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

The Craftsman Who Polishes the Soul of the Blade: The Togishi

When a Japanese sword leaves the bladesmith's hammer, it has not yet assumed its true form. The work of the togishi (sword polisher) is to extract the beauty of the hamon and the characteristics of the jihada from the rough steel base covered in black oxide. The togishi is not merely a "polisher." He is the essential figure who ultimately determines both the beauty and function of the sword, serving as the key to its appreciation.

The polishing technique that has continued since the Kamakura period is built upon a deep understanding of natural whetstones and the accumulation of delicate work performed by touch alone. It takes a skilled togishi anywhere from several days to, in some cases, several weeks to complete a single sword. Most of that time is spent in dialogue between whetstone and blade—quiet labor consisting of countless repetitions of minute adjustments in hand pressure and angle.

The Seven Stages of Polishing—From Arashito to Finishing

The polishing process is divided into seven major stages.

1. Stage 1: Arashito (coarse whetstone) The coarsest whetstone is used to shape the blade and level the forging irregularities left by the bladesmith. The "sugata" (shape) of the sword—its curvature, width, and thickness—is determined at this stage. Because the arashito creates deep scratches, they must be carefully removed in subsequent stages.
2. Stage 2: Nakato (medium whetstone) The coarse scratches from the arashito are removed, and the blade is smoothed uniformly. At this stage, the form of the blade becomes increasingly distinct.
3. Stage 3: Konakato (fine-medium whetstone) A finer whetstone is used to smooth the surface further. This is meticulous work that removes the scratches from the previous stage one by one.
4. Stage 4: Uchigumorto (inner mist whetstone) This is the core stage of the polishing process. Uchigumorto is a natural whetstone quarried near Kameoka in Kyoto, and it is through this stage that the hamon finally becomes clearly visible. At this point, the togishi assesses the grain of the jihada and the form of the hamon, determining the finishing approach for the remaining stages.
5. Stage 5: Hadsuya (blade luster) A small piece of uchigumorto is wrapped in Japanese paper, and using fingers wrapped around it to create a "hadsuya finger," the blade edge near the hamachi is polished carefully. Through this process, the outline of the hamon becomes sharp, and the complex patterns within the tempered edge—the nie (granular sparkle) and nioi (haze-like softness)—come into focus.
6. Stage 6: Jitsutsuya (jihada luster) The "ji" (ground) sections other than the hamon are polished. Polishing powder wrapped in Japanese paper is used to polish the surface, making the hadame (grain patterns) of the jihada—such as itame, masame, and mokume—stand out. The jitsutsuya gives the blade a unique cloudy appearance and creates contrast with the hamon.
7. Stage 7: Wiping and Finishing Oil such as clove oil is used to prepare the entire blade in this final stage. This is where the togishi's individuality and skill are most evident.

Jitsutsuya and Hadsuya—The Essence of Finishing Techniques

Particularly important in modern polishing finishing techniques is the proper distinction between jitsutsuya and hadsuya.

Jitsutsuya is a technique that maximally draws out the activity of the jihada—for example, the haze-like shadow that appears parallel to the hamon and is called "utsuri (reflection)"—to display it beautifully. To beautifully show the "choji-utsuri" often seen in Bizen-style blades or the "chikei" found in Soshu-style blades, the togishi must make subtle adjustments to the pressure and angle of the jitsutsuya.

Hadsuya is, as its name suggests, a technique to make the hamon stand out, and the appearance of the hamon changes dramatically depending on how the whetstone is applied. If polished excessively, the original hamon appears altered, and if restrained too much, the finish appears dull. This judgment of moderation is where the togishi's skill is truly displayed. Truly excellent polishing is said to be a "beauty of subtraction"—the act of removing what is unnecessary and "discovering" the sword's original form.

The Honami Family Lineage and the Togishi Apprenticeship System

Once, the Honami family carried out the hereditary polishing and appraisal of swords from the Muromachi period through the Edo period, wielding great authority as the official togishi for the shoguns. Honami Koetsu (1558–1637) was a member of this family and is known as a great artist whose talents spanned not only sword appraisal but also calligraphy, ceramics, lacquerware, and Japanese culture in general. The "origami" (folded paper) documents left by the Honami family—certificates of sword appraisal—continue to function today as important documents in sword evaluation.

There is no official licensing system to become a togishi in modern times, but there is a practical qualification: certification as a holder of designated cultural preservation techniques by the Agency for Cultural Affairs. This is a system designed to protect intangible cultural properties, and certified togishi receive government support as transmitters of the technique.

The path to becoming a togishi still centers on the apprenticeship system of training under a master. Apprentices refine their technique under a master for a minimum of 5 years, typically 10 years or more. During apprenticeship, students learn by observing their master's work, begin practicing on old swords, and gradually take on more important tasks. During the long years until becoming independent, income is minimal, and the apprentice's life is harsh.

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

The same sword can present entirely different appearances depending on which togishi has worked on it. This is because polishing is not merely "polishing" but rather an expressive act that determines the optical properties of the sword.

The hamon is visible due to light reflecting off the boundary between different metal structures created by heat treatment—the boundary between martensite (the tempered edge) and pearlite (the jihada). The togishi adjusts this boundary through the angle and pressure of the whetstone, drawing out the maximum texture of the hamon—such as "konie" or "nioi" finishes.

The "grain" of the jihada is also something the togishi brings out through polishing. The fibrous structure created by the bladesmith folding and forging the iron multiple times—such as itame, masame, and ohitame—can either stand out or disappear depending on how the togishi uses the whetstone. In sword appraisal, the condition of the polishing is a major factor in evaluation.

The Modern Shortage of Togishi and the Crisis of Tradition

The number of togishi throughout Japan is currently very small, and among them, those who can support themselves as full-time professionals are even fewer. Behind the decline in younger practitioners are three interconnected problems:

• Long apprenticeship periods
• Low income
• Depletion of natural whetstone sources

Particularly serious is the depletion of natural whetstones. The whetstone quarries of Kameoka in Kyoto, the primary source of the uchigumorto essential for polishing, are approaching the limits of mining high-quality stone. While synthetic whetstones are being developed as alternatives, many argue that the subtle polishing sensation unique to natural stone cannot be replicated.

On the other hand, preservation and restoration work on swords designated as Important Cultural Properties or National Treasures is something only a togishi can do, and there is definite demand for such work. While the Agency for Cultural Affairs and local sword preservation organizations are beginning to establish subsidy programs for cultivating successors, a fundamental solution has not yet been achieved.

As of 2026, the technique of the togishi is receiving international attention as an intangible cultural heritage that cannot be replicated once lost. The transmission of Japanese sword culture is impossible without the existence of craftsmen who polish and bring out the soul of swords created by bladesmith. This quiet crisis demands social attention now.