japaneseaesthetic:

A Katana

Muromachi Period 1392 C.E. – 1573 C.E

This blade is a Koto (古刀-old sword period) piece that remains completely unaltered which is rare for Koto era works. It remains the one Mekugi-ana (目貫-peg hole) from the time it was created, since blades this old usually have several Mekugi-ana. The blade has a curvature at a very intense 2.4 cm or 0.94 inches, which is well above the average, a cutting edge of 67.9 cm or 26.73 inches, and a width of 3.15 cm, or 1.24 inches. The polish is a little old, but the Hamon (刃文-blade pattern) is still very interesting with a mixture of Togari (尖-pointed) and Choji Midare (丁子乱れ- clove disorder). 

The Koshirae(侟-mounting)is one of a kind. It is lacquered, and fitted with gold-inlayed Fuchi, Kojiri, and Kashira. Clearly it was commissioned for a higher ranked samurai who had the money to display his social status. The matching Tsuba (鍔-sword guard) is also very special with the copper work. The koshirae is made later, but not sure about the specific age. Please let me know if there is any thoughts! 

As I mentioned before, 金銀象嵌 (gold-silver inlay) is an old and exquisite  technique. It is said that it was brought to Japan in the Heinan Period (飛鳥時代- 582 C.E.-710 C.E.) from the ancient Syria, and others say it was from ancient China, but there is no certain answer to it. What is sure  is this technique is much valued in Japanese art through out its entire history. We can find an inlayed Tsuba from the Kamakura period, an inlayed iron teapot from the Edo period, or even an inlayed cigarette case from the Meiji period, all very stunning. I will update some more of this in the future.

Click here to see a good video on the traditional way to forge a Nihonto.

Special Thanks to Nick of Nihonto Art for his generous and passionate sharing of his knowledge.

Click HERE to see more Japanese Art  

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japaneseaesthetic:

A Katana

Muromachi Period 1392 C.E. – 1573 C.E

This blade is a Koto (古刀-old sword period) piece that remains completely unaltered which is rare for Koto era works. It remains the one Mekugi-ana (目貫-peg hole) from the time it was created, since blades this old usually have several Mekugi-ana. The blade has a curvature at a very intense 2.4 cm or 0.94 inches, which is well above the average, a cutting edge of 67.9 cm or 26.73 inches, and a width of 3.15 cm, or 1.24 inches. The polish is a little old, but the Hamon (刃文-blade pattern) is still very interesting with a mixture of Togari (尖-pointed) and Choji Midare (丁子乱れ- clove disorder). 

The Koshirae(侟-mounting)is one of a kind. It is lacquered, and fitted with gold-inlayed Fuchi, Kojiri, and Kashira. Clearly it was commissioned for a higher ranked samurai who had the money to display his social status. The matching Tsuba (鍔-sword guard) is also very special with the copper work. The koshirae is made later, but not sure about the specific age. Please let me know if there is any thoughts! 

As I mentioned before, 金銀象嵌 (gold-silver inlay) is an old and exquisite  technique. It is said that it was brought to Japan in the Heinan Period (飛鳥時代- 582 C.E.-710 C.E.) from the ancient Syria, and others say it was from ancient China, but there is no certain answer to it. What is sure  is this technique is much valued in Japanese art through out its entire history. We can find an inlayed Tsuba from the Kamakura period, an inlayed iron teapot from the Edo period, or even an inlayed cigarette case from the Meiji period, all very stunning. I will update some more of this in the future.

Click here to see a good video on the traditional way to forge a Nihonto.

Special Thanks to Nick of Nihonto Art for his generous and passionate sharing of his knowledge.

Click HERE to see more Japanese Art  

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