Sword polishing is part of Japanese swordsmithing where a blade is polished after forging. It gives the shining appearance and beauty to the sword.

Polishing

When the rough blade is completed, the swordsmith turns the blade over to a polisher called a togishi, whose job it is to refine the shape of a blade and improve its aesthetic value. The entire process takes considerable time, in some cases easily up to several weeks. Early polishers used three types of stone, whereas a modern polisher generally uses seven. The modern high level of polish was not normally done before around 1600, since greater emphasis was placed on function over form. The polishing process almost always takes longer than even crafting, and a good polish can greatly improve the beauty of a blade, while a bad one can ruin the best of blades. More importantly, inexperienced polishers can permanently ruin a blade by badly disrupting its geometry or wearing down too much steel, both of which effectively destroy the sword's monetary, historic, artistic, and functional value.

On high quality blades, only the back of the blade and the adjacent sides, (called the shinogi-ji), are polished to a mirror-like surface. To bring out the grain and hamon, the center portion of the blade, (called the hira), and the edge, (the ha), are usually given a matte finish. Microscopic scratches in the surface vary, depending on hardness. Smaller but more numerous scratches in the harder areas reflect light differently than the deeper, longer scratches in the softer areas. The harder metal appears more matte than the softer, and the manner in which it scatters light is less affected by the direction of the lighting.

Stages

The process is divided into two stages: Shitaji togi (Foundation polishing) and Shiage togi (Finish polishing).

Shitaji togi

Shitaji togi sets the geometry of the blade and encompasses all main stages; utilizing large waterstones of increasingly finer grit

Mesh (scale)

Mesh material is often used in determining the particle size distribution of a granular material. For example, a sample from a truckload of peanuts may be placed atop a mesh with 5 mm openings. When the mesh is shaken, small broken pieces and dust pass through the mesh while whole peanuts are...

. The sword is first inspected for straightness: If it isn't straight for whatever reasons, the duty of correcting it falls to the polisher. Straightening usually involves using wooden jigs to correct any bends in the blade. From this point on, a polisher works to form and grind surfaces and geometry as needed; note that these stages are also where damage is repaired through careful reshaping. The relatively small point area of the blade, the kissaki, is distinct enough that it must be worked on by dividing the polishing among smaller subregions. Any present hi (fullers

Fuller (weapon)

A fuller is a rounded or beveled groove or slot in the flat side of a blade . A fuller is often used to lighten the blade, much in the way that an I-beam shape allows a given amount of strength to be achieved with less material...

) are also polished but not with the large main stones, instead a variety of methods are used including smaller-sized stones, a migaki-bo (hardened-steel burnish

Burnish

Burnishing is a form of pottery treatment in which the surface of the pot is polished, using a hard smooth surface such as a wooden or bone spatula, smooth stones, plastic, or even glass bulbs, while it still is in a leathery 'green' state, i.e., before firing. After firing, the surface is...

ing needle) or even fine-grit sandpaper

Sandpaper

Sandpaper, also known as glasspaper, is a heavy paper with abrasive material attached to its surface.Sandpaper is part of the "coated abrasives" family of abrasive products. It is used to remove small amounts of material from surfaces, either to make them smoother , to remove a layer of material...

.

Artificial waterstones are nowadays used for the foundation polishing stage, but almost never used for finishing, as they will produce inferior results compared to natural stones.

Shiage togi

Shiage togi is the stage that places the mirrorlike finish on a blade; the most notable differences between this and the previous stage are that the stones are of considerably smaller size, and that the blade remains stationary, instead having the abrasive

Abrasive

An abrasive is a material, often a mineral, that is used to shape or finish a workpiece through rubbing which leads to part of the workpiece being worn away...

s and tools moved over it. In this stage, a blade is painstakingly worked on section by section, using wafer-thin slices cut from the main stones. After this is done, the blade's look will still be slightly unbalanced, and is corrected with a special nugui mixture that adjusts it. This stage is also where the yokote line is brought out; it may be either artificial or following the existing line (more often than not however, they are usually lost during a prior polishing stage). The final major step involves fully burnishing the rear and sides.

The finishing process brings out and enhances all details of a blade so that they are readily visible for observation and analysis, which entails results that must be free of any visual imperfections.

Hamon finishes

There are two main styles of hamon

Hamon (swordsmithing)

In swordsmithing, is a visual effect created on the blade by the hardening process. Blades made in this manner are known as differentially hardened, with a harder ha than mune as a result of clay applied on the blade during the cooling process...

finishes, "hadori" and "sashikomi nugui".

Hadori

The hadori style is named after the hadori stone used, a waterstone selected for its slightly greater coarseness which helps lighten the hamon and make it stand out against surrounding areas. The hadori style cannot exactly replicate the hamon as the finishing is actually a trace of the original; thus its quality depends mainly on the nature of the hamon itself, available equipment and the skill of the polisher. This process is relatively new, having been developed in the past century.

Sashikomi nugui

The shashikomi nugui style is named after the nugui mixture used to produce the final effect. First, the entire hamon is run over by a hazuya stone, a process which also is done to the jihada as well. Next a jizuya stone is used to bring out the hada or grain of the blade. Sashikomi nugui is usually composed of magnetite or tsushima and other compounds depending upon the desired color for the jihada. The nugui mixture is applied to the whole blade and if properly done, the hamon will whiten slightly but surrounding areas will darken considerably. In this case, the hamon's appearance is exactly preserved. This process is normally only done on blades with well-defined hamons and grain patterns.

Evaluation

Polishing is a crucial step in preparing a blade for analysis, since it brings out and enhances all external details as mentioned earlier. This is important because details such as the shape, geometry, particular proportions, appearance of the hamon and grain pattern and so on, are distinctive enough that they can be used to accurately determine the heritage and origin of a blade. As such, they can be considered a more trustworthy signature of a smith than the actual signature itself.

A good polishing reveals what speed the edge was cooled at, from what temperature, and what the carbon content of the steel is. It does this by displaying either predominantly nioi (匂), which is a mix of extremely fine martensite with troostite (another type of tempered steel), or the larger martensite crystals called nie (錵), which look like individual dot-like mirrors.