INTRODUCTION
After designing a tanto and a wakizashi, each with a shirasaya variation, I think now its time not to become obsessively repetitive with the same pattern of design.
Although using the same materials, mainly a burl wood or a hardwood of reddish color to be chosen when convenient.
I feel the urge to use the largest of the blades to make a striking and bold design that has historic background in this and other shapes.

 


SPECIFICATIONS for Jeff's KATANA

Blade Style: Shobu-Zukuri with an -Kissaki
Steel: Forge-folded steel 1010 and 1095 or any two steels that can make a mild contrast between the two.
Nagasa: 29 inches
Nakago: 11 inches long with yasurime of smith's choice
Mekugi-ana: 2
Motohaba: 32 mm
Sakihaba: 30 mm
High Shinogi-ji: 8mm
Kissaki: 4 inches -Kissaki
Width at imaginary yokote (sakihaba): 30 mm
Habaki: Copper
Mekugi: Buffalo Horn
Maximum Curvature (Sori): 15 mm
Blade Thickness: 7mm (Motokasane); 6mm (Sakikasane) tapering in the middle to 5 mm and finishing at 6 mm
Hamon: Gunome with Choji Midare hopefully with nie and nioi.
Hada pattern: ko-itame
Boshi: ko-maru
Mune: Iori-mune
Niku: Medium niku going chisel-like at the last part near the edge.
Polish: Binsui-do stone with geometry set
 
BLADE DIAGRAM

THE HISTORICAL BACKGROUND

A Muromachi Period warrior with his drawn tachi and a wide tiger skin flared saya

THE MOUNTINGS DESIGN

The design is based on the same materials:
- carefully chosen wood
- horn
- bone
However in this case I used a flaring saya that was in fashion with some tachi, including the use of animal skins at the end of the saya.
The main reason for this is to create both a unique design as well as updating historical oar-type saya in modern versions.
TSUKA
The tsuka is either oval or round, has a horn kashira with a layer of bone and meets a part of ribbed area that helps the grip. Then for the major part of the saya it is lacquered black, including one horn mekugi inserted in this area, which is then followed by more ribbed area followed by a small plain area where the first horn mekugi should be inserted and then the bone and horn fuchi.
The round tsuba should be about 4 cm, made of blackened mild steel.
SAYA
The koiguchi is in horn and bone followed by a plain area to which ribbed area follows up to the horn kurikata placed at 5 inches from the saya's mouth. The remaining area is again ribbed, ensuring all around good grip followed by a change of geometry. The saya flares to a bone and horn Kojiri that should have a maximum of 4.5 inches of width and is divided into 8 facets, three of each are visible in the rendition plus one up and on below so as to compensate for the thickness. This is what will give the saya and the full mountings a tremendous imposing presence.
HABAKI AND SEPPA
Both should be in copper, the seppa being as plain as possible.

 

 

 

Concept by BLADESIGN