by Joe Maurantonio

CULTURE
The Japanese sword is considered to have virtually no parallel in any other form of art made of iron. In the sword, we can see the aesthetic and racial spirit of the Japanese ancestry. The belief that each sword was an extension of its owner, that each blade held a soul that was linked to its owner in some spiritual way, is apparent in how the sword's owner cared for its upkeep. And how it served and protected him in combat.

LEGEND
Japanese mythology has it that the deities of heaven presented to Amaterasu Omikami, the sun goddess, the three Imperial Regalia. These regalia consisted of curved jewels, a holy mirror and the sacred sword. This sword had been removed from the tail of the dragon Yamata No Orochi by Amaterasu's brother, Susanoo No Mikito and presented to his sister with the name of Kusanagi. Amaterasu entrusted the Imperial Regalia to her grandson when he descended to the Japanese Islands. These Imperial Regalia are said to have passed from emperor to emperor until the 9th century when replica were made for the Emperor to keep in his possession and the originals were placed at various shrines. [Note: the complete name of the Imperial sword is Kusanagi No Tsurugi which means "parting two-edged straight blade." The original sword was lost in the Battle of Dannoura (1185) and was shortly thereafter replaced.]

CRAFT
The Japanese swordsmiths sought to instill three attributes in the crafting of there weapons: unsnappability, rigidity, and cutting power. This presented somewhat of dilemma: In a sword unsnappability requires oft iron, rigidity requires a harder iron as does cutting power. If the iron is soft it will not cut well and if it is hard is will break easily. The combination of these three contradictory elements seemed almost impossible. The fact that the Japanese smiths were able to overcome these great obstacles and forge some of the most unique swords ever is a credit to their genius. It's interesting to know that most notable swordsmiths had personal methods and traditions regarding the processes of crafting these great weapons. The methods employed by most smiths began with the wrapping of the outer skin by folding and hammering the metal over and over again. This process aids in the elimination of various impurities and also produces many layers of metal of differing structure. A softer inner core would be formed because of this process of folding by using a steel of lower carbon content, and then the harder skin was wrapped around it. Finally, a temper-line (along the edge) was formed by covering the entire length of the blade in a clay containing charcoal ash which was then scraped away in a desired pattern just prior to heating. The varying thickness of the clay result in causing the blade to cool at a different rate which in turn creates a variety of crystalline compounds of iron and carbon along its surface.

DEVELOPMENT
In the Jokoto (Ancient times) period we find the earliest remnants of the Japanese prototype swords. These had no curvature and were quite similar to the Chinese or Korean swords used during these times. About the Late Heian (c. 9th century) period we begin to see the origins of the curved blades that are familiar to us. In the mid- Kamakura (c. 12 century) period-- the Samurai class came into being-- blades become thicker, less tapering toward the point and had ample convex curvature. Also, Tanto were manufactured in great numbers.

During the late Nanbokucho to early Muromachi (c.14th century) many kinds of Kodachi and Tanto came into use and were produced to emulate their Katana or Tachi counterparts. In the late Muromachi (mid-16th century) period there were great battles being fought throughout Japan and a larger sword called the Uchi-Gatana, worn edge down, came into great use. When the Momoyama (16th century) arrived there was use of foreign metals in some of the swordsmiths works. It is from the Edo period on that a flamboyant style of temper-line came into design. This is mostly due to the peace-prevalent atmosphere of Japanese society.

At the beginning of the Meiji (1868) era and the arrival of modern times and modern warfare (the gun), there is an Imperial decree to prohibit the wearing of swords. Thus, we find swordsmiths deprived of their professions. In 1906, the Imperial government appointed two contemporary master swordsmiths to the positions of Imperial Arts and Imperial Crafts Artisans to insure the survival of the technology of Japanese swordmaking.

PARTS
The Japanese terms for various parts of the sword as well as there location are listed below:

• Kissaki (the sword tip)
• Mune (the back of the blade)
• Ha (the edge),
• Hamon (the temper line)
• Mekugiana (the securing hole)
• Nakago (the tang)
• Kojiri (the sheath's sealed end)
• Saya (the sword's sheath)
• Sageo (the tying cord)
• Tsuba (the guard)
• Tsuka (the handle)
• Kashira (the pommel or butt end).

The mekugi should be checked, cleaned and replaced (when necessary) each time the Katana is used. Should the Mekugi rot and not be replaced the sword (even an aluminum replica) could come free of the mounting and hurt someone.

ARTS

• Batto jutsu-- that stress the art of drawing and cutting
• Iaido-- that stress the drawing and cutting of the sword
• Iaijutsu-- that stress drawing and cutting actual targets
• Kendo-- point-based sport training using the shinai.
• Kenjutsu-- methods that stress two-person forms, timing, distancing and cutting. Also, strategy is most often discussed.

CUTS
The most important Japanese terms for applying a cut are listed:

a. Shomen Giri-- downward vertical cut. This strikes onto the head or the forehead cutting in a descending motion.

b. Tsuki-- thrust. Usually aimed at the stomach area, the solar plexus or the throat.

c. Kiri Sage (Kesa Giri)-- downward diagonal cut. Aimed at shoulder to hip or breast to waist area.

d. Kiri Age (Gyaku Kesa Giri)-- upward diagonal cut. Aimed at the waist to shoulder area. Can also be used to cut upward at descending wrists. e] Do Giri or Kubi Giri-- cuts that travel either to right or left and attack torso or neck, respectively. Can also be used to attack face, hips, knees, etc.

POSTURES
The main kamae, or postures, that are important in Kenjutsu for Kihon training are:

1. Jodan no kamae--(upper level posture) holding the sword overhead at a 450 angle.

2. Seigan no kamae--(true eyes posture) the sword handle is at hip level with the tip aiming at your adversary's eyes.

3. Hasso no kamae-- the sword at your side in a manner similar to a baseball bat.

4. Gedan no kamae-- the sword handle at hip height so the tip aims towards the opponent's feet.

THE TRAINING
In the Bujinkan we learn 16 kata (each with about 3 variations) that are mostly derived from Kukishin Ryu. These are the fundamentals of our lessons in Kenjutsu. While several of the other Ryuha (Togakure Ryu, Shinden Fudo Ryu, Takagi Yoshin Ryu, etc.) have sword training [in the author's opinion] theirs is not as well rounded as the Kenjutsu Kihon of Kukishin Ryu.