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Japanese swordsmithing is the labour-intensive bladesmithing process developed in Japan beginning in the sixth century for forging traditionally made bladed weapons [1] [2] including katana, wakizashi, tantō, yari, naginata, nagamaki, tachi, nodachi, ōdachi, kodachi, and ya.
Muramasa's sword cut everything that passed its way; fish, leaves floating down the river, the very air which blew on it. Highly impressed with his pupil's work, Masamune lowered his sword into the current and waited patiently. Only leaves were cut. However, the fish swam right up to it, and the air hissed as it gently blew by the blade.
Tamahagane is used to make Japanese swords, daggers, knives, and other kinds of tools. The carbon content of the majority of analyzed Japanese swords historically lies between a mass of 0.5–0.7%; however, the range extends up to 1.5%.
In the United States, the term kirigami was coined by Florence Temko from Japanese kiri, ' cut ', and kami, ' paper ', in the title of her 1962 book, Kirigami, the Creative Art of Paper cutting. The book achieved enough success that the word kirigami was accepted as the Western name for the art of paper cutting.
Early Japanese iron-working techniques are known primarily from archaeological evidence dating to the Asuka period (538–710 CE). Iron was first brought to Japan during the earlier Yayoi period (900 BCE to 248 CE). Iron artifacts of the period include farm implements, arrowheads, and rarely a knife blade.
It is not certain when play-made paper models, now commonly known as origami, began in Japan. However, the kozuka of a Japanese sword made by Gotō Eijō (後藤栄乗) between the end of the 1500s and the beginning of the 1600s was decorated with a picture of a crane made of origami, and it is believed that origami for play existed by the Sengoku period or the early Edo period.
A tachi is a type of sabre-like traditionally made Japanese sword worn by the samurai class of feudal Japan. Tachi and uchigatana generally differ in length, degree of curvature, and how they were worn when sheathed, the latter depending on the location of the mei (銘), or signature, on the tang.
If the knife is being made under the Sakai, Osaka production system, the knife is sent to a sharpener who corrects for distortion and sharpens simultaneously to make the final geometry and profile of the knife, and then is finished by polishing, engraving, and installation of handle by other craftsmen. It may be mirror polished or finished with ...