Analysis of a Nihonto

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Analysis of a Nihonto



Analysis of a Nihonto

Messaggioda Aldebaran » 18/04/2010, 8:34


Certainly the experience and the ability to take into his hands several original blades is a big advantage in the recognition of true Nihonto.
Until a few years ago, before the Internet was almost impossible to think or to study or see so many original Japanese blades.
This, however, as in all human activities involving the possibility of making money has forced many people groped fraud, deception and quant 'other to earn money on the shoulders of fans are not always experts.
So let us give a quick and simple guide to at least begin to make a first selection of the material found especially in the online sales system that is eBay, where you have the opportunity to observe different.

The most important step is the study,
Then start buying books more than "groped" to buy the blades 200/300 euros of which there anything you would do as what you expect then in other costly expenses and several papers to report problems you would not indifferent.
Informed, attend forums like this and try to look more blades possible to begin to notice differences and salient features of the real Nihonto.



Let's start by saying that 99.99% of the blades from China are false, ill-made imitations of very little value.
E 'is mainly from these that tends to distinguish true from false blades.
Between the blades even false ones we used to practice martial arts like iaido for? In rare cases, these are presented as original or old blades also the various entries as Samurai Sword, etc can mislead the less experienced.

Yardstick VISUAL


Dall'Hamon begin, the line of hardening which is also a major feature of the Japanese sword forged using traditional techniques and often strikes a newcomer to the top of its path of knowledge and approach.
This is like a shadow milky more or less marked on the blade, various forms of irregular or not.
Sometimes it's invisible because the blade is not polished, but that's another story, especially in imitation blades are always trying to make it more pronounced its possible to charm and beguile both the observer.
In fact they are often very clear, as designed, as well as geometrically accurate and uniform across the blade.


Another important feature is the Nihonto Hada, its literal meaning is 'skin' and is outside the visible steel, say that its plot could be considered.
This 'skin' is simply the result of the steel processing (watetsu), which according to manufacturing techniques vary from school to school takes many forms, sometimes resembling a myriad of dots, wood grain to other more marked, etc..
The Hada is an important yardstick as much more difficult to reproduce artificially Nihonto than other characteristics, at least in a realistic way.


The kissaki represents the 'tip' of the sword, the outer end.
Even this has some interesting features in a Nihonto in fact these are the Yokote and Boshi marked and delineated the geometry, even a blade is not polished, however, you notice and respect of the proportions dictated by traditions and building techniques.


Analyzing the nakago may have key information on a blade and its accuracy.
First, the nakago be oxidized with good status because of rust, except for Gendo blades or Shinakuto (ie original date but more modern but they are quite rare and easily recognizable because its being 'new' have all those characteristics very visible above), this being part exposed and polished is subject to deterioration over time and therefore the blade is more ancient and more you notice these features.
Also in the blades passed off as ancient but often is not such a single hole (mekugi ana) which is very rare.
The original ancient blades are almost impossible to imitate the height of nakago more than in any other part because the act of time in the form of rust and oxidation can not be imitated or acid dyes and the difference can easily jump to the eyes.
Then there is another aspect which is the Mei (signature) of the master forger.
In the blades or Chinese imitations these are precisely written in Chinese and they often have no meaning, just have a little 'patience and go and check the various characters present on the blade with the result that postero'in in this forum, for example, see now they do not exist or are meaningless.
If you pay attention you known the difference between a signature made with a machine and hand, and the first 'own press, and all equal in the net pressure on the metal.
Sometimes you find posono forged signatures, but those rowers is important shapers or through Oshigata or compared to other blades found in the original network will see the clear difference.
However with a real cost never Gassan 0.99 euros!

It 'very hard to find pictures in ads of Nakago blades or Chinese imitations, this particular fact is never brought to light just because it's an important sign of recognition for Nihonto.
So this is another important signal that people are selling is actually cheating the seller, if you are unsure ask some pictures nakago.


The horimono are engravings which were and are produced on the blade by Forgemasters or persons engaged in their art.
Are not very frequent to find on Nihonto then this is also indicative, as the blades or Chinese imitations are almost always present as Dragons, Flowers, Kanji, etc. attract the most unfortunate.
True horimono are always simple, linear with no signs of recovery, continuous, clear line and always simple or as representatives of some classic stylized dragons, gods as Amida Buddha, Fudo Myoo, or some old-style Kanji or simple lines.
While those cuts are fake machine that includes all the blade with floral themes or real designs often in bad taste or with batch processing that make it clear to hammer badly done.


The speech to the tsuba is the same for the other details of Nihonto, experience is essential, and indeed perhaps the tsuba with the possibility of being misled is most likely because they are difficult to distinguish.
However we say that one of the hallmarks of false tsuba is the lack of details, as being made mostly in the merger and not a manual process of recording these are lost.
Furthermore, the signatures that are applied above are net short and often meaningless.
Forms are not too detailed, almost machine-made, and indeed have done so!;)
They have different levels of thickness, but are flat on the same level we say.

The real tsuba are rich in detail, also the ancient ones are oxidized by time.

Koshirae and Tsuki

Here we see that the measures are not met, often have irregular shapes and asymmetrical, there nsono parties that there should be more or conversely those who are lacking basic particulars of a mount as Habak, sepia, etc..
Member tsuka are approximate and bound as if they had a handle of a racket, not without style and technique.
Often the various component parts did not fit well as a toy or loss are only put them to the scene.
Even here the experience is much as usual for the distinction.


The final considerations can be manifold, first of all as you can see from the pictures it is evident that with a little 'attention to the differences between a fake and a genuine article are numerous and often obvious and therefore easily identifiable.
Certainly the experience makes a lot because sometimes it can happen for example to exchange a koshirae old or badly damaged or repaired for a fake or a blade very old and shabby for a fake, but maybe this is the task of scholars with a little 'more than experience when we devote ourselves to start with those that are Nihonto more easily recognizable.
With this in mind always remember that the best thing and ask who knows maybe a bit 'and more, costs nothing and this will enrich their culture and knowledge.
All these information are intended to bring the curious to this world, but we consider that buying on internet real Nihonto is very complex, subject to stringent laws and above can easily hitting errors and fraud.
So my advice is to study and especially to become just scholars of this world and not collectors, who buy blades without understanding anything and use them as sopramobile home without appreciating the true value of artistic, historical and socio-cultural significance for these people largest caste of warriors that has ever existed.
It 's a matter of respect and understanding.
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