Freedomnasa

Thank you so much Alex for liking it. I didn't polish the blade on this one because I wanted to showcase the blade's age and its natural charm. Best Pown

Hi all. What do you think of this tsuba? It's in its original, uncleaned condition. Personally, I find it simple and not extravagant, but it has a calm and charming quality.

Thank you Grey

Thank you Thomas

Hello everyone . Please help me for this mei . Do you think about this Mei . Thank you in advance

Rare and Complex Geometry (Kanmuri-otoshi-zukuri) This is not a standard, flat-sided blade. The "Crown-drop" (Kanmuri-otoshi) style is exceptionally rare for a tanto. Master Craftsmanship: It requires the smith to taper the spine (Mune) down to a secondary edge towards the point. Achieving perfect symmetry on both sides while maintaining structural integrity is a high-level skill. High Risk: This shape is prone to cracking or warping during the traditional water-quenching (Yaki-ire) process. Only a confident bladesmith would attempt this design.

Thank you very much for your comment Brian.

Dear Matsunoki I specified the design I wanted and had an expert create it for me.

Hi everyone, I’d like to share a recent restoration project. My goal for this piece was simple: "It doesn't have to be pristine; it just has to be 'Real'." I focused on an aging process (restoration) that respects the blade’s history rather than hiding it. However, during the process, I discovered some fascinating technical details on the Nakago (tang) that I’d love to get your thoughts on. Blade Details & Findings: blade long : 21 inc ,thickness :7-8 mm (Wakizashi) The Nakago: Features heavy Tagane-ato (chisel marks) and a deep patina. The Mystery Mark: I found a deep hole that was drilled/punched but did not go all the way through. The Evidence: Upon inspecting the original wood handle (Tsuka), I found a deep indentation matching the hole’s position perfectly. Inside that hole, there were traces of a soft metal—likely lead. My Restoration Work: Tsuka (Handle): Rebound in a deep crimson wrap, aged patina to match the dark iron fuchi-kashira (bird & bamboo motif). Sageo: Classic black, also weathered to avoid looking "too new" against the Ishime-finish scabbard. I would love to hear your insights on a few things: Lead-filling (Counterweighting): How common is it to find lead-filled balance adjustments in period swords (Edo or earlier)? The "Blind" Hole: Does this specific style of non-through-hole for balancing point to any particular school or regional craftsmanship? Aesthetics: Does the aged crimson look do justice to a blade that is clearly "reached its era" (Toji-mono)? Looking forward to learning from your collective expertise!

That's a very beautiful and charming knife design. I also have a knife with the same shape as yours.