The Art of Tsukamaki - Download as PDF File .pdf), Text File .txt) or read online. tsukamaki. The Art of Tsukamaki: Pocket Edition [Thomas L Buck] on gautifastrabfort.gq *FREE* a Kindle? Get your Kindle here, or download a FREE Kindle Reading App. Editorial Reviews. From the Author. This was not intended to be an elaborately illustrated book The Art of Tsukamaki: Pocket Edition - Kindle edition by Thomas Buck. Download it once and read it on your Kindle device, PC, phones or tablets.
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PDF File Downloads Tsuka-maki, The Art of Japanese Sword Restoration. construction and measurements of one type of traditional tsukamaki stand. PDF Downloads · Contact · Site Map · Home. Book Order Form. Click Buy Now to order The Art of Tsukamaki for $ (includes free shipping). aesthetics, form and function, is the deceptively simple Japanese art of sword handle wrapping. The Art of Tsukamaki book. Read reviews from world's largest community for readers.
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There is a limit of 4 clips per user per week. Share your thoughts with other customers. This book covers that craft in enough detail for the determined artisan to put those techniques to use — not necessarily in such warlike manner. Return to Book Page. Goodreads helps you keep track of books you want to read. My library Help Advanced Book Search.
The diagrams are clear and well done, and the writing is concise. Kindle Tsu,amaki Reader Read instantly in your browser. Tsukamaki, combining stukamaki, form and function, is the deceptively simple The art of tsukamaki art of sword handle wrapping. Nguyen Manh marked the art of tsukamaki as to-read Apr 09, The author describes tsukamaki itself in a usable level of detail, but brings a lot more to the interested reader, too.
Some non-related materials on swords is added to fill pages. At this stage the shape was still rectangular — no curve had yet been added.
A decisive step was the creation of the point kissaki by cutting off the end of the billet, leaving a triangular shape.
This long proto-sword was called a sunobe. Blow by blow, the defined, familiar shape of the classic samurai sword was slowly forced out of the sunobe as each of the components along its length was shaped.
The sword back mune was made thicker than the cutting edge ha.
The interface between the smooth blade and the rougher tang that would eventually lie concealed within the handle also soon became evident. Most importantly, the curve was now starting to become evident all along the length of the blade. This process had to be strictly controlled so that the sword took the shape the smith desired: it must not be too pronounced or too shallow. The work then changed from heavy beating to filing and scraping, to produce — among other features — the shinogi central ridge.
Eventually the crude blade was now in a clearly recognizable form. Now is the moment when the sword essentially springs into life: when the selective hardening of the cutting edge takes place. Any steel blade can be hardened by heating it to the desired temperature and then plunging it into cold water, but to prevent the entire blade experiencing the high rate of cooling sought for the cutting edge only, a straightforward yet very precise operation was carried out.
The entire blade was carefully coated in slurry clay. Then clay is removed just from the edge area that was to be hardened, in such a way that wave patterns will appear in the interface between the body of the sword and its edge.
As for the equally vital matter of water temperature, one of the many legends about the old swordsmiths tells of the greedy apprentice who tried to discover the secret of the correct temperature of the trough by putting his fingers into it, and was instantly punished by having his hand cut off by a sword stroke from the furious master.
One of the most noticeable features of the surface of a fine blade is the presence of apparent irregularities in the finish. The process of tempering means that the boundary between the two degrees of hardness is revealed in the edge pattern, called the hamon; in the zone where the temper pattern and the steel surface meet, nie and nioi appear. Nie are relatively coarse granular particles visible to the naked eye; nioi are microscopic particles. Nie have been compared poetically to individual stars shining in the sky, while the presence of nioi is indicated by a misty line like the Milky Way.
The blade was now ready to receive its polished finish and its edge. The first stage of polishing, the removal of scale and metal, was done by rubbing on a very coarse abrasive stone.
If desired, grooves might be cut into the blade surface. Polishing and sharpening continued using a succession of finer-grained stones until the stage of final polishing was undertaken. Over this, much secrecy was maintained. Then, the selectively hardened cutting area could finally be whetted to produce a degree of sharpness without parallel anywhere in the world. However, the presence of a famous name on a blade does not automatically identify the swordsmith.
There may have been attempts at deception through forged signatures, but there was also the factor of the tremendous respect accorded to a master by his pupils. The finished blade was mounted in a tsuka handle to produce the weapon that is so familiar today. A tsuba sword guard protected the hands, while cord twisted around the handle over a layer of same the skin of the giant ray provided a secure grip for the user. A made-to-measure scabbard saya was created out of magnolia wood. Testing of swords would be carried out to ensure that they had the correct balance and would cut effectively.
This is impossible to confirm because the secrets of swordmaking were passed on orally from a master to his chosen pupil, and this continuity was broken with the end of the time of civil wars, at the beginning of the seventeenth century. Also, few swords from the earlier age have survived, and it would be unthinkable to subject them to destructive analysis.
TOP A horimono carved decoration appears next to the tang on this fine example of a tachi blade. The design features a dragon curled around a spear.
BOTTOM The early tachi-style swords were traditionally fitted with ornate sword furniture, as shown on this modern example.
The scabbard and hilt are lacquered and gilded. One of the most precious ancient metal objects to be preserved in Japan is a sword. Japanese tradition associates it with Empress Jingu, the warrior empress who is supposed to have led a military expedition to Korea.
The semi-legendary figure of Jingu, who may represent an authentic type of female shamanistic ruler, is also associated with a war fought to ensure the succession of her son, Emperor Ojin. However, these swords were only wooden replicas, and her army then took up their real swords and gained the victory.
Swords with seven branches or wooden blades are a far cry from the fighting weapons that undoubtedly did exist in the early days. The Wei Zhi the chronicle of the Wei dynasty of China mentions swords in certain passages dealing with the country of Wa, as Japan was then known.
Not long after this we find the beginnings of the Japanese tradition of burying deceased rulers in large tombs kofun that resembled artificial mountains. Excavation of kofun has yielded several swords. As is implied by the record of a gift from the Wei, these swords are Chinese in style and are likely to be of Chinese manufacture, a contention supported by inscriptions on some of them. The kofun-era swords have been given the name chokuto by modern scholars.
These weapons are straight-bladed and 70—80cm long, with a triangular crosssection and only one of their two edges sharpened. The widest difference between types appears in pommel design. Some have a characteristic ringshaped pommel, while others are made with variously shaped tangs that fit into separate hilts. These swords are totally unlike the later classic Japanese weapon, with its characteristic curved shape.
Prince Shotoku — , who ruled as regent of Japan from onwards, was a devout Buddhist and is believed to have owned two recently re-polished swords preserved by the Shitennoji Temple in Osaka.
The Nara Period was a time of stability, and from this time several fine swords have survived. His tachi hangs down from his belt, together with a shorter dagger-like weapon and a wooden ring for a spare bowstring. Thousands of royal treasures in perfect condition are still in the Shosoin; this includes 55 swords.
The Nara Period style of sword is characterized by a straight blade made more solidly than the earlier types through having a pronounced ridge shinogi running the length of the blade on one side.
Later Japanese swords would have a shinogi on both sides.
The making of fine swords was an activity that flourished within the ordered world provided by Chinese-style bureaucracy — another great gift from the Asian mainland adopted by Japan. In the north and east the Nara armies combated the emishi, the northern aboriginal tribes that challenged the growing domination of the Yamato court the fledgling imperial power took its name from that of Yamato province, in Nara Prefecture. The emishi were regarded by the Yamato rulers as barbarians.
However, it is possible that it is to them that we owe the most important development in Japanese sword technology: the introduction of the curved blade. This appears to have originated around , when the imperial capital was moved from Nara to Heian-kyo modern Kyoto. Quite why the curve developed, and under what influences, is still a matter of dispute. Here we see a sword worn in katana style, with the cutting edge uppermost. The argument goes that over the years the conscript armies of Nara were replaced by mounted warriors — the first samurai, who adopted this crucial element of military technology.
With a lessening of Chinese influence and a flowering of Japanese swordmaking techniques, the new style of mounted warfare demanded a weapon that was better for slashing than for thrusting, so the classic Japanese sword was born.
However, one weakness of this theory is that examples of swords found in north-eastern Japan could as easily be regarded as evidence of transmission to the emishi as from them. Also, the supposed advantages to a mounted warrior of a curved blade apply equally to a warrior on foot.