THIS SWORD WAS FORGED BY JESUS HERNANDEZ and the original mountings of this sword can be seen here which present a link to the making of the blade in W2 steel. The link had two pages with full documentation of its making.
By carefully reading through this page you will get full information.
As you should know, any blade in itself is the real soul of the sword.
The sword is the ensemble of the blade and the mountings.


It is imperative to remount this blade for reasons stated in the second paragraph, immediately below.
A new scabbard in poplar, very well glued and thicker than usual, is required, since one of the functions of the scabbard would be to hit the opponent with the kojiri following these drills as a study.
Note: the dha used on the drills have been sold. It was too heavy for its size.

The original mountings by the author of this Hira-Zukuri Dha became difficult to handle because the horn koiguchi was not lined in wood, and did not hold the blade as it should. Other than that, the ebony saya was lacquered with spray and finished in such a way that it was far from satisfactory.
For this reason, this beautiful 23 inches nagasa blade should have a proper mounting more consentaneous with an interpretation of the Dha as a Thai style blade., although it is a Japanese style blade in all aspects.
For this reason, one of my favorite mountings I designed and were interpreted by Randy is this fantastic rendition of an octagonal oar shaped saya, that flares towards the kojiri.
So what is required is a transformation of this:

into a totally new and more expressive and already tested mountings:


The wood should be the same light colored poplar as in the oar shaped mounting katana seen below, with the same section, the same interplay with black horn and bone, but no kurikata. Furthermore, as said before, the wood needs to be thicker and extra well glued to endure eventual impact.

The saya should be lacquered with a satin-matt clear lacquer.


The saya should be 25 inches long, considering the horn and the bone, and the difference between the koiguchi diameter and the kojiri largest part should be of 2 inches.

The illustration shows the horn mekugi slightly protruding. click to enlarge.


Since it is a personal interpretation of a Thai handle, the wood should be any kind of hardwood, ebony could be a choice, the two halves epoxyed together, and then dyed black and finished with the same lacquer as the saya.


The finished length should be of 12.5 inches and the section of the handle should be 38 mm x 25 mm. There is no samekawa or any Japanese style wrapping except black leather cord, for reinforcement, wrapped between the two mekugi-ana, if considered necessary. The mekugi should be of black horn.
The fittings should be in silver.


The guard should have almost the same section of the koiguchi such as below. Just a slight protrusion as seen below.
The rendition shows a much larger tsuba.

The saya color should be as same as the picture above.

Although not necessary, I rendered the finished tsuka shown without leather cord reinforcement, and a diagram of the saya. The kashira should be oval and epoxyed to the tsuka also oval.


It is extremely rare for a smith to ever do a full polish. The picture below is not a full polish. It was taken in very nice light conditions by Jesus Hernandez and it was then a hybrid polish.

Then, after the blade was remounted, it was sent to a professional polisher who did a wonderful job although the pictures are not too good.

The polishing took about one year until it could reach me. Anyway I am very pleased because everyone in my circuit is honest (there is no very honest - either you are honest or you are not).

Here is another photo of Kris polishing the blade, followed by the results.

Habaki and hamon after fingerstones
another view of the hamon and had
Kissaki picture. One can see how hard is the kissaki and how beautiful is its shape.

Although the lighting is not the best, specially after the hard work, it is all there.