Habaki

The habaki and habakishi play a critically important role in the production of the Japanese sword as a finished product and weapon.  The habakishi is the first individual to apply a materially tangible outside influence to the sword and his skill and eye are made apparent in his production of this "fitting".  The well made habaki must have a balancing pleasing influence on the sword.  Certainly a large sword necessitates a correspondingly large habaki but the habaki  should be strong and proportional  without being overbearing and bulky.    The habaki dimensions are what determines the production dimensions for the saya and subsequently all other dimensions such as kodogu size and  tsuka etc.  I'd like to briefly explain and expand on this in a future writing.  Basically once the sword is produced  the blade is prepared , generally by the smith himself, for polish.   At this time the smith will prepare foundation using a large water/grinding wheel  to dimensions that he wishes to be followed by the polisher. This is called Kaji oroshi.  The smith usually works in conjunction with one to several polishers who understand what the sword smith's intentions are for each blade and will continue to polish the blade with special consideration to the minds eye of the smith.  The polisher now works with the blade to establish the shitaji or foundation of the blade.  When the polisher reaches a point of shiage stone (kaisei) the blade is sent out for habaki and saya work. The habakishi now continues in the same mind set as the polisher in that he must interpret the intention of both the smith and the polisher. His work will influence the continuation of the process with the sayashi etc.

O.K.  Now the habaki.  The habaki is of one or two piece construction ,hitoe or niju,  respectively and is forged rather than cast.  The habakishi selects a base metal usually copper and rolls or cuts out a blank stock with thickness relative to the proportions of the blade.  The mune is pounded in using special tagane and the nomikomi is cut.  The blank is now folded onto the nakago and the general shape is set using hammer and repeated forging and quenching of the blank.   When the habakishi is satisfied with the preliminary fit,  machigane is cut and shaped for fitting.  The machigane is then "soldered"  or brazed in place.  This is a very critical phase of construction as care must be taken to fill the seam completely yet not compromise the notch that the hamachi is to fit into.   The habaki is now worked with hammer to finalize the fit to the nakago.  This procedure work hardens the habaki and provides a solid foundation for application of kise etc. If care is not taken during this fitting process, there is the potential to chip the hamachi.  Once the habaki is fitted the shitaji is set using aggressive shear cut yasuri and as the piece takes form, progressively less aggressive files are used.   This is a critical point in the habaki's construction because if the soldering process was not performed correctly,  now is the time that it will be apparent.   In the event that the seam has been compromised, the habaki cannot be resoldered as it will anneal the foundation and will render the piece "soft".  A soft habaki allows the munemachi of the blade to dent the habaki foundation and will eventually result in the gradual migration of the blade into the habaki.  The soft habaki also is difficult to foil without distorting the bottom edge of the habaki.  The work is considered poor and is should be discarded.  Once the shiage is complete and satisfactory,  the habaki continues to be filed until it is in an almost polished state.  Sand paper is generally not used in these stages as it leaves the lines soft and rounded.  The yasuri assures crisp lines all around.  The habaki now goes one of several routes.  If it is to have decorative foil (kise) of Gold or silver, then the sharp edges are chamfered using a very fine cut file and the foil is then prepared for application.  The foil is soldered into a jacket and press fitted over the habaki foundation. A burnishing needle is then used to seat all the edges and finished with fine filing and chamfering.  The jacket is not fastened to the foundation in any way other than external pressure created by the slip fit  and the act of folding the fine foil over the edges.  One point  of kantei is to press on the jacket to feel for "bubbles".  The lack thereof is indicative of good technique.   The final decorative work  on the habaki  be it solid or kise, can take on many styles. The most popular being yujo "cat scratch" or tomoyasuri which is a fine pattern of linear lines with beads created  by a special burnishing    process.  The piece is then given final  polish or in the case of gold ,specially treated to add a richness of color inherent to high karat gold.  I have seen kise habaki of gold where there was sukashi mon on the outer jacket. I was dumbfounded on how such a foiling could be achieved and still maintain the tight fit of the foil without distorting the mon itself.

Mishina sensei has a fine display  of habaki on his sight and this is certainly  worth the visit. While your there challenge yourself to the monthly  kantei.

Some useful terms

Muku..........solid

Kin........gold

Gin........silver

Hitoe........one piece

Niju........two piece

Ex.  Ginmuku........solid silver

       Hitoe kin kise.........one piece gold foil