Gold Mountain Forge

s, and Japanese culture. Kinzan majored in three dimensional design, sculpture, and art in college in 1977. 10 years later after pursuing an artist's path began his study of the creation of traditional samurai swords in 1987. 8 years later, after devoted study became a full time sword maker in 1995. Robin Hudson a master smith of mosaic Damascus and modern art knives. He then continued his study with the guide of master sword maker Michael Bell Sensei, who is still creating wonderful works of Japanese art today. Kinzan then found a traditionally licensed sword smith in Japan, Fusa Taro under the Kanefusa lineage. He continues his relationship with him, to study with and guide him . Although he is a master level swordmaker himself, Kinzan visits Japan regularly to further his skills and refine his techniques with his colleagues and teachers. He says....

"One never stops learning. Like a constant drip of water wears away stone, continued perseverance of the truth, to polish one's own skill, wears away the ego. And here true mastery exists"

Kinzan's Gold Mountain Forge produces contemporary master level Japanese weaponry. Everything from small self defense carry "Zanto", ( a term he coined for his "Ready Knife") to the longest traditional Daito sword. He specializes in unique blade designs, with individually unique metallurgy and hardening techniques for his discerning clientele. On the Martial side of the coin, Kinzan sensei has attained the grade of 5th dan, in aikido self defense, and in Iaido Japanese swordsmanship a 4th dan grade. He holds a martial arts budokan in Pennsylvania USA The River of Life Martial Arts and Wellness Center, and still a devout disciple of Mitsugi Saotome Shihan founder and leader of Aikido schools of Ueshiba. Saotome Shihan is a direct disciple of Moreihi Ueshiba , founder of Aikido. Kinzan studies Muso Shinden Ryu Iaido under the lineage of Takshi Mitsazuka. Through years of training Kinzan has developed a simple battoh style of tamashigiri and cutting curriculum for the novice cutter, as well as the advanced practitioner. It is based on all of the sword arts he studies. Fostering safe and logical foundational samurai sword techniques, and movements. derived from the study and observation of Aikido, Muso shinden ryu Iaido , Shinkendo swordsmanship, and Nami Ryu Kenjutsu . Kinzan's love and devotion to Japanese swords, sword history, and Japanese culture carries' through into his work. His craftsmanship, understanding of correct metallurgy, geometry, and tradition, makes his work classically beautiful, functional, and collectable. "Integrity is being good, and true while no one is watching"

Kinzan prides himself on his integrity striving to live by the 7 budo virtues as passed down by Mitsugi Saotome direct disciple of the founder of Aikido Moreihi Ueshiba. Jin: benevolence, Gi: honor or justice , Rei: etiquette or politeness ,Chi: wisdom ,Shin: sincerity, Chu: loyalty ,Koh: piety or humanity. Although it is and arduous path, and difficult to adhere to the strict guise of Budos 7 virtues every moment, it is a path to follow. These principles help to keep Kinzan on the true path, and a daily reminder of how to conduct one's self in life. It shows in his work, and his character. About Japanese:

The Japanese sword, more commonly known as the Samurai sword, is a superb weapon. Its unique edge-hardening/tempering (compared to the full-blade hardening/ tempering of European swords) allows a degree of hardness as well as razor- sharpness that is impossible to attain in European swords without danger of being too brittle and breakage. The fear and respect through history of the Japanese warrior and his sword, inspired among Asian foes is recorded in many contemporary accounts. But beyond its quality as a weapon, the Japanese sword is important as one of history's finest expressions of the metal worker's art. The art of sword making requires high technical knowledge, great patience, persistence and a true religious devotion. The greatest Japanese sword smiths of old led a religious form of life, abstaining from all excesses, and accompanying each step of the work with prayer and ritual. Modern sword smiths such as Kinzan adhere to the same practices. The actual forging of the blade is a complex process. Strips of two, or three different grades of steel, or of iron and steel, are welded together by the smith's hammer. The resulting billet of metal is then folded upon itself and hammered out again to its original length and thickness. This process is repeated many times, until the final blade consists of many thin, tightly welded layers of the original metal. When the forging is completed, the sword smith uses a file and scraping knife to give final shape and finish to the blade "sinobi" and tang or "nakago". As a result of the forging, finishing, and hardening process, the un-hardened/tempered portion of the blade, the Japanese sword frequently shows a unique patterning of the metal similar to wood grain or "gane" meaning grain, the surface is called "Hada" which literally translates to skin. This is controllable and uses as a signature of the smith as well as the temper line called "hamon" Literally meaning "signature of the edge". The most critical of all the sword making processes is the hardening and tempering of the edge. The smith begins by coating the entire blade with a thin layer of a clay, sand and powdered-charcoal mixture. Then, using a sharp bamboo stick, he inscribed a line a short distance back from the edge. This creates the the character of the tempered portion of the blade. Variations in shape of the tempering line (hamon) are among the fine points of classification used by Japanese sword experts. Material between the scribed line and the edge is removed and the rest of the coating allowed to dry. Then, the sword smith heats the entire edge over his pine charcoal fire until the proper temperature (judged by the color of the heated metal) was reached. Finally, the glowing blade is plunged into a tank of water. There are four basic types of Japanese swords; two of them short (less than 24 inches) and two of them long (more than 24 inches) in blade length. The Samurai warrior of old always carried a pair of sheathed swords - one long and one short - with the types carried depending upon the occasion. When clad in armor or in formal court dress, the Samurai wore a long sword called the TACHI, slung edge-downward from his "obi" or sash. The matching short sword, usually less than 12 inches in length, was a TANTO. It was worn thrust through the obi and secured by a cord, and like the TACHI, the TANTO was worn edge-downward while wearing armor. In ordinary dress, the Samurai's long sword was the KATANA. This sword, often nearly three feet in length, was thrust through the Obi, edge-upward. The KATANA was normally considered the fighting sword. Its companion was the WAKIZASHI a sword of between 12 and 24 inches in blade length. It too, was thrust edge-upward through the obi. Many Japanese swords were decorated with engraving or inlay work on the blade, although the major decorative work was usually reserved for the TSUBA, or guard; the FUCHI, a collar encircling the hilt at the guard end; and the KASHIRA or pommel-cap. These were often embellished with high-relief carving, engraving, etching, piercing, inlay work, incrustation with precious metals, or a combination of these techniques. The scabbard (SAYA) was usually finished with lacquer, and had decorated metal fittings. Finishing of the sword hilt (TSUKA) begins with a covering of the white pebbled skin of a ray fish called "Same". Then, flat silk, suede, or leather braid is wrapped over the hilt in a pattern which leaves a row of lozenge-shaped openings on either side, exposing the white ray skin. Nestled underneath the wrapping of the Tsuka on either side of the hilt sits MENUKI. These are carved handle ornaments usually following a similar theme to the tsuba or fuchi/kashira motif. Identification of swords requires removal of the TSUKA, which may be accomplished by carefully forcing out the tapered bamboo peg or pegs (MEKUGI) which fastens it to the nakago. The "TSUKA "may then be slid off the tang, revealing the maker's signature and other identifying marks inscribed in the surface of the nakago. The signature called "MEI" often consists of the maker's name, his titles, and place at which the sword was made. The date of manufacture, when shown, is usually found on the other side of the tang. Specific patterns of file marks on the tang called "YASURIME"are also distinctive, aiding the expert in determining the authenticity and dating of an antique sword. Modern smith such as Kinzan also adhere to this practice. Monetary value of the antique Japanese sword obviously depends upon many factors, such as; age, condition, maker and historical associations, but we can all appreciate the value of any of these swords as magnificent examples of the artistic ability and dedication of the Japanese sword smith. The same holds true for modern swords called "SHINKEN"

The practice of performing cutting tests on swords was begun in the KOTO period, (prior to 1600), the tests were performed on various combinations of materials, i.e. bundles of bamboo and tied, helmets, horn, iron of various degrees of hardness, and last but not least, the human body. The practice of using human bodies was begun as a means of crime control, for instance, the sentence for a convicted thief would probably be the loss of a hand or arm. The various strokes were given in relationship to the severity of the crime committed. Stroke #1, RIO-KURUMA, (Pair of Wheels), being the most difficult to perform as the blade must pass through both hip bones at the thickest area, was the least often successful with one stroke. RIO-KURUMA was prescribed for only the most serious of crimes. The ease of performance increases with the number, (i.e. #1 most difficult, #18 least difficult). The practice of amputation as a form of punishment was abandoned in Japan about the time of the Emperor Mei Ji, (1868). Swords were tested only by licensed testers at official testing grounds. The results of the test along with the date and name of the tester were then inscribed, (mainly in gold), on the tang of the sword. Antique Swords bearing cutting tests of this kind are very desirable to collectors, as the cutting test greatly enhances the value of the sword, it should also be borne in mind that there are many forgeries of cutting test, (as they could easily be inscribed at a later date), the tester whose name appears on the tang must be checked for authenticity with known examples of his signature. Modern swordsmiths such as Kinzan also perform test cutting. (not on humans of course) he uses rolled Goza, Wara, or Tatami omote, of varying thickness depending upon a given blade geometry and type of sword. Also used for testing swords are various types of bamboo. The thicker and older the bamboo the more difficult it is to penetrate. Kinzan adheres strictly to traditional Japanese techniques and methods pasted down to him from his sword smith teachers. Although he is largely self taught in the art of KOSHIRAE (fittings, handle, and case) he has studied the history of the design and methods used by the ancient masters. And on many of his visits to Japan has been privy to observing master artisans at work in their respective studios. Soft metallurgy is truly an art in itself. Creating the Tsuka and Saya tying the handle lacquering the saya are high art forms. Kinzan himself is able to perform all of these, so that he himself can create a true samurai sword start to finish. From the smelting of the iron sand "TAMAHAGANE ", to the polish of the blade, and the creation of the full koshirae. In fact, he is one of the most highly sought after craftsmen of our time in the art of Japanese sword making. This is due to his ability to create swords with integrity on par with the great masters past and present. Kinzan prides himself on the emulation of the masters who have taught him, come before him, and shows them the utmost respect. In the traditions of teacher student ,or Master to Apprentice relationships, he himself passes on the craft of the Japanese sword to his own apprentices following tradition.