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The Art of Tsukamaki. Originally, this was published as:. Buck, Thomas Colorado Token Kai Quarterly, v1, n1, pp. Buck, Ph. Although I will share with you a few of the tools, materials and techniques needed for tsuka-maki, I have learned, through the guidence of Takahashi-sensi, that patience, persistence and excellence are the true requirements for the application of this art. In order to make this more understandable for both the novice, as well as the experienced wrapper, I shall start by defining a few of the common terms used in tsuka- maki.
Aside from the tsuka itself, the basic materials in tsukamaki are the ito, paper and glue. The paper can be of nearly anyweight, but ideally it should be relatively close to newsprint in weight and consistency.
During the wrapping, be sure to moisten the paper wedges before inserting them under the braid, this w allow the wedges to conform more readily to both th tsukaito and the same. Although the ito is available in a wide range of colo it is only manufactured using two different types of fibers natural and synthetic. When trying to identif an unknown ito , a burn test is often helpful.
The following chart gives tests for the principle natural fibers, and a few synthetics. Fine, gray. Slow, blue. Black ash.
Hard bead. Melts, no. Although I have encounter several different ways to derive the required length of ito , ranging from speci. For holding the tsuka : a stand that will hold the tsuka firmly in place for both wrapp ing and tightening, and will allow work to be done easily on both the omote and ura side. For inserting the paper wedges, and adjusting the ito :.
For holding the ito in place: a clamp that can be worked around freely, will no t allow the ito to shift, and goes on and comes off readily. In preparing the tsuka , start by stretching a sample of the desired ito tight and measuring its width 1W. Using a small amount of rice paste glue, place thin paper strips along both the ha and mune sides of the tsuka. By Layering the paper you will decide the finished shape of the tsuka, and also gaurd the ito from snaring on the surface of the same.
TANTO 4" tsuka. To give the maki a proper shape, the tsukaito is fold over various styles of hishi-gami , or small paper wedges. Here are a few of the many different styles used. Measure and mark the ha and mune sides in tsukaito width segments 1W. The distance between the fuchi and kashira should measure an odd number of width units along both the ha and mune. If not, either the tsuka may have to be altered, or a different weight ito may have to be selected in order to fit within an odd number of spaces.
In making the wedges, begin by folding a sheet of newsprint, or standard weight paper times. Cut off excess paper, then cut the folded paper into two width 2W segments. Use these to make any of the wedge styles previously illustrated in this article. In reference to wakizashi and tanto , the menuki are commonly place after the second or third set of folds.
In any event, the positioning of the may vary because of the tsuka size, menuki size, ito widt or placement of the mekugi-ana. To begin with, it should be stated that both Japanese tradition, and personal observation, suggest that tsukamaki should be started and completed on the omote , or the side of the tsuka that faces outward when being worn.
This is almost always true regarless of the style of wrap. During the wrapping, tightness should be a primary concern. Each fold should be drawn or stretched so that there is no slackness or looseness. Throughout the process, continually monitor and adjust the symmetry of the folds and open areas, and try to maintain a smooth surface appearance along the ha and mune edges of the tuska. Ultimately, a quality tsukamaki maintains a consistent tightness and exactness.
In both the i to maki no katana , as well as the ito maki no tachi , the menuki are usually. Ito Maki no Katana. Tying the Ura Knot. At the end of the tsuka, on the ura side, pass the end of the tsukaito, coming from the mune, over and the under the proceeding fold. Then, pass the end from the ura over the other end, and under the previous fold, making a loop.
Bring it back again under the fold. Thread both ends through the shitadome if present and the kashira side-by-side. Tying the Omote Knot apply rice paste glue, and tuck under. Take the top end of the tsukaito under the top set of flold, repeating the first part of the previous step. Then, make a loop by bringing it back again under thefolds. At this point, insert a small wad of paper and fold the tsukaito over and tighten. Bring the top length around to the left and down again cut off, apply and paste glue and tuck under.
To start the omote knot, pass the bottom end of the tsukaito under the top set of folds, pull the braid ove the fold, cut off,. Of the more than forty styles of tsuka-maki that I am familiar with, here are five of the most common. Two Variations of Kami Hira Maki zuka. Learn more about Scribd Membership Home. Much more than documents. Discover everything Scribd has to offer, including books and audiobooks from major publishers.
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The Art of Tsukamaki
B909. The Art of Tsukamaki by Thomas Buck