Goemon Ninjato

Destinaie: nceptori, Avansai, Experi, Colecionari Important! Fiecare sabie este forjat manual i pot aparea mici diferene ntre datele din tabelul de mai jos sau ntre sbii de acelai fel. Stativele sau alte auxiliare prezentate n fotografii nu sunt incluse n preul produsului. V rugm verificai auxiliarele oferite, nu toate modelele au ntregul pachet inclus.

Specificaii generale Dimensiuni

Lungime total cu teac Lungime total fr teac Greutate total cu teac Greutate total fr teac 104.5 cm 101 cm 1520 g 1170 g Lungime

Lama

Laime Tip de oel Duritate Laminare Tratament Finisaj Bo-hi

71 cm 34 mm 1045 45HRC Maru forjata manual /calita uniform manual / piatre japoneze da

Lungime Tsuba Lungime Fuchi/Kashira Material Ito Culoare Koiguchi & Kurikata Same Sageo PrindereaSpecialde mner lamei

Mner Teaca

28.5 cm aliaj de zinc 74 cm alama lemn matase japoneza - negru negru piele veritabila de pisica standard matase de mare - negru japoneza doua nituri de lemn Lama neagra

Auxiliare incluse
Cutie carton Stativ nu Set curatare nu Husa standard Acestea sunt opere de art, individuale i cu propria personalitate!

Parti componente ale katana

1.

a. Parti component ala lamei Kissaki varful lamei, definit ca zona de dincolo de yokote. Yokote - o mica delimitare in unghi drept de la ridicatura central (shinogi) ce delimiteaza kissaki.

Shinogi o muche (ridicatura) de ambele parti ale lamei, ce porneste de layokote; usual este mai aporoape de mune (spatele sabiei) decat de ha (tais) Ha taisul lamei Hamon desenul de pe marginea lamei dintre taisul tratat termic si restul lamei din metal netratat termic (restul lamei) Boshi desenul tratamentului termic ce se intinde in kissaki Ji zona dintre ha si shinogi Shinogiji zona dintre shinogi si mune Mune muchia din spate a sabiei

unemachi crestatura in spatele lamei care defineste zona de unde incepe manerul (nakago)

 Hamachi - crestatura in zona taisului care defineste zona de unde incepe manerul (nakago) Habakimoto zona acoperita de habaki Nakago partea nefinisata alamei ce se afla in maner cand sabia este montata Yasurime hasuratiile de penakago ce difera de la maestru la maestru si de la scoala la scoala; constituie totodata o semnatura aditionala Mei semnatura; la tachisemnatura se afla pe parte ape care pozitionam sabia cu taisul catre dreapta: la katana se afla pe partea de sus a nakago cand pozitionam taisul catre stanga Nakagojiri capatul nakago-ului Mekugiana orificiul de fixare a lamei in maner Nagasa lungimea lamei definite ca o linie dreapta dintremunamachi si varful sabiei Sori curbura sabiei definite ca distanta perpendicular dintre punctul cel mai coborat al spatelui sabiei (mune) si nagasa Sakihaba latimea lamei in zonayokote Motohaba latimea in zona habakimoto; se foloseste termenul fumbari cand latimea din zona motohaba este considerabil mai mare decat in zona sakihaba Tipuri de sectiuni ala lamei: Hira-zakuri plata, fara shinoji (muchie pe laterala lamei), cu aspect triunghiular al sectiunii transversal Kiriha-zakuri cu laterale plate dar cu un unghi ascutit intre acestea si tais. Shinogi-zakuri are pe laterale o muchie (shinogi) mai apropiata de spatele sabiei (mune) decat de tais (ha) Kissaki-moroha-zukuri (sau kogarasu-zukuri) are doua taisuri catre varf si un singur taisi catre maner, cu o muchie lateral ce este pozitionata pe central lamei Tipuri de curburi ale lamei: Koshizori central curburii se afla langa maner sau chiar in maner Toriizori central curburii se afla cu aproximatie in central lamei Sakizori central curburii se afla catre varful sabiei Uchizori o curbura foarte mica, mai degraba catre capatul manerului decat catre lama Tipuri de mune (muchia din spate a sabiei) Iorimune ascutit Marumune rotund Mitsumune cu trei muchii Tipuri de nakago (manerul lamei) Funagata scurt, retezat; numele sugereaza profilul unui vas japonez de pescuit Kujimomo ingustandu-se abrupt dinspre taisul lamei catre mubhia din spate a lamei (in japoneza traducerea exacta este coapsa de fazan) Ubu nu se refera la forma, doar defineste ca hamachi si munamachi sunt in locul locul initial si in stare foarte buna; de asemenea manerul lamei poate fi numit ubu daca a fost usor modificat sau I s-a dat o alta gaura (mekugiana) datorita remontarii Tipuri de profile ale manerului lamei Iriyamagata asimetric, in forma de V Kengyo simetric in forma de V Kurijiri asimetric rotund, in forma de V Tipuri de Yasurime (hasuratiile de pe nakago) Kiri in unghi drept pe manerul lamei Katte Sagari usoara inclinatie catre muchia de sus a nakago

 Sujikai inclinatie medie catre muchia de sus a nakago Osujikai inclinatie pronuntata catre muchia de sus a nakago Tipuri de varfuri ale lamei (kissaki) Ko-kissaki scurt in raport cu latimea lamei in apropierea manerului Chu-kissaki de lungime medie in raport cu latimea lamei in apropierea manerului Ikubi-kissaki - scurt in raport cu latimea lamei in apropierea manerului si arecum bont (in limba japoneza este numit grumaz de mistret) Tipuri de granulatii ale lamei in zona ji Itame reproduce textura lemnului debitat pe inversul fibrei Nagare-itame este o variant in spirala a desenului Ko-itame este o variant a itame cu o granulatie mai fina Masame desen de linii relative drepte si paralele ce alearga pe toata lungimea lamei Mokume reproduce textura lemnului dar intr-o variant mai compacta Ayasugihada desen regula, concentric, sub forma de vbaluri ce reproduce desenul lemnului provenit de la copacul sugi (conifer din familia Taxodiaceae) Tipuri de boshi Omaru larg, cu o curbura accentuate a hamon-ului in zona kissaki Komaru cu o mica curbura catre final Midarekomi cu iregularitati continue ale hamon-ului principal, catre varf Notarekomi unduiri line si continue ale hamon-ului principalcatre varf Hakikake suprafata plana sau cu aspect de pensulare a modelului nie (informaii suplimentare la informatiile despre aspectul zonelor ha si ji). Tipuri de hamon Suguha drept; termenul chu-suguha este folosit pentru o latime a ha medie, hososuguha pentru o latime ingusta si suguha pentru a latime foarte ingusta a ha Midareba neregulat: komidare iregularitati mici si frecvente; omidare neregularitati mai mari si mai putin frecvente Notareba unduire lina; konotare unduirea este mica si frecventa; onotare unduirea este mai larga si mai putin frecventa Choji neregulat, cu linii din hamon ce se extind catre ha Gunome un desen constituit din mici curbe Gunome choji combina aspectul choji si gunome Toranha un desen foarte larg si neregulat Sambonsugi unduiri in unghi ascutit de cate trei, de inaltimi diferite, ale desenului Juzuba similar cu choji dar cu ub desen mai fin si mai larg Hitatsura cu desenul de tratare termica vizibil de-a lungul muchiei laterale la fel de bine ca si linga taisul lamei Tipuri de prezentare a ha si ji Nie, nioi zona stralucitoare a structurii cristaline a otelului, rezultata in urma procesului de tratare termica si formarii hamon-lui, in contrast cu zona moale a amei, cu aspect perlat. Cand aspectul este discret se numeste nie: cand aspectul este cetos se numestenioi. Acest aspect nu poate fi prezentat in schite si este vizibil doar la o examinare apropiata, in conditii de iluminare speciala. Konie cu nie mic Jinie nie aflat mai degraba in ji decat in ha Chikei o linie stralucitoare in ji

 Ashi - prins in zona de structura martensita (constituent structural al oelurilor clite, cu o densitate foarte mare), proiectat in ha in unghi drept fata de hamon. Ko-ashi, saka-ashi si choji-ashi sunt variante tipice Yo ashi detasat, sub forma de frunza in hamon Sunagashi linia nie in ha, parallel cu hamon-ul Kinsuji ca chikei (o linie stralucitoare in ji) dar existent in ha; inazuma este variant unghiulara Utsuri zona usor mata a a cristalelor de metal ce marginesc hamon-ul, deseori aparand ca un reflex al sau pe ji; este separat dehamon de o zona mai intunecata, mai putin reflectorizanta

BLADE LAMINATION METHODS

One of the things that makes the Japanese sword (Nihonto) unique is the way in which the blade is constructed by laminating different types of steel together to forge the blade. These lamination techniques give the sword its strength, durability and resistance to breakage. Numerous lamination techniques have been tried over time, but the major methods have remained in use for many centuries. These same techniques are used by modern sword smiths when forging new swords (shinsakuto) today. The value of a sword is in part determined by the complexity of its construction. Historically various schools of sword smiths used specific construction methods. These methods of lamination have been determined by metallurgical analysis of numerous antique sword blades. These lamination methods together with the differential hardening of the blade to give a hard edge (hamon) while maintaining a softer blade spine make the Japanese sword one of the most durable and break resistant swords known. .

Code to different types of steel

Of these methods of construction, the "maru" or non-laminated is the poorest. The "kobuse" was and is still used (especially on WW II period swords) ; but the "honsanmai" or simply "sanmai" is the most common lamination technique used in forging the Japanese sword. The famous sword smith Masamune used the "Soshu" seven layer construction method. REFERENCES: The Craft of the Japanese Sword by Leon and Hiroko Kapp and Yoshindo Yoshihara; Kodansha International Ltd, Tokyo and New York, 1987, ISBN 0870011-798-X. Laminating Techniques in Japanese Swords published by W.M. Hawley, 1974. Comments on the Construction of Japanese Swords by Harvey Stearn, BUSHIDO: An International Journal of Japanese Arms, Vol 2, No. 3, January 1981. Introduction to Japanese Swords by W. M. Hawley, 1973

Demystifying the Authentic Samurai Sword

An authentic Samurai sword, hand made in Japan, can easily cost upwards of US$30,000. Even Chinese made production level approximations are typically at least $1,000-$2500 for something reasonably traditional. So why all this expense? What separates the real thing from a cheap, mass produced sword like the $60 Musashi Katanas pictured below?

This article serves as a beginners introduction and overview to understanding the real thing: an Authentic Samurai Sword primer if you will. Plus we will also bust a few myths, and yes we will probably upset a few purists in the process (always good fun). So lets get into it!

FORGING AN AUTHENTIC SAMURAI SWORD

The old Japanese swords, the most expensive ones hand made in Japan, and the high end traditionally forged Katana feature three distinct processes: folding, laminating and differential hardening (i.e. claying them and heat treating them to create the famoushamon temper line). But how many of these processes are necessary to produce a nicely performing Katana, especially considering the quality of modern industrial grade steel? Are these processes now obsolete, and only done for the sake of authentic Samurai sword tradition? Lets take a look...

FOLDING

One of Cheness Cutleries only display orientated swords, the folded Kochou Katana

Personally, I think that the amount of mis-information and pure BS about folded Japanese swords is staggering beyond belief. Some people claim that a real Katana is folded over 1,000,000 times to create steel of such high quality that it can cut through gun barrels, armoured personnel carriers and literally everything else it touches (good old Manga and Hollywood strike again!). However if we strip away the BS, the truth of it is in the traditional forging process most of the steel billets that were destined to become swords were rarely folded over 15 times, creating up to a still numerically impressive 32,768 layers. But what do these mysterious layers actually DO? In actuality, these days at least, not a whole lot... In medieval Japan, the quality of iron ore wasnt very good. But the innovative Japanese metal workers took the various slags of impure iron and purified it by flame over a period of around 72 hours days in a large specially made furnace called the Tatara, creating a steel called Tamagahane (jewel steel). But even this stuff wasnt as pure as it should be. So the Japanese sword smith would take it, and carefully fold it to try and homogenize and even out the carbon content. These days, not too many smiths other than those in Japan still make the sword this way

Blade Comparison

The blade body is the most import part of a sword. The Japanese sword has a very traditional way of forging its blade. Today's swords blade is forged quite differently from the old days. Hammers, rollers, brushes and all other chemical dye are wildly used in production swords. We forge both traditional swords and production line of swords. We have forged a wide rang of blades by using different materials and method in the past. This blade comparison page shows you the differences blades that are commonly seen in the swords market today. An very easy and simple way to judge a blade type is by looking at its hamon (a technique that creates the wavy and beautiful temper line on the edge of the blade). This is a common display sword. It is made of carbon or stainless steel. The blade is normally blunt. The tang is very short not recommended for swinging or cutting. The blade is accomplished by using a big wire brush wheel running over the metal surface. The hamon is easily spotted to be a fake as you can see the regular fine lines from brushing.

------------------------------------------------------------------------------------------A chemical etched hamon over none-forged monosteel. A chemical dye like mild acid, vinegar, ferric chlorides were used to create this hamon. The blade edge maybe sharpened for a display or entry level tameshigiri.

------------------------------------------------------------------------------------------Through hardened monosteel blade. Depends on the steel and heat treatment, the blade edge is hard enough for cutting purpose. The hamon is chemical etched with fabric buff over blade. A fabric buff over a chemical dye etched hamon can create a cosmetic hamon that is very attractive and subtle. This is an adopted method of creating a cosmetic hamon on production swords today (e.g. 1050, 1060 and 1095 carbon steel). ------------------------------------------------------------------------------------------This is a none clay tempered blade, no hamon line can be seen. This actually is a laminated blade combining hard carbon steel on its edge and softer steel on its spine. The edge can be further clayed to reveal a natural hamon.

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This is a folded wave blade, the steel is folded to generate pattern hada appearance. The wave blade is one of the most beautiful looking blades in the world, it is also one of the hardest to create. however, soft steel, chemical dye and other folding techniques are also used in today's production swords.

------------------------------------------------------------------------------------------This is a real clay tempered blade with a natural hamon. After forging, the blade is covered with special clay then further tempered and quenched to add hardness on the edge. The clayed blade normally has stronger and durable edge than none clayed blade.

------------------------------------------------------------------------------------------This is clay temper folded wave blade. The steel was forge folded first to generate wave pattern, then a special clay is applied before re-heating and quenching. It creates a visible temper area between hard and soft on the wave body.

------------------------------------------------------------------------------------------This blade is forge folded using the old Japanese forging method. It is also highly polished by master polisher, you can see the different area of edge, hamon and ji. It has very attractive hada grains on the blade. Please view our forging page for more details.

All our tameshigiri swords have sharpened edge (it will very). Compare each other, if cutting is your priority, get a true clayed blade or 1095 monosteel blade. For collection purpose, choose a folded wave blade. For iaido practice or beginners, choose 1050 or 1060 monosteel. Gengswords also create traditional forge folded and polished blades, which are unlikely to source from others.