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Originally Posted by Interested Party
Thank you again for your responses. Could I ask some follow up questions for clarification?
What is the outline at the elephant's mouth?
Secondly. If the blade of "A" is thin, light, and springy like a butchers knife. Lenticular in cross section. without a distinct raised spine and described in post #7 as "For the blade itself- I would posit Mindanao (Maranao or Maguindanao); if I'm correct in this, then it's a hybrid piece, Mindanao blade with a Sulu dress." What would it be for? Without a raised spine is this a dress piece or could it be for quick slicing movements rather than heavy chopping blows?
"After sharpening, I use a honing steel to align the edges. IF it's a full wavy kris, I use the honing steel for everything (sharpening + honing). Sometimes I strop with leather as well." I have been experimenting with a honing steel this summer on softer chopping blades. Particularly on a small right-handed talibong the size of a large work knife. If you are stropping the blade with leather, should I take that to mean that you are getting your blades razor sharp or almost before cutting tests?
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Halloo again!
As a general rule, I was taught that a light and fast Kris blade, especially those without a central spine, would be worn by non-warriors: shopkeepers, dignitaries, business owners, and other members of the nobility. Whereas heavy Krises were more likely to be worn by warriors and officers. A member of the nobility would find a heavy Kris cumbersome to carry around especially during social functions, therefore a light blade is preferred. A warrior would be used to weapon-weight and be able to handle heavy kris built for war.
As with many things, the construction of the sword depends on the owner- his stature (both physical and societal), preferences, and role in society. The attributes of the Kris is more owner-based rather than technique-based.
There are many schools of thought with regard to cutting tests. Some would cut with antique swords with edge as-is. But I favor smoothening out chips and dings, sharpening as much as possible following the original edge geometry, then stropping. I usually prioritize edge geometry over going into high grits; I actually only use a diamond stone with 600 grit on one side, and 1200 on the other, before I hone and strop. I believe in testing antiques in a "fresh" state, just as swords would be before they are subject to the rigors of the battlefield.