samurai sword, be it a tachi, katana, or wakizashi.
It may seem revolutionary to many, but this conception of iai-jutsu and ken-jutsu as a dyad is drawn from the long history and tradition of the samurai. Considering the circumstances under which iai-jutsu and ken-jutsu evolved—on the battlefield—they must profess practicality as their philosophical imperative, and the warrior’s mind must yield to this notion at all times while employing the samurai sword. It therefore seems inconceivable that both skills are not elements of the same art—how could a samurai properly and efficiently use his sword, especially when working with a katana, without a comprehensive study of both arts? Fukasa-Ryu iai-jutsu and ken-jutsu respects that necessary relationship and certain reciprocity between the two arts.
In this book, we explore the underlying philosophy of Fukasa-Ryu iai-jutsu and ken-jutsu, which can be presented in a relatively straightforward manner, one befitting a samurai sword art. Fukasa-Ryu iai-jutsu and ken-jutsu is the holistic methodology of using the samurai sword, requiring a resolute mind, a command of practical techniques useful in warfare, and a strategy that incorporates yin and yang in every movement through a balanced use of defense and offense. The synergism between each ingredient of this straightforward “way” will create a masterful user of the samurai sword.
Knowing the Sword
To “know” one’s samurai sword can be understood in two different ways. On a philosophical, theoretical level, knowing one’s sword means to merge with one’s sword as if it were an extension of one’s own body. Via regular conditioning, consisting of katas and free-form practice, the samurai swordsman begins to merge with his sword. The sword responds to the swordsman in a manner similar to that in which the limbs of the body move, with almost no conscious effort. This level of instantaneous and unthinking action is commonly referred to as mushin (“no-mindedness”). To know the samurai sword in this way reflects mastery of the samurai sword art.
Another way in which one can know the samurai sword is to consider how we relate to it as a tool, on the physical level. In this respect, we become acquainted with the samurai sword as we become acquainted with any other device that has utilitarian value for us. Knowing the physical characteristics of the samurai sword allows us to exploit it, maintain it, and repair it when necessary—an imperative for the bushi in any era. As with any new relationship (human or material), I advocate getting acquainted with the subject prior to practice. Thus, samurai sword nomenclature and maintenance are prerequisites for coming to know the sword.
The Parts of
the Samurai Sword
| KATANA NOMENCLATURE | ||
| 1. | Saya | Scabbard |
| 2. | Sageo | Rope |
| 3. | Kurigata | Knob that holds the sageo (2) |
| 4. | Koiguchi | Open end (mouth) of the saya (1) |
| 5. | Kojiri | The butt cap of the saya (1) |
| 6. | Tsuka | Hilt |
| 7. | Tsuka-ito | Cord wrapped around the tsuka (6) |
| 8. | Menuki | Ornaments that enhance grip |
| 9. | Mekugi | Tsuka (6) retaining (bamboo) peg |
| 10. | Mekugi-ana | Peg hole in tsuka (6) |
| 11. | Fuchi-gane | Cover at open end of tsuka (6) |
| 12. | Kashira | Butt cap on end of tsuka (6) |
| 13. | Samei | Ray skin that covers the wood of the tsuka (6) |
| under the tsuka-ito (7) | ||
| 14. | Tsuba | Hand guard |
| 15. | Seppa | Washers protecting the tsuba (14) |
| and fuchi-gane (11) | ||
| 16. | Habaki | Collar for the blade |
| The Tang | ||
| 17. | Nakago | Underside of tang (unsharpened metal area of the sword) |
| 18. | Hitoe | Upper portion of tang |
| 19. | Nakago-jiri | Butt of tang |
| 20. | Mekugi-ana | Peg hole |
| 21. | Mune-machi | Notch—merge of mune (30) and hitoe (18) |
| 22. | Ha-machi | Notch—merge of ha (24) and nakago (17) |
| 23. | Mei | Swordsmith’s inscription |
| The Blade | ||
| 24. | Ha | Cutting edge |
| 25. | Hamon | Temper line |
| 26. | Yakiba | Tempered portion of blade |
| 27. | Jigane | Area between the hamon (25) and the shinogi (28) |
| 28. | Shinogi | Longitudinal ridge located above the jigane (27) |
| 29. | Shinogi-ji | Area located between the shinogi (27) and mune (30) |
| 30. | Mune | Back of blade |
| 31. | Hi | Blood-groove |
| 32. | Kissaki | Upper portion of pointed blade-end |
| 33. | Fukura |
|