The Sword Arts
- Batto jutsu-- that stress the art of drawing and cutting.
- Iaido-- that stress the drawing and cutting of the sword.
- Iaijutsu-- that stress drawing and cutting actual targets.
- Kendo-- point-based sport training using the shinai.
- Kenjutsu-- methods that stress two-person forms, timing, distancing and cutting. Also, strategy is most often discussed.
Kamae
The main kamae, or postures, that are important in Kenjutsu for Kihon training are:
- 1. Jodan no kamae--(upper level posture) holding the sword overhead at a 450 angle.
- 2. Seigan no kamae--(true eyes posture) the sword handle is at hip level with the tip aiming at your adversary's eyes.
- 3. Hasso no kamae-- the sword at your side in a manner similar to a baseball bat.
- 4. Gedan no kamae-- the sword handle at hip height so the tip aims towards the opponent's feet
Basic Sword Cuts or how to kill a Samurai
Description of Japanese names for sword cuts
- Shomen Uchi / Tate Otoshi Giri; Vertical overhead strike.
- Naname giri / Kesa giri (monk's cut on diagram); Diagonal downward strike.
- Kiriage giri; Diagonal upward cut
- Yoko giri; Sideways cut
- Tsuki;Thrust / stab
- Uke / Nagashi; Block, deflection or parry
Concepts of distance important to Kenjutsu
- 1.Ma Ai, the distance between yourself and your opponent.
- 2.Tou Ma, the total distance between you and your opponent's front foot should be the length of both weapons plus one half of that distance. This is a starting position for most techniques.
- 3.Gobu, also called isoku itto no ma ai, this is the distance between yourself and your partner, where if either of you were to take one step, the kissaki (tip) of both swords would touch.
- 4.Chikama, the distance between you and your opponent when you are able to cross your ken with each other's, locking them together about six inchesfrom the kissaki (tip).
- 5.Tamoto, if your opponent is in migi hanmi (right stance), the space to his right is called Tamoto which translates as sleeve. This refers to your opponent's outside or back.
- 6.Futokoro, if your opponent is in migi hanmi (right stance), the space to his left is called futokoro, which translates as the inside of the jacket. This refers to your opponent's front or inside.
Sword Kihon Happo; Fundamentals
Parts of the sword
The Japanese terms for various parts of the sword as well as their location are listed below:
- Kissaki (the sword tip)
- Mune (the back of the blade)
- Ha (the edge)
- Hamon (the temper line)
- Mekugiana (the securing hole)
- Nakago (the tang)
- Kojiri (the sheath's sealed end)
- Saya (the sword's sheath)
- Sageo (the tying cord)
- Tsuba (the guard)
- Tsuka (the handle)
- Kashira (the pommel or butt end)
Legend
Japanese mythology has it that the deities of heaven presented to Amaterasu Omikami, the sun goddess, the three Imperial Regalia. These regalia consisted of curved jewels, a holy mirror and the sacred sword. This sword had been removed from the tail of the dragon Yamata No Orochi by Amaterasu's brother, Susanoo No Mikito and presented to his sister with the name of Kusanagi. Amaterasu entrusted the Imperial Regalia to her grandson when he descended to the Japanese Islands. These Imperial Regalia are said to have passed from emperor to emperor until the 9th century when replica were made for the Emperor to keep in his possession and the originals were placed at various shrines. [Note: the complete name of the Imperial sword is Kusanagi No Tsurugi which means "parting two-edged straight blade." The original sword was lost in the Battle of Dannoura (1185) and was shortly thereafter replaced.
Culture
The Japanese sword is considered to have virtually no parallel in any other form of art made of iron. In the sword, we can see the aesthetic and racial spirit of the Japanese ancestry. The belief that each sword was an extension of its owner, that each blade held a soul that was linked to its owner in some spiritual way, is apparent in how the sword's owner cared for its upkeep. And how it served and protected him in combat.
Craft
The Japanese swordsmiths sought to instill three attributes in the crafting of their weapons: unsnappability, rigidity, and cutting power. This presented somewhat of dilemma: In a sword unsnappability requires oft iron, rigidity requires a harder iron as does cutting power. If the iron is soft it will not cut well and if it is hard is will break easily. The combination of these three contradictory elements seemed almost impossible. The fact that the Japanese smiths were able to overcome these great obstacles and forge some of the most unique swords ever is a credit to their genius. It's interesting to know that most notable swordsmiths had personal methods and traditions regarding the processes of crafting these great weapons. The methods employed by most smiths began with the wrapping of the outer skin by folding and hammering the metal over and over again. This process aids in the elimination of various impurities and also produces many layers of metal of differing structure. A softer inner core would be formed because of this process of folding by using a steel of lower carbon content, and then the harder skin was wrapped around it. Finally, a temper-line (along the edge) was formed by covering the entire length of the blade in a clay containing charcoal ash which was then scraped away in a desired pattern just prior to heating. The varying thickness of the clay result in causing the blade to cool at a different rate which in turn creates a variety of crystalline compounds of iron and carbon along its surface.