Katana

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A ***katana*** (刀, かたな or カタナ) is a Japanese sword characterized by a curved, single-edged blade with a circular or squared guard and long grip to accommodate two hands. Developed later than the *tachi*, it was used by samurai in feudal Japan and worn with the edge facing upward. Since the Muromachi period, many old *tachi* were cut from the root and shortened, and the blade at the root was crushed and converted into *katana*. The official term for *katana* in Japan is ***uchigatana*** (打刀) and the term *katana* (刀) often refers to single-edged swords from around the world.

## Etymology and Loanwords

The word *katana* first appears in Japanese in the *Nihon Shoki* of 720. The term is a compound of *kata* ("one side, one-sided") + *na* ("blade"), in contrast to the double-sided *tsurugi*. See more at the Wiktionary entry.

The *katana* belongs to the *nihontō* family of swords, and is distinguished by a blade length (*nagasa*) of more than 2 *shaku*, approximately 60 cm (24 in).

*Katana* can also be known as *dai* or *daitō* among Western sword enthusiasts, although *daitō* is a generic name for any Japanese long sword, literally meaning "big sword".

As Japanese does not have separate plural and singular forms, both *katanas* and *katana* are considered acceptable forms in English.

Pronounced [katana], the *kun'yomi* (Japanese reading) of the *kanji* 刀, originally meaning single edged blade (of any length) in Chinese, the word has been adopted as a loanword by the Portuguese. In Portuguese the designation (spelled *catana*) means "large knife" or machete.

## Description

The *katana* is generally defined as the standard sized, moderately curved (as opposed to the older *tachi* featuring more curvature) Japanese sword with a blade length greater than 60.6 cm (23.86 inches) (Japanese 2 Shaku). It is characterized by its distinctive appearance: a curved, slender, single-edged blade with a circular or squared guard (*tsuba*) and long grip to accommodate two hands.

With a few exceptions, *katana* and *tachi* can be distinguished from each other, if signed, by the location of the signature (*mei*) on the tang (*nakago*). In general, the *mei* should be carved into the side of the *nakago* which would face outward when the sword was worn. Since a *tachi* was worn with the cutting edge down, and the *katana* was worn with the cutting edge up, the *mei* would be in opposite locations on the tang.

Western historians have said that *katana* were among the finest cutting weapons in world military history. However, the main weapons on the battlefield in the Sengoku period in the 15th century were *yumi* (bow), *yari* (spear) and *tanegashima* (gun), and *katana* and *tachi* were used only for close combat. During this period, the tactics changed to a group battle by *ashigaru* (foot soldiers) mobilized in large numbers, so *naginata* (pole weapon) and *tachi* became obsolete as weapons on the battlefield and were replaced by *yari* and *katana*. In the relatively peaceful Edo period, *katana* increased in importance as a weapon, and at the end of the Edo period, *shishi* (political activists) fought many battles using *katana* as their main weapon. Throughout history, *katana* and *tachi* were often used as gifts between daimyo (feudal lord) and samurai, or as offerings to the *kami* enshrined in Shinto shrines, and symbols of authority and spirituality of samurai.

## History

The production of swords in Japan is divided into specific time periods:

* *Jōkotō* (ancient swords, until around 900)
* *Kotō* (old swords from around 900–1596)
* *Shintō* (new swords 1596–1780)
* *Shinshintō* (newer swords 1781–1876)
* *Gendaitō* (modern or contemporary swords 1876–present)

### *Kotō* (Old swords)

*Katana* originates from *sasuga* (刺刀), a kind of *tantō* (short sword or knife) used by lower-ranking samurai who fought on foot in the Kamakura period (1185–1333). Their main weapon was a long *naginata* and *sasuga* was a spare weapon. In the Nanboku-chō period (1336－1392) which corresponds to the early Muromachi period (1336－1573), long weapons such as *ōdachi* were popular, and along with this, *sasuga* lengthened and finally became *katana*. Also, there is a theory that *koshigatana* (腰刀), a kind of *tantō* which was equipped by high ranking samurai together with *tachi*, developed to *katana* through the same historical background as *sasuga*, and it is possible that both developed to *katana*. The oldest *katana* in existence today is called *Hishizukuri uchigatana*, which was forged in the Nanbokuchō period, and was dedicated to Kasuga Shrine later.

The first use of *katana* as a word to describe a long sword that was different from a *tachi*, occurs as early as the Kamakura Period. These references to "*uchigatana*" and "*tsubagatana*" seem to indicate a different style of sword, possibly a less costly sword for lower-ranking warriors. Starting around the year 1400, long swords signed with the *katana-*style *mei* were made. This was in response to *samurai* wearing their *tachi* in what is now called "*katana* style" (cutting edge up). Japanese swords are traditionally worn with the *mei* facing away from the wearer. When a *tachi* was worn in the style of a *katana*, with the cutting edge up, the *tachi*'s signature would be facing the wrong way. The fact that swordsmiths started signing swords with a *katana* signature shows that some *samurai* of that time period had started wearing their swords in a different manner.

Traditionally, *yumi* (bows) were the main weapon of war in Japan, and *tachi* and *naginata* were used only for close combat. The Ōnin War in the late 15th century in the Muromachi period expanded into a large-scale domestic war, in which employed farmers called *ashigaru* were mobilized in large numbers. They fought on foot using *katana* shorter than *tachi*. In the Sengoku period (period of warring states) in the late Muromachi period, the war became bigger and *ashigaru* fought in a close formation using *yari* (spears) lent to them. Furthermore, in the late 16th century, *tanegashima* (muskets) were introduced from Portugal, and Japanese swordsmiths mass-produced improved products, with *ashigaru* fighting with leased guns. On the battlefield in Japan, guns and spears became main weapons in addition to bows. Due to the changes in fighting styles in these wars, the *tachi* and *naginata* became obsolete among samurai, and the *katana*, which was easy to carry, became the mainstream. The dazzling looking *tachi* gradually became a symbol of the authority of high-ranking samurai.

On the other hand, *kenjutsu* (swordsmanship) that makes use of the characteristics of *katana* was invented. The quicker draw of the sword was well suited to combat where victory depended heavily on short response times. (The practice and martial art for drawing the sword quickly and responding to a sudden attack was called *Battōjutsu*, which is still kept alive through the teaching of Iaido.) The *katana* further facilitated this by being worn thrust through a belt-like sash (*obi*) with the sharpened edge facing up. Ideally, samurai could draw the sword and strike the enemy in a single motion. Previously, the curved *tachi* had been worn with the edge of the blade facing down and suspended from a belt.

From the 15th century, low-quality swords were mass-produced under the influence of the large-scale war. These swords, along with spears, were lent to recruited farmers called *ashigaru* and swords were exported. Such mass-produced swords are called *kazuuchimono*, and swordsmiths of the Bisen school and Mino school produced them by division of labor. The export of *katana* and *tachi* reached its peak during this period, from the late 15th century to early 16th century when at least 200,000 swords were shipped to Ming Dynasty China in official trade in an attempt to soak up the production of Japanese weapons and make it harder for pirates in the area to arm. In the Ming Dynasty of China, Japanese swords and their tactics were studied to repel pirates, and *wodao* and *miaodao* were developed based on Japanese swords.

From this period, the tang (*nakago*) of many old *tachi* were cut and shortened into *katana*. This kind of remake is called *suriage* (磨上げ). For example, many of the *tachi* that Masamune forged during the Kamakura period were converted into *katana*, so his only existing works are *katana* and *tantō*.

From the late Muromachi period (Sengoku period) to the early Edo period, *samurai* were sometimes equipped with a *katana* blade pointing downwards like a *tachi*. This style of sword is called *handachi*, "half *tachi*". In *handachi*, both styles were often mixed, for example, fastening to the *obi* was *katana* style, but metalworking of the scabbard was *tachi* style.

In the Muromachi period, especially the Sengoku period, people such as farmers, townspeople, and monks could have a sword. However, in 1588 Toyotomi Hideyoshi banned farmers from owning weapons and conducted a sword hunt to forcibly remove swords from anyone identifying as a farmer.

The length of the *katana* blade varied considerably during the course of its history. In the late 14th and early 15th centuries, *katana* blades tended to have lengths between 70 and 73 centimetres (28 and 29 in). During the early 16th century, the average length dropped about 10 centimetres (3.9 in), approaching closer to 60 centimetres (24 in). By the late 16th century, the average length had increased again by about 13 centimetres (5.1 in), returning to approximately 73 centimetres (29 in).

### *Shintō* (New swords)

Swords forged after 1596 in the Keichō period of the Azuchi–Momoyama period are classified as *shintō* (New swords). Japanese swords after *shintō* are different from *kotō* in forging method and steel (*tamahagane*). This is thought to be because Bizen school, which was the largest swordsmith group of Japanese swords, was destroyed by a great flood in 1590 and the mainstream shifted to Mino school, and because Toyotomi Hideyoshi virtually unified Japan, uniform steel began to be distributed throughout Japan. The *kotō* swords, especially the Bizen school swords made in the Kamakura period, had a *midare-utsuri* like a white mist between *hamon* and *shinogi*, but in the swords after *shintō* it has almost disappeared. In addition, the whole body of the blade became whitish and hard. Almost no one was able to reproduce *midare-utsurii* until Kunihira Kawachi reproduced it in 2014.
Sword fittings. *Tsuba* (top left) and *fuchigashira* (top right) made by Ishiguro Masayoshi in the 18th or 19th century. *Kogai* (middle) and *kozuka* (bottom) made by Yanagawa Naomasa in the 18th century, Edo period. Tokyo Fuji Art Museum.

As the Sengoku period (period of warring states) ended and the Azuchi-Momoyama period to the Edo period started, *katana*-forging also developed into a highly intricate and well-respected art form. Lacquered *saya* (scabbards), ornate engraved fittings, silk handles and elegant *tsuba* (handguards) were popular among *samurai* in the Edo Period, and eventually (especially when Japan was in peace time), katana became more cosmetic and ceremonial items than practical weapons. The Umetada school led by Umetada Myoju who was considered to be the founder of *shinto* led the improvement of the artistry of Japanese swords in this period. They were both swordsmiths and metalsmiths, and were famous for carving the blade, making metal accouterments such as *tsuba* (handguard), remodeling from *tachi* to *katana* (*suriage*), and inscriptions inlaid with gold.

During this period, the Tokugawa shogunate required samurai to wear *Katana* and shorter swords in pairs. These short swords were *wakizashi* and *tantō*, and *wakizashi* were mainly selected. This set of two is called a *daishō*. Only *samurai* could wear the *daishō*: it represented their social power and personal honour. *Samurai* could wear decorative sword mountings in their daily lives, but the Tokugawa shogunate regulated the formal sword that *samurai* wore when visiting a castle by regulating it as a *daisho* made of a black scabbard, a hilt wrapped with white ray skin and black string. Japanese swords made in this period are classified as *shintō*.

### *Shinshintō* (New new swords)

In the late 18th century, swordsmith Suishinshi Masahide criticized that the present *katana* blades only emphasized decoration and had a problem with their toughness. He insisted that the bold and strong *kotō* blade from the Kamakura period to the Nanboku-chō period was the ideal Japanese sword, and started a movement to restore the production method and apply it to *Katana*. *Katana* made after this is classified as a *shinshintō*. One of the most popular swordsmiths in Japan today is Minamoto Kiyomaro who was active in this *shinshintō* period. His popularity is due to his timeless exceptional skill, as he was nicknamed "Masamune in Yotsuya" after his disastrous life. His works were traded at high prices and exhibitions were held at museums all over Japan from 2013 to 2014.

The idea that the blade of a sword in the Kamakura period is the best has been continued until now, and as of the 21st century, 80% of Japanese swords designated as National treasure in Japan were made in the Kamakura period, and 70% of them were *tachi*.

The arrival of Matthew Perry in 1853 and the subsequent Convention of Kanagawa caused chaos in Japanese society. Conflicts began to occur frequently between the forces of *sonnō jōi* (尊王攘夷派), who wanted to overthrow the Tokugawa Shogunate and rule by the Emperor, and the forces of *sabaku* (佐幕派), who wanted the Tokugawa Shogunate to continue. These political activists, called the *shishi* (志士), fought using a practical *katana*, called the *kinnōtō* (勤皇刀) or the *bakumatsutō* (幕末刀). Their *katana* were often longer than 90 cm (35.43 in) in blade length, less curved, and had a big and sharp point, which was advantageous for stabbing in indoor battles.

### *Gendaitō* (Modern or contemporary swords)

#### Meji - World War ll

During the Meiji period, the *samurai* class was gradually disbanded, and the special privileges granted to them were taken away, including the right to carry swords in public. The Haitōrei Edict in 1876 forbade the carrying of swords in public except for certain individuals, such as former samurai lords (*daimyō*), the military, and the police. Skilled swordsmiths had trouble making a living during this period as Japan modernized its military, and many swordsmiths started making other items, such as farm equipment, tools, and cutlery. The craft of making swords was kept alive through the efforts of some individuals, notably Miyamoto Kanenori (宮本包則, 1830–1926) and Gassan Sadakazu (月山貞一, 1836–1918), who were appointed Imperial Household Artist. The businessman Mitsumura Toshimo (光村利藻, 1877－1955）tried to preserve their skills by ordering swords and sword mountings from the swordsmiths and craftsmen. He was especially enthusiastic about collecting sword mountings, and he collected about 3,000 precious sword mountings from the end of the Edo period to the Meiji period. About 1200 items from a part of his collection are now in the Nezu Museum.

Military action by Japan in China and Russia during the Meiji period helped revive interest in swords, but it was not until the Shōwa period that swords were produced on a large scale again. Japanese military swords produced between 1875 and 1945 are referred to as *guntō* (military swords).
Type 95, World War II era *guntō*
During the pre-World War II military buildup, and throughout the war, all Japanese officers were required to wear a sword. Traditionally made swords were produced during this period, but in order to supply such large numbers of swords, blacksmiths with little or no knowledge of traditional Japanese sword manufacture were recruited. In addition, supplies of the Japanese steel (*tamahagane*) used for swordmaking were limited, so several other types of steel were also used. Quicker methods of forging were also used, such as the use of power hammers, and quenching the blade in oil, rather than hand forging and water. The non-traditionally made swords from this period are called *shōwatō*, after the regnal name of the Emperor Hirohito, and in 1937, the Japanese government started requiring the use of special stamps on the tang (*nakago*) to distinguish these swords from traditionally made swords. During this period of war, older antique swords were remounted for use in military mounts. Presently, in Japan, *shōwatō* are not considered to be "true" Japanese swords, and they can be confiscated. Outside Japan, however, they are collected as historical artifacts.

#### Post-World War ll

Between 1945 and 1953, sword manufacture and sword-related martial arts were banned in Japan. Many swords were confiscated and destroyed, and swordsmiths were not able to make a living. Since 1953, Japanese swordsmiths have been allowed to work, but with severe restrictions: swordsmiths must be licensed and serve a five-year apprenticeship, and only licensed swordsmiths are allowed to produce Japanese swords (*nihonto*), only two longswords per month are allowed to be produced by each swordsmith, and all swords must be registered with the Japanese Government.

Outside Japan, some of the modern *katanas* being produced by western swordsmiths use modern steel alloys, such as L6 and A2. These modern swords replicate the size and shape of the Japanese *katana* and are used by martial artists for *iaidō* and even for cutting practice (*tameshigiri*).

Mass-produced swords including *iaitō* and *shinken* in the shape of *katana* are available from many countries, though China dominates the market. These types of swords are typically mass-produced and made with a wide variety of steels and methods.

According to the Parliamentary Association for the Preservation and Promotion of Japanese Swords, organized by Japanese Diet members, many *katana* distributed around the world as of the 21st century are fake Japanese swords made in China. The *Sankei Shimbun* analyzed that this is because the Japanese government allowed swordsmiths to make only 24 Japanese swords per person per year in order to maintain the quality of Japanese swords.

Many swordsmiths after the Edo period have tried to reproduce the sword of the Kamakura period which is considered as the best sword in the history of Japanese swords, but they have failed. Then, in 2014, Kunihira Kawachi succeeded in reproducing it and won the Masamune Prize, the highest honor as a swordsmith. No one could win the Masamune Prize unless he made an extraordinary achievement, and in the section of *tachi* and *katana*, no one had won for 18 years before Kawauchi.

## Types

*Katana* are distinguished by their type of blade:

* *Shinogi-Zukuri* is the most common blade shape for Japanese katana that provides both speed and cutting power. It features a distinct yokote: a line or bevel that separates the finish of the main blade and the finish of the tip. Shinogi-zukuri was originally produced after the Heian period.
* *Shobu-Zukuri* is a variation of *shinogi-zukuri* without a *yokote*, the distinct angle between the long cutting edge and the point section. Instead, the edge curves smoothly and uninterrupted into the point.
* *Kissaki-Moroha-Zukuri* is a katana blade shape with a distinctive curved and double-edged blade. One edge of the blade is shaped in normal *katana* fashion while the tip is symmetrical and both edges of the blade are sharp.

## Forging and Construction

Typical features of Japanese swords represented by *katana* and *tachi* are a three-dimensional cross-sectional shape of an elongated pentagonal to hexagonal blade called *shinogi-zukuri*, a style in which the blade and the tang (*nakago*) are integrated and fixed to the hilt (*tsuka*) with a pin called *mekugi*, and a gentle curve. When a *shinogi-zukuri* sword is viewed from the side, there is a ridge line of the thickest part of the blade called *shinogi* between the cutting-edge side and the back side. This *shinogi* contributes to lightening and toughening of the blade and high cutting ability.

*Katana* are traditionally made from a specialized Japanese steel called *tamahagane*, which is created from a traditional smelting process that results in several, layered steels with different carbon concentrations. This process helps remove impurities and even out the carbon content of the steel. The age of the steel plays a role in the ability to remove impurities, with older steel having a higher oxygen concentration, being more easily stretched and rid of impurities during hammering, resulting in a stronger blade. The smith begins by folding and welding pieces of the steel several times to work out most of the differences in the steel. The resulting block of steel is then drawn out to form a billet.

At this stage, it is only slightly curved or may have no curve at all. The *katana*'s gentle curvature is attained by a process of differential hardening or differential quenching: the smith coats the blade with several layers of a wet clay slurry, which is a special concoction unique to each sword maker, but generally composed of clay, water and any or none of ash, grinding stone powder, or rust. This process is called *tsuchioki*. The edge of the blade is coated with a thinner layer than the sides and spine of the sword, heated, and then quenched in water (few sword makers use oil to quench the blade). The slurry causes only the blade's edge to be hardened and also causes the blade to curve due to the difference in densities of the micro-structures in the steel. When steel with a carbon content of 0.7% is heated beyond 750 °C, it enters the austenite phase. When austenite is cooled very suddenly by quenching in water, the structure changes into martensite, which is a very hard form of steel. When austenite is allowed to cool slowly, its structure changes into a mixture of ferrite and pearlite which is softer than martensite. This process also creates the distinct line down the sides of the blade called the *hamon*, which is made distinct by polishing. Each *hamon* and each smith's style of *hamon* is distinct.
Example of a *hamon*
After the blade is forged, it is then sent to be polished. The polishing takes between one and three weeks. The polisher uses a series of successively finer grains of polishing stones in a process called glazing, until the blade has a mirror finish. However, the blunt edge of the *katana* is often given a matte finish to emphasize the *hamon*.

Japanese swords are generally made by a division of labor between six and eight craftsmen. *Tosho* (*Toko*, *Katanakaji*) is in charge of forging blades, *togishi* is in charge of polishing blades, *kinkosi* (*chokinshi*) is in charge of making metal fittings for sword fittings, *shiroganeshi* is in charge of making *habaki* (brade collar), *sayashi* is in charge of making scabbards, *nurishi* is in charge of applying lacquer to scabbards, *tsukamakishi* is in charge of making hilt, and *tsubashi* is in charge of making tsuba (hand guard). *Tosho* use apprentice swordsmiths as assistants. Prior to the Muromachi period, *tosho* and *kacchushi* (armorer) used surplus metal to make *tsuba*, but from the Muromachi period onwards, specialized craftsmen began to make *tsuba*. Nowadays, *kinkoshi* sometimes serves as *shiroganeshi* and *tsubashi*.

## Appreciation

Historically, katana have been regarded not only as weapons but also as works of art, especially for high-quality ones. For a long time, Japanese people have developed a unique appreciation method in which the blade is regarded as the core of their aesthetic evaluation rather than the sword mountings decorated with luxurious lacquer or metal works.

It is said that the following three objects are the most noteworthy objects when appreciating a blade. The first is the overall shape referred to as *sugata*. Curvature, length, width, tip, and shape of tang of the sword are the objects for appreciation. The second is a fine pattern on the surface of the blade, which is referred to as *hada* or *jigane*. By repeatedly folding and forging the blade, fine patterns such as fingerprints, tree rings and bark are formed on its surface. The third is *hamon*. Hamon is a white pattern of the cutting edge produced by quenching and tempering. The object of appreciation is the shape of hammon and the crystal particles formed at the boundary of hammon. Depending on the size of the particles, they can be divided into two types, a *nie* and a *nioi*, which makes them look like stars or mist. In addition to these three objects, a swordsmith signature and a file pattern engraved on tang, and a carving inscribed on the blade, which is referred to as *horimono*, are also the objects of appreciation.
A Japanese sword authentication paper (Origami) from 1702 that Hon'ami Kōchū certified a *tantō* made by Yukimitsu in the 14th century as authentic.

The Hon'ami clan, which was an authority of appraisal of Japanese swords, rated Japanese swords from these artistic points of view. In addition, experts of modern Japanese swords judge when and by which swordsmith school the sword was made from these artistic points of view.

Generally, the blade and the sword mounting of Japanese swords are displayed separately in museums, and this tendency is remarkable in Japan. For example, the Nagoya Japanese Sword Museum "Nagoya Touken World", one of Japan's largest sword museums, posts separate videos of the blade and the sword mounting on its official website and YouTube.

## Rating of Japanese Swords and Swordsmiths

In Japan, Japanese swords are rated by authorities of each period, and some of the authority of the rating is still valid today.

In 1719, Tokugawa Yoshimune, the 8th shogun of the Tokugawa shogunate, ordered Hon'ami Kōchū, who was an authority of sword appraisal, to record swords possessed by *daimyo* all over Japan in books. In the completed "*Kyōhō Meibutsu Chō*" (享保名物帳) 249 precious swords were described, and additional 25 swords were described later. The list also includes 81 swords that had been destroyed in previous fires. The precious swords described in this book were called "*Meibutsu*" (名物) and the criteria for selection were artistic elements, origins and legends. The list of "Meibutsu" includes 59 swords made by Masamune, 34 by Awataguchi Yoshimitsu and 22 by Go Yoshihiro, and these three swordsmiths were considered special. *Daimyo* hid some swords for fear that they would be confiscated by the Tokugawa Shogunate, so even some precious swords were not listed in the book. For example, *Daihannya Nagamitsu* and *Yamatorige*, which are now designated as National Treasures, were not listed.
Katana forged by Nagasone Kotetsu. The letters inlaid with gold on the tang (*nakago*) indicated that Yamano Kauemon (山野加右衛門), the official executioner of the Tokugawa shogunate and examiner of sword cutting performance, cut the four human torso overlapped.

Yamada Asaemon V, who was the official sword cutting ability examiner and executioner of the Tokugawa shogunate, published a book "*Kaiho Kenjaku*" (懐宝剣尺) in 1797 in which he ranked the cutting ability of swords. The book lists 228 swordsmiths, whose forged swords are called "*Wazamono*" (業物) and the highest "*Saijo Ō Wazamono*" (最上大業物) has 12 selected. In the reprinting in 1805, one swordsmith was added to the highest grade, and in the major revised edition in 1830 "*Kokon Kajibiko*" (古今鍛冶備考), two swordsmiths were added to the highest grade, and in the end, 15 swordsmiths were ranked as the highest grade. The *katana* forged by Nagasone Kotetsu, one of the top-rated swordsmith, became very popular at the time when the book was published, and many counterfeits were made. In these books, the three swordsmiths treated specially in "*Kyōhō Meibutsu Chō*" and Muramasa, who was famous at that time for forging swords with high cutting ability, were not mentioned. The reasons for this are considered to be that Yamada was afraid of challenging the authority of the shogun, that he could not use the precious sword possessed by the daimyo in the examination, and that he was considerate of the legend of Muramasa's curse.
A *katana* forged by *Magoroku Kanemoto*. (*Saijo Ō Wazamono*) Late Muromachi period. (top) Katana mounting, Early Edo period. (bottom)

At present, by the Law for the Protection of Cultural Properties, important swords of high historical value are designated as Important Cultural Properties (*Jūyō Bunkazai*, 重要文化財), and special swords among them are designated as National Treasures (*Kokuhō*, 国宝). The swords designated as cultural properties based on the law of 1930, which was already abolished, have the rank next to Important Cultural Properties as Important Art Object (*Jūyō Bijutsuhin*, 重要美術品). In addition, The Society for Preservation of Japanese Art Swords, a public interest incorporated foundation, rates high-value swords in four grades, and the highest grade Special Important Sword (*Tokubetsu Juyo Token*, 特別重要刀剣) is considered to be equivalent to the value of Important Art Object. Although swords owned by the Japanese Imperial Family are not designated as National Treasures or Important Cultural Properties because they are outside the jurisdiction of the Law for the Protection of Cultural Properties, there are many swords of the National Treasure class, and they are called "*Gyobutsu*" (御物).

Currently, there are several authoritative rating systems for swordsmiths. According to the rating approved by the Japanese government, from 1890 to 1947, two swordsmiths who were appointed as Imperial Household Artist and after 1955, six swordsmiths who were designated as Living National Treasure are regarded as the best swordsmiths. According to the rating approved by The Society for Preservation of Japanese Art Swords, a public interest incorporated foundation, 39 swordsmiths who were designated as *Mukansa* (無鑑査) since 1958 are considered to be the highest ranking swordsmiths. The best sword forged by Japanese swordsmiths is awarded the most honorable Masamune prize by The Society for Preservation of Japanese Art Swords. Since 1961, eight swordsmiths have received the Masamune Prize, and among them, three swordsmiths, Masamine Sumitani, Akitsugu Amata and Toshihira Osumi, have received the prize three times each and Sadakazu Gassan II has received the prize two times. These four people were designated both Living National Treasures and *Mukansa*.

## Usage in Martial Arts

*Katana* were used by *samurai* both in the battlefield and for practicing several martial arts, and modern martial artists still use a variety of *katana*. Martial arts in which training with *katana* is used include *iaijutsu*, *battōjutsu*, *iaidō*, *kenjutsu*, *kendō*, *ninjutsu* and *Tenshin Shōden Katori Shintō-ryū*. However, for safety reasons, katana used for martial arts are usually blunt edged, to reduce the risk of injury. Sharp katana are only really used during tameshigiri (blade testing), where a practitioner practices cutting a bamboo or tatami straw post.

## Storage and Maintenance

If mishandled in its storage or maintenance, the *katana* may become irreparably damaged. The blade should be stored horizontally in its sheath, curve down and edge facing upward to maintain the edge. It is extremely important that the blade remain well-oiled, powdered and polished, as the natural moisture residue from the hands of the user will rapidly cause the blade to rust if not cleaned off. The traditional oil used is chōji oil (99% mineral oil and 1% clove oil for fragrance). Similarly, when stored for longer periods, it is important that the *katana* be inspected frequently and aired out if necessary in order to prevent rust or mold from forming (mold may feed off the salts in the oil used to polish the blade).

## World Records

Multiple sword world records were made with a katana and verified by Guinness World Records. Iaido master Isao Machii set the record for "Most martial arts katana cuts to one mat (suegiri)", "Fastest 1,000 martial arts sword cuts", "Most sword cuts to straw mats in three minutes", and "Fastest tennis ball (708km/h) cut by sword". There are various records for Tameshigiri. For example the Greek Agisilaos Vesexidis set the record for most martial arts sword cuts in one minute (73) on 25 June 2016.

## Ownership and Trade Restrictions

### Republic of Ireland

Under the Firearms and Offensive Weapons Act 1990 (Offensive Weapons) (Amendment) Order 2009, katanas made post-1953 are illegal unless made by hand according to traditional methods.

### United Kingdom

As of April 2008, the British government added swords with a curved blade of 50 cm (20 in) or over in length ("the length of the blade shall be the straight line distance from the top of the handle to the tip of the blade") to the Offensive Weapons Order. This ban was a response to reports that *samurai* swords were used in more than 80 attacks and four killings over the preceding four years. Those who violate the ban would be jailed up to six months and charged a fine of £5,000. Martial arts practitioners, historical re-enactors and others may still own such swords. The sword can also be legal provided it was made in Japan before 1954, or was made using traditional sword making methods. It is also legal to buy if it can be classed as a "martial artist's weapon". This ban applies to England, Wales, Scotland and Northern Ireland. This ban was amended in August 2008 to allow sale and ownership without licence of "traditional" hand-forged *katana*.

## Popular Culture

* Katana swords are a common weapon for characters in anime and manga who fight using a sword.
* Two katana swords were the standard weapons of Leonardo in the *Teenage Mutant Ninja Turtles* franchise. One was also used by Miyamoto Usagi, the virtuous rabbit ronin who occasionally teamed up with the Ninja Turtles and became a brotherly figure to Leonardo due to both being swordsmen and valuing honour.
* In *Fist of Legend*, General Fujita uses a katana as he tries to kill the main hero Chen and his mentor Huo.
* In *Samurai Jack*, the title character wielded a mystic katana sword.
* A katana sword was a standard weapon of Deathstroke, a mercenary from DC Comics.
* A katana sword was used by the Silver Samurai, a samurai crime boss from Marvel Comics.
* A katana sword was used by Samurai Org in *Power Rangers Wild Force*.
* A katana sword is used by Youmu Konpaku from the *Touhou Project* video game series.
* A katana named Yamato is wielded by Vergil (Devil May Cry) from the Devil May Cry series.