Tulwar scabbard

[Pukka Bundook]

Well,
This is as far as I've got making the scabbard and top mount.

Attached are pictures;

1, of old mid-fitting on new wood.

2, The new top fitting, "aged"

and then ;

3, New fitting "in the white", plus old centre fitting.

4, new top fitting "in white"

5, old and new fitting in place.

Do you learned chaps think this is OK??

If so, just need to add a leather or fabric cover to the wood, and we'll be done....

Richard.

[Jens Nordlunde]

Very well done. I would like to see some pictures when you have the fabric on the scabbard. What kind of wood did you use for the scabbard?
Jens

[Pukka Bundook]

Hello Jens.
I do not remember what the wood was, I was given it and was led to understand it was from Australia.
Nice straight grain and rather hard.

Will add a picture when cover is added.
Pleased you like it so far.....

Richard.

[josh stout]

On the subject of red over gold, this was also quite popular in Tibet and China. So if the Persians also did it, it seems that it was universal if somewhat rare.

Here is an example of the remains of gold and red paint on some shuang jian.
Josh

http://s77.photobucket.com/albums/j6...duation346.jpg

[katana]

Hi Richard,
well done scabbard looks ace

I assume you traced the outline of the blade on two planks of wood, chiselled the 'depressions' to accept the blade, cut the scabbard halves from the plank. Joined the halves (temporary ?) to check blade fitted, once OK . Joined the halves and 'finished' the external surfaces. Any additional info would be appreciated as I have several 'scabbardless' swords I would like to sheath.

As to scabbard 'coverings' if you are going to use a cloth....I think I am right in saying that a cotton/canvas backing should be between the covering material and wood.

[Jens Nordlunde]

Hi Josh,

Nice to see you here. You are right about the gold/red, I wonder why I did not think about it?

Jens

[Pukka Bundook]

Dave,
There's not much to add to what you have already deduced about making a scabbard.
In fact, that's about exactly what I did.!.........
Except I drew around blade on one piece of wood, as they'd fit inside each other's curve, if you get mi drift!

Only thing to remember is to flip the blade over before you draw 'round it the second time!!
With the 'troughs' cut, I lay the blade in the cut-out troughs, and tried "drawing" it, watching for any area it would 'ride up' out of the channel when drawn,, then cut out tight spots.
Once I had it cut out and clamped together, and had clearance for blade to draw, I cut out the out-side lines very close to finished size.
This was to avoid cutting through the walls when finishing.

Also, put a witness mark across both halves when everything fits together right, before gluing.

When glued, I greased the blade a bit so it wouldn't stick, and ran it in and out, to make sure no glue globs would set and interfere with sword passage.
I kept doing this now and again, as glue dried.

Only other thing, on a lot of wood, when you've "stabbed in" with the chisel on your initial pencil line, it's often Much easier to cut with chisel across the grain, to-wards your initial stab in cut.
(Rather than trying to run chisel down the grain, where the grain tends to have a mind of its own!!)
Thats all I know about it.........
Though I'm sure there are chaps here that know a whole lot more!!

Re the canvas or cotton, before velvet, You probabnly know a lot more about it than I do.
On this one, the bit of rotton velvet that had survived, was glued straight to the wood, overlapped and not stitched in place at all.

Can you tell me what the normal application process was?

Thanks Dave,

Richard.