Japanese Swords. Colin M. Roach
Temperline Patterns (Hamon)
When a Japanese sword is made, a special process of hardening the sword creates a wavy line. The line, called the hamon, is the delineation between hard edge-steel and the softer steel in the back of the blade. See Chapter 2 for more information on this process.
Shown here are some examples of hamon. They have been expertly drawn by mukansa-level sword polisher Abe Kazunori. This type of drawing, called oshigata, is an art form in and of itself. Painstakingly difficult, oshigata allows the subtle and sometimes hard-to-distinguish features of swords to be seen all at once and without special lighting conditions.
STRAIGHT (SUGUHA)
Suguha hamon run parallel and equidistant from the cutting edge. Variations generally refer to the width of the line from the hamon to the cutting edge and include hoso-suguha (narrow), chu-suguha (medium), and hiro-suguha (wide).
IRREGULAR (MIDAREBA)
All hamon other than suguha can be considered midareba. However, due to the great variety of irregular hamon, many types of midareba hamon have names of their own. Midareba hamon can either be classified as ko-midare (small irregularities) or ō-midare (large irregularities) depending on how irregular they are. According to the Nihon Tōken Hozon Kai, this hamon was established by the famous Masamune of Sagami and propagated by other schools as his works’ influence spread throughout Japan. Some irregular hamon are featured here to introduce readers to the art of hamon.
WAVES (GUNOME)
Gunome hamon show relatively regular wavy pattern.
IRREGULAR WAVES (NOTAREBA)
Notareba hamon are created with waves that seem to swell towards and away from the cutting edge in an irregular pattern.
CLOVE FLOWERS (CHOJI)
Chōji hamon come in many variations and mimic the clove bud. These hamon are generally irregular but their clove patterns can be regularly waved, irregularly wavy, small, or large.
BAMBOO CURTAIN (SUDAREBA)
Sudareba hamon look like a bamboo curtain, mimicking the regular pattern of sections and multiple parallel lines running parallel to the cutting edge.
MOTTLED (HITATSURA)
Hitatsura hamon are composed of scattered spots and patches of hardened steel throughout the length of the blade. Known for the wild, untamed, and rugged look, many collectors consider Hitatsura hamon particularly striking.
Straight grain (masame).
Wood pattern grain (mokume).
Plank pattern grain (itame).
Undulating wave grain (ayasugi)—the hallmark of the Gassan school of swordmaking.
Grain Patterns (Hada)
Grain pattern within the steel is called hada in Japanese. When Japanese swords are made, both today and historically, steel of varying hardness is combined and folded. The manner of how the smith folds the steel, in relation to how he elongates it to create the blade, produces a grain pattern within the steel (see Chapter 2 for more details). Some blades have only one kind of grain but frequently a blade contains a mixture of more than one type of grain structure.
STRAIGHT GRAIN (MASAME)
Masame grain looks like long parallel wood grain that runs the length of the blade parallel with the cutting edge.
WOOD PATTERN GRAIN (MOKUME)
Blades with mokume hada feature irregular concentric circles and swirls connecting them. Moku means wood or tree; while me means pattern. Mokume hada looks like several saplings grew together and now their combined growth rings are tightly connected by complimentary swirls.
PLANK PATTERN GRAIN (ITAME)
When cutting a log into planks, a mix of wavy parallel and concentric circles will be seen. Itame hada means plank pattern and looks like the combination of masame and mokume hada: It has both parallel lines and some concentric circles.
UNDULATING WAVE GRAIN (AYASUGI)
Ayasugi hada is an extremely wavy masame hada. The waves are generally homogenous and equidistant. Primarily the Gassan School of swordmaking produces this grain structure; therefore it is sometimes referred to as Gassan hada. It is noteworthy that this grain is produced by filing away portions of the billet just before elongating it into a blade; not by elongation of the grain alone.
When viewing a sword always begin by appreciating the fittings. This wakizashi boasts a remarkably carved scabbard, beautiful rayskin handle and finely crafted metal fittings.
When handing a sword to someone while in its scabbard, it is presented horizontally, with the handle on the left (a position of non-threatening intention), and with the handle and scabbard being carefully controlled to avoid the blade from slipping out of the scabbard unexpectedly.
Viewing and Handling
Whether viewing someone’s sword, or cleaning your own, it is always important to follow some simple etiquette guidelines. Swords are handled in very strict ways to observe safety and etiquette. Never use the sword to point at someone or something. Be careful not to gesture aggressively with the sword; even to the extent that you should avoid pointing the edge (let alone the tip) of the sword towards someone. Think of the edge like a shotgun’s barrel and be careful where you point it. If you are unsure about something, ask. Between being thought an ignorant barbarian, and being seen as a careless, disrespectful, and dangerous barbarian, I recommend the former.
Before receiving the sword, the owner will likely have cleared the area of all extraneous materials. Only sword cleaning supplies should be laid out. This demonstrates safe practice as well as reverence for the sword. Never touch the polished surfaces of a sword. There are two places where you can hold a sword: by the handle and by the unpolished portion of the nakago (tang). Never touch a sword without having permission. Even then, it is best to wait until the blade is handed to you.
When handing a sword to someone while in its scabbard, it is presented horizontally, with the handle on the left (a position of non-threatening intention), and with the handle and scabbard being carefully controlled to avoid letting the blade slip out of the scabbard unexpectedly. Be prepared to receive the sword and its scabbard in both hands, carefully taking control at the tsuka and saya. The person presenting the sword will likely make a small bow while holding it out. Bowing while receiving a sword demonstrates