Japanese sword mountings

Tokyo National Museum • Illustration — Sword fittings. Tsuba (top left) and fuchigashira (top right) made by Ishiguro Masayoshi in the 18th or 19th century. Kogai (middle) and kozuka (bottom) made by Yanagawa Naomasa in the 18th century, Edo period. Tokyo Fuji Art Museum. mountings are the various housings and associated fittings (tosogu) that hold the blade of a Japanese sword when it is being worn or stored. Koshirae refers to the ornate mountings of a Japanese sword (e.g. katana) used when the sword blade is being worn by its owner, whereas the shirasaya is a plain undecorated wooden mounting composed of a saya and tsuka that the sword blade is stored in when not being used.

• Illustration — A diagram of a katana and koshirae with components identified • Fuchi (縁): The fuchi is a hilt collar between the tsuka and the tsuba. • Habaki (鎺): The habaki is a wedge-shaped metal collar used to keep the sword from falling out of the saya and to support the fittings below; fitted at the ha-machi and mune-machi which precede the nakago. • Kaeshizuno (返し角): A hook-shaped fitting used to lock the saya to the obi while drawing. • Kashira (頭): The kashira is a butt cap (or pommel) on the end of the tsuka. • Kōgai (笄): The kōgai is a spike for hair arranging carried sometimes as part of katana-koshirae in another pocket. • Koiguchi (鯉口): The koiguchi is the mouth of the saya or its fitting; traditionally made of buffalo horn. • Kojiri (鐺): The kojiri is the end of the saya or the protective fitting at the end of the saya; also traditionally made of buffalo horn. • Kozuka (小柄): The kozuka is a decorative handle fitting for the kogatana; a small utility knife fit into a pocket on the saya. • Kurigata (栗形): The kuri-kata is a knob on the side of the saya for attaching the sageo. • Mekugi (目釘): The mekugi is a small peg for securing the tsuka to the nakago. • Mekugi-ana (目釘穴): The mekugi-ana are the holes in the tsuka and nakago for the mekugi. • Menuki (目貫): The menuki are ornaments on the tsuka (generally under the tsuka-ito); Originally menuki were a cover for the mekugi to hold the peg/s in place. On tachi, worn edge down orientation at palm to orient the sword. On katana, orientation is at fingertips to orient the sword. • Sageo (下げ緒): The sageo is the cord used to tie saya to the belt/obi when worn. • Same-hada (鮫肌): Literally, the pattern of the ray skin. • Same-kawa (samegawa) (鮫皮): same-kawa is the ray or shark skin wrapping of the tsuka (handle/hilt). • Saya (鞘): The saya is a wooden scabbard for the blade; traditionally of lacquered wood. • Seppa (切羽): The seppa are washers above and below the tsuba to tighten the fittings. • Shitodome (鵐目): An accent on the kurikata for aesthetic purposes; often in gold-coloured metal on modern reproductions. • Tsuba (鍔 or 鐔): The tsuba is a hand guard. • Tsuka (柄): The tsuka is the hilt or handle; made of wood and wrapped in samegawa. • Tsuka-maki (柄巻): The wrapping on the tsuka, including the most common hineri-maki and katate-maki (battle wrap). There are also more elaborate and artistic wrapping techniques, such as Jabara maki. • Tsuka-ito (柄糸): Tsuka-ito is the wraping cord of the tsuka, traditionally silk but today typically cotton and sometimes leather. • Illustration — Two antique koshirae, katana (top), wakizashi (bottom), in the form of a daishō (matched set). Edo period, 19th century. Tokyo Fuji Art Museum. • Illustration — Wakizashi mounting decorated with images of old coins. 1800s. The Metropolitan Museum of Art • Illustration — Kōgai (bottom), kozuka (top right), and menuki (top left) made by Gotō Kenjō. Early Edo period. Designated as Special Important Fitting by NBTHK. • Illustration — Fuchigashira (top) and tsuba (bottom) made by Ishiguro Masayoshi. Late Edo period. Designated as Special Important Fitting by NBTHK. • Illustration — Tsuba with the Koi and Seaweed Motif, made by Kansai. Edo period. The Metropolitan Museum of Art. • Illustration — A tsuba created by Sunagawa Masayoshi. 1800s. The Metropolitan Museum of Art.

A shirasaya, "white scabbard", is a plain wooden Japanese sword saya (scabbard) and tsuka (hilt), traditionally made of honoki (bigleaf magnolia) wood and used when a blade was not expected to see use for some time and needed to be stored. They were externally featureless save for the needed mekugi-ana to secure the nakago (tang), though sometimes sayagaki (blade information) was also present. The need for specialized storage is because prolonged koshirae mounting harmed the blade, owing to factors such as the lacquered wood retaining moisture and encouraging corrosion. Such mountings are not intended for actual combat, as the lack of a tsuba (guard) and proper handle wrappings were deleterious; as such they would likely never make their way onto a battlefield. However, there have been loosely similar "hidden" mountings, such as the shikomizue. Also, many blades dating back to earlier Japanese history are today sold in such a format, along with modern-day reproductions; while most are purely decorative replicas, a few have functional blades.

• Illustration — A daisho set of Japanese sword storage mounts (shirasaya) for katana (top) and wakizashi (bottom) • Illustration — A typical shirasaya with sayagaki (attribution or appraisal written on a shirasaya) • Illustration — Naginata shirasaya • Illustration — Tanto shirasaya • Illustration — Wakizashi mounted in shirasaya • Illustration — Yari shirasaya

• Illustration — Wakizashi koshirae (Wakizashi mounting). The metal parts are made by Goto Ichijo. Edo period. Tokyo National Museum. The word koshirae is derived from the verb koshiraeru, which is no longer used in current speech. More commonly "tsukuru" is used in its place with both words meaning to "make, create, manufacture." A more accurate word is tōsō, meaning sword-furniture, where tōsōgu are the parts of the mounting in general, and "kanagu" stands for those made of metal. Gaisō are the "outer" mountings, as opposed to tōshin, the "body" of the sword. A koshirae should be presented with the tsuka (hilt) to the left, particularly in times of peace with the reason being that one cannot unsheathe the sword easily this way. During the Edo period, many formalized rules were put into place: in times of war the hilt should be presented to the right allowing the sword to be readily unsheathed. Koshirae were meant not only for functional but also for aesthetic purposes, often using a family mon (crest) for identification.

• Illustration — Mounting for a sword of the itomaki no tachi type with design of mon (family crests). 1600s. Museum of Fine Arts, Boston. The tachi (太刀) style koshirae is the primary style of mounting used for the tachi, where the sword is suspended edge-down from two hangers (ashi) attached to the obi. The hilt often had a slightly stronger curvature than the blade, continuing the classic tachi increase in curvature going from the tip to the hilt. The hilt was usually secured with two pegs (mekugi), as compared to one peg for shorter blades including katana. The tachi style koshirae preceded the katana style koshirae.

• Illustration — Katana mounting with a polished black lacquer sheath, Edo period. Museum of Fine Arts, Boston. The katana (刀) style koshirae is the most commonly known koshirae and it is what is most associated with a samurai sword. Swords mounted in this manner are worn with the cutting edge up as opposed to the tachi mounting, in which the sword is worn with the cutting edge down.

The han-dachi koshirae was worn katana-style but included some tachi related fittings such as a kabuto-gane instead of a kashira.

• Illustration — Aikuchi, c. 1780 The aikuchi (合口 or 匕首) is a form of koshirae for small swords in which the hilt and the scabbard meet without a crossguard between them. The word literally means ai ("meeting") + kuchi ("mouth; opening"), in reference to the way the hilt fits directly against the scabbard. Originally used on the koshigatana (a precursor to the wakizashi) to facilitate close wearing with armour, it became a fashionable upper-class mounting style for a tantō (literally, "small sword", nowadays regarded as a dagger) from the Kamakura period onwards.

The or "staff sword" is a Japanese swordstick. It is most famous for its use by the fictional swordmaster Zatoichi. The sword blade was placed in a cane-like mounting (tsue) as concealment. These mountings are not to be confused with the Shirasaya (白鞘, "white scabbard"), which were just plain wooden mountings with no decoration other than (sometimes) a short description of the contents. According to Hatsumi Masaaki, Some shikomi-zue also concealed metsubushi, chains, hooks, and many other things. Shikomi-zue could be carried in public without arousing suspicion, making them perfect tools for shinobi. However, this is a debatable topic in koryu circles.

The kaiken is an 8–10 inch long, single- or double-edged dagger without ornamental fittings housed in a plain mount, formerly carried by men and women of the samurai class in Japan. It was useful for self-defense indoors where the long katana and intermediate wakizashi were inconvenient. Women carried them in their kimono either in a pocket-like fold or in the sleeve for self-defense or for suicide by means of slashing the jugular veins and carotid artery in the left side of the neck.

• Illustration — Tantō mounted in aikuchi style koshirae • Illustration — Shikomizue koshirae • Illustration — Tachi and tachi koshirae • Illustration — Kaiken (kwaiken) tanto • Illustration — Wakizashi koshirae • Illustration — Tanto koshirae

Saya is the Japanese term for a scabbard, and specifically refers to the scabbard for a sword or knife. The saya of a koshirae (scabbards for practical use) are normally manufactured from very lightweight wood, with a coat of lacquer on the exterior. Correct drawing and sheathing of the blade involves contacting the mune (the back of the blade) rather than ha (the edge) to the inside of the scabbard. The saya also has a horn knob (栗形, kurigata) on one side for attaching a braided cord (sageo), and may have a shitodome (mounting loop) to accent the kurigata as well as an end cap (小尻, kojiri) made from metal. Traditionally the koiguchi (the throat of the scabbard) and kojiri (the chape) were made from buffalo horn. • Illustration — Katana saya • Illustration — Naginata saya • Illustration — Tanto saya • Illustration — Wakizashi saya The Saya is divided in parts: • Sageo A sageo is a hanging cord made of silk, cotton or leather that is passed through the hole in the kurigata of a Japanese sword's saya. There are a number of different methods for wrapping and tying the sageo on the saya for display purposes. Other uses for the sageo are tying the sword to the samurai and hojojutsu. The samurai felt the sageo formed a spiritual bond between them and the sword, and they were very particular about tying it correctly when the sword was not in use. • Illustration — A matched set (daisho) of sageo • Kuri-kata The kurikata (栗形) is a knob that is attached to the scabbard of a Japanese sword. The sageo (cord) that secures the saya of the sword to the obi (belt) goes through a hole in the kurikata. • Kojiri The kojiri is the end cap of the scabbard or the protective fitting at the end of the scabbard. • Kogatana and kozuka Kogatana (小刀), a small utility knife that fits into a pocket on the scabbard, the kozuka is the decorative handle for the kogatana. • kōgai The kōgai (笄) is a spike for hair arranging that fits into a pocket on the saya. • Illustration — Tanto koshirae showing a kōgai in its pocket • Umabari The umabari is a small knife that is a variation of the kogatana. It fits into a pocket on the saya.

The tsuka is the hilt or handle of a Japanese sword. • Illustration — Two tsuka katana (top), wakizashi (bottom) in the form of a daisho (matched set) • Illustration — Katana tsuka • Illustration — Tachi tsuka • Illustration — Wakizashi tsuka • Illustration — Tsuka constructed as a single piece and does not have individual separate fuchi, kashira, and menuki The tsuka is divided in the following parts: • Menuki The menuki (目貫) are ornaments on the tsuka (generally under the tsuka-ito); to fit into the palm for grip. • Illustration — Tsuka with a menuki in the shape of standing goose with bamboo • Illustration — Menuki with horse and rider • Samegawa Samegawa (鮫皮) is the ray skin used to cover or wrap the handle. • Illustration — Tsuka showing the samegawa • Illustration — Tanto tsuka showing the samegawa • Tsuka-ito Tsuka-ito (柄糸) is the wrapping of the tsuka, traditionally silk but today more often cotton and sometimes, leather. • Fuchi Fuchi (縁), a cap type collar or ferrule which covers the opening in the tsuka of a Japanese sword. The tang of the sword goes into the tsuka through the opening in the fuchi. • Illustration — Katana fuchi • Illustration — A daisho pair of fuchi • Illustration — Fuchi with dragon • Illustration — Fuchi with crouching lions • Kashira The kashira is the end cap (pommel) on the tsuka. • Illustration — Katana kashira • Illustration — Daisho kashira, wakizashi and katana • Illustration — Kashira with samurai • Illustration — Kashira with herons and reeds

The tsuba (鍔, or 鐔) is usually a round (or occasionally squarish) guard at the end of the grip of bladed Japanese weapons, like the katana and its variations, tachi, wakizashi, tantō, naginata etc. They contribute to the balance of the weapon and to the protection of the hand. The tsuba was mostly meant to be used to prevent the hand from sliding onto the blade during thrusts as opposed to protecting from an opponent's blade. The chudan no kamae guard is determined by the tsuba and the curvature of the blade. The diameter of the average katana tsuba is 7.5 –, wakizashi tsuba is 6.2 –, and tantō tsuba is 4.5 –. During the Muromachi period (1333–1573) and the Momoyama period (1573–1603) Tsuba were more for functionality than for decoration, being made of stronger metals and designs. During the Edo period (1603–1868) there was peace in Japan so tsuba became more ornamental and made of less practical metals such as gold. Tsuba are usually finely decorated, and nowadays are collector's items. Tsuba were made by whole dynasties of craftsmen whose only craft was making tsuba. They were usually lavishly decorated. In addition to being collector's items, they were often used as heirlooms, passed from one generation to the next. Japanese families with samurai roots sometimes have their family crest (mon) crafted onto a tsuba. Tsuba can be found in a variety of metals and alloys, including iron, steel, brass, copper and shakudō. In a duel, two participants may lock their katana together at the point of the tsuba and push, trying to gain a better position from which to strike the other down. This is known as. Tsubazeriai is a common sight in modern kendō. In modern Japanese, tsubazeriai (鍔迫り合い) has also come to mean "to be in fierce competition." • Illustration — A tsuba carved with a sika deer made by Fujiwara Toshiyoshi. 1800s. The Metropolitan Museum of Art. • Illustration — Tsuba made by Tsuchiya Yasuchika. Mid-Edo period. Designated as Special Important Fitting by NBTHK. • Illustration — Two tsuba depicting Minamoto no Yorimitsu trying to cut a tsuchigumo with a tachi named 'Hizamaru'. Made by Unnno Yoshimori I (left), Gochiku Sadakatsu (right). Museum of Fine Arts, Boston. • Illustration — Lotus pond • Illustration — Tsuba with autumn flowers • Illustration — Tsuba with a monkey teasing an elephant with a stick • Illustration — Tsuba with dragonfly in shibuichi

The seppa (切羽) are washers used in front of and behind the tsuba to tighten the fittings. Seppa can be ornate or plain. • Illustration — Tantō tsuba and two seppa • Illustration — Tantō tsuba and two seppa • Illustration — Yari tantō tsuba and two seppa • Illustration — Tsuba and two seppa • Illustration — Wakizashi tsuba and a single seppa

The habaki is a piece of metal encircling the base of the blade of a Japanese sword. It has the double purpose of locking the tsuba (guard) in place, and to maintain the weapon in its saya (scabbard). The importance of the habaki is seen in drawing the katana from the scabbard. It is drawn by grasping the scabbard near the top and pressing the guard with the thumb to emerge the blade just enough to unwedge the habaki from inside the scabbard in a process called koiguchi no kirikata. The blade, being freed, can be drawn out very quickly. This is known as koiguchi o kiru, nukitsuke, or tanka o kiru. The expression "tanka o kiru" is now widely used in Japan, in the sense of "getting ready to begin something", or "getting ready to speak", especially with an aggressive connotation. The habaki will cause normal wear and tear inside the scabbard, and either a shim or a total replacement of the scabbard may be needed to remedy the issue as it will become too loose over time. Removing the habaki and oiling it after cutting or once every few months is recommended. • Illustration — A habaki in gold • Illustration — It is first inserted on the blade. • Illustration — Then the tsuba is inserted too. • Illustration — A pair of daishō with silver habaki