This glossary compiles essential terms used in the study, analysis, and appreciation of Japanese swords and their fittings.
Blade Anatomy
Nihonto (本漑): generic term for the traditional Japanese sword.
Tachi: sword worn with the cutting edge downwards, suspended from cords, typical of the Heian and Kamakura periods.
Katana: sword worn with the cutting edge upwards, tucked into the obi (belt), typical of the Edo period.
Wakizashi: short sword, a companion to the katana, forming a daisho (pair of swords) together.
Tanto: dagger, short blade without a hilt, similar to a saber.
Nagasa: blade length, measured from the kissaki (crest) to the munemachi (end).
Sori: curvature of the blade. Its position and intensity (koshi-zori, torii-zori, saki-zori) are indications of dating and school.
Kissaki: the tip of the blade, whose shape and length are also criteria for attribution.
Boshi: the visible temper in the kissaki area, a key element for distinguishing schools.
Shinogi: the longitudinal ridge of the blade, separating the hira (flat side) from the mune (spine).
Fukura: the curve of the edge at the point.
Mune: the spine of the blade, whose cross-section (triangular, rounded, etc.) varies according to the period.
Hi: a groove cut along the blade, sometimes associated with a horimono.
Horimono: a decorative engraving on the blade (dragons, deities, religious inscriptions such as Sanskrit bonji).
Nakago: the tang of the blade, the unsharpened part inserted into the handle — a central element of the craftsmanship.
Mekugi-ana: the hole(s) drilled in the nakago to secure the blade to the handle using a peg (mekugi).
Yasurime: the filing pattern of the nakago, unique to each swordsmith or school.
Nakago-jiri: the tip (shape) of the nakago, another criterion for attribution. Steel, structure, and tempering
Tamahagane: traditional steel obtained through the Tatara process, the basis of nihonto (sword) production.
Jigane/Jihada: the grain structure of the steel visible on the blade’s surface, resulting from repeated bending and forging.
Itame: wavy grain, resembling the grain of wood — the most common pattern.
Mokume: swirling grain, reminiscent of knots in wood.
Masame: straight grain, parallel to the cutting edge — characteristic of the Yamato school.
Ayasugi: regular, wavy grain, typical of the Gassan school.
Hamon: visible temper line on the cutting edge, resulting from the application of clay before quenching (yaki-ire).
Nie: sparkling martensite grains, visible individually in the hamon or ji — typical of the Soshu style.
Nioi: a tempering effect similar to nie but finer, giving a hazy and uniform appearance.
Nie-deki / Nioi-deki: terms describing a hamon dominated by one or the other of these effects.
Chikei: dark and irregular lines appearing in the jihada, a sign of high-quality steel.
Utsuri: a pale reflection appearing in the ji, parallel to the hamon, but not part of it—a notable characteristic of the old Bizen school.
Nioikuchi: the « edge » of the hamon, the transition between the tempered area and the rest of the blade.
Hamon Shapes
Suguha: a straight, simple temper line, associated particularly with the Yamashiro school.
Choji-ba: a pattern of rounded waves evoking cloves, emblematic of Bizen.
Gunome: a zigzag pattern with rounded peaks.
Notare: broad, gentle undulations.
Toran-ba: a pattern evoking breaking waves, associated with the Sukehiro Shinto school.
Sanbonsugi: a repeating triangular pattern evoking a row of fir trees, typical of the Mino school (Kanemoto).
Signatures, Dating, and Authentication
Mei: the swordsmith’s signature engraved on the nakago (silver blade), generally indicating the name and sometimes the province and date.
Zaimei: a signed blade.
Mumei: an unsigned blade, requiring attribution through stylistic analysis.
Gimei: an apocryphal or fraudulent signature, added to increase the value of a blade.
Nengo: a dating system based on imperial eras, often included in the mei.
Koto: « Old swords, » produced before 1596.
Shinto: « New swords, » from 1596 to approximately 1780.
Shinshinto: « Very new swords, » from the late 18th century to 1876.
Gendaito: Swords made using traditional methods from the Meiji era until World War II.
Shinsakuto: Contemporary swords made using traditional methods by renowned smiths (mukansa).
Showato: Swords of non-traditional manufacture (mass production) dating from the militaristic period, generally excluded from the nihonto category in the strict sense.
Kantei: the process of attributing a blade (smith, school, period) by observing its stylistic characteristics, without reference to the mei. Kanteisho: a certificate of authenticity issued by a recognized organization (NBTHK, NTHK), specifying the attribution and sometimes the quality level of the blade.
NBTHK: Nihon Bijutsu Token Hozon Kyokai, the main Japanese organization for the preservation and authentication of swords and tosogu (swords).
Fittings and Mounting (tosogu and koshirae)
Koshirae: the complete mounting of a sword (scabbard, handle, fittings).
Shirasaya: a simple storage mount, made of undecorated paulownia wood, used for storing blades other than the combat or ceremonial koshirae.
Tsuba: the sword guard, separating the blade from the handle.
Fuchi: a metal collar at the base of the handle, against the guard.
Kashira: the pommel, at the opposite end of the handle.
Menuki: small ornaments placed under the handle cord, originally intended to improve the grip.
Kozuka: Handle of the small utility knife (kogatana) housed in a pocket of the scabbard.
Kogai: Metal rod (often a hairpin or tool) also housed in the scabbard.
Saya: Scabbard.
Tsuka: Handle.
Sageo: Cord attached to the scabbard, used to secure the sword to the belt.
Ito: Cord wrapped around the handle.
Decorative Metalworking Techniques (tosogu)
Shakudo: Copper and gold alloy with a deep black patina, widely used for tosogu backgrounds.
Shibuichi: Copper and silver alloy, producing gray-blue tones after patination.
Nanako: Pattern of extremely regular, granular dots, created dot by dot with a special punch—signature of the Goto school.
Katakiribori: an asymmetrical, beveled engraving technique mimicking the stroke of a brush, associated particularly with the Yokoya school.
Takabori: high-relief engraving, creating a pronounced sculptural effect.
Nunome-zogan: inlaying gold or silver onto a hammered iron surface with a crosshatch pattern to improve adhesion.
Iroe: a technique combining several metals of different colors (inlays) on the same piece to create a polychrome effect.
Sukashi: an openwork pattern cut through the metal (often used for tsuba).
Terms related to general evaluation
Den: a regional sword-making tradition or school (the five Gokaden: Yamato, Yamashiro, Bizen, Soshu, and Mino).
Tosho: a swordsmith.
Togishi: sword polisher, whose work determines the legibility of the hada and hamon.
Saya-shi: craftsman specializing in the making of scabbards.
Habaki: metal collar encircling the blade just before the guard, securing it in the scabbard.