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Posted

Jason.

 

Just for the sake of clarity, it is unlikely that the sections between muneyaki and tempered shinogi, and likewise between ha and tempered shinogi would be totally untempered, since there cannot, (at least as far as I know), be such a sharp line of demarcation between tempered and untempered sections of steel in such a narrow area, unless it is some kind of Hitatsura. Are you certain there are clearly tempered areas other than at the ha? I'm not questioning your question here, but just trying to imagine what you are seeing. Perhaps pics would help here in understanding this.

Posted

it is alot like tobyaki, muneyaki, and the hamon. I can post a poor quality picture. the togishi who had the blade said the blade was interconnectedly tempered. where the hamon, the mune and parts of the shinogi and ji (part between shinogi and yakaba) were tempered, but also untempered. I remembered reading somewhere about a style that tempered the shinogi area along with the ha and parts of the mune, as they believed it made a stronger sword.

 

littlewak.jpg

 

you cannot see the muneyaki clearly here, but you can see the diffeance in temper in the blade.

Posted

From description only its starting to sound like some type of Utsuri, although that just comes from a hazy mental picture. I'd like to hear what more knowledgable people have to say. The pic might help.

 

Edit...... Oops!The pic came up as I was posting. The question now comes to mind how much of this effect is the swordsmith's work and how much is the polishers work? That sugaha is quite bright.

Posted

Hi Jason,

a smith can harden any part of the blade by reducing the thickness of the clay during the quench.If the clay is thin enough the underlying steel will cool quickly enough to form martensite and become hard as is the ha.

It is possible that this can also be accomplished by complex construction as in a sanmai type.

I agree with Mark-hitatsura variant.

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