Japanese Sword Anatomy

Click on the blue text to find out more about each sword part:



Kashira
This is the metal fixture at the very base of the sword hilt. It doesn't serve much of a practical purpose. It is mostly for decoration.

Tsuka ito
This is the wrapping material that creates the grip pattern of the sword hilt. It is usually leather or silk cord. It should be wound very tightly and neatly. Protruding loose ends or loose binding are signs of poor craftsmanship and can come undone over time. However, is expected that over time you will need to retie the tsuka ito or have it replaced completely by a professional due to simple wear and tear.

Tsuka
This is the handle or hilt of the sword. It's made of a strong wood. Its function is to provide both impact absorption and shock tolerance. It is at least long enough for two hands to grip it comfortably, and is often longer to create more leverage and control of the sword.

Tsuba
This is the circular (or sometimes square or octagonal) hand guard that separates the blade from the handle. There is a long history and art associated with the tsuba alone. Apart from being a simple hand guard, the craftsmanship and design have become equally important in samurai culture. The designs range from cranes, to dragon flies, to clan symbols, to poetic scenery. There are virtually endless design possibilities. This is one part of the sword where artistic freedom is at its highest potential.

Habaki
This is the metal collar that encircles the base of the blade just above the tsuba. It serves a dual purpose: to lock the tsuba into place, and also to secure the sword in its scabbard. It's relation to the saya is vital: the two pieces must fit together like a glove. The habaki and saya opening (the "throat") must be snug enough so that the sword will not accidentally slide out on its own, but loose enough that the sword can be "popped out" by the thumb. It's common for a brand new saya and habaki to feel a bit tight. As long as you can draw the sword without wrestling it loose, it should loosen up after several draws.

Shinogi
This is the ridge of the sword where the grinded blade portion ends, and the sword becomes thick. Different angles and thicknesses can produce subtle differences in the sword's ability to cut at various angles and through various substances. However, the beginner sword owner shouldn't be concerned with these details right away.

Ha
The overall sharp edge of the sword.

Hi
This is commonly called the "blood groove." It is said to guide the blood away from the samurai and drip off the sword. In fact, the groove has nothing to do with blood. It is carved into the blade to lighten the sword without weakening it. It may also be carved to remove inherent flaws in the steel. The "blood groove" legend was an after-thought invented mostly by westerners to further mythologize the samurai sword.

Mune
The flat, non-sharp back or "spine" of the sword. It is a purposely softer metal than the sharpened edge. This contrast of hard and soft metals is one of the main characteristics that make the samurai sword so strong, resilient, and unique among swords. The mune is almost never sharpened. In a few rare cases, the upper portion of the mune is sharpened to created a double-edged sword, but this is extremely rare. The flattened mune is also functional in deflecting enemy sword blows.

Boshi
This is the edge pattern (hamon) on the curved portion of the tip of the blade. Not to be confused with the kissaki, its use is decorative only.

Same
This is the ray skin (stingray skin) that covers the handle of the sword and lays underneath the cord wrap (tsuka ito). Ray skin is the traditional material used in Japanese sword making. It is probably preferred because it's slightly textured (for better gripping) and it's waterproof. However, imitation ray skin or leather is just as good and will not hinder the performance of the sword in any way.

Sageo
This is the cord made of silk or cotton that is used to tie a sword's scabbard (saya) to the obi of a samurai. However, it is usually kept bound to the saya and never actually tied to the obi for everyday use. Samurai would remove their long sword every time they sat down, and tying and untying the cord would be too much trouble. The samurai would, however, use the sageo to tie the saya to their obi on the battle field to prevent the saya from being lost. There are some who claim that this length of cord could also be used as a rope on the battle field to tie up prisoners or simply used as a spare length of cord when needed. It is tied in various decorative patterns.

Saya
This is the scabbard where the sword "lives" when not in use. It's usually made of two halves of custom-carved wood sealed together to form a snug fit around that particular blade. The wood is usually highly laquored and sometimes highly decorated. The saya's relation to the habaki (sword collar) is vital: the two pieces must fit together like a glove. The habaki and saya opening (the "throat") must be snug enough so that the sword will not accidentally slide out on its own, but loose enough that the sword can be "popped out" by the thumb. It's common for a brand new saya and habaki to feel a bit tight. As long as you can draw the sword without wrestling it loose, it should loosen up after several draws.

Hamon
This is the wavy blade pattern of the sharpened portion of the sword. It is a visual effect caused by the tempering process. It also separates the harder edge of the blade with the softer ridge. The pattern is merely a side effect of the tempering process where the swordsmith tries to create a desired transition between the soft and hard metals. Many modern reproductions do not have natural hamon; their hamon is faked by various processes such as acid etch, or more crude ones such as wire brushing. Some modern reproductions with natural hamon are also subjected to acid etching to enhance that hamon's prominence. However, the lack of a "natural" hamon should not deter you from purchasing an otherwise fine sword.

Kissaki
This is the very tip, or point area of the sword. It's often confused with the Boshi. The Boshi is just the wavy hamon design, while the kissaki is actual point area. Its length, width and point angle has varied over time depending on the conditions in which the sword was used. Some angles produce a slightly better piercing performance for armor, and others for non-armor use. Other kissaki designs are simple decorative statements of a samurai's status. The beginning sword owner should not worry about the kissaki too much, as will not hinder the overall performance of the blade.

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