The guard on Japanese swords has 4 letters. Japanese samurai warrior sword

MUSO JIKIDEN EISIN RYU IAI HEIHO

Without a doubt, the most noticeable and beautiful detail of a Japanese sword is its tsuba, that is, the guard. It is difficult to say where this persistent custom came from, but for a whole millennium, the blades of all traditional swords (including many spears and naginata) have been separated from the hilt by a flat disc. On the one hand, the classic Chinese saber “Dao” has a round guard, although surrounded by a rather wide belt; on the other hand, the famous straight sword “Jian” is equipped with an ordinary cross-guard like waves or horns. Most likely, the cross plate came from Korea, since it is Korean swords that most closely resemble Japanese ones, including the mount.
The idea may seem dubious, since the tsuba gives the hands very illusory protection, but here one should take into account the basic principles of Japanese fencing, which deny direct stands for an enemy blow, especially the European habit of taking it “on the guard.” The design of the tsuba is both simple and intricate, and all its fragments are subject to strict norms of tradition. All the more amazing is the skill with which the manufacturers (tsubako) managed to give the small disk such a variety of shapes. If you imagine some kind of average tsuba, it is not difficult to notice a number of common elements present in the vast majority of products.

The most noticeable details in the outline of any tsuba are: the oval “Seppa Dai” platform in the center, as well as the “kogai-ana” and “kozuka-ana” windows, designed for the exit of the handles of a kogatana knife and a kogai hairpin, so that the owner had the opportunity to remove them without extending the blade. “Ana” is a hole, sometimes also called “hitsu”, that is, “slit”. Accordingly, you may come across the terms “kogai-hitsu” and “kozuka-hitsu”, as well as the general concept of “r-hitsu” (Rio Hitsu), which implies both windows at once:

It is not difficult to notice the obvious differences in their lumen: kozuka-ana is always oval, while ko-gai-ana has the shape of a trefoil. But this is a classic, and a large number of tsubs are perforated by two identical windows of one configuration or another. Occasionally there are arbitrary contours of a triangular, square or generally frivolous outline:

Also, approximately half of the products have only one window, and some are completely solid:

Quite often, one or both of the windows are sealed with a copper (“suaka”) or tin-lead (“sawari”) seal called “Hitsu Ume”. It’s not entirely clear why, but this was done in cases where the old tsuba was mounted on a katana. At the same time, the kogai-ana became unnecessary, because the katana sheath was only occasionally equipped with a kogatana knife, and never with a kogai:

By the way, this is an indirect confirmation of the true purpose of the Kogai hairpin as a tool for untying tight knots in armor lacing. Therefore, tsubas left over from ancient tati always have a kogai-ana, but the katana was worn with civilian dress, without armor - and the pin became unnecessary. Also, by the location of the windows relative to the center, we can judge what type of sword the tsuba was intended for. The fact is that the kogatana is always(!) located on the inside, closer to the body. But the different way of wearing tachi and katana (blade down or up) involves changing the positions of the windows. Some thoughtful tsubako cut out two kogai-ana, making the tsuba universal, since the flat “kozuka” (kogatana handle) fits freely in an equally wide hole.

It should also be remembered that the front side of the tsuba is the one that faces the handle, so that people oncoming have the opportunity to admire the fine work. Accordingly, most images (if they are executed correctly) show us exactly the “face”. However, there are other opinions on this matter, so you should not take what has been said as a standard or truth that is applicable always and everywhere.
It is quite rare to find a tsuba that does not demonstrate a clearly defined seppa-dai platform. This oval elevation follows the contour of the “sep-pa” washers that were put on the shank both behind and in front of the tsuba. The idea is simple - by selecting washers of different thicknesses, the assembler achieved a tight fit of all parts so that they were pressed by the end of the handle. But since there is something available for decoration, it must immediately be realized - the end of the seppa was usually minted or cut thin lace. The surface of the platform itself was not decorated in any way, but it was here that the manufacturer placed a narrow column of hieroglyphs explaining the name of the master, the name of the city or region, the coordinates of the customer, the date, year, month, and so on. At the same time, a huge number of beautiful specimens are outrageously anonymous, acquiring the status of “mu-mei” (“without signature”). The windows of the r-hitsu, as a rule, only lightly touch the seppa-dai, but sometimes they cut deeply into the depths:

Exactly in the middle of the tsuba we see a wedge-shaped window “nakago-ana”, through which the nakago, the shank of the sword, passed. To prevent the tsuba from wobbling on the blade, pieces of soft non-ferrous metal (brass, copper) are almost always driven into the lower and upper corners of the nakago-ana. By slightly filing or flattening the pliable fragments, the master ensured an individual fit of a given tsuba to a given sword. Such inlays were called “seki-gane” (Sekigane) or “kuchi-beni” (Kuchibeni).
If the tsuba did not have this, then the adjustment was carried out by chasing the edge of the nakago-ana directly. There are examples that are literally disfigured by a series of alterations.

There is an extremely persistent misconception regarding the size and thickness of the tsub, and this misconception is characteristic precisely of those who, by occupation, are required to know almost everything about the subject. It's about about manufacturers modern replicas“Japanese” swords, which betray hundreds and thousands of implausible fantasies, only from the outside reminiscent of nihon. And it was the tsuba that suffered the most at their hands.

So, the average tsuba size for large swords is 75-85 mm with a thickness of 3-4 mm. Of course, there have always been exceptions to the rules, but these numbers are correct in 99% of cases. Accordingly, wakizashi were equipped with tsubami of 60-70 mm with the same thickness, and tanto protection was almost symbolic, literally 40-50 mm. But there are plenty of different disk shapes known, although they fit into several basic types.

Round (Maru-gata)

Oval (Nagamaru-gata)

Oval tsuba serve as a kind of transitional shape from round to quadrangular. Sometimes it is a pure circle, slightly compressed vertically (there were and are no horizontal ovals), sometimes it is a rounded square or rectangle (Nagegaku-gata). Depending on the amount of rounding, the specimen is closer to either one or the other group:

Quadrangular (Kaku-gata)

Modern filmmakers have equipped dexterous ninjas with straight swords with a huge square tsuba with concave sides, like an ace of diamonds. In fact, rectangular or square tsuba have been popular among samurai at all times, but the vast majority of them are rounded. Probably, it was these products that were loved by real ninjas, since they could really serve as a step if you lean the sword against the wall. Even if their size and thickness differed to a large extent (slightly), they did not arouse suspicion among vigilant “spy hunters”. This category also includes trapezoidal tsubas:

Mocha (Mokko-gata)

The lobed silhouette of such a disk could serve as the calling card of all tsubas in general, since it is this that is strongly associated with the small Japanese miracle. It's hard to even say which forms hold the palm. In fact, mocha is a round and oval tsuba with four “slices”, just like a melon, after which they were named. The cutting depth of the “petals” varies from almost imperceptible to very respectable. Then the shape becomes “iri-mocha” (“deep mocha”):

The last two specimens show us a rather rare decorative element - small paired “udenuki-ana” holes in the lower part of the disk. There is an opinion that they symbolize the sun and the moon, and for greater persuasiveness their edges were sometimes outlined with gold and silver edging.

Polygonal

This is not a very common shape, and we only occasionally encounter oak trees that have a hexagonal or octagonal shape. Really, they harmonize rather poorly with the classic design of the Japanese sword, and the samurai, sensitive to such things, intuitively preferred something more natural. Diamond-shaped and cruciform silhouettes are completely rare:

Aou (Aoi-gata)

It is a variety of “mocha”, formed by four characteristic “petals”, or has symmetrical intervals in the shape of a “heart”. This element is known in Japan as “inome” (“boar’s eye”). In general, the outline is similar to the leaf of the “aoi” plant, which is where the name comes from:

Shitogi (Shitogi-gata)

This is the rarest and most unusual type of guard, which is not even a “tsuba” in the usual sense for us. A similar style was used exclusively in mounting precious ceremonial and ceremonial swords, a kind of executive exclusive. The name comes from an analogy with the shape of the sacrificial rice cake used in Shinto rites:

free

This category contains products whose external design is formed by elements that the master arranged only in accordance with his own imagination, without trying to rigidly fit them into one of the traditional forms. But, by and large, each such tsuba is either round, or oval, or something else, and minor protruding and depressed areas do not at all destroy the overall impression:

It should be emphasized that all the samples shown above are intended for mounting tachi, katana and wakizashi swords. But - depending on the size of the blade, the tsubas of the latter either hardly differ from the standard, or are noticeably smaller, and are quite suitable for heavy tantos, although in reality the category of “knife” tsubas includes completely independent products:

It is impossible otherwise - the vanishingly small dimensions forced artists to find extremely laconic and expressive solutions. However, any of the given tsuba can be used when installing a small wakizashi. This category was simply called “sho”, that is, “small”.

A very important detail that is always taken into account when classifying tsuba is the outer rim “mimi”. Depending on the style, there are rims made flush with the plane of the disc, raised (“dote-mimi”) or narrowed (“goishi”). The thick rim, forged directly from the plate, is called “uchikaeshi mimi”. According to the type of section, there are round (“maru”), square (“kaku”) or rounded (“ko-niku”) rims. Occasionally, tsubas are found with an applied (“fuku-rin”) rim, usually made of soft metal - gold, silver, copper, brass.

Although today the main stock of surviving iron tsubas has an almost bare surface, at one time they were all covered with a layer of durable varnish, traces of which are present on the vast majority of specimens. Usually it is black or clear varnish, but there are also colored varieties: red, gold, and so on. This is natural - in the rainy climate of Japan, defenseless iron would not last even a year.

Up until the 16th century, most tsubas were heavy, thick forged items made of iron or non-ferrous metals, and anonymous ones to boot. Gunsmiths did not make them “to-go”, but simply assembled them new sword corresponding tsuba. But quite quickly (by historical standards) the production of protective disks became a special kind of art, and each samurai could order a unique copy, depending on his personal financial capabilities. In addition to such rarities, experienced tsubako accumulated a considerable assortment of original works, and the discerning warrior was faced with the problem of choice. As already mentioned, the “dai-sho” kits were equipped with paired tsubas and other mount parts, the creation of which was done by the same hands.

From the point of view of material, solid iron tsuba look more durable, but the openwork slotted work of “Sukashi” did not weaken the structure, since it was not a homogeneous metal that was used, but a multi-layer forged package with high-carbon fragments. After final processing, these inclusions, the so-called “Tekkotsu,” clearly appeared on the edge of the plate in the form of light grains of various shapes. They are rightfully considered one of the fundamental classification characteristics, like watermarks on securities. Unfortunately, the drawing (the thickness of the disk is slightly increased for clarity) gives us only a vague idea, and besides, there are quite a few forms of tekkotsu:

The use of pure red copper in early tsubas is not as absurd as it might seem at first glance. Being soft and pliable, this metal has its own characteristics. Firstly, after cold forging, the strength of the product increases many times, so much so that it even acquires some elasticity. And secondly, the unique viscosity of copper protects against a sharp blade almost better than average iron. Such a tsuba will be crushed, but not cut, and the hands will remain intact.

Subsequently, a rare type of bronze - the famous “Shakudo” alloy, which includes up to 70% gold - became increasingly popular as a material for tsubas, as well as other components. After special treatment (presumably in vinegar), as well as over time, the surface took on a persistent, uniquely deep color, blue-black and warm at the same time, which cannot be obtained in any other way. Thanks to this, shakudo is perfectly combined with other traditional alloys: the no less famous copper-silver “Shibuichi” and copper-zinc-lead “Sentoku”. The combination of sparkling-cold and velvety-warm tones gave rise to an amazing “yin-yang” harmony, generally characteristic of most Japanese, Chinese and Korean products.

Of course, the art of tsuba reached its peak during the Edo period. The formidable utilitarianism of military swords gave way to sophisticated decoration, and the most notable representative of this trend is the Goto family, a concentrate of hereditary jewelers and metal artists. Sophisticated, tastefully executed works fully met the needs of the new formation of samurai (of course, representatives of the upper strata, since Goto were the official masters of the shogunate). A characteristic stylistic feature of their products is high relief on a calm background and an abundance of gold. This winning manner appealed to his contemporaries. Many secondary schools immediately arose (for example, Ishiguro, Iwamoto), filling the market with excellent tsubami, least of all reminiscent of the simple and practical discs of the “era of the warring provinces.”

Government policy in the late 16th and early 17th centuries limited the import of foreign goods into Japan. The Chinese and “southern barbarians” (Namban), merchants from Holland and Portugal were only allowed into the port of Nagasaki. As a result, a number of craftsmen developed a fascination with European customs, weapons and quirks. For example, Yoshitsugi was one of many who began to develop the synthetic movement, combining European elements with Chinese dragon and floral lines and curls, which ultimately led to the emergence of the Namban style. The work used brittle fibrous iron with a through (sushi) and continuous (nunome) pattern, mainly from intertwined dragons, plant and animal ornaments, embossed rims and decorative rectangles. Throughout the 17th century, the predominance of the artistic principle was expressed in even greater decorativeness, and at the turn of the 18th century, development finally moved along the path of sophistication in technology, color and the use of precious metals. Unjustified priority is given to easy-to-work gold (Kin), silver (Gin), the aforementioned shakudo and shibu-ichi. Decoration technology is also undergoing noticeable changes. If the surface of the old iron tsubas fully reflected the purely Japanese understanding of beauty hidden in deliberately rough marks of forging or in cutting “to look like stone,” then the appearance of the successors is too chic. The virtuosity of the engraving, the depth and precision of the relief, the impeccability of multi-colored backgrounds and plans drown out living nature. This is not Shibuya, not Zen, or the simplicity of the tea ceremony, but dead and cold perfection.

To summarize, it can be argued that in reality the “golden age” of tsuba was vague and bloody times Muromachi and Momoyama. It was then that the largest number of iron disks were made, later recognized as classics of samurai aesthetics (Owari, Onin styles, etc.). Not luxury and brilliance, but stern simplicity and functionality - these are the qualities worthy of a real tsuba, at one glance at which in the silence of museum corridors one can hear the frantic neighing of horses and the dry clang of fatal blades!

A huge number of surviving examples of tsuba (both mounted on swords and “free”) have long been divided by specialists into a number of style groups. Each region, each dynasty of craftsmen or school introduced unique features into the products, in accordance with which we can now quite reliably attribute objects. The presence of a signature simplifies the classification, but even without it, the totality of many obvious or almost imperceptible details can tell the biography of the plate almost without distortion. Presented on colored inserts short review the most significant and widespread styles, a kind of “tsuba anthology”, by studying which you can easily navigate the seemingly chaotic world of these amazing things.

Any story about historical edged weapons would be incomplete without a story about medieval Japanese swords. For many centuries, this unique weapon faithfully served its owners - the fierce samurai warriors. In recent decades, the katana sword seems to be experiencing a rebirth; interest in it is enormous. The Japanese sword has already become an element of popular culture; the katana is “loved” by Hollywood directors, creators of anime and computer games.

It was believed that the spirits of all its previous owners lived in the sword, and the samurai was just the guardian of the blade, and he was obliged to pass it on to future generations. The samurai's will always included a clause in which his swords were distributed among his sons. If good sword If there was an unworthy or incompetent owner, then in this case they said: “The sword is crying.”

The history of these weapons, the secrets of their manufacture and the fencing techniques used by medieval Japanese warriors are of no less interest today. However, before moving on to our story, a few words should be said about the very definition of a samurai sword and its classification.

Katana is a long Japanese sword, with a blade length from 61 to 73 cm, with a slight bend in the blade and one-sided sharpening. There are other types of Japanese swords, mainly they differ in their dimensions and purpose. Moreover, the word “katana” in modern Japanese means any sword. If we talk about the European classification of edged weapons, then the katana is not a sword at all, it is a typical saber with a one-sided sharpening and a curved blade. The shape of the Japanese sword is very similar to a checker. However, in the tradition of the Country rising sun A sword is any type (well, almost any) of a bladed weapon that has a blade. Even a naginata, similar to a European medieval glaive, with a two-meter handle and a blade at the end, is still called a sword in Japan.

It is much easier for historians to study the Japanese sword than European or Middle Eastern historical edged weapons. And there are several reasons:

• The Japanese sword has been used in the relatively recent past. The katana (this weapon had a special name gun-to) was widely used during the Second World War;
• Unlike Europe, a large number of ancient Japanese swords have survived to this day. Weapons that are several centuries old are often in excellent condition;
• The production of swords using traditional medieval technologies continues in Japan today. Today, about 300 blacksmiths are engaged in the manufacture of these weapons, all of them have special state licenses;
• The Japanese have carefully preserved the basic techniques of sword fighting.

Story

The Iron Age began relatively late in Japan; only by the 7th century did Japanese blacksmiths master the technology of making weapons from multilayer steel. Until this point, iron swords were imported into the country from China and Korea. The most ancient Japanese swords were most often straight and had a double-edged sharpening.

Heian period (IX-XII centuries). During this period, the Japanese sword received its traditional curve. At this time the central government weakened, and the country plunged into a series of endless internecine wars and entered a long period of self-isolation. A caste of samurai - professional warriors - began to form. At the same time, the skill of Japanese gunsmiths increased significantly.

Most of the fights took place on horseback, so the long saber gradually took the place of the straight sword. Initially it had a bend near the handle, later it shifted to an area 1/3 from the end of the shank. It was during the Heian period that the appearance of the Japanese sword was finally formed, and the technology for its manufacture was developed.

Kamakura period (XII-XIV centuries). The significant improvement in armor that occurred during this period led to changes in the shape of the sword. They were aimed at increasing the striking power of weapons. Its top became more massive, the mass of blades increased. It became much more difficult to fencing with such a sword with one hand, so they were mainly used in foot fights. This historical period is considered the “golden age” for the traditional Japanese sword; later, many blade manufacturing technologies were lost. Today blacksmiths are trying to restore them.

Muromachi period (XIV-XVI centuries). During this historical period, very long swords began to appear, the dimensions of some of them exceeding two meters. Such giants are the exception rather than the rule, but the general trend was obvious. A long period of constant wars required a large number of edged weapons, often at the expense of a decrease in their quality. In addition, the general impoverishment of the population led to the fact that few people could afford a truly high-quality and expensive sword. At this time, Tatar furnaces became widespread, which made it possible to increase the total amount of steel produced. The tactics of fights are changing; now it is important for a fighter to get ahead of his opponent in delivering the first blow, which is why katana swords are becoming more and more popular. Towards the end of this period, the first firearms, which changes battle tactics.

Momoyama period (XVI century). During this period, the Japanese sword became shorter, and a pair of daishos came into use, which later became classic: the long katana sword and the short wakizashi sword.

All the periods described above belong to the so-called Age of Old Swords. At the beginning of the 17th century, the Age of New Swords (Shinto) began. At this time, many years of civil strife ceased in Japan, and peace reigned. Therefore, the sword somewhat loses its combat significance. The Japanese sword becomes an element of costume, a symbol of status. Weapons begin to be richly decorated, much more attention is paid to them appearance. However, this reduces his fighting qualities.

After 1868, the Age of Modern Swords begins. Weapons forged after this year are called gendai-to. In 1876, the wearing of swords was prohibited. This decision dealt a serious blow to the samurai warrior caste. A large number of blacksmiths who made blades lost their jobs or were forced to retrain. Only at the beginning of the last century a campaign for a return to traditional values ​​began.

The highest part for a samurai was to die in battle with a sword in his hands. In 1943, the plane carrying Japanese Admiral Isoroku Yamamoto (the same one who led the attack on Pearl Harbor) was shot down. When the charred body of the admiral was taken out from under the wreckage of the plane, they found a katana in the hands of the dead man, with which he met his death.

At the same time, swords began to be manufactured industrially for the armed forces. And although they outwardly resembled a samurai combat sword, these weapons no longer had any relation to the traditional blades made in earlier periods.

After the final defeat of the Japanese in World War II, the victors issued an order to destroy all traditional Japanese swords, but thanks to the intervention of historians, this was soon canceled. The production of swords using traditional technologies was resumed in 1954. A special organization “Society for the Preservation of Artistic Japanese Swords” was created, its main task was to preserve the traditions of making katanas, as part of cultural heritage Japanese nation. Currently, there is a multi-stage system for assessing the historical and cultural value of Japanese swords.

Japanese classification of swords

What other swords, besides the famous katana, exist (or existed in the past) in Japan. The classification of swords is quite complex; in the Land of the Rising Sun it refers to scientific disciplines. What will be described below is just a brief overview that only gives general idea about the question. Currently, the following types of Japanese swords are distinguished:

• Katana. The most famous type of Japanese sword. It has a blade length of 61 to 73 cm, with a rather wide and thick curved blade. Outwardly, it is very similar to another Japanese sword - tachi, but differs from it in the smaller bend of the blade, the way it is worn, and also (but not always) in length. The katana was not just a weapon, but also an invariable attribute of the samurai, part of his costume. The warrior simply did not leave home without this sword. The katana could be worn in a belt or on special ties. It was stored on a special horizontal stand, which was placed at the warrior’s head at night;
• Tati. This is a Japanese long sword. It has more bend than a katana. The length of the tati blade starts from 70 cm. In the past, this sword was usually used for mounted combat and during parades. Stored on a vertical stand with the handle facing downwards Peaceful time and hilt up during the war. Sometimes one more of this type of Japanese sword stands out - O-dachi. These blades were significant in size (up to 2.25 m);
• Wakizashi. A short sword (blade 30-60 cm), which together with the katana forms the standard weapon of a samurai. The wakizashi could be used for fighting in tight spaces, and was also used in conjunction with a longsword in some fencing techniques. These weapons could be carried not only by samurai, but also by representatives of other classes;
• Tanto. A dagger or knife with a blade up to 30 cm long. Used for cutting off heads, as well as for committing hara-kiri, and for other, more peaceful purposes;
• Tsurugi. A double-edged straight sword that was used in Japan until the 10th century. This name is often given to any ancient swords;
• Ninja or shinobi-gatana. This is the sword that was used by the famous Japanese medieval spies - ninjas. In appearance, it was practically no different from a katana, but it was shorter. The sheath of this sword was thicker; the elusive shinobi hid a whole arsenal of spies in them. By the way, ninjas were not worn on the back, because it was extremely inconvenient. The exception was when a warrior needed his hands free, for example, if he decided to climb a wall;
• Naginata. This is a type of bladed weapon, which was a slightly curved blade mounted on a long wooden shaft. It resembled a medieval glaive, but the Japanese also classify naginata as a sword. Naginata fighting continues to this day;
• Gong something. Army sword of the last century. These weapons were manufactured industrially and sent in huge quantities to the army and navy;
• Bokken. Wooden training sword. The Japanese treat it with no less respect than a real military weapon.

Making a Japanese sword

There are legends about the hardness and sharpness of Japanese swords, as well as about the blacksmithing art of the Land of the Rising Sun itself.

Master gunsmiths occupied a high place in the social hierarchy of medieval Japan. Making a sword was considered a spiritual, almost mystical act, so they prepared for it accordingly.

Before starting the process, the master spent a lot of time in meditation, he prayed and fasted. Often, blacksmiths wore the robes of a Shinto priest or a court ceremonial costume while working. Before the forging process began, the forge was thoroughly cleaned, and amulets were hung at its entrance, designed to scare away evil spirits and attract good ones. While working, the forge became a sacred place; only the blacksmith himself and his assistant could enter it. During this period, family members (except women) were prohibited from entering the workshop, while women were not allowed to enter the forge at all, for fear of their evil eye.

When making a sword, the blacksmith ate food cooked on a sacred fire, and there was a strict taboo on animal food, strong drinks, and sexual contacts.

The Japanese obtained metal for the manufacture of edged weapons in Tatar furnaces, which can be called a local version of an ordinary domnitsa.

Blades are usually made of two main parts: a shell and a core. To make the sword's shell, a package of iron and high-carbon steel is welded together. It is folded and forged many times. The main task of the blacksmith at this stage is to achieve homogenization of the steel and clean it of impurities.

For the core of a Japanese sword, mild steel is used, and it is also forged many times.

As a result, to make a sword blank, the master receives two bars, made of durable high-carbon and soft steel. When making a katana from solid steel, a profile is formed in the shape Latin letter V, into which a block of mild steel is inserted. It is somewhat shorter than the overall length of the sword and does not reach the tip a little. There is also a more complex technology for making a katana, it consists in forming a blade from four bars of steel: the tip and cutting edges of the weapon are made from the hardest steel, slightly less is used on the sides hard metal, and the core is made of soft iron. Sometimes the butt of a Japanese sword is made from a separate piece of metal. After welding the parts of the blade, the master shapes its cutting edges, as well as the tip.

However, the “main feature” of Japanese swordsmiths is considered to be sword hardening. It is the special heat treatment technique that gives the katana its incomparable properties. It differs significantly from similar technologies that were used by blacksmiths in Europe. It should be recognized that in this matter Japanese masters have advanced much further than their European colleagues.

Before hardening, a Japanese blade is coated with a special paste made from clay, ash, sand, and stone dust. The exact composition of the paste was kept strictly secret and passed down from father to son. An important nuance is that the paste is applied to the blade unevenly: a thin layer of the substance was applied to the blade and tip, and a much thicker one was applied to the side edges and butt. After this, the blade was heated to a certain temperature and hardened in water. Areas of the blade covered with a thicker layer of paste cooled more slowly and became softer, and the cutting surfaces obtained the greatest hardness with such hardening.

If everything is done correctly, then a clear boundary appears on the blade between the hardened area of ​​the blade and the rest. It's called jamon. Another indicator of the quality of the blacksmith’s work was the whitish tint of the blade’s butt, it is called utsubi.

Further refinement of the blade (polishing and grinding) is usually carried out by a special master, whose work is also highly valued. In general, more than ten people can make and decorate a blade; the process is very specialized.

After this, the sword must pass tests; in ancient times, specially trained people did this. Tests were carried out on rolled up mats and sometimes on corpses. It was especially honorable to test the new sword on a living person: a criminal or a prisoner of war.

Only after testing the blacksmith stamps his name on the tang, and the sword is considered ready. Work on mounting the handle and guard is considered auxiliary. The katana handle was usually covered with stingray skin and wrapped with a silk or leather cord.

The fighting qualities of Japanese swords and their comparison with European swords

Today the katana can be called the most popular sword in the world. It is difficult to name another type of bladed weapon around which there are so many myths and outright fairy tales. The Japanese sword is called the pinnacle of blacksmithing in the history of mankind. However, one can argue with such a statement.

Research conducted by specialists using the latest methods has shown that European swords (including those of the ancient period) were not much inferior to their Japanese counterparts. The steel that European blacksmiths used to make weapons turned out to be no worse refined than the material of Japanese blades. They were welded from many layers of steel and had selective hardening. When studying European blades, modern Japanese craftsmen were involved, and they confirmed the high quality of medieval weapons.

The problem is that very few examples of European bladed weapons have survived to our time. Those swords that are discovered during archaeological excavations are usually in poor condition. There are particularly revered European swords that have survived centuries and are today in museums in good condition. But there are very few of them. In Japan, due to the special attitude towards edged weapons, a huge number of ancient swords have survived to our time, and the condition of most of them can be called ideal.

A few words should be said about the strength and cutting characteristics of Japanese swords. Without a doubt, traditional katana- this is an excellent weapon, the quintessence of the centuries-old experience of Japanese gunsmiths and warriors, but it is still not capable of cutting “iron like paper”. Scenes from films, games and anime where a Japanese sword effortlessly cuts stones, plate armor or other metal objects should be left to the conscience of the writers and directors. Such abilities lie beyond the capabilities of steel and contradict the laws of physics.

If you have any questions, leave them in the comments below the article. We or our visitors will be happy to answer them

Let's look at the structure of a Japanese sword using an example katanas.

Katana- long samurai sword, sword length 90-120 cm, handle length 25-30 cm or 3 arm wraps, blade width 27-35 mm, deflection equal to or slightly greater than the width of the blade. The handle is covered with stingray skin or shark skin. Garda katanas called tsuboi and is most often round in shape.

The length of the sword blade is calculated as follows: to get the maximum length, you need to subtract 90 cm from your height. To also take into account issues of ease of handling the sword, you usually subtract another 8 cm from the resulting value. For example, 175 - 90 = 85 cm, 85 - 8 = 77 cm. (my personal opinion is that this is not scientific, below is information from another source).

If your height is not in the table, then for every additional centimeter of height you need to add 3 mm to the length of the blade, i.e. you can more accurately calculate the length of the blade (but this is only a recommendation since throughout the existence of the sword its length and technique of wielding it have changed, here the fighter has the right to choose the length of the sword depending on the combat situation).

Frame buke-zukuri, or uchi-gata-na koshirae . Swords mounted in this style were worn tucked into the belt. There was a protrusion on the scabbard kurikata, through which the cord was passed sageo.

Frame details buke-zukuri

Kasira - the head of the hilt of swords mounted in the style buke-zukuri.

Kojiri - the tip of the scabbard of swords in the style buke-zukuri; may be missing, then the tip of the scabbard is simply rounded and varnished in the same way as all the scabbards.

Koiguchi - "carp mouth"; entrance to the scabbard (or kutigane, if the mouth of the sheath is covered with a metal ring).

Kurikata - a protrusion with a slot located one-sixth the length of the sword below koiguchi on the front side of the scabbard omote, through which the cord passes sageo.

Mekugi- a fastening pin passing through the handle and tang of the sword.

Manuki - ornament on the hilt of the sword.

Sageo - cord on the scabbard of the sword.

Same- stingray skin used to cover fart.

Saya - sheath.

Seppa - a pair of oval metal washers covering the shank on both sides of the guard.

Footy - clutch on the handle.

Tsuba - garda.

Tsuka - handle.

Tsuka-ito - handle winding

Most known species style swords buke-zukuri- This katana (daito) And wakizashi (shoto). Wakizashi was just a smaller copy katana. Together they formed daisho(“big and small”). If all the details of the frame daisho were designed in the same style, then this pair was called daisho-soroimono.

Scabbard (saya) swords are usually made from ho-no-ki(magnolia) and consist of two halves. In cross-section, they almost always have the shape of an elongated oval of the same shape and size as seppa(washers) located next to them and remain the same throughout their entire length. Sword scabbards were usually coated with a very durable varnish. U daisho - pairs of swords worn by samurai - this varnish is usually of calm tones, usually black, and all other decorations are designed in the same calm style. Bright, eye-catching colors were preferred by dandies, and bright red varnish, imported from China, was on the swords worn by samurai from the provinces of Satsuma and Hyuga, who were famous for their courage and great ardor.

The surface on which the varnish is applied is either simple smooth, or it may have wide or narrow grooves running diagonally or transversely. The varnished base itself can be either grainy or well sanded, plain or decorated nashiji(gold dust) guri-bori or in other styles, or even striped two-color. Quite often there is also a varnish like stingray fish ( same-nuri). These bases can then receive any form of decoration, but for daisho sophisticated maki-e(loose pattern) does not suit Japanese taste. However, with regard to daggers, the master could allow free flight of fantasy, and inlaid metal ornaments are often found here (kanamono).

The following six pieces of sword scabbard, framed in the style buke-zukuri, could have special decoration details:

Ring covering the entrance to the scabbard - koi-guchi(“carp mouth”) or kutigane, if it is metal;

Uragawara - reinforcing bar running across the base of the slot for ko-gatana;

Lining of slots for ko-gatana And kogai. Typically available in polished black lacquer, polished natural horn, or soft buff leather;

kurikata(“chestnut shape”) - a protrusion with a slot located one-sixth of the length of the sword below koi-guchi on the side omote, through which the cord passes sageo;

sori-tsuno("returning horn"), or origane, - a small hook-shaped protrusion even lower on the same side, directed towards the hilt. It serves to prevent the sheath from slipping forward from the belt. It is quite rare and usually wakizashi, but his presence often speaks of good things
blade;

Kojiri - scabbard tip. It often doesn’t happen, especially in wakizashi, and the tip of the scabbard is simply rounded and varnished in the same way as all the scabbards. In shape, material and decoration it very often corresponds cashier.

All these parts (except for the lining of the slots for ko-gatana And kogai) usually metal, more or less equally decorated. But in discreet frames they can be made of polished black horn simplest form and the smallest size necessary for their purpose.

Sageo - it is a flat silk cord passed through curicata, with which the sword was tied to the belt. Length sageo was from 60 to 150 cm depending on the size of the weapon, and it could be removed before battle and used as tasuki for tying the long sleeves of a civilian suit to give freedom of arm movements. Sageo They were also used to bind a captured enemy. Color sageo matches the color of the scabbard. If the latter are in good Japanese taste, discreet and strict, the same will be true sageo. Bright and dog have three frames sageo corresponding.

Handle (tsuka) always made from two halves of wood glued together, preferably ho-no-ki(magnolia). There was a hole between them for the shank (nakago), called tsuka-guchi. The tree was usually covered with a single piece of white same- knotty stingray skin. The seam ran down the center of the side hooray, and usually the piece was selected so that a central row of three or four bigger size the nodules were on the top side omote.

A winding was placed on top tsuka-ito(“hilt thread”), consisting of a strip of strong flat silk (less often leather or cotton) ribbon uchi-him o up to 0.6 cm wide. Quite rarely, instead of a flat ribbon, you find a cord wrapped in rows. Usually, tsuka-ito was black, occasionally soft brown, dark blue or green. Sometimes daimyo used katanas with white winding; it was also a trait of a certain type tati. Occasionally, leather cord and whalebone are found. The center of the tape was placed close to the handle coupling footy on the side omote, and the two ends were wrapped around the handle on the right and left, respectively, and twisted twice at equal distances. As a result same turned out to be completely closed, except for a number of diamond-shaped spaces on both sides of the handle. After the tape was passed through the sides of the handle head cashier, it was secured on both sides of the handle with a flat compact unit. Slightly below the center of the handle on the side omote and a little higher on the side hooray the wrapping partially covered and secured the two decorations in place Menuki.

Handle wrap options tsuka and the winding technique resulting in the pattern shown top center

Securing the cord tsuka-ito on cashier

There were many exceptions to this usual tsuka-maki(handle wrapping method). For example, on swords worn daimyo in formal wear, called kamishimo, in the shogun's court during the Edo period, a black silk wrap was crossed over the cashier, instead of going inside; cashier in this case it was made of simple black horn. This style is known as maki-kake-no-kashira, and a sword with such a winding was called kamishimo-zashi.

Certain court swords, as well as most short swords and daggers, the stingray skin handle remained unwound. In such cases cashier and both Menuki had to be secured with glue, hidden pins, decorative buttons, or some other suitable method. This style is called hanashi-menuki(free Menuki). There are also many forms of unwound hilt, mostly in daggers whose handles are covered with polished or carved wood, varnish, rattan or metal. Usually, if there was no stingray skin on the handle, the side joints between the halves of the handle were covered with strips of metal called kenuki-kanamono.

The shape of the handle consists of a narrow elliptical section and usually becomes very slightly thinner at both ends towards the middle. Daggers with an unwound hilt have a side omote may have an oblique cut at a distance of 2.5 cm from cashier. In the case when the dagger is worn on the chest in clothing ( kwaiken), This feature allows a person to immediately feel which side the blade is on.

Garda (tsuba) usually has the shape of a disk. The only exceptions are the guards of ancient swords, which have the shape of a small cross and are called sieve-gi(shaped like a Shinto sacrificial rice cake, hence the name). Such guards are also found on some ceremonial types. tati. Cup-shaped guards are found, but quite rarely.

Guards come in a variety of shapes and sizes, although the most common are round or oval with a diameter of 6 to 9 cm.

Guards are almost always made of metal, although on ceremonial swords they may be patent leather, leather stretched over wood, or papier-mâché. Until the 16th century. Tsuba guards were usually made of iron. Simple in design, they served a purely utilitarian purpose - to protect the hand. Later, as metallurgy developed, the tsuba also became a work of art. Guard decorations reach their peak during the peaceful Edo period. Metals such as gold, silver, copper with various reddish patinas, as well as copper alloys began to be used to decorate them: shakudo, shibuichi, sambo gin, rogin, karakane, nigurome, sentoku and pure brass sintu. The use of various chemical compounds made it possible to give them a variety of colors. To them you need to add interesting contrasting combinations of two or more alloys of different colors.

Guard details (tsuba)

Hira(“flat body”) - part of the guard between Mimi And seppadai.

Mimi - headband

Seppadai(“position for washers”) - place for washers seppa. The oval part of the guard around the hole for the tang. Two washers are adjacent to this place ( seppa) between the guard and the blade and the guard and the handle. When the guard is on the sword, seppadai completely hidden from view. Usually completely unremarkable except for the signature, it is often a slightly convex regular oval.

Nakago-ana - hole for shank. A hole in the center of the guard through which the tang of the sword passes.

Udenuki-ana - holes for lanyard. Some guards have two holes of different sizes. A lanyard was attached to them.

Sekigane - aggregate. A metal filler used to size the tang hole to the specific strip of the sword and provide a secure fit. These holes are found on iron guards and indicate that this is an early guard. The filler is also used in ryo-hitsu.

Kogai hitsu-ana - hole for kogai. This hole is often shaped like half of a four-petaled flower.

Kozuka hitsu-ana - hole for Kozu-ki. This is the hole opposite Kogai hitsu-ana, designed for handle ko-gatana. The hole is often shaped like half a moon. Together Kogai hitsu-ana And Kozuka Hitsu-ana are called ryo-hitsu.

Handle coupling (futi) and handle head (kasira). These two frame pieces are usually considered together since they are usually designed similarly and made by the same craftsman.

Function footy(handle couplings) and cashier(handle head) consists of strengthening the handle at both ends. Term "cashira"(lit. "head") is an abbreviation of the original name "tsuka-gashira"(handle head), and footy- a general term for a boundary. Both things together are usually called futi-kasira.

Footy, as a rule, consists of a flat metal ring band up to 1.3 cm wide, which covers the handle next to the guard and is easy to remove. At the base footy there is an oval plate called tenjo-gane(“ceiling metal”), usually copper, with a hole for the tang of a sword.

Kasira is a small cup usually with a flattened bottom, although it is also common cashier with a completely round bottom. On footy the main part of the pattern is located on the side omote. On cashier the pattern is located on the end of the handle so that it is visible when wearing the sword.

From each side cashier there is an oval slot - Shitodome-ana, equipped with a retractable eyelet - shitodome("oat eye") of gilded copper, just large enough to accommodate the cord of the handle. On the hilt with a wrapped handle cashier no longer attaches. However, on a handle without a wrap, it is usually secured not only with glue, but also with two leaf-headed pins large enough to hide Shitodome-ana(the loop from which has been removed).

Footy signs on the side omote outer surface tenjo-gane and sometimes on the visible part. On cashier the signature, in the rare cases where it is present, is on a small metal plate soldered on the inside or outside. It is also located at Menuki.

Manuki- this is a pair of small ornaments made of decorated metal located on both sides of the handle. They serve not only as decoration, but also for a tighter grip around the handle. They probably originate from the decorated caps of fastening pins on ancient swords. Together with kogai And ko-gatana (Kozuka) they can form a single set called mitokoro-mono(“three places of a thing”). A single style can extend to a complete set of metal parts for a sword - soroimono(“uniform thing”) or pairs of swords - daisho-soroimono. Mitokoro-mono or soroimono the work of a famous metalworker - preferably one of the Gotos - was a favorite gift among daimyo and other dignitaries on special occasions.

Mekugi- This is a fastening pin that goes through the hilt and tang of the sword and prevents the sword strip from falling out of the hilt. It is usually made from bamboo, but often from dark horn (very rarely from ivory). When the handle is wrapped, it tapers slightly mekugi enters on the side hooray in the center of one of the open diamonds same so that's on the side omote its narrower end is hidden by the winding. But there are exceptions to this rule. In the unwrapped hilts of daggers mekugi can pass through a metal or ivory eyelet or through a metal band - do-gane(“body metal”), covering the handle.

Metal mekugi- This is a striking feature of most non-wrap handles. It consists of a thick copper tube with a decorative cap, often silver, into which a copper pin with the same cap is threaded or screwed on the other side. The threads on the screws are often left-handed, and extreme care must be taken when dismantling such weapons.

Washers (seppa)- this is a pair of oval metal washers covering the shank on both sides of the guard. They are almost always made of copper, plain, gold-plated, silver-plated, or covered with gold or silver foil. Visible surfaces may be polished or lightly streaked. Their edges are usually milled or decorated with holes. Some swords have two or three pairs, and some tati in addition to these usual seppa often there is a much larger pair called o-seppa(large washers). They cover most of the guard and are decorated with engraving, the basis of the design often being an elegant Maltese cross. They say that seppa began to be used in the 12th century. Their purpose is to protect footy and guard from damage and give everything a finished look.

Coupling (habaki). Despite the fact that from the artistic side habaki The least significant, it is absolutely necessary, and is found on all Japanese swords, daggers and spears. This is a thick metal sleeve, the inner side of which fits tightly to the last two to three centimeters of the blade and the first two to three centimeters of the shank ( nakago) (approximate figures for a medium-sized weapon), has several functions. Firstly, it holds the sword tightly in the sheath, eliminating friction of the blade and especially the hardened part of the blade on the inner surface of the sheath. Secondly, it to some extent protects the blade from the appearance of rust in this dangerous place, so part of the sword strip is under habaki should be lightly oiled. But its most important function is that it transfers the impact of a blow through the guard to the entire handle, and not to the relatively weak restraining peg mekugi made of bamboo or horn.

Habaki usually made of copper, silver-plated or gold-plated, or covered with gold, silver or alloy foil shakudo. The surface is either polished or covered with oblique strokes, which are called neko-gaki(“cat scratches”) If a thin foil covering is present, it can be embedded into these neko-gaki or decorated with a stamped pattern. Occasionally also found habaki made of iron, precious metals, or even ivory or wood, but only on swords not mounted for serious use. If the sword strip is thinner than average and thus requires habaki extra thickness, then can be used nid-zyu-habaki- double habaki. It is simply a regular sized habaki, reinforced with a separate but neatly fitted piece that adds two “cheeks” to reinforce the lower part (adjacent to the guard). By habaki you can often evaluate the quality of the blade. Niju-haba-ki and especially habaki, decorated with the family coat of arms mon, usually belong to good swords.

Sword strip terminology

The strip of a sword, dagger or any other bladed weapon consists of a blade and a tang.

Point (kisaki)- This is the most difficult part of the sword to forge and polish. The value of a sword is largely determined by its condition. kitsaki. Hardening line on the tip ( barefoot) may not be the same as different sides blade.

There are a great many types of hardening lines on the tip (as well as on the blade itself).

Types of sword point ( kitsaki) and hardening lines (barefoot) are classified:

1. according to the shape of the blade:

- fukura-kareru- direct;
- fukura-tsuku- curved;

2. by size:

-ko-kisaki- small point. Characteristic of the tachi of the Heian period and the beginning of the Kamakura period;
- tyu-kisaki- average. A widespread type for all swords from about 1232;
- o-kisaki- long;
- ikari-o-kisaki- long and curved;

3. along the hardening line (bosi):

- ko-maru- weak rounding;
- o-maru- strong rounding. The width of the hardened part is narrower than in ko-maru;
- jizo- in the shape of the head of the deity Jizo;
- yaki-zume- non-returning. Typically, the hardening line extends to the point and turns back toward the shank. In this case, return ( Kaeri) absent;
- midare-komi- wavy;
- kaen- fiery;
- iti-mai- full. The entire tip is hardened;
- Kaeri-tsuyoshi- straight return line;
- kaeri-fukashi- long return;
- kaeri-asashi- short return.

Sword strip

Komi, or mi,- blade.
Nakago- shank.
Tosin- sword strip.

Sword strip terminology

Bosi - hardening line on the tip.

Yokote - the line separating the tip and the blade.

Dzi (ilihira-ji) - the plane between the blade and Shinogi(its width is called Nick).

Jihad - surface pattern hada.

Ji-tsuya - darker (compared to ha-tsuya) part of the blade (the rest of the blade, except the hardened part).

Kasane - blade thickness, measured along the spine; It happens moto-kasaie And saki-kasane.

Kisaki - tip (sometimes this term refers to the entire area from yokote to the very tip of the blade).

Ko-shinogi - the edge of the blade at the tip.

Mizukage - fuzzy line on a plane dzi, usually occurring when re-hardening the blade.

Mihab - blade width; It happens moto hub And saki-haba.

Mitsu-kado - the point where they meet yokote, Shinogi And ko-sinogi.

Monouchi - the part of the blade that delivers most of the blows is the part of the blade about 15 cm long, located about 10 cm below yokote(data for a long sword; for short swords and daggers it is proportionally reduced).

Moto-kasane - blade thickness mune-machi.

Moto hub - blade width between ha-mati And mune-machi.

Mune - butt of the blade.

Mune-machi - a small cut separating the shank from the blade on the butt side, edge mune.

Mune-saki - the name of the butt near the tip;

Mai - inscriptions (on nakago and etc.).

Mekugi-ana - holes in nakago For Menuki.

Nagasa - blade length (measured between mune-machi and tip).

Nakago-jiri - extremity nakago.

Sabigiwa - border between habaki-moto And Yasuri-me.

Saki-kasane - blade thickness yokote.

Saki-haba - blade width yokote.

Shinogi - edge of the blade.

Shinogi-ji - blade plane between Shinogi And mune.

Sorry - blade curvature.

Sugata - blade shape.

Fukura - blade shape kitsaki.

Ha(or ha-saki) - blade.

Habaki-moto - part of the sword strip that is under the muff habaki.

Hada - steel lamination; the result of the folding of steel during the forging process.

Ha-mati - small cut separating the tang from the blade on the side of the blade, edge Ha.

Jamon - line Yakiba.

Hataraki - “activity”, development on the metal surface ( nioi, nie and etc.).

Ha-tsuya - lighter part of the blade compared to ji-tsuya; almost the same as Yakiba.

Hee - dollars

Horimono - engraving on the blade.

Yakiba - hardened part of the blade.

Yakihaba - width Yakiba.

Yasuri-me - notches on the shank.

Edge of the blade (shinog) missing from blades hira-zukuri. There are two types:

protruding (Shinogi-takashi). The thickness of the blade between the stiffening ribs is much greater than that of the butt;

• smooth (shinogi-hikushi).

The plane between the edge and the butt of the blade (Shinogi-ji) can be wide or narrow.

Dol (hee) originally made to increase the strength of the blade and reduce its weight. Later it began to be seen as decoration. Sometimes a fuller was made in order to restore the balance of a shortened sword or to hide flaws in the blade (such fullers added later are called ato-bi). There are 8 types of dols, of which Koshi-hi, Tomabashi, Shobu-hi, Kuichigai-hi and Naginata-hi- on short swords.

In addition, there are 4 forms of fuller at the shank, of which kaki-toshi and kaki-nagashi usually found on strips of swords made by smiths of the Old Sword Period ( koto).

The valley may cross yokote(type hi-saki-agari) and stop a little before reaching yokote(type hisaki-sagari).

Plane shinogi-ji, not cut down, is called tiri. Dol may have tiri on both sides (type ryo-chiri) or only on one side (type kata-chiri).

Types of fullers on a sword strip

Bo-hee- wide dol.
Bo-hi-ni-tsure-hi- wide and narrow valley.
Gomabasi- two short beats.
Kaki-nagashi- extending to half of the shank.
Kaki-toshi- passing along the entire shank.
Kaku-dome- rectangular end.
Koshi-hi- short dollar
Kuitigai-hi- double irregular fuller joining at the end.
Naginata-hi- short wide flank; typical for naginata, but is also found on swords.
Shobu-hi- double dale joining at the end.
Futasuji-hi- two narrow valleys.
Maru-dome- rounded end.

Engraving (horimono). There are various types of engravings on the blades of Japanese swords. Most common subjects: chopsticks ( Goma-Hasi), ritual sword ken, the Dragon ( kurikara) and inscriptions in Chinese or Japanese characters ( bondzi).

Hataraki
Ji-nie- spots nee V dzi.
Kinsuji, inazuma And Sunagashi- stripes below and above the line jamon.
Ko-nie- small dots nee above jamon.
Uchinoke- “activity” in the shape of a crescent.

The traditional Japanese sword (nihon-to) attracts lovers of edged weapons not only with its exquisite shape and noble shine of the blade, but also with its very intricate frame, which surprised European connoisseurs with its originality. It emphasized and complemented the advantages of the blade, while simultaneously performing both utilitarian and purely decorative functions.

The frame had to be comfortable, reliable and beautiful; correspond to the rank of the owner and the tastes of the era. It consisted of quite a large number of parts; went into its production various materials: a scabbard and hilt were carved from white magnolia wood; Shark or stingray skin (so-called same), Japanese lacquer (urushi) in black, red or gold, decorative silk or leather cords, as well as a variety of metal parts decorated with jewelry craftsmanship were widely used.

The number and name of such decorative metal plates depended on the type and size of the sword. As a rule, all Japanese swords have the following characteristic removable metal parts: habaki - a soft metal sleeve that separates the blade from the blade and prevents the blade from accidentally slipping out of the sheath; futi (ring near the guard), kashira (heel of the handle), menuki (small funny figures under the silk braid of the handle).

Sword of the 16th century. with a mocha-shaped iron guard with a characteristic welted silhouette of inome-bori

The scabbard also had corresponding linings, usually made in the same style and manner as on the hilt, but not removable. The scabbards of many swords (mainly swords of the uchigatana type, which were worn behind the belt with the blade upward) had special grooves for a small kozuka knife, which was used for both household and combat purposes - throwing, piercing the joints of enemy armor, marking the corpses of defeated enemies and etc. Sometimes the kozuka knife was paired with a multi-purpose pointed stiletto kogai, also adapted for throwing or for penetrating under the protective plates of the shell.

However, the main decoration of a samurai sword was usually its tsuba (guard), which is usually a flat metal plate with a diameter of 5-8 cm and from 2 to 5-6 mm in thickness. In the center of the guard, a groove (nakago-ana) was sawn through for the shank of the sword (nakago), on the sides of it there are often one or two more holes (hitsu-ana) in the shape of an irregular oval - for a kozuka knife and a kogai hairpin. Between these holes on a small field (seppadai) on some tsuba one can find short hieroglyphic signatures of the masters who created them. The signature of the famous master served as an additional decoration. Usually this signature was placed on the side of the guard that was closer to the handle and was covered with a thin copper seppa gasket.

There were many schools of gunsmiths who specialized in forging guards and other metal accessories; some such schools took their name from their founder. Among them, the most famous are the schools of Myotin, Umetada, Kaneie, Goto, Shoami, Soten, etc. Other famous schools were named the same as the provinces or cities where they were located: Nara, Higo, Choshu and Goshu, Kinai, Ito, Yanagawa, Hirado...

In different eras there was different fashion for various decorative styles. Thus, early tsuba (before the 15th century) were thin round or oval plates of wrought iron, usually devoid of any decoration. Tsuba XV - early XVI centuries. often had a strict and laconic decor: dark gray, almost black, patina and an incised image (sukashi-bori) of a samurai coat of arms, a hieroglyph, a Buddhist symbol, or even some vegetable, such as a black radish.

Artistic guards of later eras amaze the imagination with the masterly use of a wide variety of materials and the abundance of techniques for their processing: engraving, notching, relief carving, appliqué, cloisonné enamel or their combination with slotted silhouettes, straight or inverted.

Guards could have the shape of a circle, an oval, a diamond, a square, a rounded cross (mocha-gata), a chrysanthemum flower (kiku-gata), a mallow flower (aoi-gata) or even an indefinite shape invented by the master himself. Tsuba were forged not only from iron, but also from copper, bronze, brass, silver and gold, as well as from special alloys, which, when properly processed, gave beautiful patinas of a wide variety of colors and shades.

The surface of the guard could be smooth or processed using mokume techniques, reminiscent of the layered structure of wood; nanako - fine grain, literally - 'fish roe'; itosukashi - a thin thread-like pattern, karakusa - openwork engraving in the form of intertwining plants and flowers. As for the decorative motifs found on the tsuba, it is simply impossible to list them all: animals (horses, Chinese lions, tigers, cats, dogs), birds (cranes, phoenixes, eagles, peacocks, crows, geese, cormorants), weapons and insects (crickets, mantises, dragonflies, mosquitoes, flies, spiders), various sea creatures, flowers and plants, natural phenomena and famous landscapes, samurai coats of arms and military accessories, images of gods, demons, dragons, as well as Japanese military and court heroes chronicle

Each gunsmith who made accessories for swords tried to give his products a unique, individual look that would attract the eye and capture the attention of the beholder. That is why antique Japanese tsuba evoke an indescribable passion among collectors around the world.