Types of kissaki form, and
the period that the form is typical.
Kissaki in the shinogi-zukuri style
"KO-KISSAKI"
It is not a matter of shape. It means "small kissaki"
and it is a matter of size.
Most of the time, the word is used for tachi in 12th
century.
For example such blades have a long blade (about 80 cm),
a wide width at the base
(about 30 mm), and the blade becomes narrow towards the
kissaki, (about 15 mm width at kissaki).
The kissaki looks very small compared to the base.
Such kissaki is especially called "ko-kissaki".
Such blades have to have big fumbari
and an emphatic koshizori.
The shape of this kissaki is almost the same as the chu-kissaki
or ikubi-kissaki.
"CHU-KISSAKI"
It is the meaning of shape. "chu" means "middle".
The width and the length of the kissaki are in good proportion.
The length is a little bigger than the width.
It is common on a katana.
"O-KISSAKI"
It is a long kissaki. "O" means "large".
It looks emphatic for eyes.
The kissaki length is far larger than the width.
This type started in the 14th century.
It appears on a large blade, over 90 cm long.
The blade width also is large towards the kissaki and
it is proportional to the length.
But the thickness doesn't become large.
And a wavy hamon pattern (notare) were developed at the
same age as a set with long kissaki.
"IKUBI-KISSAKI"
It is a little short.
The kissaki width and the length is almost same or the
length is smaller than the
width.
It looks hard and steady.
It is the typical shape of tachi in 13th century.
This kissaki appears on broad and thick blades in the
period.
"KAMASU-KISSAKI"
The line from the start of the kissaki to the top of
it is almost straight.
Such a kissaki is especially called "kamasu-" even if
the kissaki is long or short.
It looks very sharp.
This type has a little different meaning than other types.
Because, this type is an original shape of the kissaki
before the 14th century.
So this type is very rare today.
The tip is very sharp and delicate so it is easy to be
broken in a fight.
The kissaki line easily becomes round by re-polishing
after use.
We can see kamasu type only in some old temple or shrine
as a treasure.
They were put in there before use to celebrate Buddha
or god.
Therefore we have to change the image of the kissaki
shape when we think about the original in the period of samurai living
before 14th century.
After the 15th century most of the kissaki shape is "chu-"
and "o-kissaki". There has never been seen "ikubi-" or "ko-kissaki".
"Regarding blade form and samurai culture in the history"
Some type of kissaki is typical in a particular period
of time.
Of course it comes from practical advantages in the fighting
style but that is not the only reason.
The spirit of the samurai culture makes the style of
each period.
The late Heian to the early Kamakura period
In the 12th century, the samurais' status is not so high.
They are guards of the nobility.
The government never stand without samurai but they don't
have political power.
They fight often for the political game of the nobilities.
And they are longing for the nobility culture.
In the battle field, the main weapon is the bow and arrow,
so the armour is heavy and hard.
The typical blade style in this period is big fumbari,
emphatic koshi-zori, and ko-kissaki.
It is elegant for the eyes and good to aim for the openings
in the armour.
But all blade is not the same so there are various types
of blades in every period.
I speak about just the typical type of each period.
The early Kamakura period to the middle
At the end of 12th century, samurais get their own government.
Officially, it is a guard of the emperor.
Blades become strong and powerful.
The late Kamakura period
In the late 13th century, Japan gets attacked by Mongols
twice.
Samurais fight very hard and then they have to prepare
for the third attack.
The period is very exciting and samurais are united against
the next invasion.
In this period the blade with an ikubi-kissaki is typical.
The strong blade with ikubi-kissaki is a symbol of the
samurai spirit in this age.
A short and thick kissaki may be heavy duty.
The Nambokucho period
In the early 14th century, the samurai government is
broken and two imperial governments appear.
Samurais fight each other for their emperors.
In this period there is no order in samurai society.
Each samurai tries to display themselves to emphasize
their power.
In this period, large and o-kissaki blades become typical.
So also is a very artificial wavy hamon and designed
engravings.
Such a blade is easy for the eyes to feel the power.
The Muromachi, Momoyama, and Edo period
After the 15th century, most of the blades have chu-kissaki
or o-kissaki.
There is no era that is a special kissaki type.
In history, the style of the blade is a fashion of the
period.
Probably it means the spirit of the samurai culture in
the period.
FUMBARI
Every blade has a form where the width and the thickness
becomes larger toward the tang.
Fumbari is a form that has a large rate of change on
the base.
It is a very important point to appreciate the shape
of blades.
The word "fumbari" means straddle or standing with power
on the legs.
This buddha
is "fumbari-ing". (a statue in Kamakura period)
Fumbari is very effective to make blades look steady
and strong.
Shortened blades have no fumbari even if it has large
width at the base.
For example, tachi blades in the Kamakura period (12-13c.)
have a big fumbari, so when they are shortened, the fumbari disappears
and the shape looks strange with its weak looking base.
Such blades still have a large width at the base but
the rate of the width becoming larger toward the tang is average.
An example of an original length tachi blade.
The left shows the fumbari of the original length blade.
The right is the same blade holding at a 10 cm shortened position.
It is difficult to explain the difference of feeling
because it is an optical effect, but very large.
You should feel it by handling a real blade.
An example of O-suriage katana blade.
It was born as long tachi blade in 14th century, then
it was shortened to the length that has no original tang.
It has no fumbari, even though it still has enough width.
A large width at the base and narrow head doesn't mean
it is a fumbari. Such form is just a "wide base and narrow head" or "large
tapered".
Fumbari is not a matter of width but it is a matter of
the rate of change.
Fumbari is a conscious width and thickness that becomes
larger at the base.
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