by looking at its hamon (a technique that creates the wavy and beautiful temper lineon the edge of the blade).

This is a common display sword. It is made of carbonor stainless steel. The blade is normally blunt. The

tang is very short not recommended for swinging orcutting. The blade is accomplished by using a big wirebrush wheel running over the metal surface. Thehamon is easily spotted to be a fake as you can see

the regular fine lines from brushing.

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A chemical etched hamon over none-forged monosteel.A chemical dye like mild acid, vinegar, ferric chlorides

were used to create this hamon. The blade edgemaybe sharpened for a display or entry leveltameshigiri.

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Through hardened monosteel blade. Depends on thesteel and heat treatment, the blade edge is hard

enough for cutting purpose. The hamon is chemicaletched with fabric buff over blade. A fabric buff over achemical dye etched hamon can create a cosmetichamon that is very attractive and subtle. This is an

adopted method of creating a cosmetic hamon onproduction swords today (e.g. 1050, 1060 and 1095

carbon steel).

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This is a none clay tempered blade, no hamon line canbe seen. This actually is a laminated blade combining

hard carbon steel on its edge and softer steel on itsspine. The edge can be further clayed to reveal a

natural hamon.

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This is a folded wave blade, the steel is folded togenerate pattern hada appearance. The wave blade isone of the most beautiful looking blades in the world,

it is also one of the hardest to create. however, softsteel, chemical dye and other folding techniques are

also used in today's production swords.

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This is a real clay tempered blade with a naturalhamon. After forging, the blade is covered with specialclay then further tempered and quenched to addhardness on the edge. The clayed blade normally has

stronger and durable edge than none clayed blade.

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This is clay temper folded wave blade. The steel wasforge folded first to generate wave pattern, then a

special clay is applied before re-heating andquenching. It creates a visible temper area between

hard and soft on the wave body.

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This blade is forge folded using the old Japaneseforging method. It is also highly polished by master

polisher, you can see the different area of edge,hamon and ji. It has very attractive hada grains on theblade. Please view our forging page for more details.

All our tameshigiri swords have sharpened edge (it will very). Compare each other, if cutting is your

priority, get a true clayed blade or 1095 monosteel blade. For collection purpose, choose a foldedwave blade. For iaido practice or beginners, choose 1050 or 1060 monosteel.

Gengswords also create traditional forge folded and polished blades, which are unlikely to sourcefrom others.
http://www.sword-buyers-guide.com/kaze-katana-review.html

Goemon Ninjato - Ninja Katana, Samurai Katana Forging and Folding

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