Shirasaya: the making of

[Janrudolph]

I'm asking for your help in this project of mine. I have done a lot of reading up on the matter and have come up with a lot of videos and instructions, also some admonishments from my only friend in a 100 km radius who at least owns a Chinese-made katana and has travelled Japan. There's no-one around here who owns Nihonto, except myself. Brian might know people in the Cape Town area, but I unfortunately don't.

I decided to make a shirasaya for my Nihonto Edo katana. The reason being that the sword's koshirae seems to be all wrong and non-Japanese. So now I've progressed so far that I've chiselled out the blade grooves in the two scabbard halves (Poplar wood), and I need now to repeatedly try the blade so that I can see how much more wood to take away to ensure the correct fit. I don't have recourse to museums or sword shows and don't know of any folks in my neck of the woods who own a shirasaya. I myself have never laid eyes on one, barring pictures of course. Otherwise I could have just visited such folks and measured it myself.

I have learned (right or wrong) that a shirasaya is of the same thickness and breadth throughout the whole of its length. It doesn't taper any.

Cut through, the profile is oval. Some shirasaya have slightly flattened sides.

I need help on the outside measurements of a shirasaya, please. What is the thickness of the oval, and what is its breadth/width? Do these measurements pertain to a shirasaya with or without the flattened sides?

Your kind help will be greatly appreciated! Johan.

    

[1kinko]

There are sections on shirsaya and saya construction and technique in 1) Kapp and Yoshihara. 1987. The craft of the Japanese sword. Kodansha Int’l.and 2) Kapp and Yoshihara. 2012. The art of the Japanese sword. TuttleInc. In addition Sayashi used to have a series of photos about several stages in saya construction on his FB site.

[Ed Harbulak]

Johan, you really need to purchase "The Craft of the Japanese Sword" from Amazon for $27 as Darrel suggested. All, or at least many, of your questions will be answered. For one thing, every sword blade generally has some taper to it, so does the shirasaya made for it. There are NO fixed sizes of thickness, breath and width. The dimensions of the sword dictate the size, shape, thickness, etc.of the shirasaya. As to the fit of the blade inside the shirasaya, I find it helpful to cover the blade with choji or mineral oil so you can see where the blade contacts the wood  inside the shirasaya. Then carefully remove the oil stains from the inside of the shirasaya BEFORE gluing the two parts together. Good luck with your project. I'm sure the second shirasaya you make will benefit from the experience you get from the first one.

[Janrudolph]

Darrel & Ed, thank you. That book would be a superb read! I'll need to see what I can do get it. And Ed, that technique is known to me (I've done a lot of reading), thanks anyhow, it will be the method I'm going to follow.

In the meantime I looked at two large pictures of different shiyasaya taken lying flat. Taking only the saya part (I'll do the tsuka part later), I caliper-measured the length and width of each and found 191 mm x 11,5 mm, and 300 mm x 18,3 mm. After calculations it means my shirasaya (saya part 660 mm long) should have a width of 40 mm. I can eventually taper it slightly to the end. I can now construct on paper a traditional oval shape and measure the thickness it is supposed to have if the width is 40 mm.. The flats come later. For lack of a real shirasaya to do the measurements, this must do, and I hope I am spot-on to what it should be.

BTW Ed, that statement of yours about the second shirasaya is soooo true. I have voiced that same statement everytime I  completed a previous project! An example is the Sulawesi (Bugis) keris scabbard for a blade and handle that had come my way missing this important part. Another is the plow-handle grip that I made from black buffalo horn for a Uberti model 1873 Single Action Army, of which the handle was ill-fitting. Off topic here - I'll be shot down in flames!  

Work goes on! Cheers. Johan.  

[Janrudolph]

I received a note from someone who warned me against the use of glues to combine the saya halves, that have the potential of ruining a blade through gases that they generate. My thanks to him! A very long time ago (before the 1980's I believe) I made a presentation case for a pristine Luger pistol of mine, with its accoutrements. I used various glues on the wood and felt lining material and without thinking left the Luger in the box the first night. When I took the pistol out again, it had a fine layer of rust on it. Fortunately it cleaned up all right, and I was able to say: There's another valuable lesson I had learned, which will serve me in a good way in the years to come! The harmful gases go away in time (mostly) but if the chosen wood type generates gases, it must not be used at all.

I went to quite a lot of trouble to get poplar wood for the shirasaya. Cheers. Johan

[1kinko]

Only use rice glue. You can order Nori brand rice glue very cheaply. It is uniform and very easy to use. Make sure you poplar is bone dry. Namikawa Hibei honoki is dried for 10 years as I recall. 

[ROKUJURO]

Johan,

if you do not have a sample of a SHIRA-SAYA at hand, no competent teacher to show you what could be important, probably not the necessary special tools, and not the right material (HONOKI),  I think it will be difficult. Many people seem to know something, but be careful! The 'oil-contact-method' to detect how much wood still has to be removed from the inside of the SAYA is problematic as oil cannot be removed from the wood and dust will stick on it, providing a grinding spot on the surface. Every time you pull the blade out or re-sheath it, your blade is likely to be scratched a little. 

SHIRA-SAYA are still more difficult to make as they have to fit the blade very tightly without touching it. They are meant to keep air (and possible moisture) away from the blade. The KOIGUCHI is especially crucial.

Gases from glues are mainly chemical vapours that will not really harm the steel in most of the cases. Rice glue as well as other glues that contain water are likely to cause rust as long as they are not dried out completely in the SAYA. But no one will put a blade in a newly glued SAYA, I hope! 

We have a professional in the NMB forum who makes SAYA the traditional way. I have no idea if he would be willing to help an amateur, but you could try anyway. It is Artur Oskroba in Poland: drogamiecza@interia.pl

I wish you good success!

[DKR]

@Jean C.

 

Arthur Oskroba , in Poland is a professional sayashi ?

Does he really get a full education and training in Japan from a licend teacher ?

 

[Shugyosha]

There's Mike Hickman-Smith in the UK. Someone will be able to provide his details - his work is very well regarded:

 

 

[Janrudolph]

Darrel, Jean C, Didier and John J, thank you for participating. I truly appreciate each and every hint I am given.

Jean C, I smiled when I read your text "If you do not have a sample of a SHIRA-SAYA at hand, no competent teacher to show you what could be important, probably not the necessary special tools, and not the right material (HONOKI),  I think it will be difficult". That probably is an understatement! But I have battled through worse problems, like the buffalo horn grips for the SAA, being a solid one-piece. 

I not only have never had eyes on a shirasaya, but the only nihonto katana I have ever seen in my 75 years is the one I own! Truth is, after getting my grubby paws on that katana, I have spent MORE time on acquainting myself with Japanese history and culture plus kanji language than with ANY of my other antique edged weapons! And delving into Indonesian keris blades is already a colossal undertaking! I view my laborious undertaking of the making of the shirasaya as a kind of memorial to what I have learned of samurai and nihonto. I am now at the stage where the grooves for the blade has been hollowed out and the blade is already nice and snug. Next is the shaping of the space where the habaki fits in. For the two spacers (koiguchi and fuchi) I have selected a fine piece of red-brown hardwood. Regards. Johan

[ROKUJURO]

8 hours ago, DKR said:

@Jean C.

 

Arthur Oskroba , in Poland is a professional sayashi ?

Does he really get a full education and training in Japan from a licensed teacher ?

 

Maybe I should have said it differently. He is a professional (= working for money, not for his own pleasure) who makes very good TSUKA-MAKI and the related woodwork, and he makes SAYA. As far as I have heard, he has a Japanese teacher and friend, who he can ask for advice. 

For more information, please ask him directly.

[Janrudolph]

Good day friends! Some weeks have passed and I have completed my shirasaya-making project. It has taken me about six weeks. Please see the four pics I am posting. At this stage I have done using 320 grit sandpaper and I am wondering if I should go finer? Also I have not obtained info on what kind of coating I should put on the finished shirasaya - I believe it would be best to leave it as is? The wood is poplar, which I understand is an acceptable alternative to honoki.

This is of importance: I am able to attest that the blade does not wobble in the saya, and the fit of the nakago in the tsuka is firm.

I had intended the triple inserts (spacers) to be my signature feature on this shirasaya, and then after my work was done I discovered a shirasaya featured on an internet youtube (housing a 1500's nihonto katana) that had the exact same configuration. I was astounded at the coincidence!

In colour pictures of old shirasaya I see in books the wood looks yellow/yellow-brown, while mine is white, but I suppose that's the difference between honoki and poplar. Also you will see I have put in a facet both sides, as in pictures I found. Otherwise the cross-section is ovoid.

Whatever is non-traditional in my shirasaya I apologise for, but I feel understandably elated to have gone through this process of making my own "storage scabbard" and I gladly report it to you for comment. I will be grateful to hear whatever you might contribute. Regards. Johan     

[Janrudolph]

[Janrudolph]

[Janrudolph]

[FZ1]

Hi Johan,

 

I'm no expert, but I think its a superb job - well done for persevering!

 

[Peter Bleed]

This is an interesting and worthwhile thread. My experience in Japan suggests the shira-saya manufacture is a respect craft, but it is also an available service and no big deal. The wide world needs the service so I think WE need more saya-ji. Obviously there are fine shira-saya makers available, but the big names seems way too busy. There are as well, guys who claim to provide the service - on the basis of having seen a Walter Sorrells Youtube. Those guys are a complete waste.  Look before you leap!

Peter

[ROKUJURO]

Johan,

I think that is really quite nice!

More comment: SHIRA-SAYA means 'white SAYA', so yours is correct! Fresh HONOKI is also white. I have no idea if poplar has similar properties compared with HONOKI, but in any case, the wood should not be treated.

A SAYASHI will NEVER use sandpaper on a SAYA! There is always a risk that some tiny particles may find their way into the SAYA and start their destructive work on the steel!

There are some videos on YouTube where you can see that ONLY cutting tools (KANNA, KIRIDASHI or KOGATANA, and NOMI) are used in SAYA making!

 

[Janrudolph]

Jon, Peter & Jean, thanks. It was for me an adventure, and the reason I am happy about my effort is that I did everything in as traditional a manner as possible - that is to say: within my power and under my circumstances.

1) I do not in any way have the right tools. The process had been flawed.

2) My katana, although about 340 years old, had been amateurishly polished and the hada has disappeared. It is not a sword that deserves the full regalia of a great sword. (Although I admire it!)

3) I was not able to get honoki wood. So even the material used is incorrect.

So, against the background of me not being an recognised saya maker, the sword not being valuable, the shirasaya not having been made correctly is not going to make any difference to anyone. The value to me was the challenge, and the learning effort that had to go into it. I loved every minute of the eye-searing accuracy that had to be given to crafting something looking respectable. I'm very happy and feel honoured that you liked it!

I recall some forum members advising me some time ago, when I first showed pics of my sword, that I should put it in shirasaya. That's exactly what I am responding to by deciding to make one. Great fun!

I am planning to put some kanji in black ink on the saya part, but I need information on how the tradition dictates it should be done. Under my circumstances I suppose simply putting the mei on the saya will suffice: the signature details on the one side and the dating on the other. I know there is a lot of other stuff on high-end shirasaya, but in my case this might be all right?   

Regards to all. Johan

[ROKUJURO]

Jan,

SAYAGAKI on a SHIRASAYA are certainly o.k. and look nice.....when written by a Japanese! Any other attempt of DIY will not be an improvement, in my opinion.

[Janrudolph]

Of course you are correct in this, Jean, but under my circumstances, would the copying of the mei (full signature and full dating as on the nakago) be most appropriate, or should I try to go for some other wording, like for instance when the shirasaya was made and by whom? I realise the sayagaki only appears on the saya, not the tsuka.

Johan 

[Brian]

Sayagaki is for evaluation and appraisal. I would not consider adding it as a "label" to be correct or appropriate. Plus, trying to do it yourself is going to look horrible, much like someone in Japan trying to write English. Unless you know how the strokes are formed, the directions and order, it is going to look like a Westerner writing gibberish.
Rather label it another way. Get a sword bag, attach a wooden or ivory tag with the label on that. Just my 2c.

[ROKUJURO]

I absolutely share Brian's opinion. Also this is not urgent and can be done at any point of time in the future. Maybe one day you will have an expert within your reach who can do this properly. Would look nice and will increase the value a bit!