'katana' is to understand the respect these objects command. They are the Samurai's version of a loaded gun, ready at all times for use, no reloads or ammunition at all.
Beginning first with its appearance, the tang of the blade reveals much of its origin, like a signature the hardened edge of the blade is often presented with an identifiable pattern along its cutting edge by which I do not mean a decorative pattern but instead an indelible signature revealing the material state, less shiny than the body of the blade, more dull but delicately speckled, running from the hilt to the tip. The hilt itself is of primary importance, usually covered with a coarse thread it is held in the hand like your favourite golf driver, with the v's between your thumb and forefinger aligned with the length of the blade. The grip must be soft to allow for interpretation during the attack, a tense grip allows no time for a change in manoeuvre. There is a small peg or two along the hilt securing the cutting blade to the handle. This is the most important component, buying katana from illegitimate sources often yields a blade secured to a handle with nothing more than a wooden dowel. Its not easy to admit this, but a good katana blade should be secured to its hilt by an ivory peg that inserts through the pre-fashioned holes in the blade. The overall construction is like that of a good knife, the blade will cut in at the hilt and taper with peg holes to a truncated line at its end, which makes a good housing and seat with the handle. Interestingly, many katana are displayed without their hilts revealing this simple construction. The material of the hilt is strangely dull and unappealing compared with the business end. There is a real modesty about this part of the blade, sometimes they are signed here with the kanji of their master's or makers. More often they are blank completely underlying the humility with which a weapon of this awesome power must be worn.
Typically a blade must never be fully withdrawn from its sheath without drawing blood. The art of drawing a Japanese Sword is called Iaido and the primary movement involves a sweeping hand gesture close to the midrift and across the navel in close contact with the body. The left hand facing down grasps the handle the right hand the sheath and the blade is drawn either to the normal posture or in a rapid retreating motion with the feet to greet the oncoming attack. In the oriental fighting arts the navel is considered the centre of gravity not just of the physique but of the mind and the focus must be on this point at all times during all manoeuvres with the blade. The normal posture for holding a blade is the t-posture where the feet form a t and a small step is taken to distance them. The hands remain in line with navel or the centre line of the body at all times, without exception that I can recall. The line of attack is critical as it forms the possibilities for manoeuvre.
Irrespective of whether both parties have a long blade or not there are a limited number of options for receiving an attack from a long blade. Stepping away from the attack is a bad idea because the blade is too long. This reduces the options, further there are two forms of attack straight along a line (usually over the blade holders head and down through yours) or a circular attack. In the latter case the recipient of the attack must move inside the circle of the attack very quickly indeed (I mean really quick) to approach the rear of the attacker. This form of defence is only for the senior who can read the moment of attack precisely. Once swung the katana cannot easily be arrested though there is a technique for catching the blade itself (a quick finger count is advisable). More normally, the lethal blow is delivered in a straight line from the forehead in a sweeping arc to the navel. This is considered mandatory to cutting an opponent clean in half which is more or less the desired outcome in most cases of feudal ritual fighting in old Japan. Smaller swords will be used to make punctures or surface wounds for protracted battle or work at very close quarters. The large sword fight is usually one to two moves long, for obvious reasons. So the move is deliberate and intentional, this is not a knife fight. Feigning buys no advantage and only opens up the posture to the counter. So most often the recipient of the katana blow must move inside of the attack to the live side of the attacker