the same protocol. Return the blade by extending it with the left hand at the bottom of the tang. He or she will receive it with his right hand.
Sometimes, to aid in the viewing of subtle features within the hamon (hataraki), a soft cloth or paper is held in the left hand. Resting the blade on the paper allows it to be held comfortably and steadily, without the examiner touching the blade.
Examining the blade usually starts with the “big picture” and then narrows down to the more subtle aspects. Look at the shape of the blade: the length, width, curvature, and so on. Speaking or breathing near the blade while viewing it may cause moisture and rust so avoid talking when holding blades. After you’ve returned the blade to the giver, ask any questions related to general shape, the period of the sword’s manufacture, and so on. Avoid any comments that might reflect a poor evaluation of the sword such as “Gosh, this sword is so much thinner than the one I saw in at my grandpa’s house.” Any comment that could possibly be taken as negative should be withheld; even mentioning obvious flaws in the sword.
Some swords have carvings of decorative nature. Some have grooves cut into their sides. Still others have no carvings at all. Look for and consider the skill it must have taken to make the precision cuts into the side of a smooth steel surface by hand. Another aspect of appreciating a sword’s lateral surfaces includes viewing the grain structures. Like the hamon, the grain of a sword can be mesmerizing. The swirling grain structures can lead the eye through a maze of visual delight. Take time to appreciate the grain. Some grains are wavy, others are very straight. Grain can be obvious or very subtle like velvet, homogenous or varying. A sword’s grain tells much about the skill of the smith.
Further appreciation of swords involves looking at features in the surface of the steel. The first and usually most obvious feature on a sword is the hamon. This is a wavy line created when the swordsmith hardens the steel at the edge. The polisher’s expert touch, however, creates the differentiation between the gray looking side-steel and the whitish looking edge-steel (See Chapter 2 for more details on how this is done). Without the polisher’s whitening techniques, called hadori, the edge steel would look more bright and mirror-like than the softer steel on the sides and back of the blade.
Seeing the real hamon within the hadori requires good lighting. Many authorities recommend an electric light bulb. It may be beneficial to dim the lights except for the electric bulb. Point the blade so that the tip is 20 degrees below the light source and slowly lower it allowing the angle of the light’s reflection to widen. As the light bounces off the hamon into your eyes, the real hamon will light up within the hadori—like magic. You can make fine adjustments to the reflection by slowly raising and lowering the blade, twisting it, and so on, to make the most of viewing the hamon.
It is common to see crystalline structures (martensite) that glimmer like diamonds in the transition-zone between the hamon and the ji (darker area behind the hamon). These structures come in two main types, nie and nioi. Nioi are so small that they look like diamond powder sparkling in the hamon. When individual particles can be seen the term nie is applied. There may be patches of nie and/or nioi or, ideally, the crystalline structures might run the entire length of the hamon.
When the viewing is over, it is important to follow etiquette protocol when putting the sword away. Always place the sword into its scabbard on the mune, or back of the sword. Never slide the blade into the scabbard flat on its side as this may cause scratches in the surface of the sword. Hand the sword back to the owner in the same manner it was given to you: handle on the left, edge rotated up and back (at eye level), and with a bow. If the blade was given to you already drawn, make sure to return it in the left hand, edge rotated towards you (not the owner), and with a bow. The owner will most likely re-oil the blade and place it back in its cloth bag. Be sure to thank the owner for the honor of viewing the blade.
Here, a soft cloth is held in the left hand to aid in the viewing of subtle features within the hamon.
Some swords feature delicate carvings such as this dragon. Shingon Buddhism fosters belief in potent talismanic properties, and by so carving the steel, the blade becomes the embodiment of that talisman.
Author Colin M. Roach demonstrates how to clean a Japanese sword.
Maintenance and Cleaning
Caring for a Japanese sword requires some specialized tools and knowledge. The main idea is that, no matter the value of the blade, the sword should be treated as both an art object as well as a deadly weapon. As an art object, a sword must be maintained regularly. Cleaning a sword on a regular basis keeps it free of rust and maintains it for future generations. Furthermore, having a sword polished can cost upwards of $100 per inch. Regular cleaning will help to ensure that a blade only needs polishing every hundred years or so.
Most sword shops sell sword cleaning kits of varying quality. Included in most cleaning kits are scented oil, oil cloth and case, an uchiko powder ball, a small hammer and pin, and cleaning paper. It is a good idea to fold some facial tissues neatly and keep them either in the box or nearby. The inexpensive ones are primarily used for iaitō, practice swords not made of steel. It is recommended that you use products that reflect the quality of your sword or collection. Poor quality uchiko, for example, could actually damage the polish. Good uchiko, for example, those made by high-level artisans like mukansa-level polisher Abe Kazunori, can cost quite a bit. But high quality cleaning materials are easily worth the expense. Here’s the process:
1. Remove the mekugi using the small hammer and pin.
2. Remove the tsūka, seppa, tsuba and habaki, placing them carefully to the side on a clean surface.
3. Use a clean soft piece of paper or facial tissue to remove old oil and dirt. Note that if using facial tissue, be sure it doesn’t contain perfumes, aloe, and the like.
4. Strike the uchiko ball on the lateral and back surfaces of the sword, covering it with powder.
5. Gently wipe the uchiko off of the blade using machi-totip upward strokes, from the habakimōtō to the kissaki. Never wipe the blade from machi-to-tang as the increasing width of the sword can easily cut the fingers. Use only the force equal to the weight of the blade when laying on the fingers. Steps 4 and 5 can be repeated if further cleaning is needed. Never scrub the uchiko into the surface of the sword when trying to remove a spot.
6. Inspect the sword’s surfaces, insuring that the powder has been completely removed.
7. Lightly oil the oilcloth. Wipe a thin layer of oil on all surfaces of the sword, from the habakimōtō to the kissaki. Use only machi-to-tip strokes and light pressure.
8. Replace the habaki, seppa, tsuba, seppa, and tsūka onto the nakago. The fittings can be seated into place by striking the assembly downward, onto the palm of the right hand.
9. Reseat the mekugi.
10. Replace the sword into its scabbard.
Quality and Value
Determining quality and value in a sword can be done from an expert or layman point of view. First, experts can judge a sword and determine its quality and value using agreed-upon industry standards. Second, anyone can hold, appreciate, and learn from a sword and determine its quality and value for themselves.
Swords
