Masters Who Revive the Blade: The Art of Japanese Sword Polishing

The Craftsmen Who Polish the Soul of Swords: The Togishi

A Japanese sword does not yet reveal its true character at the stage of the swordsmith's forging. It is the work of the togishi (sword polisher) to draw out the beauty of the hamon and the transformations of the jigane from the rough steel covered in black rust. The togishi is not merely a "polishing craftsman." They are the keystone figure who ultimately determines the beauty and function of the sword, controlling the very essence of appreciation.

The polishing technique that continues from the Kamakura period is built on a deep understanding of natural whetstones and the accumulation of delicate work performed by fingertip sensitivity alone. For a skilled togishi to finish a single sword requires days to, in some cases, several weeks. Most of that time is spent in dialogue between whetstone and blade—quiet labor involving countless repetitions of minute adjustments in hand pressure and angle.

The Seven-Stage Polishing Process—From Arashiro to Final Finish

The polishing process is divided into seven major stages.

Stage 1: Arashiro (Rough Polishing) — The coarsest whetstone is used to abrade the blade surface and level the irregularities left by the smith's forging. The sword's "sugata" (form)—its curve, width, and thickness—is determined at this stage. Since arashiro creates deep scratches, they must be carefully removed in subsequent stages.

Stage 2: Nakato (Medium Polishing) — The coarse scratches from the arashiro are removed, and the entire blade is finished uniformly. The blade's form becomes increasingly distinct at this stage.

Stage 3: Konakato (Fine Medium Polishing) — A finer whetstone further smooths the surface. This is painstaking work, removing previous polishing marks one by one.

Stage 4: Uchigumoreto (Inner Clouds Whetstone) — This is the critical point in the polishing process. Uchigumoreto is a natural whetstone quarried in the Kameoka region of Kyoto. It is through this stage that the hamon first becomes clearly visible. At this point, the togishi assesses the character of the jigane and the form of the hamon, determining the finishing approach going forward.

Stage 5: Hatsuya (Blade Luster) — Small pieces of uchigumoreto are wrapped in washi paper and, using the "hatsuyayubi" (blade luster fingertips) wrapped around the fingertips, the region near the ha-machi (blade edge boundary) is carefully polished. This brings the contours of the hamon into sharp focus, and the complex landscape within the tempered edge—the nie (granular brilliance) and nioi (haze-like blurring)—emerges.

Stage 6: Jitsuy (Ground Luster) — The stage in which the "ji" (ground or body) portions other than the blade pattern are polished. Polishing residue is wrapped in washi paper to polish the surface, bringing out the hadame (grain patterns) of the jigane—such as itame (board grain), masame (straight grain), and mokume (wood-grain). Jitsuy imparts a distinctive clouded quality to the blade surface, creating contrast with the hamon.

Stage 7: Finishing Touch — The final step in which the entire blade is brought into order using clove oil and similar preparations. This is where the togishi's individuality and skill are most evident.

Jitsuy and Hatsuya—The Essence of Finishing Technique

In contemporary polishing, particularly important is the distinction between jitsuy and hatsuya.

Jitsuy is a technique that draws out to the maximum the character of the jigane—such as the "utsuri" (reflection), a haze-like shadow that appears parallel to the hamon. To display beautifully the "choji-utsuri" commonly seen on Bizen-school blades or the "chikei" (ground scenery) found in Soshu-school swords, the togishi must make subtle adjustments to the pressure and angle of the jitsuy.

Hatsuya, as its name suggests, is a technique designed to make the hamon stand out. The way the whetstone is applied can dramatically change how the hamon appears. Excessive polishing can make the hamon appear altered from its original form, while insufficient polishing results in a dull finish. This judicious balance is where the togishi's skill truly shines. Truly excellent polishing is said to be the "aesthetics of subtraction"—the act of removing excess to "discover" the sword's original character.

The Honami Lineage and the Apprenticeship System for Togishi

The Honami family once wielded absolute authority as hereditary custodians of sword polishing and authentication from the Muromachi through Edo periods, serving as the official togishi to the shogunate. Honami Koetsu (1558–1637) was born into this family and is known not only as a sword authenticator but also as a major artist spanning Japanese culture—including calligraphy, ceramics, and lacquerwork. The "orikami" (certification documents) left by the Honami family continue to function today as important documents in sword evaluation.

While no official licensing system exists for becoming a togishi in the modern era, there is a de facto qualification: designation as a Holder of a Preservable Technique by the Agency for Cultural Affairs. This system aims to protect intangible cultural properties, and designated togishi receive government support as transmitters of their craft.

The path to becoming a togishi remains centered on the apprenticeship system, entering as a disciple under a master. Trainees hone their skills under a master for a minimum of five years, typically over ten years or more. During apprenticeship, they learn by observing the master's work, beginning practice on older swords and gradually being entrusted with more important tasks. Throughout the long years until independence, income is minimal, and the apprentice's life is harsh.

Polishing and Appreciation—The Togishi's Influence on Hamon and Jigane

Even the same sword can display a completely different character depending on which togishi polishes it. This is because polishing is not merely "polishing" but a creative act that determines the sword's optical properties.

The hamon is visible because of the difference in metal microstructure created by heat treatment—the boundary between martensite (hardened edge) and pearlite (ground steel)—reflects light. The togishi adjusts this boundary through the angle and pressure of the whetstone, bringing out to the maximum the tactile quality of the hamon, such as "konie" (small boiling pattern) and "nioi" (scent-like blurring).

The "grain" of the jigane is also something the togishi brings out. The fibrous structure created by the smith's repeated folding and forging of the iron—board grain, straight grain, large board grain, and so on—can be made to stand out or fade away depending on how the togishi uses the whetstone. In sword authentication, the state of the polish is a major factor in evaluation.

The Modern Shortage of Togishi and the Crisis of Tradition

The number of togishi throughout Japan is currently extremely small, and among these, even fewer can support themselves as full-time practitioners. The decline of younger practitioners is driven by three concurrent problems: lengthy apprenticeship periods, low income, and the depletion of natural whetstone sources.

Particularly critical is the depletion of natural whetstones. The whetstone mountains of Kameoka, Kyoto—the primary source for the indispensable uchigumoreto—are approaching the limit of extracting quality stone. While synthetic whetstone alternatives are being developed, many practitioners report that the subtle polishing character unique to natural stone cannot be replicated.

On the other hand, conservation and restoration of swords designated as Important Cultural Properties or National Treasures can be done only by togishi, and demand certainly exists. While the Agency for Cultural Affairs and regional sword preservation organizations have begun establishing subsidy systems for successor development, a fundamental solution remains elusive.

As of 2026, togishi technique is drawing international attention as intangible cultural heritage that, once lost, cannot be recreated. The transmission of Japanese sword culture is impossible without the existence of craftsmen who polish and reveal the soul that the swordsmith has created. This quiet crisis now demands social attention and support.