Ken-Hawaii Posted April 30, 2014 Report Posted April 30, 2014 Have you ever wondered why some swords have a broad nioiguchi or one that was particularly bright? Why do some temper lines glow? How about inazuma and kinsuji? Chikei and sunagashi? How do they form? Why is a nie particle visible to the naked eye? Is nioi composed of tiny crystals packed tightly together, or does something else obscure boundaries between crystals? What can be deduced about the molecular and crystalline structural behavior during quenching? How can we apply this to those elusive hataraki features that we learn to seek out in studying and acquiring Nihonto? I think the answer to some of these questions has to do with the physical behavior of iron molecules in response to extreme heat, slow or rapid cooling, and the dynamics at the zone of transition. I think it will be a good exercise to consider these and other factors in the creation of hamon. The myriad of possible variations in annealing temperature, speed, clay contouring and composition, fluxes, etc. are what determine the final creation. I don't know the answer to these questions, but perhaps, if we think about this, we can begin to understand why one sword is different from another, more or less efficient in cutting or staying sharp, and more or less valuable. Ken Quote
cabowen Posted April 30, 2014 Report Posted April 30, 2014 No doubt Ken that to better appreciate and understand the quality of a blade one needs to have a decent understanding of ferrous metallurgy. The brightness of the hamon, the size, distribution, and evenness of the nie, the shape of the hamon, etc. are a function of the forged steel constituency, the time and temperature pre quench, and the speed of the quench. Each of these variables is dependent on several factors as well. Add it all up and it becomes quite the complicated process. I have heard the same remark from potters as well as sword smiths: what happens in the forge/kiln is where the sword/pot is born- it's god's work. That doesn't mean that they can't guide the process-it does mean that they do not have complete control over it. Quote
Uechi Posted April 30, 2014 Report Posted April 30, 2014 Couldn't agree more with Chris lots of factors to take into account. Ever wonder why so many early and middle Koto blades have so much activity in steel? Swords varied from one batch of steel to another depending on where it was located in Japan and the purity and components (trace elements) of the Iron. Much of consistency in many aspects of later era swords is a result of not only improved forging processes but also the use of imported Iron with a consistent composition. JDromm Quote
Ken-Hawaii Posted April 30, 2014 Author Report Posted April 30, 2014 Let me toss out one idea. I'm taking kinsuji as the easiest to understand. Kinsuji is formed where the hada is masame, and localized carbon content is higher than the surrounding hamon carbon content. I say easiest because kinsuji is generally straight, and masame would be required for localized high-carbon content in a straight line. Similarly, inazuma could then result from hada with itame or mokume grain, which would bring the localized high-carbon content into & out of the hamon through the perpendicular folds. Ken Quote
Jim P Posted May 2, 2014 Report Posted May 2, 2014 Hi Ken, IMHO. I think most of those are governed by skill and gods work mix. I only have a superficial view of ferrous metallurgy from what I can read on line and sometimes wonder how much of that side of the process should I need to understand as a collector ? Hi Chris, One of gods work/skill mix I remember reading in Token Bijutsu vol 3 how a tanto by Kunishige started as a hiro-suguha that turned into a shallow notare. I dug up the vol , Gods work :D Quote
runagmc Posted May 2, 2014 Report Posted May 2, 2014 Hataraki have a lot to do with differences of edge and skin steel, different steel folded together to form the hada, structure of hada and tsukurikomi type (how the billet was constructed), forge-welding technique and process may even come into play... the skill of the smith to quench, basically freezing different iron and carbon structures in different states or arrangements, with endeless possibilities according to all these things... Chance, skill, and materials used give us what we see, and appreciate as an almost natural beauty paired with a near perfect execution of knowledge and skill of craft... Maybe to some they see the work of God... I just see things that can, and have been explained through scientific research... except for utsuri maybe... that must be God's hand... Quote
cabowen Posted May 2, 2014 Report Posted May 2, 2014 The "chance" part is what is referred to as "god's work". We have known for some time now the science behind the process and modern smiths understand well the metallurgy of their work. Understanding the activity in the steel and being able to produce what one wants at will are vastly different! Quote
runagmc Posted May 2, 2014 Report Posted May 2, 2014 I'm sure... There are so many variables... some which are constantly changing. It's amazing they can control the outcome as well as they do using traditional methods and materials... Quote
cabowen Posted May 2, 2014 Report Posted May 2, 2014 I'm sure... There are so many variables... some which are constantly changing. It's amazing they can control the outcome as well as they do using traditional methods and materials... Indeed, that is the "art"... Quote
Uechi Posted May 2, 2014 Report Posted May 2, 2014 Hi Ken, IMHO. I think most of those are governed by skill and gods work mix. I only have a superficial view of ferrous metallurgy from what I can read on line and sometimes wonder how much of that side of the process should I need to understand as a collector ?Hi Chris, One of gods work/skill mix I remember reading in Token Bijutsu vol 3 how a tanto by Kunishige started as a hiro-suguha that turned into a shallow notare. I dug up the vol , Gods work :D Quite frankly you don't need to know anything about the forging process. In fact one could be a collector based on what you like without much in the way of any Nihonto knowledge. It is my belief that the more you know about all aspects of the Japanese sword the more you can appreciate the art, the beauty and the hard work that goes into its creation. In the end it is up to the individual collector to decide on a knowledge base. Quote
cabowen Posted May 2, 2014 Report Posted May 2, 2014 It's kind of like a huge buffet banquet prepared by the greatest chefs on the planet. You can stop at the hors d'oeuvres and never starve, or you can make the effort to get through to the entrees and have a much richer, deeper, more fulfilling experience.... Quote
Ken-Hawaii Posted May 2, 2014 Author Report Posted May 2, 2014 My eye-opening moment was seeing a blade with 27 inches of continuous chikei, multiple strands.... Ken Quote
Jim P Posted May 3, 2014 Report Posted May 3, 2014 Hi ken, 27 inches of continuous chikei, I also don't think its chikei do you have a photo? Jeffrey, I also think that some of these things are more of interest to the smiths than collectors Quote
Ken-Hawaii Posted May 3, 2014 Author Report Posted May 3, 2014 Mariusz, does the fact that Bob Benson also says they are chikei it help you to believe...? If not, Ken Quote
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