Yozakura Tanto & Koshirae

[islandblacksmith]

The nightime viewing of cherry blossoms by moonlight is cherished for the unique perspective and focus it brings to the experience. The dark tones of the sky and the gentle light of the moon provide subtle variations in colour, texture, and detail that cannot be fully appreciated by day.

This kotanto is made from reclaimed shear steel from a horse-drawn carriage leaf spring and is housed in a koshirae that is somewhat reserved in its combination of materials and colours, evoking the feeling of a familiar and treasured object. A single stylized sakura petal graces the copper fuchi, a reminder that even a single petal falling to the ground does not go unnoticed and is not without significance.

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One of the elements of traditional Japanese aesthetics includes the appreciation for the natural process of wear, decay, and patina. Historically, this was expressed in the use of materials that bear the marks of longevity and even the creation of new objects that appeared to be aged, rugged, or bearing certain types of imperfection.
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Materials: Century-and-a-half-old horse carriage spring shear steel, copper electrical bus bar, copper lightning rod cable, Hounoki, Nootka Cypress, iron oxide from reacted kairo, natural urushi lacquer, crimson lake, leather, reclaimed buffalo horn

Specifications

長さ/刃長 Nagasa: 4 sun 4 bu 6 rin (132mm)
元幅 Motohaba: 7 bu 8 rin (23.5mm)
重ね/元重 Motokasane: 2 bu 4 rin (7mm)
反り Sori: uchizori
中心/茎 Nakago: 3 sun 1 bu (93.5mm)
柄長 Tsuka: 3 sun 1 bu 5 rin (95mm)
拵全長 Koshirae: 9 sun 2 bu 4 rin (279mm)

形 Katachi: hira-zukuri, iori-mune
刃文 Hamon: suguha
帽子/鋩子 Boshi: ko-maru/tsukiage
中心/茎 Nakago: futsu, kuri-jiri, one mekugi-ana, signed near the tip
銘 Mei: hot stamped katabami-ken kamon
拵 Koshirae: keito kashira aikuchi, issaku

More info: islandblacksmith.ca/2015/05/yozakura-tanto/


yoroshiku!

 

[islandblacksmith]

Hounoki (Japanese Magnolia) forms the core of the handle, local Nootka Cypress for the scabbard, and carved horn for the mekugi (peg). The handle is lacquered with multiple layers, first a bark-textured crimson and then overlaid with thin layers of natural and black in the kurodamenuri (tamenuri) style which reveals the interior only in strong sunlight. The shape of the kashira (pommel) is in the style of keito kashira (圭頭).

A stone textured surface created with natural urushi lacquer and crushed iron oxide reclaimed from discarded kairo (hand warmer packs) gives a crimson-rust appearance to the scabbard. The habaki, fuchi, and koiguchi were forged from copper scrap and simmered in a niage bath to give them a rich rose-plum copper oxide patina.

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The raw material for this blade spent more than the last century as a leaf spring for a horse-drawn carriage. This "secret source" pile is located on a former homestead of a blacksmith so it has a high proportion of carbon steel, saved for its value and usefulness in making tools and implements.

A comparison of the steel before and after forging, the area between the chalk lines was forged into the blade. The material to the left of the chalked area is rusted too thin to be forged, and the material to the right will become a larger tanto. There is a divot on the spring which can still be identified as a dark line in the tang just behind where the habaki sits.

The clay mixture dried on the blade in preparation for traditional yaki-ire style hardening. The thicker white layer delays cooling and the thinner charcoal-rich layer speeds up cooling, causing the blade to form two types of steel crystal, harder for the edge and tougher for the rest of the blade.

Using the charcoal forge to silver solder the two parts of the forged copper habaki together. Forming an "oven" from charcoal and keeping the air blast as low as possible helps prevent oxygen from contaminating the joint and provides an even heat.

Hounoki (Japanese Magnolia) is carved to fit the tang snugly and then glued together with rice paste to form the core of the handle.

After shaping with planes, chisels, and a knife, it is given several base coats of urushi lacquer.

A bark textured layer coloured with crimson lake pigment is polished slightly.

Contrasting layers of natural and black urushi are layered over it and polished to begin to level the surface.

Finally it is coated with very thin layers of black urushi to partially obscure the colour underneath. This layered finish style is called kurodamenuri (tamenuri), the interior is revealed only in strong sunlight.

The finished wood scabbard is coated with several layers of urushi lacquer and then sprinkled with iron oxide to give it a textured look. The iron oxide comes from reacted hand warmer packs, called kairo. After several more coats of urushi the iron oxide becomes a stone textured surface known as ishimeji.

Cord fittings for the koiguchi are forged, filed, and chiseled from various sizes of scrap copper wire.

The copper fittings are cleaned and then simmered in a niage bath to give them a rich rose-plum copper oxide layer.

The fittings are cleaned and dried and then coated with a layer of burnished natural ibota wax to seal the patina before being mounted to the saya and tsuka.


More on the process: islandblacksmith.ca/2015/05/yozakura-tanto/

 

[BenR.T.]

Absolutely riveting stuff Dave. The colors and textures alone are fantastic. :thumbup:

 

[phorizt]

wow this is amazing. I'm always in awe of your work. The textures and colors are incredible.

Now if I just knew what all of those japanese words meant.

 

[Lorien]

Ay carumba! Dave, your work impresses the hell out of me

 

[Lycosa]

Form and Function.
You are off the chain, brothah.
rolf

 

[i4Marc]

Zenzai desu. I marvel at your skill. You have a fantastic eye for details and finishes. Thanks for sharing.

 

[clearytja]

Thanks for the amazing pictures and explanations! Your work is next level.
TC

 

[Doug C]

Amazing work, very interesting seeing your processes.
Outstanding piece.

Doug

 

[devieduran]

i cant say nothing but wow and congrats you had a gift bro

 

[SBranson]

Dave, I think this is my favourite of yours to date. There is a serene beauty that conveys the sense of your title..

 

[AVigil]

Wonderful

Thanks for sharing it

 

[islandblacksmith]

the encouragement is much appreciated, thanks all...

 

[stezann]

Every post of yours is a gift! You just convey the right athmospere...

What is the niage bath? Is it possible to use this technique also for putting a patina over steel?

 

[Four-and-twentypence]

That is a gorgeous small tanto. It inspires me to try knife making, but the tools and cash are not there. Wonderful knife.

 

[islandblacksmith]

@stezann this is based on niiro recipe #4 from the hallam paper, not the "real thing" (ie made with rokusho) but works fairly well for copper...no, never for steel, only for non-ferrous copper alloys...copper, shibuichi, shakudo, low-zink brass, etc...lots of traditional colouring info from the pros over at the following the iron brush site...

@Four-and-twentypence simple is better anyways, the only tools i used in this project...for the blade: hammer, file, stones...for the wood: saw, knife, rasp, sandpaper...if you start with scrap mild steel and make letter openers you can cut the list to: file ^__^

 

[Aias]

simply stunning.

 

[S.Alexander]

That is fantastic. I especially enjoy the patina on the copper fittings.

 

[Calhoon]

Superb WIP Dave! Thank you for taking the time and effort to post it. :thumbup: