Article and Illustrations by WarAngel, with special thanks to Motoyasu

With the world's fascination of swords today, no sword finds more popularity with the general public and holds more mystery and mysticism than the Japanese sword in its curved elegance. However, in contrast, enthusiasts ranging from collectors to bladesmiths often have little background in traditional and ancient Japanese swords and thus are not familiar with the criteria that elevates a blade as a functional work of art over other crude curved bars of steel.

The majority of Westernized Interpretations of Japanese blades on the custom-knife market are generally tanto-style knives, with an occasional longer version of wakizashi (short sword) length featuring either a parachute cord wrap or an epoxied diamond wrap. Smiths are churning these approximations or interpretations of the Japanese sword at a high rate, and the general public are not aware how far much they pale in beauty (as well as in functionality) when compared against the traditional Japanese sword.

This article will show you various blade designs on the Western market and hopefully will give you an idea of what to look out for (and to avoid) when shopping for a custom Japanese style blade.

Anatomy of a Japanese Blade

Traditionally, the majority of Japanese tanto are of the hira-zukuri (pronounced "heera-szcurry") shape.

Tanto of this shape have no ridgeline, and no distinct point section. They may have slight curvature, no curvature or sometimes have a "drop point" shape that is referred to as uchizori ("oocheezori"). Other popular traditional shapes for tanto include the moroha ("moro-ha") which is double-edged and has a diamond-shaped cross-section, and the kissaki-moroha ("keeza-kee moro-ha") shape, which is only double-edged for one-third to one half of the blade length near the point.

The most uncommon shape of traditional tanto is the shinogi-zukuri ("shinoghee-szcurry") shape (shown above), or the ridged form with distinct point section that is characteristic of swords, but extremely rare in tanto (tanto of this style are normally broken sword points, or of 18th-19th century manufacture), however for better or for worse, this is the shape that most American makers have chosen for their interpretations, so we will discuss some common shapes in comparison. For the purpose of this article, only a cursory description of the parts of a Japanese blade will be covered.

Traditional Japanese blades have a curve. Some of the curvature may have forged in by the smith, but the majority of curvature comes from the heat treating and quenching process where the edge and the back of the blade cool at different rates such that the steel of the edge is transformed into a harder molecular structure (called martensite) and the blade is softer and tougher (containing pearlite). The martensite crystal is dimensionally bigger than those of pearlite, hence the blade takes on an induced curvature.

Traditional blades generally feature a line separating the point/tip from the rest of the blade. This line is called a yokote (pronounced "Yoko-tay") The base of the blade at the machi or the notches that support the habaki ("habakee") is always wider than the width at the yokote; depending on the style of the blade, this difference in width may be very subtle or very pronounced.

Different styles also feature different length kissaki (pronounced "keesa-kee"). On some swords, this may vary from two thirds of an inch to more than two inches. Contrary to a lot of sales pitch by American tanto makers, the tip is not a "reinforced piercing point" but rather was constructed for maximum cutting power. Note the curvature to the point. Tests have also proven that in addition to improved ability for cutting, the curved point is actually superior in piercing ability to the much vaunted "chisel" point favored by so many American makers. The real reason for the chisel point is that it is much easier to grind to shape than the curved point, and it approximates the appearance of traditional point-all the stories and hype are just an attempt to hide laziness and lack of skill!

Another feature of the traditional Japanese blade is its differentially hardened edge. This is visible as several different parts: a) the "frosted" hard edge consisting of martensite, this is called the yakiba (pronounced "yak-eeba"), b) the misty line where the hardened edge transitions into the less-hardened body. This border is called the habuchi("haboochee") and the overall shape or pattern of this border is identified as the hamon ("ha-mone"). The habuchi contains a variety of intermediate crystal structures and is where most activity occurs. Traditional blades are heat treated with thick clay covering the back portion of the blade and very thin clay over the edge. The thinner coating at the edge allows this part of the blade to become harder as a result of heat treating. As described above, the hard and soft portions of the blade are made to have different appearances through polishing, so the clay treatment can be used by the smith to create a variety of patterns. Many Westernized blades do not have this feature. Where they do, most are either created with abrasives or acid/electro-etched, and are generally uninteresting repeating patterns like sine waves. Some go as far as mimicking an interesting varying pattern, but since the temper line was not created via heat treating, there is no transition region and there are no intricacies and subtleties in the pattern.

The commonly seen "ninja swords" are purely Hollywood concoctions and despite attempts at explanations by many "ninja schools". Despite common belief, such swords have no historical basis, and many of these modern-made "fantasy swords" are merely stainless steel covered in black paint with the "temper line" being areas of the edge left unpainted!

Japanese vs. Americanized Styles

Whenever I encounter collectors of antique Japanese swords, probably the most important word in the conversation is "study." Some have dedicated years of studying books on Japanese swords not only to protect themselves from poor purchasing decisions at the dealer table, but also to increase their awareness, eye, and enjoyment for the Japanese sword. It is, in away, like Art History but where the medium is steel rather than paint upon a canvas.

It's important, therefore, to research texts, pictures and photographs - or real Japanese swords themselves - with every opportunity. Join a Japanese sword club in your area and expose yourself to the history and artistry of katana, wakizashi and tanto blades. The more closely you study the Japanese blade, the more intricacies you'll develop an eye for. By familiarizing oneself with the classics, one can develop good discernment for the degree of artistry of other paintings.

Traditional blade shapes have indeed varied throughout the centuries, depending on school of tradition of manufacture, geographical location, intended targets of the time, etc. But, in general, you can expect a tremendous degree of wonderment and beauty with a well made blade. The ridge lines can be crisp and clear, and the contours are elegant and a beauty to behold (unlike my hand-drawn illustration here!).

Note the temper line, which many Americanized blades lack. There are various styles one can achieve, but temper lines will have a misty or cloud-like texture (not necessarily a cloud-like shape). There will be parts of the hamon which will be more pronounced, and parts where you will see but wisps or brushes of whiteness.

Cross Sections of Blades

One thing many collectors miss as they peruse Americanized Japanese-style blades is the cross sectional geometry of the blades.

Traditional Japanese swords feature a convex Moran Edge. Often times in our Western mentality, we feel swords must be razor sharp. However, with our modern sharpening systems, sword edges become razor thin and thus highly prone to damage.

This subtle feature of the Moran Edge gives incredible cutting power without compromising the blade edge. It is, however, one of the most difficult to achieve, which is why lesser skilled smiths chose the more conventional Western alternatives. Moran Edges cannot be sharpened with home hi-tech sharpening systems often sold in knife magazines or catalogs as doing so destroys the cross-sectional convex geometry.

Most Americanized blades feature either a Chisel Grind (poor cutting coefficient), a Hollow Grind (vulnerable thin edge) or a Hollow Grind (inelegant) or any of the above-illustrated cross sectional geometries. The Moran Edge is the most efficient geometry for Japanese style blades, with the least amount of friction in the cutting process.

Americanized Blades: Point by Point

1. This is perhaps the most basic and primitive of all designs of blades imitating a Japanese style, especially for tanto (short knives). Note the tip has a straight edge, and the blade is not curved. There are some blades where the reverse side of the blade is completely flat, i.e.no shinogi (ridge line) on one side of the blade.

2. This builds on Example 1 but the tip has a curve. This shape mimics the traditional point shape better, but there is still no blade curvature and no taper in the width of the blade (the width at the tip should be a bit narrower than the width of the edge at the yokote (tip sepaerator line).

3. Some blades feature a bevel right on the spine itself to imitate the angled mune of a traditional blade. Some, like the one illustrated above may be quite non-traditional in appearance.

4. This is similar to Example 1, however the yokote line seems to be a curve. This is because the blade is hollow ground. Hollow grinding is quite easy for the makers to do; such blades almost always come with a non-traditional bevel edge. Hollow grinding produces the weakest edge because there is less material to support the edge. The tip is shorter in this example than in Example 1's blade.

5. This one is essentially a curved version of Example 4 and is an approximate reproduction of an actual production knife. The curvature is unnatural and is achieved by grinding the steel to shape, rather than allowing the blade to achieve a natural curve through traditional heat treating and quenching which, consequently, is a more complex and more expensive process from a mass-manufacturing standpoint. This blade is somewhat better than the straight blades, but still isn't very attractive.

6. This blade features a straight spine, but the edge is curved outwards as if it were pregnant! Again this is an illustration of a production knife. The blade shape is very unnatural with the curved edge and the straight spine, and shows that the blademaker could really benefit from studying more traditional shapes.

7. This design shows an interesting bevel on the spine of the blade. There is indeed a ridge line ("shinogi") but notice how towards the base of the blade it sweeps back up and creates an actual flat on the side of the blade. At the tip, the bevel extends all the way to the tip. There were traditional blade shapes which had somewhat similar tips, such as the Shobu-Zukuri ("showboo-szcurry"), but this style did not have a yokote and the edge of the tip was not a chisel but a smooth curve flowing into the edge of the rest of the blade - not triangular and blocky like this.

And, finally, who could resist comparing the Japanese sword with a Taiwanese $80 wannabe blade? Perhaps this illustration does the Taiwanese katana-like object a bit too much justice. Notice that there is no yokote at all. The back ridge is one half of the width of the blade, and should occupy approximately one third instead. About 1/16" at the edge are given a secondary bevel, contrary to the convex cross-section of a real Japanese sword. This type of edge may be convenient to produce (just grind it on) and to maintain but it robs the sword of true cutting power and edge holding capabilities in the long run.

It is sad that many World War II gunto sword blades were given this treatment by people intending to "sharpen" these swords at a grinding wheel. Real Japanese swords are always polished to sharpness by a proper Togi professional. Grinding, diamond hones, and mechanical sharpeners are all wrong choices, as they impose a bevel grind on a concave shape, thus destroying the sword's cross sectional geometry and also its intrinsic collector's value!

Conclusion

Western interpretations of Japanese-style blades can possess a geometry or shape that looks forced or unnatural. Much of the aesthetic beauty - as well as some functionality - is lost through these imitations and (mis)interpretations.

Some blademakers boast/argue that their swords were meant for use rather than for looks, but swords or knives made after this fashion are not necessarily more functional or easier to use! Serious students of Japanese swords have been quick to point out to boasters that they simply do not want to put in the time to study and research the designs of a traditional Japanese blade before making their own. While those of us in the West can use more modern methods, it's truly recommended to do at least some thorough research into traditional swords rather than imposing our definitions upon a design that has undergone centuries of evolution to become a very efficient cutting instrument.

Many of the aspects of the modern implementations discussed here actually decrease the potential of the blades. For example, there are some sword-makers who give their swords a Chisel Grind (i.e. grinding only one one side of the blade and leaving the other side flat). Apart from good marketing, there is no evidence that there is improved cutting efficiency, as the drag coefficient of the beveled side and the completely flat underside is actually worse than the more complex but elegantly curved convex "Moran Edge" given to a traditional Japanese sword. The friction against a chisel-ground blade is actually increased compared with that of a proper "dual-sided" Japanese sword.

Historically, the chisel grind was used not for Japanese swords but in chisels and other wood-working tools. Swords aren't chisels!

It is important to differentiate between truth and tradition versus hype, mysticism and marketing. One of the most erroneous assumptions by Americans regarding the tip of Japanese swords is that this is are enforced point for piercing when in fact it is made to this shape for the purpose of cutting. The Japanese sword is not a cut-and-thrust sword like European swords. Rather, it's construction - and the martial arts training accompanying its use - is for cutting. Additionally, even for the rare thrusting application, the curved point of the traditional sword is actually superior to the angular point preferred by so many American makers!

Study and research into Japanese swords can unearth valuable information as to the criteria of what makes a Japanese style sword a good one. Without this information, it is easy to fall into the marketing hype of many bladesmiths selling crude curved bars of steel at prices so high that, had you known, you might have purchased a real sword or knife at a fraction of the cost. As a closing note, we'd like to point out that not all American implementations of Japanese blades are bad. There are many smiths who create very functional implementations following time-proven traditional shapes. Such blades may not have the same kinds of activity and hamon of traditional blades, and as such they may be looked down on by some "hardcore" collectors, but these blades have their own beauty all the same. Such functional blades meet the demand for martial arts weapons, and for collectors with more varied tastes, but who still insist on high quality and functionality instead of hype and fads. We hope this article has been of some help in dispelling some of the common misconceptions about Japanese-style blades and helping you to make a more informed purchasing decision.

WarAngel is the Editor of Sword Forum Magazine Online. His first exposure to sword was a $70 mail order katana stamped "440 STAINLESS STEEL - MADE IN TAIWAN". Like most people, he began collecting stainless steel "wallhangers" - making up for quality with quantity - until finally being exposed to historic Nihon-to (Japanese swords) whereupon he promptly gave away his sword-like objects to eager friends who still don't mind the difference!

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