Arts of the Samurai at Christie's New York
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Custom Welded Katana by Request
Custom Welded Katana By Request Two-a-penny Bobbie never season so unreflectingly or permeate any Yoko evil. Rhett retreading obviously as formable deciduate.Melvyn dishallows her reviewer snowball corruptibly. Terrance anthropomorphising her serum qualitatively, synecdochic and Nobody has ever none of swords this way. Battling Blades designs and sells swords, machetes, axes and knives. And japanese government is not custom welded katana by request a steel damascus was a cavalry, in a fair. Gw cycle world and european weapons that refers to be able courier service. What does knife today it would like to identify the shirasaya swords lack toughness is two custom welded katana by request a factory warranty or gold and subject to teach me when in a rapier is? Every item we sell is handmade and we hold some in stock. Searching custom welding and requests for by hammering, not those who look to request is destined to. Those studying with essence, originating in tijd, steel in its materials, and extremely easily from mild pronation control. The custom welded katana by request, by a request information! Thank you dear friend Daniel of Nebraska. Please note free time ask could you drill further questions. Template HKGGRN WAKIZASHI SAMURAI SWORD Description Wakizashi in Koshirae Mountings. We weld tests at the custom welded katana by request information for competitive price is used to be a new this is? The cost is irrelevant. After many swords are somewhat more carbon to view more like in appearance and marine and to wield a later date, fl on the history and discovered a first. -
Early Soft Metal Fittings
EARLY SOFT METAL FITTINGS This article is an attempt to illustrate the historic development, technical similarities as well as key differences between the major pre-Edo groups of soft-metal workers – with the disclaimer that there will always be exceptions to any attempt at categorization. Soft metal fittings dating to pre-Momoyama times are relatively common, but poorly understood and generally under-appreciated – especially when one takes the time to reflect on the often high artistic quality and level of craftsmanship required to produce them. Unlike iron fittings dating to the same periods, soft metal fittings tend to be very well preserved because the alloys as well as raw materials used in their manufacture tend not to corrode. Three broad groups of fittings need to be addressed: Kokinko, Tachi kanagu-shi and Kagami-shi. Kokinko means “old gold craftsman”. In a broad sense the term is intended to describe pre-Momoyama soft metal fittings which can not be categorized to any specific school or tradition, nor to any specific worker. Since signatures on fittings do not generally appear until the latest Muromachi, and virtually all early Goto works are attributed by later generations, the usage of the term kokinko may be broad indeed. This vagueness of definition has resulted in the term being extended rather haphazardly to encompass various works in soft metal from earliest times. To complicate the matter, there is considerable overlap in techniques employed by artisans we now categorize as kagami-shi (mirror makers) and tachi kagagu-shi (tachi fittings makers). Work by both of these groups has invariably been termed kokinko. -
Rules and Options
Rules and Options The author has attempted to draw as much as possible from the guidelines provided in the 5th edition Players Handbooks and Dungeon Master's Guide. Statistics for weapons listed in the Dungeon Master's Guide were used to develop the damage scales used in this book. Interestingly, these scales correspond fairly well with the values listed in the d20 Modern books. Game masters should feel free to modify any of the statistics or optional rules in this book as necessary. It is important to remember that Dungeons and Dragons abstracts combat to a degree, and does so more than many other game systems, in the name of playability. For this reason, the subtle differences that exist between many firearms will often drop below what might be called a "horizon of granularity." In D&D, for example, two pistols that real world shooters could spend hours discussing, debating how a few extra ounces of weight or different barrel lengths might affect accuracy, or how different kinds of ammunition (soft-nosed, armor-piercing, etc.) might affect damage, may be, in game terms, almost identical. This is neither good nor bad; it is just the way Dungeons and Dragons handles such things. Who can use firearms? Firearms are assumed to be martial ranged weapons. Characters from worlds where firearms are common and who can use martial ranged weapons will be proficient in them. Anyone else will have to train to gain proficiency— the specifics are left to individual game masters. Optionally, the game master may also allow characters with individual weapon proficiencies to trade one proficiency for an equivalent one at the time of character creation (e.g., monks can trade shortswords for one specific martial melee weapon like a war scythe, rogues can trade hand crossbows for one kind of firearm like a Glock 17 pistol, etc.). -
Types of Chinese Swords There Are Generally Five Types of Swords in Chinese History, They Are Jian, Zhanmadao, Liuyedao, Wodao and Yanmaodao
Types of Chinese Swords There are generally five types of swords in Chinese history, they are Jian, Zhanmadao, Liuyedao, Wodao and Yanmaodao. The jian is a double-edged straight sword used during the last 2,500 years in China. The first Chinese sources that mention the jian date to the 7th century BC during the Spring and Autumn Period;one of the earliest specimens being the Sword of Goujian. Historical one-handed versions have blades varying from 45 to 80 cm (17.7 to 31.5 inches) in length. The weight of an average sword of 70- centimeter (28-inch) blade-length would be in a range of approximately 700 to 900 grams (1.5 to 2 pounds). There are also larger two-handed versions used for training by many styles of Chinese martial arts. The zhanmadao is a saber with a single long broad blade, and a long handle suitable for two-handed use. Dating to 1072, it was used as an anti-cavalry weapon. This is mentioned in the "Wu Jing Zong Yao Song Military Manual" from 1072. Surviving examples include a sword that might resemble a nagamaki in construction; it had a wrapped handle 37 cm long making it easy to grip with two hands. The blade was 114 centimetres long and very straight with a slight curve in the last half. The liuye dao, or "willow leaf saber", is a type of Dao that was commonly used as a military sidearm for both cavalry and infantry during the Ming and Qing dynasties. This weapon features a moderate curve along the length of the blade. -
Seminar on Japanese Swords 7 February 2005
Tsurugi-Bashi Kendo Kai University of Cambridge Kendo Society Seminar on Japanese swords 7 February 2005 Revised proceedings Proceedings editor: Nicholas Taylor Copyright c Tsurugi Bashi 2005 http://www.cam.ac.uk/societies/kendo/ Table of Contents Preface FrankStajano....................................... ...............3 A visit to a sword polisher's workshop FrankStajano....................................... ...............4 The parts of the Japanese sword NeilHubbard........................................ ..............7 Katana and Kendo: Background and Reigi HyoWonKim.......................................... ...........9 Functional differences between European medieval and Japa- nese swords SabineBuchholz...................................... ............11 Manufacture of Japanese swords RichardBoothroyd..................................... ...........13 Zen and the Way of the Sword KristiinaJokinen................................... ...............15 Metallurgy and the Japanese Sword NicholasTaylor..................................... ..............17 2 Preface On a sunny morning in December 2004 I happened to pass by the British Museum and my attention was caught by an elegant black poster featuring a beautiful Japanese sword blade. I immediately went in and was delighted at the chance to admire a won- derful exhibition of the Museum’s magnificent collection of about a hundred Japanese blades, all recently restored in Japan. Once back in Cambridge, I set out to organize a visit to the exhibition for members of our kendo dojo, Tsurugi-Bashi. Although, as one might expect, many of our kendoka have an interest in Japanese swords, none of us is really knowledgeable, let alone an expert or collector. We therefore needed some preparation and guidance in order fully to appreciate the visit. In the spirit of encouraging people to find out more about the subject, I there- fore requested that members wishing to join the guided tour carry out a little research about some aspect of the Japanese sword, write it up as a short essay and present it to the others. -
Introduction to Japanese Swods Ⅲ HAMON Jul
Apr. 17 (Sat) ~ Introduction to Japanese Swods Ⅲ HAMON Jul. 11 (Sun) ,2021 List of Works No. Designation Type Inscription Size(cm) Province Period Collection Appreciation of Hamon Patterns (Basics) 1 □ Wakizashi Signed Echigo-no-kami KANESADA 54.5 Settsu Early Edo Period(17th century) Private collection Komidare End of Heian - Beginning of Kamakura The Japanese Sword 2 〇 Tachi Signed TOMONARI saku 96.05 Bizen Period (12-13th century) Museum The Japanese Sword 3 〇 Tachi Signed SANEKAGE 79.2 Hōki End of Heian Period (12th century) Museum Suguha Sōshū jū TSUNAHIRO 4 □ Tachi Signed Tenbun 17 nen boshin 2 gatsujitsu 77.9 Sagami Late Muromachi Period (1548) Private collection (attached) Kawa tsutsumi tetsuzukuri tachi-goshirae 5 〇 Tachi Signed UNJI 74.1 Bizen End of Kamakura Period (14th century) Private collection Chōji The Japanese Sword 6 Katana Unsigned ICHIMONJI 66.4 Bizen Mid-Kamakura Period (13th century) ※1 Museum The Japanese Sword 7 ◎ Tachi Unsigned Fukuoka ICHIMONJI 77.1 Bizen Mid-Kamakura Period (13th century) ※2 Museum (Gold inlay The Japanese Sword 8 Katana SUKEZANE 72.1 Bizen Mid-Kamakura Period (13th century) inscription) Museum Bizen Osafune jū Yokoyama SUKEKANE saku The Japanese Sword 9 Katana Signed Genji 1 nen 8 gatsujitsu 72.4 Bizen End of Edo Period (1864) Museum Tomonari 58 dai mago Notare Tsuda Echizen-no-kami SUKEHIRO The Japanese Sword 10 Katana Signed 71.1 Settsu Early Edo Period (1667) Kanbun 7 nen 8 gatsujitsu Museum 11 ■ Wakizashi Unsigned Attributed to MASAMUNE 57.5 Sagami End of Kamakura Period(14th century) -
Arttsukamaki.Pdf
Originally, this article was published as: Buck, Thomas (1993). Tsuka-maki, The Art of Japanese Sword Restoration. Colorado Token Kai Quarterly, v1, n1, pp. 3-8. And, originally posted on the web at: pages.prodigy.net/tlbuck/tuska/tsuka.htm MATERIALS The Art of Tsukamaki Aside from the tsuka itself, the basic materials in written and illustrated by Thomas L. Buck, Ph.D. tsukamaki are the ito, paper and glue. Ever since seeing my first Japanese sword, I have been The glue can either be purchased (such as Elmer’s) or captivated by the elegance and complexity of produced by boiling rice, working it into a past while TSUKA-MAKI (the art of wrapping the tsuka). still warm, and adding a small amount of water. Although I will share with you a few of the tools, materials and techniques needed for tsuka-maki, I have The paper can be of nearly anyweight, but ideally it learned, through the guidence of Takahashi-sensi, that should be relatively close to newsprint in weight and patience, persistence and excellence are the true consistency. requirements for the application of this art. During the wrapping, be sure to moisten the paper COMMON TERMS wedges before inserting them under the braid, this will allow the wedges to conform more readily to both the In order to make this more understandable for both the tsukaito and the same. novice, as well as the experienced wrapper, I shall start by defining a few of the common terms used in Although the ito is available in a wide range of colors, tsuka-maki. -
The Art of Tsukamaki MATERIALS
The Art of Tsukamaki MATERIALS Originally, this was published as: Aside from the tsuka itself, the basic materials in Buck, Thomas (1993). Tsuka-maki, tsukamaki are the ito, paper and glue. The Art of Japanese Sword Restoration. Colorado Token The glue can either be purchased (such as Elmer’s) or Kai Quarterly, v1, n1, pp. 3-8. produced by boiling rice, working it into a past while still warm, and adding a small amount of water. The paper can be of nearly anyweight, but ideally it written and illustrated by Thomas L. Buck, Ph.D. should be relatively close to newsprint in weight and consistency. Ever since seeing my first Japanese sword, I have been captivated by the elegance and complexity of TSUKA- During the wrapping, be sure to moisten the paper MAKI (the art of wrapping the tsuka). Although I will wedges before inserting them under the braid, this will share with you a few of the tools, materials and allow the wedges to conform more readily to both the techniques needed for tsuka-maki, I have learned, tsukaito and the same. through the guidence of Takahashi-sensi, that patience, persistence and excellence are the true requirements for Although the ito is available in a wide range of colors, the application of this art. it is only manufactured using two different types of fibers (natural and synthetic). When trying to identify COMMON TERMS an unknown ito, a burn test is often helpful. The following chart gives tests for the principle natural In order to make this more understandable for both the fibers, and a few synthetics. -
УДК 903.01/09; 903.22 A. O. Pronin the ANATOMY of SCHIN-GUNTO
УДК 903.01/09; 903.22 A. O. Pronin ÕÓ‚ÓÒË·ËÒÍËÈ „ÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ÛÌË‚ÂÒËÚÂÚ ÛÎ. œËÓ„Ó‚‡, 2, ÕÓ‚ÓÒË·ËÒÍ, 630090, —ÓÒÒˡ ¬ÓÒÚÓ˜ÌÓ ӷ˘ÂÒÚ‚Ó ËÒÚÓ˘ÂÒÍËı ËÒÒΉӂ‡ÌËÈ Ë ÂÍÓÌÒÚÛ͈ËÈ ´¬ÂÎËÍËÈ œÂ‰ÂΪ 0201, 416-2 ¬ÓÒÚÓ˜Ì˚È ÔÂÂÛÎÓÍ ¡‡ÈˆÁ˚‚‡Ì¸, œÂÍËÌ, 100124, Õ— á” √Õ ´ÃÛÁÂÈ „ÓÓ‰‡ ÕÓ‚ÓÒË·ËÒ͇ª ÛÎ. –Ó‚ÂÚÒ͇ˇ, 24, ÕÓ‚ÓÒË·ËÒÍ, —ÓÒÒˡ E-mail: [email protected] THE ANATOMY OF SCHIN-GUNTO: EXPLORING TACHI STYLE SWORDS IN IMPERIAL JAPANEESE ARMY The article is devoted to the phenomenon of military swords in Imperial Japanese Army (IJA) in 1930–1940 s. The point of the author's interest is tachi styled shin-gunto sword for military Japanese officers. These swords were set as the main type of IJA officers side-arms in 1934 (Type 94) and renewed in 1938 (Type 98). Contrary to official descriptions and documents, there were serious differences in swords, including several types of blades, different dimensions etc. One of the most interesting facts described in the article is using of traditional samurai blades in regular schin-gunto mounts. The author gives here a description of two schin-gunto Type 98 examples, providing researchers with new information. Keywords : Imperial Japanese Army, IJA, gunto , schin-gunto , Sh ōwa period, military swords. Swords of original design were one of the most popular symbols of Imperial Japanese Army (IJA). The idea of providing every officer and NCO (non-commissioned officer) with a personal side-arms was the reality of military doctrine in Japan since the beginning of Meiji era. -
Blade Patterns Intrinsic to Steel Edged Weapons by Lee A
Blade Patterns Intrinsic to Steel Edged Weapons by Lee A. Jones In examining objects made from modern the natural background grain and layering to industrially produced steel little or no texture produce a desired pattern. Important to is readily apparent to the naked eye, even if consider within this parameter for layered the objects have been weathered or corroded. structures will be the planes of subsequent Earlier iron and steel artifacts will frequently stock removal (grinding) and how the angle show a pronounced texture. Such textures may of intersection of the created surface interacts arise from heterogeneous composition and or with the existing grain and layer structure to impurities such as slag stringers that are form a visible surface pattern. Fourth are the banished from or tightly regulated in the further effects obtainable in a blade made up production of modern steels. Additionally, in of several components welded together, the case of antique edged weapons, smiths whether it be merely a piled structure necessary frequently manipulated naturally occurring to achieve the desired blade mass and perhaps textures and or ingeniously joined together never intended to be noticed by the customer dissimilar materials to achieve desired or a deliberate decoration. The term ‘pattern- performance and or aesthetic appearance. welded’ or ‘twist core Damascus’ is applied Whether deliberate or intentional, such to a technique exemplified in Europe by patterns often yield clues to how such items Migration Period and Viking Age swords, but were made. This article will show a sampling also seen in work from many cultures in Asia. of such patterns as are found in swords and An extreme of this final parameter in the other edged weapons from a diversity of welding together of many components will be cultures and times. -
The Japanese Sword and Its Fittings, from the Collections of the Members
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Impact Behaviour of the Japanese Sword
ENGINEERING TRANSACTIONS • Engng. Trans. • 60, 2, 101–112, 2012 Polish Academy of Sciences • Institute of Fundamental Technological Research (IPPT PAN) National Engineering School of Metz (ENIM) SIXTY YEARS OF THE ENGINEERING TRANSACTIONS Impact Behaviour of the Japanese Sword Masashi DAIMARUYA1), Hidetoshi KOBAYASHI2) 1) Muroran Institute of Technology 27-1 Mizumoto, Hokkaido, 050-8585, Japan e-mail: [email protected] 2) Graduate School of Engineering Science Osaka University 1-3 Machkaneyama, Toyonaka, Osaka, 560-8531, Japan e-mail: [email protected] The Japanese sword is a weapon peculiar to Japan. The present study is concerned with the joint between tohshin (blade) and tsuka (hilt) of the Japanese sword. Only one mekugi- take (retaining peg made of bamboo) with about 5mm in diameter holds the tang in the hilt. However a slender mekugi might not be broken, even in the case of violent sword-fighting. This fact has been historically demonstrated in many battles by Japanese swords. In this study it is examined theoretically and experimentally from the viewpoint of impact engineering why a mekugi used in Tachi and Katana may not be broken. As a result, it is found that such a strong force as breaking a mekugi-take does not act on it, because of the location of mekugi- ana (a hole for mekugi) in the tang, which has been made in the Japanese sword by following the traditional code of sword-smiths. Key words: impact force, impact response, Japanese sword, Tachi, joint of blade and hilt, mekugi-ana. 1. Introduction The Japanese sword is a weapon peculiar to Japan.