Freagra gasta: is fusa katana a thuiscint i dtrí ghrúpa: an lann, an lámh agus na feistis, agus an saya nó an truaill. Is gnách go dtaispeánann grianghraif táirge an triúr acu, ach is minic a chailleann ceannaitheoirí na téarmaí beaga a mhíníonn a bhfuil á fheiceáil acu.
Coinníonn an treoir seo an téarmeolaíocht praiticiúil. Níl sé i gceist gach cuairteoir a iompú ina staraí; cabhraíonn sé leat leathanaigh táirge, roghanna saincheaptha, agus grianghraif claímh a léamh le níos mó muiníne.
NIMOFAN field guide · source-verified V1
Select a label to see where the term belongs on a representative NIMOFAN katana. Some labels describe visible fittings, while others describe a blade feature or measurement rather than a removable part. Fittings, finishes, proportions, and construction details vary by model.
Drawn view · representative NIMOFAN katana
Exploded fittings view · not a disassembly photograph
Blade labels are ready. Hover to preview on desktop, or select a label on any device.
Hover to preview on desktop. Click, press Enter or Space, or tap to lock the numbered location and read its source boundary.
1 / Blade — Tōshin
Tōshin refers to the steel blade itself. In this view, the exposed blade runs from immediately in front of the habaki to the kissaki; the concealed tang is identified separately as nakago.
Source boundary: Do not use nagasa as the Japanese name for the blade, and do not infer the concealed tang or internal construction from this exterior view.
2 / Kissaki
The kissaki is the point section at the end of the blade. Its outline is easiest to compare in a clear side view, while the transition into the tip may require a close-up.
Source boundary: Do not infer polish quality or geometry from a distant photograph.
3 / Yokote
The yokote is the line that separates the kissaki from the main body of many shinogi-zukuri blades. Some blade geometries do not show a distinct yokote.
Source boundary: Do not present the feature as universal.
4 / Ha
The ha is the cutting-edge side of the blade. A photograph can identify its location, but sharpness and edge condition must be confirmed from the specific product information.
Source boundary: Never infer sharpness or cutting readiness from the diagram.
5 / Mune
The mune is the back or spine of the blade opposite the cutting edge. It helps readers orient the blade in side-view and cross-section diagrams.
Source boundary: The image does not prove spine thickness or cross-section.
6 / Shinogi
The shinogi is the longitudinal ridge found on many katana blade geometries. Angled light normally reveals it more clearly than a flat side photograph.
Source boundary: Do not claim every blade has the same ridge geometry.
7 / Hamon
Hamon refers to the visible pattern associated with differential hardening on traditionally treated blades. A decorative or etched line can look similar, so the specific product description must confirm the process.
Source boundary: Do not equate every visible line with clay tempering.
8 / Bo-hi
A bo-hi is a groove running along part of the blade. It is a design and geometry feature, not a standard component on every katana.
Source boundary: Do not promise weight, sound or performance effects for the pictured product without evidence.
9 / Boshi
Boshi is the continuation of a hardened pattern into the kissaki on a differentially hardened blade. It normally requires suitable polish, lighting and close inspection to identify.
Source boundary: Do not place a confident hotspot when the selected photograph cannot show it.
10 / Nagasa
Nagasa is the blade-length measurement taken in a straight line from the notch near the habaki to the tip. It is a measurement, not a removable part of the sword.
Source boundary: Use an illustrative measurement line; do not publish a product dimension unless verified.
11 / Sori
Sori describes the curvature of the blade. It is measured rather than removed, and the amount and location of curvature vary by blade.
Source boundary: Do not label it as a fitting or universal curve value.
12 / Habaki
The habaki is the collar fitted around the base of the blade immediately in front of the guard assembly. It is also the part that seats at the mouth of the saya.
Source boundary: Material and exact fit belong to the specific product.
13 / Seppa
Seppa are thin spacers positioned around the tsuba in the mounting. In an assembled side view, only their edges may be visible.
Source boundary: Do not claim a fixed number for every mounting.
14 / Tsuba
The tsuba is the guard between the blade and handle. Its shape, material and decoration vary widely, making it one of the easiest fittings to identify in product photographs.
Source boundary: Do not infer material or historical style without product evidence.
15 / Fuchi
The fuchi is the collar at the front end of the tsuka, next to the guard assembly. It is commonly paired visually with the kashira at the other end.
Source boundary: Pairing and material vary by mounting.
16 / Tsuka
The tsuka is the handle assembly of the sword. It can include a wood core, surface panels, wrap, ornaments, pins and metal fittings, but the exact construction must be checked for the specific model.
Source boundary: Do not imply one construction method across all products.
17 / Samegawa
Samegawa refers to the ray-skin surface traditionally used on the tsuka. On production swords, the visible texture and material specification should be confirmed from the product listing.
Source boundary: Do not call a texture genuine ray skin unless verified.
18 / Tsuka-ito
Tsuka-ito is the wrap around the handle. Color, material, tension and wrapping pattern are model-specific and should be judged from current product media and specifications.
Source boundary: The explorer identifies the wrap but does not certify its material or tightness.
19 / Menuki
Menuki are small ornaments positioned beneath or within the handle wrap. Their design and placement can be partly hidden by the ito.
Source boundary: Do not infer material, age or symbolic meaning without evidence.
20 / Mekugi
Mekugi are pins used in the blade-and-handle assembly. A side photograph may show their exposed ends, but the number, material and internal fit require product-specific confirmation.
Source boundary: Do not promise a number, material or performance based on appearance alone.
21 / Kashira
The kashira is the fitting at the end of the tsuka. It finishes the handle visually and forms part of the mounting assembly.
Source boundary: Exact construction and fastening vary.
22 / Saya
The saya is the scabbard that houses the blade. Its finish, color, fittings and fit vary by model, so the explorer identifies the object rather than certifying its materials or retention.
Source boundary: Do not infer wood, lacquer or fit from a generic photograph.
23 / Koiguchi
The koiguchi is the opening or mouth of the saya where the habaki seats when the sword is sheathed. It is easiest to identify in a close view of the upper end of the scabbard.
Source boundary: Do not claim fit quality from the visual alone.
24 / Kurigata
The kurigata is the projection on the saya through which the sageo is routed or attached. Its form and position vary with the mounting.
Source boundary: Not every scabbard presentation uses the same fitting.
25 / Sageo
The sageo is the cord attached to the saya at the kurigata. Its color, material and tying style are specific to the mounting shown.
Source boundary: Do not claim traditional material or use without product evidence.
26 / Kojiri
Kojiri refers to the lower end of the saya and, in some mountings, the fitting that protects or decorates that end. It may be plain or fitted depending on the sword.
Source boundary: Do not imply a separate metal fitting when the selected saya does not have one.
27 / Nakago
The nakago is the tang: the section of the blade concealed inside the tsuka. Because it is hidden in an assembled sword, it should be shown only in a verified schematic or disassembly photograph.
Source boundary: Never invent its length, shape, holes or signature from the exterior image.
Exploded view separates only source-supported visible groups. Measurements and concealed structures never move as parts.
Shown on a representative NIMOFAN katana; fittings, materials, finishes, proportions, and construction details vary by model.
Is úsáidí na téarmaí lann nuair a dhéanann tú comparáid idir grianghraif lánfhad agus grianghraif garlíne. Míníonn siad cruth, imeall, cuar agus líne amhairc an chruach.
| Téarma | Bré an Bhéarla shimplí | Cad ba cheart a sheiceáil ar leathanach táirge |
|---|---|---|
| Kissaki | Barr nó pointe na lainne. | Féach ar chruth an bharra agus an bhfuil na grianghraif garlíne soiléir. |
| Ha / Hasaki | An limistéar gearrtha. | Seiceáil an gcuireann an liostú roghanna géar nó neamhgéar ar fáil. |
| Mune | Cúl-imeall nó drom na lainne. | Úsáid grianghraif taobh chun tiús agus próifíl na lainne a thuiscint. |
| Hamon | An líne théimhrithe infheicthe nó an líne amhairc ar stíl hamon ar an lann. | Ná glac leis go gciallaíonn gach líne infheicthe an chóireáil teasa chéanna. Léigh sonraí cruach agus teannadh an táirge. |
| Nagasa | Fad na lainne, a thomhaistear de ghnáth ón mbonn go dtí an barr. | Úsáid é seo in éineacht leis an bhfad iomlán chun spás taispeána agus ionchais loingseoireachta a mheas. |
| Sori | Cuaire an lann. | Déan comparáid idir grianghraif lánfhaid; athraíonn an chuaire mothú an chlaímh iomláin. |
| Shinogi / Shinogi-ji | An líne iomaire agus an t-achar réidh in aice léi ar go leor cruthanna lann katana. | Is fusa iad seo a mheas i ngrianghraif shoiléire uillíneacha ná in ainmneacha táirgí. |
Cabhraíonn téarmaí garra agus feistis leat stíl, compord agus carachtar taispeána a chur i gcomparáid. Ar go leor leathanach táirgí, cruthaíonn na sonraí seo an difríocht amhairc is láidre idir dhá chlaíomh atá cosúil le chéile ar shlí eile.
Tsuka is ea an garra. Ito is ea an fillteán. Samegawa tagraíonn sé do uigeacht i stíl chraiceann roic faoin bhfillteán nó timpeall air. Seiceáil dath, patrún an fhillteáin, agus an bhfuil an garra ag teacht le téama iomlán an chlaímh.
Tsuba is an garda é. Seppa is spásairí in aice an gharda iad. Habaki is é an collar lann. Is féidir leis na páirteanna beaga miotail seo claíomh a dhéanamh simplí, ornáideach, spreagtha ag anime, nó traidisiúnta.
Fuchi is é an collar láimhe, kashira is é an pommel, agus menuki is ornáidí greama iad. Tá siad beag, ach is minic a shocraíonn siad an mothaíonn claíomh taispeána críochnaithe.
Ní stóráil amháin atá sa saya. I ngrianghraif ríomhthráchtála, is minic a rialaíonn sé an chéad tuiscint mar is furasta dath, snas, corda agus feistis a fheiceáil fiú sula dtarraingítear an lann.
| Téarma | Ciall | Nóta ceannaitheora |
|---|---|---|
| Saya | An scabbard. | Déan comparáid idir dath, críochnú, patrún, agus an chaoi a bhfuil sé le feiceáil in aice leis an lámh. |
| Koiguchi | Béal an truaill. | Mionsonra beag de ghnáth, ach tá sé tábhachtach i ngrianghraif chóngaracha saincheaptha. |
| Sageo | An corda atá ceangailte leis an truaill. | Is féidir le dath agus stíl an cheangail dul i bhfeidhm ar chuma iomlán an taispeántais. |
| Shirasaya | Stíl shimplí feistithe adhmaid. | Ná measc é le feistiú maisiúil iomlán katana. |
| Maisiú ar stíl Kozane | Dromchla maisiúil ar nós sceall a úsáidtear ar roinnt dearaí truaill saincheaptha. | Is rogha amhairc saincheaptha é seo, ní cuid chaighdeánach de gach katana. |
Úsáid na téarmaí chun a sheiceáil an bhfuil grianghraif an táirge ag teacht leis an teideal. Ba chóir go dtaispeánfadh leathanach réamhdhéanta maith an lann, an tsuka, an tsuba, an saya, agus an fad iomlán go soiléir go leor le haghaidh comparáide.
Bíonn cinntí katana saincheaptha níos éasca nuair a dhealaíonn tú an lann, an snas, na feistis, an lámh-fhilleadh, an saya, agus an inscríbhinn. Fiafraigh faoi shonraí go luath mar is féidir le hathruithe móra am breise a chur leis nuair a thosaíonn an táirgeadh.
Cabhraíonn ainmneacha carachtar leat an réimse ceart a aimsiú, ach ba cheart an rogha deiridh a bheith bunaithe ar mheáin táirge iarbhír agus ar shonraíochtaí. Níor cheart claimhte spreagtha a mheas mar earraí oifigiúla mura luaitear go soiléir é.
Ná húsáid na leathanaigh seo ach amháin nuair a thugann siad freagra ar do chéad cheist eile. Is é an sprioc comparáid a dhéanamh níos éasca, ní gach rud a chliceáil.
Tosaigh le fad na lainne, críochnú na lainne, tsuba, tsuka, saya agus rogha an chiumhais. Is iad seo na sonraí is dóichí a mbíonn tionchar acu ar chuma an taispeántais agus ar ionchais an cheannaitheora.
Níl. Ba chóir líne hamon nó líne ar nós hamon atá le feiceáil a sheiceáil i gcoinne thuairisc an táirge. Léigh na sonraí cruach agus teannadh atá liostaithe sula ngabhann tú i mbun talamh a dhéanamh ar conas a rinneadh an lann.
Is é tsuka an láimhseáil. Is é saya an truaill. Bíonn tionchar ag an tsuka ar ghreim agus ar chuma na láimhe; bíonn tionchar ag an saya ar stóráil, ar chothromaíocht datha, agus ar stíl taispeána.
Ligeann go leor tógálacha saincheaptha duit stíl na lainne, cruach, snas, tsuba, fillteán láimhe, saya, feistis, agus inscríbhinn a roghnú. Seiceáil an tógálaí saincheaptha agus déan teagmháil le NIMOFAN má tá sonra ann a dteastaíonn deimhniú ina leith.
Cabhraíonn téarmaí leat claíomh a thuiscint, ach taispeánann grianghraif an chríoch, an chomhréir, an dath, agus an oiriúint iarbhír. Nuair a mhothaíonn an teideal agus na grianghraif difriúil óna chéile, bíodh muinín agat as meáin agus sonraíochtaí reatha an táirge.
