Katana is a traditional Japanese sword. Katana: myths and facts

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. It was 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 weapon throwing weapon. In everyday life it 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 giving him the opportunity to next step deal a damaging blow to the enemy.

Weaknesses of the katana

Speaking about the features of the manufacturing technology of a samurai sword, it is worth noting weaknesses 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. The wavy hamon pattern on the blade is clearly visible.

The most ancient handmade katana (katana sheaths were 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 of Japanese history, the small tanto sword was worn instead of the 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.

The reign of the Tokugawa shogunate from 1603 was associated with the disappearance of the art of wielding a spear. The bloody wars were replaced by the era of technology and the improvement of military competition with swords. The art associated with it was called “kenjutsu”, over time it turned into a means of spiritual self-improvement.

The meaning of the samurai sword

Real samurai swords were considered not just the weapons of a professional warrior, but also a symbol of the samurai class, an emblem of honor and valor, courage and masculinity. Since ancient times, weapons have been revered as a sacred gift from the Sun Goddess to her grandson, who rules the earth. The sword was to be used only to eradicate evil, injustice and protect good. He was part of the Shinto cult. Temples and sacred places were decorated with weapons. In the 8th century, Japanese clergy participated in the production, cleaning, and polishing of swords.

The samurai had to always keep a warrior's kit with him. Swords were given a place of honor in the house, a niche in the main corner - tokonoma. They were stored on a tachikake or katanakake stand. When going to bed, the samurai put his swords at arm's length at his head.

A person could be poor, but have an expensive blade in an excellent frame. The sword was an emblem emphasizing class status. For the sake of the blade, the samurai had the right to sacrifice his own life and his family.

Japanese warrior kit

Japanese warriors always carried two swords with them, which indicated that they were samurai. The warrior's outfit (daise) consisted of a long and short blade. The long samurai sword katana or daito (60 to 90 cm) is the main weapon of the samurai since the 14th century. It was worn on the belt with the point up. The sword was sharpened on one side and also had a hilt. The combat masters knew how to kill with lightning speed, in a split second by extending the blade and making one swing. This technique was called “iaijutsu”.

A short samurai wakizashi sword (shoto or kodachi), half as long (from 30 to 60 cm), was worn on the belt with the tip up, and was used less often when fighting in cramped conditions. With the help of wakizashi, warriors cut off the heads of killed opponents or, when captured, committed seppuku - suicide. Most often, samurai fought with a katana, although special schools taught fighting with two swords.

Types of samurai swords

In addition to the daisho set, there were several types used by warriors.

• Tsurugi, chokuto - the oldest sword, used until the 11th century, had straight edges and was sharpened on both sides.
• Ken - a straight ancient blade, sharpened on both sides, used in religious rites and was rarely used in combat.
• Tati is a large curved sword (point length from 61 cm), used by horsemen, worn with the tip down.
• Nodachi or odachi - an extra-large blade (from 1 m to 1.8 m), which is a type of tachi, was worn behind the rider's back.
• Tanto - dagger (up to 30 cm long).
• Bamboo swords (shinai) and wooden swords (bokken) were used for training. Training weapon could be used in battle with an unworthy enemy, for example, a robber.

Commoners and men of the lower classes had the right to defend themselves with small knives and daggers, since there was a law on the right to carry swords.

Katana sword

Katana is a samurai fighting sword, included in the standard weapon of a warrior along with a small wakizashi blade. It began to be used in the 15th century thanks to the improvement of tati. The katana is distinguished by an outwardly curved blade and a long, straight handle that allows it to be held with one or two hands. The blade has a slight bend and a pointed end, used for cutting and piercing blows. The weight of the sword is 1 - 1.5 kg. In terms of strength, flexibility and hardness, the samurai katana sword ranks first among other blades in the world; it cuts through bones, rifle barrels and iron, and is superior to Arab damask steel and European swords.

The blacksmith who forged weapons never made accessories; for this purpose he had other craftsmen subordinate to him. A katana is a construction set assembled as a result of the work of a whole team. Samurai always had several sets of accessories worn on occasion. The blade was passed down from generation to generation for centuries, and its appearance could change depending on the circumstances.

History of the katana

In 710, the legendary first Japanese swordsman Amakuni used a sword with a curved blade in battle. Forged from dissimilar plates, it had a saber shape. Its form did not change until the 19th century. Since the 12th century, katanas have been considered the swords of aristocrats. Under the reign of the Ashikaga shoguns, a tradition arose of wearing two swords, which became the privilege of the samurai class. A set of samurai swords was part of military, civilian and festive costume. All samurai, regardless of rank, wore two blades: from private to shogun. After the revolution, Japanese officials were required to wear European swords, and then katanas lost their high status.

Secrets of making a katana

The blade was forged from two types of steel: the core was made from tough steel, and the cutting edge was made from durable steel. The steel was cleaned by repeated folding and welding before forging.

In the manufacture of a katana, the choice of metal, special iron ore with admixtures of molybdenum and tungsten, was important. The master buried the iron rods in the swamp for 8 years. During this time the rust was eaten away weak points, then the product was sent to the forge. The gunsmith turned the rods into foil with a heavy hammer. The foil was then folded and flattened repeatedly. Therefore, the finished blade consisted of 50,000 layers of high-strength metal.

Real samurai katanas have always been distinguished by a characteristic hamon line, which appears as a result of the use of special forging and hardening methods. The handle of the tsuka sword was wrapped in stingray skin and wrapped in a strip of silk. Souvenir or ceremonial katanas could have handles made of wood or ivory.

Katana Proficiency

The long hilt of the sword allows it to be maneuvered effectively. To hold a katana, use a grip, the end of the handle of which must be held in the middle of the left palm, and right hand squeeze the handle near the guard. The synchronized swing of both hands made it possible for the warrior to achieve a wide amplitude of the swing without spending a lot of effort. The blows were delivered vertically to the enemy's sword or arms. This allows you to move your opponent's weapon out of the attack's path so you can hit him with the next swing.

Ancient Japanese weapons

Several varieties of Japanese weapons are of the auxiliary or secondary type.

• Yumi or o-yumi - combat bows (from 180 to 220 cm), which are oldest weapon Japan. Bows have been used in combat and in religious ceremonies since ancient times. In the 16th century they were supplanted by muskets brought from Portugal.
• Yari - a spear (5 m long), a weapon popular in the era of civil strife, was used by infantry to throw the enemy off a horse.
• Bo is a military fighting pole, nowadays classified as a sporting weapon. There are many options for the pole, depending on the length (from 30 cm to 3 m), thickness and cross-section (round, hexagonal, etc.).
• Yoroi-doshi was considered a dagger of mercy, resembled a stiletto and was used to finish off opponents wounded in battle.
• Kozuka or kotsuka is a military knife mounted in the sheath of a combat sword, often used for household purposes.
• Tessen or dansen uchiwa - a commander's battle fan. The fan was equipped with sharpened steel spokes and could be used in an attack, as a battle hatchet and as a shield.
• Jitte - an iron war club, a fork with two teeth. Used during the Tokugawa era as a police weapon. Using jitte, police intercepted samurai swords in battles with violent warriors.
• Naginata is a Japanese halberd, a weapon of warrior monks, a two-meter long pole with a small flat blade at the end. In ancient times, it was used by foot soldiers to attack enemy horses. In the 17th century it began to be used in samurai families as a feminine
• Kaiken is a combat dagger for aristocratic women. Used for self-defense, and also by dishonored girls for suicide.

During the period of internecine civil wars made in Japan firearms, flintlock (teppo) guns, which became considered unworthy with the rise of the Tokugawa. Since the 16th century, cannons also appeared in Japanese troops, but the bow and sword continued to occupy the main place in the samurai's weapons.

Katana-kaji

Swords in Japan have always been made by people of the ruling class, often relatives of the samurai or courtiers. With the growing demand for swords, feudal lords began to patronize blacksmiths (katana-kaji). Making a samurai sword required careful preparation. The forging of swords resembled a liturgical ceremony and was filled with religious activities to protect the owner from evil forces.

Before starting work, the blacksmith observed a fast, abstained from bad thoughts and actions, and performed a ritual of cleansing the body. The forge was carefully cleaned and decorated with shime - ritual attributes woven from rice straw. Each forge had an altar for prayer and for moral preparation for work. If necessary, the master dressed in kuge - ceremonial clothing. Honor did not allow an experienced craftsman to make low-quality weapons. Sometimes a blacksmith would destroy a sword he might have spent several years crafting because of a single flaw. Work on one sword could last from 1 year to 15 years.

Japanese sword production technology

The melted metal obtained from magnetic iron ore was used as weapon steel. Samurai swords, considered the best in the Far East, were as durable as Damascus swords. In the 17th century, metal from Europe began to be used in the production of Japanese swords.

The Japanese blacksmith formed the blade from a huge number of iron layers, thin strips with different carbon content. The strips were welded together during melting and forging. Forging, stretching, repeated folding and new forging of metal strips made it possible to obtain a thin beam.

Thus, the blade consisted of many fused thin layers of different carbon steel. The combination of low-carbon and high-carbon metals gave the sword special hardness and toughness. At the next stage, the blacksmith polished the blade on several stones and hardened it. It is not uncommon for samurai swords from Japan to take several years to complete.

Murder at a Crossroads

The quality of the blade and the skill of the samurai were usually tested in battle. Nice sword allowed to cut three corpses laid on top of each other. It was believed that new samurai swords should be tested on humans. Tsuji-giri (killing at the crossroads) is the name of the ritual of testing a new sword. The victims of the samurai were beggars, peasants, travelers and just passers-by, whose number soon numbered in the thousands. The authorities posted patrols and guards on the streets, but the guards did not perform their duties well.

Samurai, who did not want to kill innocents, preferred another method - tameshi-giri. By paying the executioner, one could give him the blade that he used during the execution of the condemned man.

What is the secret of the sharpness of the katana?

A real katana sword can sharpen itself as a result of the ordered movement of molecules. Simply by placing the blade on a special stand, the warrior would again receive a sharp blade after a certain period of time. The sword was polished in stages, through ten reducing grits. Then the master polished the blade with charcoal dust.

At the last stage, the sword was hardened in liquid clay; as a result of this procedure, a matte, thin strip (yakiba) appeared on the blade. Famous masters left their signature on the tail of the blade. After forging and hardening, the sword was polished for half a month. When the katana had a mirror shine, the work was considered completed.

Conclusion

A real samurai sword, the price of which is fabulous, is usually handmade ancient master. Such tools are difficult to find, as they are passed down in families as heirlooms. The most expensive katana have mei - the mark of the master and the year of manufacture on the shank. Many swords were decorated with symbolic forging, drawings that ward off evil spirits. The sword sheath was also decorated with ornaments.

Let's briefly define well-known facts regarding Japanese sword manufacturing technology. The Japanese katana sword is the most famous type of full-size bladed weapon in the world. Far East. This is a two-handed, slightly curved, single-edged sword in a wooden scabbard, varnished, with a blade length of about 70-80 cm, equipped with a flat removable guard and a cord-braided handle.

The technique of making a katana, as we know it, has existed in Japan for about a thousand years. The five main schools of Japanese gunsmiths (still existing today) determined the canonical proportions, internal structures, features of the metal structure of blades, as well as methods of their zone hardening. All this has been tested by practical fencing for many centuries, which ultimately turned this sword into one of the most advanced types of bladed weapons in the world.

Here it is necessary to note the fact that in Japan the polished blade itself is called a sword rather than the entire sword assembly. This, at first glance, strange attitude may be due to the fact that the technology for assembling a katana provides for the quick replacement of not only the handle assembly, but also its individual parts. But the main factor that determined the indisputable priority of the blade, without a doubt, is the amazing complexity and precision of the art of its manufacture.

Sword decoration details koshirae"koshirae" (guard - tsuba, handle elements - fushi, kashira, menuki) exist as collectibles, almost independently of the blade. These are completely independent works applied arts, which can decorate almost any sword (assembly technology allows you to fit almost any koshirae part to any blade).

Exploring the technological features of making a katana, delving into the contemplation of this beauty, it is necessary to immediately outline the level of quality of swords, starting from which one could talk about the katana as a true work of weapon art. It is no secret that today in any Moscow souvenir store you will be offered for US$100-300 the “real” katana made in knife factories in Spain or China. The seller will expertly explain that the blade is made of beautiful stainless steel, and the dangling sheath, plastic handle and stamped frame are created in full accordance with classical Japanese techniques and belong to such and such a century, such and such a style... Well, I think, “ Spanish Japan” there is no need to comment. However, the market for hack work does not end there. Many, if I may say so, “katan” are produced by prisoners (specialized Russian enterprises) and gunsmiths who do not adhere to any traditional Japanese technology and rules. Roughly crafted stainless steel blades, with a painted or etched hardening line, threaded or epoxy glued handles, saber scabbards with rings for hanging. All this greatly disorients the public and often repels novice collectors of modern designer weapons from the topic of the Japanese sword.

A real sword of “high quality”, first of all, does not tolerate the influence of high technology. There should be no innovations, no inventions, a minimum of deviations from the canon. A real sword is made by a master not only at the level of knowledge of technology. It is very important to maintain the atmosphere, the spirit of the process itself, and the internal mood. A katana is not a souvenir or a ceremonial decoration, it is a formidable weapon of a true warrior of the spirit. All masters working on the creation of a high-quality sword put their soul, experience and a piece of their own destiny, or, in Eastern terms, karma, into it. Let us note that a real katana is created by several professional craftsmen (independently of each other), each of whom lays down its future level.

There are no minor details in a real sword. It is important from what, how, by whom, for what and for whom it was made, what features are included in its design and decoration. Set distinctive features The quality of such a sword depends on the level of the craftsmen and the level of technology they used.

Mandatory attributes of a high-quality, real katana are, of course,:

* “patterned” (composite) steel of the blade, obtained by hand forging (with a possible structured design of cross-sectional elements: the butt, lining and blade can be made of composite steels of different chemical composition and structure);

* zone water hardening of the blade, obtained by coating part of the blade with a special composition based on clay, sand and charcoal with many visual effects in the transition zones between hard and soft areas);

* ultra-fine manual polishing of the blade on stones, without the formation of an edge (chamfer) of the blade and without the effect of rounding the edges of the edges (in addition, such polishing should provide a high degree of sharpness of the blade, as well as reveal the macrostructure of the composite steel and the hardening line jamon"hamon" on a completely mirror surface);

* original design and assembly technology of the sword (O-ring habaki"habaki", guard tsuba"tsuba" and handle Tsuka"tsuka" are put on the blade through the shank and fastened “pull-in” with one pin mekugi"mekugi");

* an artistically decorated koshirae finishing device and a scabbard, made according to classical rules, in full compliance with traditional assembly technology, must carry a deep philosophical idea and the special charm of the aesthetics of Shinto and Zen.

Dear readers, one can talk about this topic, without exaggeration, forever. I will only note that hardening a katana is, of course, the most important, risky and complex operation, performed during the manufacture of a sword, which lays down not only half of all the physical and mechanical properties of the blade, but also, in fact, determines its aesthetics. Nothing attracts attention in a katana blade like jamon"hamon".

Polishing a katana blade

Polishing Japanese swords is a separate and highly respected profession. For several centuries now, this generally utilitarian operation has existed in Japan as a high art. The goal of the polisher is to achieve absolutely correct shapes of the blade, a mirror-like, clean surface of the steel with a visible “pattern” (hada) and a hardening line (hamon), as well as the extreme sharpness of the blade.

All operations are performed on special stones in six to seven main phases (from coarser stones to thinner ones). During the polishing process, stones are constantly washed with water, and abrasive pastes are formed on their surface from friction with the metal.

Latest detection operations hada"hada" and jamon"hamon" (hazui, jizui) are made with small, thin stones held on the surface to be polished with the thumb. For a more vivid manifestation of the metal structure, the polisher can perform the operation at his discretion hadori"hadori" (weak chemical effect on the metal of the blade), which emphasizes the beauty of the metal and the hardening line, but does not lead to the loss of the effect of a deep, translucent mirror.

On average, it takes a professional ten to fifteen business days to polish a new katana blade. After completing its work, specialists and connoisseurs can see all its strengths and weaknesses. Hidden defects will appear in the same way as deep, subtle virtues. Before final polishing, it is almost impossible to truly evaluate the sword.

A high-quality katana blade, after a good professional polishing, carries a lot of information into ce6ie. Hada and hamon are definitely visible on it. Moreover, it is impossible to fake such effects with acid etching. A picture of the blade “freezing” or, in other words, “stopping” will open before your eyes, full of drama and mystery. The hamon line is not a static picture. This is a kind of photograph of the rapid breathing of metal.

It is completely impossible to see the fine, moiré “pattern” on hada steel in all its mesmerizing glory without a professional polisher. Neither acid etching nor electrolysis will allow you to see this hologram of the Universe in the mirror. Describing the beauty of hada on a katana is pointless. It is also almost impossible to photograph this fleeting, elusive effect. That is why it is still customary in Japan not only to photograph blades for registration and evaluation, but also to sketch them on paper. The human eye sees incommensurably more in the mirror of the blade than the most accurate photographic equipment in the world.

Assembling a katana

Assembling a katana can be divided into three large stages:

1. Production of unique parts that are made for one strictly defined blade:

* habaki sealing ring serves to ensure that the blade fits tightly into the sheath and is fixed in it due to friction (forged from copper, silver or gold directly on the blade to ensure maximum fit of the ring to the blade, after knocking out the ring is sawed off and soldered; habaki ( habaki) can be decorated with engraving, inlay and appliqué with precious metals);

* wooden scabbard saya"saya" (glued together from two halves, each of which is adjusted to the blade and to the habaki in profile and thickness with virtually no backlash, in subsequent operations they are varnished and equipped various elements and details);

* wooden handle base Tsuka"tsuka", the manufacturing technology of which is similar to the manufacturing technology of the scabbard, only in this case the shank of the sword is cut between two planks (in subsequent operations it is covered with the skin of a stingray or shark and tied with a special cord tsukaito"tsukaito" made of cotton, silk or leather);

* metal rings that tightly fix the guard between the habaki and the handle seppa(seppa) and eliminating backlash, can be made of copper, bronze, silver or gold.

* guard (tsuba) - the most significant and complex element sword device, can be decorated with engravings, inlays, tauching, varnishes, enamels, patination and many other techniques (the material for tsuba can be wrought iron or steel, cast bronze, shakudo (bronze with the addition of silver and gold), silver, copper and combinations specified materials);

* ring adjacent to the guard footy"fushi", pommel cashier"kashira" and paired elements woven under the braided cord (menuki) are made according to the same principles as tsuba, complementing and expanding its figurative range.

3. Assembly, adjustment and varnishing of the scabbard:

* the operation of assembling the handle includes the following actions: gluing the skin of a stingray or shark (same), adjusting and installing koshirae, tsuba and sepa elements, tying knots tsukamaki"tsukamak"i cord with fixation on the handle menuki"menuki" and kasira;

* installation of reinforcing and functional elements on the sheath (can be made of various metals, black horn or hard wood);

* making special grooves in the sheath and installing a miniature knife in them ( kozuka kozuka, for cutting and straightening armor cords) and hair clips ( Kogai"kogai", for tying and untying tight knots on armor);

* varnishing of the scabbard (the varnish may include a wide variety of fillers, such as plant seeds, metal dust, powders from eggshells, colored stone, etc., in addition, between the layers of varnish, stingray skin, inserts of valuable wood, pieces of fabric and leather can be used as an element of applique).

Manufacturing of katana handle rim elements

As already mentioned, elements of a katana frame can exist as independent works of art. They are, as a rule, made separately from blades, by individual craftsmen belonging to their own schools and creative workshops.

There are many techniques for making koshirae. In ancient times, frame parts, especially tsuba, were often made of wrought iron. Such details were decorated very sparsely, mainly with perforations, but the symbols and compositions themselves on these old finishing details are striking in their laconicism and originality.

At a later time, approximately from the end of the 16th century, the method of bronze casting with subsequent complex refinement by methods of engraving, tauching, application with various metals and alloys, etching and varnishing became very widespread.

There are many ancient finishing devices made by casting silver, soldering elements of precious metals onto steel, and applying polished stingray skin. And also with all kinds of combined techniques, using not only metals, but also bone, leather, wood, enamel...

But we will not dwell on the technique of performing koshirae in more detail. The fact is that even the most superficial coverage of this topic will take, without exaggeration, 200-300 pages of printed text (excluding illustrations).

For those who want to seriously study this topic (and in general all topics related to the katana), I strongly recommend reading the books by A.G. Bazhenov “History of the Japanese Sword” and “Examination of the Japanese Sword”, as well as the sixth issue of the “Chevron” series called “Japanese Sword” (author K.S. Nosov).

Metallurgy of the Japanese sword

After a brief introduction to the manufacturing technology and design of the katana, allow me, dear readers, to bring to your attention some of my assumptions regarding the metallurgy of the Japanese sword.

My colleagues and I from the workshop “TeG-zide” (“Iron Fang”, Japanese sword workshop of Sergei Lunev) tried to understand the reason for the appearance of the peculiar fine moire “pattern” hada on classical blades of antiquity.

Research: "Moiré of Japanese steel"

Studying samples of ancient Japanese katanas (XIV - XVI centuries) over the past five years, I had to pay attention to the special fibrous-moiré structure of the steel of their blades. On the surface of the blades, at 4.5-10x magnification, the finest traces of forge welding are clearly visible. It would seem that everything is clear: we are dealing with classical technology so-called "Damascus steel".

However, it is impossible to obtain such a hada pattern by layer-by-layer welding of dissimilar steel. A completely different nature of the structure.

A more detailed study of ancient Japanese swords (from private collections) in metallographic laboratories revealed that the structure of their blades is fragmentary fibrous, i.e. formed by joining together by forge welding many fragments that originally had a fibrous structure.

These fibers consist of differently carburized and differently alloyed steel fragments. Traces of welding seams can be periodically traced between the fibers themselves. The density of the fibers is amazing: in certain areas of the blade (at the edge of the blade), apparently, it can reach from 100 to 300 fibers per square millimeter of cut (i.e., up to 500,000 fibers on the cut of the blade)! Unfortunately, no one allowed us to cut the blade and accurately count the fibers, however, museum workers and collectors can be understood. Further research revealed the following:

* the fibers themselves have an intermittent structure, with a change in color when etched nitric acid from light gray to almost black (i.e. the fibers are heterogeneous in chemical composition);

The fibers are grouped into groups of two levels, i.e. on the one hand, small fibers are collected into something like bundles or bundles (1st level), on the other hand, these bundles form highly deformed (flattened) groups, arranged in layers (2nd level);

It was found that the boundaries between fibers at the microscopic level have two main types: forge welding, with remnants of non-metallic inclusions (type 1), and diffusion welding at the molecular level without visible traces of non-metallic inclusions (type 2);

Each fiber is heterogeneous in chemical composition, and can repeatedly change color when etched from light to dark along its entire length.

It will be possible to obtain more detailed information about the structure and chemical composition of the fibrous steel under study only by using methods of studying the material that allow mechanical and electrical erosion destruction of samples (blades).

So, after some time it became clear to us that moire pattern- This is a fiber built in layers. Naturally, questions immediately arose. Are blades like this made in Japan today? What kind of technology or method makes it possible to obtain such a macro- and microstructure of steel? How does such a structure affect the quality characteristics of the blade?

Let's start in order

In Japan, the best modern blacksmiths still achieve the same effect today. This is confirmed by many detailed photos modern swords forged by such greats as, for example, Yoshihara Yoshihara. Not on all, but on many of his swords it is clearly visible fibrous-moire structure of the metal. So the first question can be safely answered in the affirmative. I repeat once again, such blades can only be found among the best Japanese masters of our time. This is an important point that will help us understand the “mystery” of moire fiber more thoroughly.

Now about the Japanese method of producing fiber steel. The goal is to obtain not just a fibrous structure, but an ultra-thin structure with alternating (non-uniform) fibers, built in two levels (longitudinal and layer-by-layer), connected together by both forge and diffusion welding.

The creation of fibrous structures in steel has been solved (and very successfully) for many centuries, by many masters in many countries. The most famous method today is the so-called mosaic Damascus method. The essence of this technology is that a package assembled from steel strips (square in cross-section) is forged, welded and pulled back into a square cross-section. Then the timber is chopped or cut into equal sections, from which a square-section package is again assembled (2 by 2 or 3 by 3 or more). After which these operations are repeated cyclically. Having thus collected the required amount of fibers, the blacksmith twists the bag and cuts it crosswise into grooves of 3-8 mm. Further forging into strips and grinding “raises” to the surface a mosaic pattern of steel formed by transverse sections of fibers.

A cross section of a mosaic Damascus block represents a fiber arranged in a certain way. Eight welds of a 2 by 2 stack using this method will produce a block containing approximately 65,000 fibers. A 10 splices - already more than 1 million fibers!

Based on this method, we created several katana blades, in which famous blacksmiths and gunsmiths from Moscow and Tula took part.

A significant difference from the Japanese version can be considered the absence of the effect of an intermittent fiber structure. The pattern came out small, clear, very beautiful and dense, but without the famous Japanese moire. The blades turned out to be quite strong and impact-resistant, however, classical zone hardening revealed hamon without a clearly defined transition zone nioi, and moreover, the hardened zone showed the contrast hada, which is undesirable from an aesthetic point of view. In short, it turned out very well, but not quite what we were looking for.

There are many methods for producing fibrous steel. Just for fun, I can suggest another, very irrational method that just came to mind. When welding a Damascus package (after a set of 100 layers), cut grooves on it along the broach before each subsequent welding. Longitudinal cuts will “raise” to the surface transverse sections of layers, which, with cyclic repetition of these operations, form fiber. The loss of metal with this method will be enormous, and the fiber will turn out to be of “different calibers” and, of course, completely homogeneous. But why not a method? It’s a pity that in Russia things don’t go well with intellectual property, otherwise it could have been patented. However, jokes aside.

And yet, how is classic moire fiber made in Japanese? Let's turn to the primary sources: books about the art of making Japanese swords, published in Japan and the USA. The whole process is described in many books from beginning to end. For us, the most interesting, without a doubt, will be the materials from the book of the most authoritative blacksmith and gunsmith of modern Japan, Mr. Yoshindo Yoshihara, “Craft of the Japanese Sword”.

It must be said that Japanese masters very skillfully hide the most important technological nuances in an abundance of very spectacular and colorful, but still secondary or well-known facts. Many important points are completely missing. This is understandable; the secrets of mastery exist to protect them. I won’t lie, I wouldn’t want to reveal absolutely everything that I managed to understand and what I was able to learn, but, in my opinion, the technology of Japanese moiré deserves to slightly lift this veil of mystery. I think that many lovers of Japanese swords and collectors will be more respectful of the katana if they learn more about such “secrets of antiquity.”

So, the most interesting thing was “hidden” literally in the most visible place. Let's start with forging (forge welding) the steel of the blade.

Describing the process of folding the package, master Eshindo in his book provides a diagram where, however, without much comment, one very interesting and significant technique is shown, with the help of which the longitudinal-fiber structure of steel is obtained. This is a rotation of the package by 90° around the broaching axis, and further welding and folding in a perpendicular plane. Rotate the package, collecting at least 200-500 layers in the primary plane. After turning and further adding layers, the package begins to crush according to the chessboard principle and collects fibers formed at the intersections of the primary and secondary layers.

It must be said that, like all technologies of antiquity, this method of obtaining fiber turned out to be much more effective and simpler than the later inventions of blacksmiths. Unfortunately, I was also forced to first, so to speak, “reinvent the wheel,” i.e. “rediscover” this method, before I realized that it had long been published in many books on the Japanese sword, and all this time it was literally looming before my eyes. This is how we once again have to make sure that the most important (and simple) secrets are kept in the most visible place, but are not revealed to us until we ourselves understand their meaning.

However, the technique described above alone is not enough to obtain Japanese moire. Remember? We agreed that we would find a way to produce interspersed (not uniform) fiber. Now we come to the most interesting, and, at the same time, the most controversial. In order not to bother you with a description of my numerous experiments and experiments, I will only outline the essence of those methods, the results of which turned out to be very similar to the “Japanese moire” of the Koto period.

Method one (traditional, described in detail by Japanese masters)

Having received raw steel, we break it into a flat, porous pancake. Let's harden it with water, and then break the brittle, overheated steel into small fragments (from half to a third of a matchbox). Let's assemble a package from these pieces (let's call it the primary package), built on a low-carbon blade. To do this, lay out flat fragments in 5-7 layers. After forging, welding and drawing, we obtain a strip of square section with a side of 15-20 mm.

Having cut rods 50 - 60 mm long from this strip, we will lay out a secondary package from them in order to then weld it into fiber (according to the method outlined above). The whole “secret” in this method is that the bars must be placed across the line of the package. For what? Then, during further welding and drawing into the fiber, the welding seams of the primary package, formed by welded pores and welding fragments together, will greatly stretch across (and introduce chaos in the welding seam throughout the entire length of each of the fibers!), thus making our fiber very heterogeneous.

If you use steel melted in a charcoal forge (U7, U8, steel 45 and 65G), the result will satisfy most collectors and fencing masters. However, until the best examples of the XIV-XVI centuries. This method obviously cannot be reached. Apparently, the authors of numerous books on the manufacture of Japanese swords have “declassified” for us the technology for producing steel for ordinary, albeit very high-quality traditional blades.

Method two (more modern and less traditional)

Let's weld a primary package of 9 plates of standard rolled steel (U 10 and steel 45). Let's forge weld 54 layers (9x2x3) and stretch it into a strip of square section. Then everything follows the first method (bars, secondary package, fiber). The “secret” of this method is that the bars (aligned across the package) must be oriented so that their planes with welding seams are turned perpendicular (towards) to the plane of the hammer strikes. The result will be almost the same as in the first method, except that due to the clearer contrast of the metal, the number of fibers in the secondary package must be larger. In addition, steel turns out to be more capricious when hardening and welding, but using this method, a blacksmith can make do with ordinary grade steels without performing the operation orishigane"orishigane" (melting steel in a forge).

Method three (an attempt to reveal the next layer of the mystery of Japanese moire)

For the next method of obtaining Japanese moire, we will need.” damask steel! A few words about what damask steel has to do with it and what the next layers of mystery are. The fact is that traditional Japanese tamahagane steel, welded in a large (not home) tatara furnace, contains a significant portion of dendritic crystals due to the long cooling of a large mass of melt. As a matter of fact, the dendritic structure is the main factor determining damask steel. Therefore, we can safely assume that in the core of the ingot tamahagane"tamahagane", called kera"kera", contains a significant volume of cast damask steel. Many Japanese and American books about the technology of making Japanese swords show photographs of kera. Large dendrites are clearly visible in these photographs. So this “secret” is also one of the public.

Apparently, Japan should be considered the only country that traditionally produces damask steel without using a crucible. The role of the crucible here is the mass of peripheral metal mixed with coal and slag. It's very Japanese: practical, effective and deceptively simple.

With this method we will be able to perform another point in the technology of the ancient blacksmiths: diffusion welding between individual groups of fibers. Damask fibers formed by deformation (drawing) of dendritic crystals do not have forge welding seams among themselves. This is exactly the picture we observed when studying the metal of ancient Japanese blades.

So, let's take porous ingots of cast damask steel with a carbon content of 0.8-1.3% without any special alloying additives (unless some catalyst would help: molybdenum, vanadium, tantalum, etc., no more than 0.5% ). We weld them into coarse fiber (12 by 4) and... we will be amazed at the result! The nature of the pattern, color, contrast, and when hardened and hamon - it will turn out very similar to Japanese moire, but still somewhat large. Picking up more fibers will cause loss of moire and turn our steel into a nice, dense and unfortunately too uniform fiber.

One thing is certain: the presence of dendritic structures in the original packet has brought us closer to the solution. In many respects (oxidative processes during heating, cleanliness of the weld, welding temperature and much more), it was damask steel that showed what the legendary blacksmiths of Japan wrote about in their treatises and books.

An important point for understanding the significance of the damask component in tamahagane is the fact that after completion of smelting in Tatar"tatara" (there is only one such kiln in operation in Japan today), representatives of the five main Japanese schools of blacksmiths carefully select and distribute pieces of kera among themselves. This process is surrounded by a veil of secrecy and occurs without the presence of outsiders. What are the patriarchs looking for in this pile of metal? I dare to suggest, and my opinion on this issue is only strengthened by our many years of practice and scientific research that they are looking for damask steel, individual fragments of which are hidden in tons of porous steel.

Need I say that best metal goes only to the best masters of schools, including the aforementioned Yoshindo Yoshihara (Bizen school).

Method four (key to understanding or unfinished experiment)

The reason for the disappearance of the moiré effect with an increase in the number of fibers using the third method appears to be that the dendrites stretch along the package and become thinner (become invisible to the eye), while relatively bright and thick welding seams come to the fore. In the first two methods described above, we aimed to stretch the welds across the bag. Let's do the same with damask steel crystals.

Let's get started: we upset the damask ingot vertically and stretch it in a perpendicular plane so that its bottom and top become the left and right sides of the strip. We stretch a strip of square section, chop it into bars and put them into a primary package. After boiling the primary package, we add up to 20 layers, and after turning by 90, another 16-32 layers.

So what have we got?

* layer-by-layer fiber;

* diffusion and forge welding in one package;

* intermittent fibers.

Externally, the metal turned out to be even more similar to Japanese moiré, it heats up perfectly, allowing you to achieve many old-fashioned effects on hamon, it holds a blow perfectly and is generally very good and very close to the classics, but still something about it betrays a remake. It is necessary to conduct experiments to select the chemical composition of the initial steel (damask steel). Apparently, we will have to add all kinds of metallurgical “garbage”, play with alloy, flux, etc., but this experiment is not completed yet.

At the beginning of the conversation about the study of Japanese moire, we asked ourselves a question: how does the fibrous structure of steel affect the quality of the katana blade? Based on the experience of practical use of fiber blades of the workshop, Tetsuge in Russian laido (Japanese sword art) clubs, we can confidently say that fiber provides significantly greater strength and reliability of the blade compared to layered and homogeneous steels. The cutting characteristics of heterogeneous fiber are generally unrivaled. In this example, one can once again admire the Japanese ability to combine beauty and practice.

The practice and beauty of damask steel in katana (continuation of the search in pure damask steel)

I have been researching damask steel for about fifteen years now. True, over the years of working in this field, one thought increasingly comes to me: the more I learn about damask steel, the less I know about it. Well, it all started for the sake of the process. I think that any results will always remain intermediate phases of some endless experiment. Bulat has long become for me not a goal, not an idea or a dream, but rather a special atmosphere in which I am used to working and thinking.

Japan is my old love, which arose in my soul much earlier than other attachments. Many precious days of youth were devoted to this first love in the dozo (martial arts hall), the library and in the forest during the Japanese simple and youthfully categorical “contemplation” of nature. My fascination with Japan “infected” me with the aesthetics and practice of Zen, and later with Indian philosophy and the culture of India, having fallen in love with which, I adopted European philosophy, Hermeticism and alchemy.... But no matter how life develops in the future, Japan will probably forever remain for my favorite fairy tale that calls to me.

Sooner or later these two paths had to intersect. This is how katanas blades appeared, forged from cast damask steel, on the shanks of which the hieroglyphs Tetsu (iron, iron) Ge (in combinations - fang) are carefully displayed.

I came up with this name by analogy with my favorite cartoon “Mowgli” as a child. Do you remember with what admiration and awe Mowgli picks up an ancient dagger? How reverently do you pronounce his name: “Iron Tooth”? The calligraphic writing of these hieroglyphs, which became our signature, belongs to the brush of our comrade and my colleague at the Institute of Hard Alloys (VNIITS) Boris Anatolyevich Ustyuzhanin, who knows perfectly Chinese, and in general, is an extraordinary and knowledgeable person. I would like to take this opportunity to thank him again.

Over the years, my attitude towards damask steel, swords and Japan has not changed. Just like the hero of my favorite cartoon, I am sensitive to the blade. I hope this feeling never goes away. In this regard, I would really not like to become a “cynical professional”; it is better to always remain a sincere amateur.

Three or four years before the formation of the Tetsuge workshop, I made repeated attempts to create a katana blade from damask steel. Learning the intricacies of hardening along the way and encouraging my father to study Japanese polishing, I well understood that a katana needed a special damask steel, specially welded for it.

Water hardening became a real obstacle on this path. Classic damask steel of the Iranian type with 1.5-2% carbon did not withstand such a harsh operation. Too much martensite was falling out too quickly. When hardening, the blades were bent almost like a wheel, and they broke into almost thousands of pieces. Hardening in oil, firstly, did not meet my internal needs (not in Japanese, that is, not really), and secondly, the hamon line turned out to be devoid of the beauty that so seduces connoisseurs all over the world.

On the way to “Japanese damask steel” I tried many cunning techniques and methods, including such fundamental ones as thermodynamic shock in steel (quenching with abruptly changing cooling rates). The results were very beautiful and high-quality things in their own way, but you can’t fool yourself, this was not what you dreamed of.

So, in 2001, as a result of the resumption of work on alloying damask steel with molybdenum while simultaneously reducing the carbon content to 0.6-0.8%, it was possible to re-produce damask steel, which received the “proprietary” designation M-05 or, at home, “Emka” . Why did you have to reopen it? The fact is that at one time, due to a generally stupid mistake at the stage of polishing and acid etching, a similar alloy was “written off” by us as a waste.

A significant difference between “Emka” and everything that I have done before can be considered its three important properties:

* the ability to withstand quenching with the first water phase, then oil (in the first phase all the famous hamon effects are formed, while the second, oil phase will protect the blade from excessive mechanical loads);

* ability for forge welding (and weldability occurs at quite a low temperatures 900-1100°C);

* preservation of the damask “pattern” even with repeated heating to welding temperatures and higher (up to 1200°C).

The material was obtained from which, in fact, “our Japan” from Tetsuge began. "Emka" can act in different roles: as a tamahagane (if the smelting was carried out with a large number flux and slags specially introduced into the crucible); as a layer between layers of raw steel; and, finally, most importantly - as a natural, natural fiber from which the blade is forged.

A one-piece katana blade made from damask steel M-05, with the use of some cunning (may the readers forgive me, secret) forging techniques, allowing us to obtain the semblance of welding seams throughout the entire depth of the strip, is certainly the best, to date, that we have managed to achieve in the “Japanese theme” "

The main reason why the experiment, previously described as the “fourth method”, was suspended was the breakthrough in the forging of the M-05, which opened up much more tempting prospects than all the methods listed above.

The strength of a damask blade has always amazed the imagination, however, if this blade is a zone-hardened katana, some miracles begin! Having received the first successful samples of solid damask “Japanese” blades, my colleagues and I quickly became convinced that traditional methods of strength testing were no longer suitable, we needed to invent something tougher.

Using this technology, new to us, several swords were made, which at one time made up an entire collection and were shown general public in November 2004 at the Central House of Artists at the exhibition “Blade - Traditions and Modernity”. Now some of them are being tested by experienced laido and Kendo craftsmen. So far we have only received positive feedback from them.

One of the blades has already begun to give rise to legends (we presented it to the Japanese fencing master Fyodor Alekseevsky in 2004). During his short life, he has already been in the hands of kidnappers and in evaluation Japanese professionals, and at receptions at embassies... And recently some not-so-delicate visitor to an exhibition in Voronezh took it and cut it (without asking) in half the duralumin profile of the display case along with the glass, without causing any damage to the blade. So, it seems that in the case of the katana, damask steel strives to take a leading, if not dominant, position. Legends accumulate and tests continue.

The latest samples of blades suggest that in the near future we may be able to “submit” to water (without an oil phase) hardening of cast damask steel. Who would have imagined this even five years ago! The structure of hada steel, with each experiment, approaches the famous “Japanese moiré”. However, despite all these, perhaps very conditional, successes, I am sure that this result will not be the last. As has already been said, the process for us is still more important than any results, and the mysteries along this long path only become more numerous. Well, the more interesting it is.

Instead of a conclusion

In the research, or reporting, part of this article, we got acquainted with only one, very narrow (albeit important) aspect of the katana blade manufacturing technology. Fiber steel is far from the only “mystery” of top-level Japanese blades.

Think how many topics there are for a true collector to study! The rigid canon, polished by time, not only did not turn the katana into a dead art, but rather, on the contrary, opened the way through it to the knowledge of the infinite depths of perfection.

Frankly speaking, we are now more occupied with other topics. While working on katanas, we rather simply rest our souls from exhausting searches and experiments. But then one day, quite recently, friends and associates from the “Guild of Gunsmiths” called and asked me to write about Japanese swords. Alluring, beautiful and incomprehensible, Japan again reminded us of itself. Was it possible to refuse her?

In any case, I tried to show the inexhaustibility of this wise, ancient, but at the same time eternally young and modern beauty. As Zen teaches us, we tried to look closely at a grain of sand on the shore, so that through this fleeting contemplation we could mentally look into the depths of the ocean.

I would like that, against the background of this abyss, my not always successful, modest experiments would inspire novice gunsmiths to independent creative search. A search based not only on curiosity and pride, but also on a reverent, respectful attitude towards ancient cultures and their knowledge.

Katana is inexhaustible. This amazing sword combines so many features and wisdom! We completely omitted the topic of blade design, which according to the classics should consist of dissimilar parts (blade, butt, side plates), and did not consider the hardening process. We passed over the secrets of preparing protective fluxes, preparing the hardening medium and methods for straightening the blade, as well as tempering and polishing it. The topic of making a katana frame, the art of varnish painting of a scabbard, the symbolism and mysticism of the Japanese sword, the internal philosophy of the koshirae imagery and much more requires a separate detailed discussion.

Maybe another time...

. Born in 1968. In 1989-1991. studied the structures of cast damask steel at the Department of Metallurgy at MATI. In 1991 -1995 - private research into the technology for producing cast damask steel of the “Iranian” type. In 1995-2001 - practical experiments and production of cast damask steel on industrial equipment of hard alloy industry enterprises. 8 2001-2004 in the rank of Deputy Director of VNIITS (All-Russian Scientific Research Institute of Hard Alloys and Refractory Metals) he studied the physical, mechanical, chemical and electromagnetic properties of cast damask steel.

Participation in exhibitions:

- “Our names” in the State Historical Museum in Moscow, 1998;

- “Blades of Russia-2000” in the Armory Chamber of the State Historical and Cultural Museum-Reserve “Moscow Kremlin”;

- “Masterpieces and rarities of bladed weapons” at the Naval Museum in St. Petersburg, 2004;

And a lot has been written about the incredible valor of its owners - the samurai. Thanks to the Meiji Revolution and the subsequent active military-political expansion of Japan in the Asia-Pacific region, about samurai and their weapons, about the military traditions of this very interesting country the whole world knew. The growth of interest in Japanese edged weapons occurred as eastern martial arts were popularized outside of Japan proper and East Asia generally. Jujutsu (jujutsu), judo, aikido, karate (though this is not a purely Japanese, but an Okinawan form of martial arts) have gained worldwide fame. But if the effectiveness of Japanese martial arts is beyond doubt, experts and amateurs are still arguing about the quality of Japanese swords.

Like martial arts, the first iron swords appeared in Japan due to cultural and economic ties with China. In the 2nd half of the 3rd century AD. Chinese traders brought the first batches of iron swords to Japan. Nowadays, archaeologists find both Chinese examples and later Japanese “imitations” in the mounds. By the 8th century. AD Japan's own iron production reached perfection, which led to a real revolution in edged weapons. Now Japanese warriors no longer needed to import Chinese products - local blacksmiths, having mastered the secrets of Chinese and Korean masters, began to produce their own swords. If Chinese blacksmiths and gunsmiths made swords from a single strip of iron, then the Japanese forged steel and iron plates. Gradually, Japanese swords acquired a characteristic curved shape. According to tradition, the sword Kogarasu-Maru (Little Crow) is considered the first curved sword. It was forged in 703 AD. blacksmith Amakuni.

The further development of Japanese edged weapons occurred in parallel with the development of martial arts. The military component has always played a huge role in the life of Japanese society. This was facilitated by feudal fragmentation and constant conflicts between the princes and the samurai who served them. Subsequently, the pages of Japanese history were to a fair degree mythologized, as a result of which the West developed a rather superficial and idealistic perception of everything Japanese - edged weapons, samurai, the samurai code of honor, and in general - the nature of relationships in Japanese society. This idea was greatly facilitated by popular culture, which made Japanese military themes fashionable among Europeans and Americans.

In Japanese culture, the sword played a huge role and was endowed with sacred meaning. There are several types of Japanese swords. The most famous, of course, is the katana. A curved sword more reminiscent of a saber, the katana originated around the 15th century and quickly became the “classic” weapon of the samurai. The katana was used in conjunction with a wakizashi, a shorter sword. If the length of the katana blade was from 2 to 2.5 shaku (60.6-75.7 cm), then the wakizashi was from 1 to 2 shaku (30.3-60.6 cm). Swords with a blade length of less than 1 shaku belonged to the tanto category, i.e. daggers.

Katana and wakizashi were made by one blacksmith in the same style, since the swords were considered a pair and were collectively called “daisho” - “long - short”. Moreover, if the swords were made by different masters, then they were no longer classified as daisho. Since swords had a special meaning for samurai, sacred meaning, the profession of a blacksmith was considered very honorable in Japan. Blacksmiths stood out among other artisans. Back in the 13th century, Emperor Go-Toba introduced a classification of blacksmiths depending on their skill. The first class of blacksmiths had special privileges because they had great skill. The blades made by great masters were believed to have supernatural power. In fact, as in any feudal and class society, belonging to the first class of masters was determined not only and not so much by skill as by origin.

Many modern experts argue that the quality of Japanese swords was actually far from perfect. At least they were no better than European, Middle Eastern or Indian swords. However, then ideas about the almost magical nature of the Japanese katana spread.

In many ways, the spread of myths about the unprecedented quality and power of Japanese weapons was facilitated by the samurai themselves, especially in the period following the Meiji Revolution. The most talked about the unprecedented military valor of the samurai incredible stories, although they could well have been greatly exaggerated. First of all, the whole story battle path Japanese samurai are overwhelmed by the fight against obviously weaker opponents. Only in the 20th century did Japan collide with world powers - Russia, and then the United States and its allies. Before this, the wars of the Japanese state were regional in nature. But is there any special valor in defeating Okinawan peasants or the weak army of a divided Korea? The same Okinawan peasants resisted the Japanese conquerors very actively, because they did not want to lose their independence (the islands of the Ryukyus archipelago before the Japanese conquest were an independent kingdom with their own rich history and culture).

The history of the same karate dates back precisely to the period of the struggle of the Okinawan population for their independence. It must be said that the samurai dealt with the inhabitants of Okinawa very cruelly. Okinawans were prohibited from owning any weapons on pain of death, after which the local population began to use a number of agricultural implements as weapons during the uprisings. It turned out very interesting - for example, the same tonfa. The improvement of unarmed combat techniques also occurred precisely for this reason - the Okinawans wanted to resist the Japanese occupiers by any means, including with their bare hands and feet. On the other hand, it is clear that the heavily armed samurai themselves were not such great masters of martial arts, if the unarmed Okinawan residents could resist them.

Secondly, the stories about the unprecedented honor and loyalty of the samurai to their overlords, the daimyo, also look somewhat exaggerated. In fact, when the samurai needed to, they could do a variety of things, including even killing their overlord. Samurai troops could easily “change master” if another prince was willing to pay them a higher salary. By the way, unlike the European tradition, treason was not considered something reprehensible. Samurai "ran" from one prince to another in entire detachments. In some cases, they even divided into small units and offered their services to the warring parties. By the way, the samurai “got it” pretty well too - from Korean patriots, from the peasants of Okinawa, from their own Japanese peasants, who raised powerful uprisings against feudal exploitation.

There was a special group of samurai - ronin, i.e. samurai who have lost their master. As a rule, ronins turned into wandering warriors, hiring themselves as bodyguards for noble and wealthy people, taking part in armed conflicts. But there were also many ronins who finally focused on criminal activities and turned into professional criminals “from the highway.” This circumstance also does not speak in favor of the unprecedented nobility of the samurai class.
Thirdly, the idea of ​​the widespread high literacy of samurai is also false. To begin with, most samurai were very young people, since professional warriors rarely lived to adulthood. Learning literature, poetry, history and philosophy was simply problematic for young samurai. After all, they spent most of their time honing military skills. No, of course, there were literate people among the medieval samurai, but the majority were still either completely illiterate or professional soldiers who barely knew how to write and read. There was nothing reprehensible or strange in this - many European knights were also illiterate, not to mention professional landsknechts.

It is worth noting here that the martial arts of the samurai had a purely utilitarian purpose. In contrast to the numerous styles of Chinese Wushu, which were almost all formed and developed in Buddhist and Taoist monasteries and were not only martial arts, but also techniques for psychophysiological improvement of a person, in medieval Japan for a long time hand-to-hand combat was not given enough attention. This is quite understandable - why would samurai learn to fight without weapons if they were constantly armed? No, of course, there were some skills that could be passed on from seniors to juniors, but in general the flourishing hand-to-hand combat began in Japan quite later than the history of “bujutsu” - the actual samurai martial arts. And it was precisely the opponents of the samurai who made the greatest contribution to it - peasant rebels, wandering monks, criminal and political robbers, hired killers. It was for them that mastery of unarmed combat techniques or improvised objects was of much greater interest than for well-armed samurai.

Of course, there was no need to talk about any fantastic nobility of the samurai. They were distinguished by cruelty towards defeated opponents, and, given that Japan is not a Christian country, this cruelty was not softened by religious ideas. If a samurai could commit ritual suicide, then killing another person, including a defenseless one, did not pose any difficulty for him. Even in the 20th century, the Japanese army was characterized by extreme cruelty towards its enemies, which was reported by almost all opponents who had to fight Japanese troops.

What the Japanese occupation forces did in China and Korea is known to the whole world. Mass killings of civilians, executions and sadistic torture, rape and forced conversion of women into prostitutes - Japanese troops in neighboring countries are remembered for such actions. The most severe torture prisoners of war of the Allied forces who ended up in Japanese camps were subjected to. But the backbone of the Japanese officer corps was made up of representatives of noble samurai families who had noble origins and were proud of their heroic ancestors. It turns out that they also supported this behavior of their soldiers and did not consider it reprehensible.

Of course, what cannot be taken away from the samurai is the idea that honor is a more valuable category than life. This is where the samurai's penchant for self-sacrifice came from. In addition, ritual suicide was quite common in Japanese society and was based on the specific worldview of the samurai. In some situations, parting with life was more preferable for them than saving it but losing honor. The owner’s order to commit ritual suicide also played a big role. Most samurai could not afford to disobey such an order.

Harakiri or seppuka was seen as a worthy conclusion life path samurai, especially if he found himself in a losing situation in battle, lost his owner, or was sick. When Japan lost the Second World War in 1945 world war, there was a huge number of suicides in the country, committed by military and civilian officials of various ranks and levels. It was precisely the samurai tradition to die through ritual suicide. The conviction of the need to commit harakiri/seppuki was strengthened by a unique samurai code of honor, to which self-respecting samurai sought to remain faithful to the end.

It is noteworthy that many samurai traditions were subsequently transformed into a specific Japanese business culture. Japanese companies have a completely different model of work organization and relationships between employees than American or European corporations. When choosing a company, a Japanese most often makes a choice that will last almost his entire life, and the figure of the boss plays a very important role for him. great value- maybe not the same as the daimyo of the medieval samurai, but also clearly different from the role of the boss in the American or European tradition.

Image Japanese samurai has largely become mythologized. Class divisions in Japan itself are a thing of the past, but the persistence of the myth of the samurai turned out to be amazing. Moreover, residents of other countries are perhaps greater adherents of this myth than the Japanese themselves. The fashion for Japanese culture began to spread in the West in the twentieth century and quickly took root among part of the Western intelligentsia, which was seduced by the myths about noble warriors - samurai, their incredible military skill, and the remarkable qualities of Japanese edged weapons.

Katana. Even the word itself cuts the air, flying from the lips, like its sharp blade, which cuts the hair lengthwise without any effort.

How many times in a wide variety of films have we seen stern men (and sometimes women) who bravely shred enemies of all stripes and types into small rags. This type two-handed sword appears in books, art, sculpture, as well as video games and movies. Any more or less pretentious hero, who may not have anything to do with the East, stands in a flowing cloak and shreds his adversaries with a constant grin. Blood flows like a river, pathos is maintained, the viewer is satisfied.

To have a more complete idea of ​​what this type of blade is, we should turn to the concept of what this type of weapon is:

If you are a collector and do not want to stumble upon a fake, then you should pay attention to the jamon (it has a certain shape due to forging and hardening techniques). Particular attention should be paid to the handle, which is necessarily covered with stingray skin and entwined with a silk ribbon.

If you have a combat katana in front of you, then it is covered with either stingray or plain leather. But if the handle is wooden, or even ivory, then this is a ceremonial or decorative katana.

Manufacturing:

To understand how katana valuable species blade, and why even today it costs cosmic money, it is worth turning to the process of its manufacture. Incredibly painstaking, complex and multifaceted, it can take up to six weeks.

To make such a sword they use special kind steel, which is called “tamahagane”. Pieces of this iron are placed together, filled with clay mass, sprinkled with ash and wait until all the slag has come off. When melted, all unnecessary impurities come out along with the clay, and the resulting block is turned into a cake. Then this metal sheet is folded again and flattened again. After some time, there are almost 12 times more such layers; By the way, it is somewhat reminiscent of pasta dough, which is rolled many times, thereby distributing its thickness evenly along the entire length.

As a result, there are about 4,000 such layers (more precisely, 2¹²), and all of this is handmade.

It is worth remembering that even in the classic form of forging, pure steel is not used, and softer material is necessarily added to it, thereby protecting the sword from breaking at the most inopportune moment.

When the workpiece is completely ready for use, the blade is pulled out to its usual shape, and then a layer of special liquefied clay is applied, thereby making a recognizable pattern on the blade - hamon.

Then the blade is hardened in water and fire, as well as in solutions that will be specific only to a certain blacksmith shop.

This diagram shows a cross-section of the katana:

Now let's take a walk based on the design of the legendary sword.

But before we get into the specification, we should take a look at general diagram of the structure of the sword:

There are about 12 variations of the tip (depending on the metal) and their cost:

• Maru- the most budget design of all. It is used in tanto and ko-wakizashi. All the cheapness lies in the ordinaryness of the layers, and also in the fact that the grade of steel is the same (without impurities).
• Kobuse- an equally budget version from World War II, which, due to its cheapness, was in great demand among the army.
• Khonsammai- the most popular design. Here both side parts are reinforced with steel plates of more average hardness. This sword is durable and also has an unhardened butt, which prevents the sword from breaking. Take a closer look at old swords: it is in this place that traces of blows are visible.
• Shihozume- a type that looks like a honsanmai, which has an iron strip of increased rigidity at the back.
• Makuri- the design is simple to the point of disgrace: inside is a soft heart, and outside is hard steel.
• Wariha tetsu- lightweight and simple design with increased flexibility.
• Orikaeshi sammai-more perfect form honsanmai.
• Gomai- the option is absolutely strange and unusual, as it resembles a sandwich: hard iron in the middle, a soft middle layer and a hard steel shell.
• Soshu kitae- the most complex design that combines 7 layers of steel. Invented by master blacksmith Masamune, it is a reference work.

Next comes polishing to a mirror shine, and then they make a handle (here the scope for imagination is limitless), which is cut out in a couple of days.

For a more detailed idea of ​​the structure of this amazing sword, I present to your attention this photograph, however, there are no tassels on the hilt:

In addition to its aesthetics, the katana has proven to be an excellent weapon. But before we move on to a more detailed analysis of it, it is worth answering some questions

How to wear a katana correctly?

Is it true that a katana is a cutting weapon and not a chopping weapon?

To answer first question, we should look into history and go to a time when Japan ceased to be a state fragmented by wars and wearing a katana became more of a tradition than a combat necessity.

Let's go back to the Sengoku era, during which the basic rules for wearing a katana were developed.

Swords (a katana is paired with a wakizashi) are always worn on the left, with the sheath tucked behind the upper belt of the kimono (obi), with the blade pointing to the sky. As for the wearing traditions in civil times, the samurai, before entering the house, took out the sword and then took it in accordance with the situation: if problems are possible, then left hand, if as a sign of trust, then to the right. If it was necessary to sit down, the katana was placed nearby so that it could be reached by hand, while the wakizashi was not removed (the samurai kept it in a sheath that was tucked into the belt).

An interesting fact regarding the high value of the katana itself for the Japanese warrior is illustrated by the history of the Second World War. At all times, it was considered the highest valor to die during battle, clutching the hilt of your sword in your hand. In 1943, the plane of Ishiroku Yamamoto, an admiral, was shot down, whose charred body was found in the wreckage of the plane. In the hands of the dead man his katana was clenched, which was with the owner until the very end: on the ground and in the air.

Another eerie tradition associated with the accompanying sword is the ritual of seppuku, also known as hara-kiri.

By the way, the rules for wearing and storing are called mounting (kosirae), this design also includes a sheath.

When the sword does not have to be used often, it is stored in a special scabbard made of rough wood, often magnolia. This type of wood has the properties of protecting steel from corrosion and other damage.

In some modern versions, the sword is produced with an unfinished scabbard, without varnish or decoration; By the way, this type of unattractive box gained popularity in the 19th century, after the emperor banned wearing a sword in public.

It was during this period that a new one appeared. Why not spy games?

Installation (koshirae) in detail:

It is worth noting that a complete installation consists of the following parts (be careful when purchasing supposedly original swords; if some parts are missing, this is a reason to bargain):

• habaki(a coupling that is attached to the tail section under the guard, which serves to securely fix the sword in the sheath).
• tsuba(guard)
• seppa(washer under and above the tsuba)
• footy(coupling between tsuba and handle)
• Samegawa(handle cover made of regular leather or stingray)
• tsuka-ito(silk or leather ribbon for braiding the handle)
• Menuki(handle decor under the braid)
• kashira or tsuka-gashira(cap at the end of the handle)

The decorations are futi, menuki and kashira, which are the same in theme and patterns.

By the way, this photo shows a tsuba from the Edo period:

Now let's answer second question: Is it true that a katana is a cutting weapon? Yes, despite the common misconception, as well as the incorrect presentation in films and games, a katana is primarily a cutting weapon, and only then a piercing weapon. But in no case is it slashing (unless you want to chop bamboo with it), since the fighting style is not conducive to slashing movements. Moreover, because of this manner of fighting, the katana was created with the expectation of a cutting blow (one-sided blade and cut tip):

Masters and schools:

And then great masters and schools appear on the horizon. Since we have found out that this is a cutting weapon, then perhaps it is worth figuring out who was the most skillful and deadly legislator of the eastern school of sword making:

The oldest schools of katana fighting date back to the 15th-16th centuries.

The main idea of ​​Japanese fencing (kendyutsu) and its techniques (for example, iaido) is that, due to the design of the sword, blows should not be struck in the Western manner (that is, chopping), but along the plane of the blade, delivering cutting blows. Therefore, when they talk about the Japanese school of fencing, the specifics of the weapon itself stand out: length and curvature.

There are several variations of schools and training, which were perfectly described in his book by the swordsman Miyamoto Musashi (“The Book of Five Rings”).

He himself devotes special attention his own two-sword technique (niten-ryu), and also substantiates it from an esoteric perspective. The master says that working with a katana and the accompanying sword is similar to escrima (in the modern concept: Arnis de mano)

The art of Japanese fencing has undergone many changes and evolutionary processes, For example:

Kenjutsu turned into gendai budo.

Iaido(surprise attack and counterattack) has a more meditative form and fights an imaginary enemy.

Kendo(fighting) instead of a combat discipline turned into a sports one. As in the Western style of rapier fencing, there is also a set of face protection and armor. How athletic or military training varies depending on the style (ryu).

To this day, Japan abounds in a wide variety of schools of traditional fencing that have survived the imperial ban (Meiji era) on wearing katana and other types of swords. The most famous schools: Kashima Shinto Ryu, Kashima Shin Ryu and Katori Shinto Ryu

12 Defects that can be found when examining a katana:

As mentioned at the beginning, a katana costs exorbitant amounts of money, and the older it is, the more valuable it is. When choosing such a weapon, you should pay attention to possible defects. They are critical, there are fixable ones, and there are those that make the sword completely damaged and unsuitable for battle. How to recognize them, as well as their names (and a picture with a clear example), will be given below:

Karasunokuchi (1). Crack inside the blade. Such a crack, when passing through a parallel plane, divides parts with and without hardening in half. May be reflected in the shape of the sword. If it affects the shape, then the sword is defective.

Shinae (2). A small defect at the bend appears as a result of metal fatigue. It runs along the perpendicular part of the blade, most often in the area with unhardened steel. Not a critical defect.

Fukure(3). Jambs from the welding process. Mostly leftovers. They appear after polishing, spoil the aesthetics and reduce the strength of the sword.

Kirikomi (4). Defect on the back of the blade due to the beating guard. Easily erased when polished. An indicator of the use of a sword in battle. Not a serious defect.

Umegane (5). Kuznetsk patch that covers some kind of jamb. This thing is made to seal the inner layer of steel, which bleeds through frequent polishing.

Hagire (6). A notch on the jamon, or a strong bend that provokes a very small crack - hagire. The notch is often visible, but the crack is not, and it is this that is the most dangerous jamb.

Hakobore (7). It's just a very noticeable cylindrical notch, which is often the cause of cracks.

Hajimi (8) A matte area that often occurs after multiple sharpenings. The sword may lose its shine. Not dangerous.

Nioi gire (9). The reason is poor hardening.

Such a defect can be well masked by grinding, but not in all cases.

Mizukage (10). Dark area on the cutting part. The reason is several hardenings or coolings.

Shintetsu (11) Multiple polishing defect. An erased area of ​​the top layer of steel, under which the core of the sword appears. This is also metal fatigue.

Tsukare (12)(it's not in the picture). A sharpened sword from constant grinding and sharpening. Tired and old sword.

Rules for caring for a katana:

Like any expensive item, a katana needs care. There are several rules for its care, cleaning and polishing:

Notches remove with a polishing stone.

From old oil (camellias or carnations) and dirt clean with rice paper. Before cleaning, crumple the paper so as not to scratch the sword. small particles. If you don’t have rice paper on hand, you can clean the sword with a regular napkin without impurities or odors.

A dirty sword can be cleaned with lime. It has cleaning and polishing properties, and does not scratch the surface. Using a sheet of rice paper and chalk powder, you can scrub away any remaining oil and dirt.

After cleansing the blade is again opened with oils. You need to take a fresh sheet of paper or napkin. You cannot take essential oils (they are the most common in our open spaces). It must be applied in microscopic doses so that a thin film appears. In theory, two drops will be enough. Before returning the blade to its sheath, make sure that there is no excess oil left, otherwise dirt, dust and microcracks are guaranteed.

Frequency of repetition of procedures: once every 3 months, depending on the level of humidity in the air.

By the way, each sword can be safely break down into components:

1. A wedge made of bamboo or horn that secures the blade in the handle. It is pulled out using a mekuginuki, which is somewhat reminiscent of a hammer.
2. The blade itself, which can be seen in the picture below.

For those who like to do everything themselves: There is no need to disassemble the sword yourself; in the same way, you should remove rust yourself or polish the tang of old swords. This should be done by a specialist who can not only determine the age of the sword and its price, but also do everything correctly, without risk to the blade and your wallet.

This is what the sword looks like disassembled condition:

Legends and popular culture:

But where are we without legends? Everyone loves a good story. In mythology, there are a lot of mythical weapons, but just like our guests, the legends will be associated with it.

One of the ancient legends is the Kusanagi sword - a holy sword that was presented to the great Amaterasu by the god Susanoo, and also has its place among the Three Great Treasures of the Emperor. According to legend, the sword was obtained from the tail of an eight-headed dragon. It is believed that the sword controlled the element of wind and had destructive power.

Another notable sword was the Muramasa sword, a sword that "awakens bloodlust" which, according to legend, survived the ordeal of the lotus river by cutting the flowers into strips.

There are also many historically oriented legends, I will give a few of them below:

It was believed that the blades of the blacksmith Monju from Chikuzen (Heian period) had a distinctive feature: they were incredibly sharp. His hand belonged to the legendary sword Higegiri, which translates as Beard Carver. They called it that because when cutting off an enemy’s head, the samurai also cut off their beard (which only added to the coolness of the blade).

Another eerie blade is Hizamaru (“Lord of the Knees”), which, when cutting off the head of a condemned man, in addition to the head itself, also cut off the kneecaps.

Another super-sharp blade was called Azuki (“bean”), which cut bean grains on the fly. The sword belonged to the forge of master Nagamitsu from the Kamakura period.

During World War II, soldiers of the Japanese army were shown a pretentious and patriotic film designed to massively promote the country's military might. The film showed a master swordsman cutting the barrel of a machine gun in half.

In fact, it is still not known how true this film was, since its legend has not been refuted.

But it is worth indicating the source of this idea. And the idea of ​​cutting a weapon with a blade appeared back in the 17th century, when Ono Hankei cut a gun in half.

Of course, even an uninitiated person understands that the barrel of a machine gun is designed to withstand higher loads than the gun from the old legend. But nevertheless, it's still a beautiful wartime bike that you don't want to destroy.

However, if you suddenly want to see how “MythBusters” are trying to destroy this myth, then this video can be found somewhere in the depths of YouTube.

In 1662, the blade tester Yamano cut two corpses with his Shinto brainchild, which were stacked one on top of the other. But, no matter how cool it may sound, Yamano's achievement was not at all unique, because for complete success it was necessary to cut down four corpses. This was due to the ongoing military conflicts, which gave rise to a lot of rumors among the samurai specifically about the cutting of four corpses.

Another legend not only among swords, but also among masters. There was a maestro of knife and sword fighting, Kajiwara Nagato, who was so skilled that he cut a swallow in mid-flight in a jump. This was due not only to the great man’s colossal skills, but also to his incredibly sharp sword.

Pop culture and video games also like to speculate on “legendary” swords.

For example, manga and anime very often feature various forms of katana, knives and other pseudo-mythical blades.

In the One Piece anime, there are as many as five types of katanas, from cursed to enchanted, with a variety of big names. For example: Wado Ichimonji, Yubashiri, Black Sword and similar shiny pathos.

Also, comrades from Hollywood did not miss the Japanese theme, having recently shot the not-so-bad film “47 Ronin,” which is based on the legend of the same name. The number of legendary, fictional and simply beautiful katanas in one frame is off the charts. For lovers of beautifully choreographed battles, this is a must-see.

The Japanese, as befits people who are proud of their country, use many legends and myths in their mass culture, so if you suddenly want to see a heroic picture, go to the Japanese branch of the tracker.

In video games, they also don’t shy away from using swords left and right. For example, in the legendary series of games and anime Devil May Cry, there is an equally extensive arsenal of bladed weapons, of which we are interested in Yamato - the demonic katana that belonged to Dante's brother Virgil. She, like Dante's Rebel, is the legacy of Sparda, their demon father. According to the history of the Devil May Cry Universe, it is capable of opening and closing gates between the worlds of demons and humans.

In general, as you can see, the katana is not only a beautiful weapon, but also a very widespread mass cultural phenomenon, which with its brilliance and cold sophistication will not leave even the most hardened pacifist indifferent.

This article contains the history of this truly amazing weapon, its manufacturing intricacies, as well as advice to potential buyers.

But, first of all, as an author and adviser, I would like to draw your attention to the fact that each sword has its own soul. If you buy such an authentic type of weapon, then take the trouble to give it a name. By the way, this belief arose on the basis of samurai superstitions, dating back to the times of Ako and other districts. It was believed that the better the name for the blade, the more faithful the weapon will be to its owner. Therefore you will never see a bad name. In addition to Japan, the tradition of naming weapons was also widespread in Europe, in particular in northern countries(Scandinavia, Germany, Finland, Norway). The local inhabitants, stern and cruel warriors, gave their swords, hammers, axes and halberds fearsome names. The most famous hammer from Scandinavia was Thor's hammer, and it had a bit funny name- Mionmil.

As for where to buy, if you have enough money for a truly Japanese katana, then the Land of the Rising Sun is always happy to meet admirers of its culture. But, if you are just an admirer of the East, and do not have fabulous funds in stock, then our online store provides a wide selection of a wide variety of swords, including katanas.

And that's all. Thank you for your attention and time. May your blade be forever sharp.