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Short sword hand-forged artisanal piece

What is a Japanese tanto?

Origin and History of the Form

The tanto first appeared during the Heian period (794–1185), but remained rare. It was during the height of the Kamakura period (1192–1333) that magnificent tanto were forged.

Just as with katana, some tanto from that period are considered among the most beautiful ever made.

Most of these blades are straight or slightly curved inward. Curved blades would not appear until later. These are called "tanto" in the Takenoko-zori style. Takenoko: bamboo shoot.

Originally, the tanto was a utilitarian weapon. It is designed for close-quarters combat.

It was only over the centuries that it became a ceremonial item for samurai and certain social classes, and later a ceremonial object following the ban on carrying swords during the Meiji era.

The Tanto is a short blade that is just as complex as the katana.

Its history parallels that of the long sabers, but with its own rules: its styles, its nuances, its blacksmiths, and its periods of excellence.

What does "tanto" mean in Japanese?

The word "tanto" is written as 短刀 in Japanese, two kanji borrowed from Chinese.

短 (tan) means "short." 刀 (tō) means "sword," "blade," or "knife.".

Tanto: literally, “short sword.” Or “short dagger,” depending on the translation. The shape alone says it all about its function.

Tanto, Wakizashi, Katana, and Tachi: The Differences

The tanto is the shortest of the Japanese swords. Next in length is the wakizashi. Next is the katana. And next is the tachi, which is longer and more curved.

Before the Muromachi period, the predominant form was the tachi, worn hanging from the belt with the cutting edge pointing downward. It was a cavalry sword.

Starting in the Muromachi period, the katana became the weapon of choice, worn sheathed at the waist with the blade pointing upward, suited for close-quarters combat. The wakizashi accompanied it: together, they formed the daisho (大小)—“large” and “small”—the distinctive symbol of the samurai.

A simple way to tell the difference between a tachi and a katana: looking at the blacksmith's signature on the tang, if the cutting edge is on the right, it's a tachi. If it's on the left, it's a katana or a wakizashi.

What is a genuine Japanese tanto?

The tanto is traditionally forged from tamahagane, a type of Japanese steel produced using the tatara process. There are also versions made from modern laminated steel or solid steel, known as maru.

It is mounted with a sheath, the saya, just like the katana. Some tanto have a guard, the tsuba; these are called hamidashi. Others do not have one; these are called aikuchi, a minimalist and simple mount often associated with formal and ceremonial contexts.

The quality of a handcrafted tanto is first evident in the blade. The level of craftsmanship can be extraordinary: some of the great swordsmiths of feudal Japan built their entire reputations on their tanto. The mount comes next, in harmony with the blade, never out of place.

Today, the tanto comes in all forms, from mass-produced trinkets to handcrafted tanto of great finesse. What sets them apart is immediately apparent to those who know how to look.

The Yoroidoshi: The Tanto That Pierces Armor

The yoroidoshi is a type of tanto designed for one purpose only: to pierce armor.

What distinguishes the yoroidoshi from a standard tanto is the thickness of the spine. On a classic tanto, the kasane at the munemachi ranges from 6 to 7 mm (sometimes on older, worn blades). On the sturdiest yoroidoshi, this thickness can exceed 10 mm. It is this mass at the spine that gives the blade great rigidity.

Without a curve, it is not designed for slicing. In close-quarters combat, it is designed to thrust in order to slip through the gaps in plate armor and strike the opponent from behind.

It emerged as a direct response to developments in Japanese armor toward the end of the Kamakura period. Its design was dictated by a specific tactical need, with no compromises on aesthetics.

Tanto knife: from the samurai blade to the utility knife

The Tanto as a Source of Inspiration in Knife Making

The tanto has inspired several generations of knife makers around the world. I am one of them.

I work on creating blades that are faithfully inspired by the classic form, as well as utilitarian interpretations that I call kotanto.

My intention is not to reinvent the tanto, but to recreate what a working knife in Japan might have been like 700 years ago: simple, effective, and carefully forged from fine materials. Urushi, ancient steels, traditional assembly techniques—it all starts there.

The kotanto: a short, utility-style tanto knife

The kotanto is a direct answer to this question: How can we forge a blade inspired by the tanto that we can actually use on a daily basis, outdoors?

Shorter than a standard tanto, it retains the same geometry, materials, and manufacturing methods. The same steel, the same differential hardening, and the same meticulous craftsmanship in the mounting. What’s different is its purpose: a working blade, designed to last and to be used.

Collector's item or everyday use: how do you choose?

This collectible tanto draws its inspiration directly from the classical tradition. The quality of the blade, the refinement of the hilt, and the faithful reproduction of historical proportions—all these elements combine to create an exceptional piece, a work of art?

The utility tanto follows a different logic: it is designed to be used. It is compact, has a streamlined design, and is built for durability and a comfortable grip. This is what is known as the kotanto.

How is a handcrafted Japanese tanto made?

The Steel of the Japanese Tanto: Tanren

Traditionally, the steel used for a tanto undergoes a lengthy preparation process. It is drawn out and then folded back on itself to purify its structure and refine its grain. Depending on the number of folds, the blade may reveal a laminated structure consisting of several thousand layers, visible on the surface after polishing.

Today, it is possible to use a modern, homogeneous, high-carbon steel. This is a viable option: the steel is reliable, predictable, and significantly reduces manufacturing costs.

I also regularly use a third option: antique steels, forged or rolled a century or more ago. Their composition, grain structure, and hardening behavior differ from those of modern steels. It’s a middle ground—difficult to define precisely because it depends so much on the specific steels and assembly choices—but it allows those on a limited budget to get closer to the beauty of low-hearth steels.

Forging and Shaping with a Hammer

Hammer shaping is a step-by-step process. You start by sunobe, the high-temperature preform stage, where the impacts are powerful and the material displacement is significant. It is at this stage that the kissaki, the tip.
This is done by turning the workpiece so that the steel grains follow the cutting edge without getting lost in it.

As the work progresses, the temperatures drop, the strokes become lighter and more precise, and the work becomes more delicate. We refine the sides, check the proportions, and keep an eye on the line.

Throughout the forging process, water is used to clean the surface of the steel and remove oxides.

Arashiage: Filing After Forging

After forging, the blade is shaped with a file, and sometimes also with a sen. This is the arashiage phase: we shape the geometry as closely as possible to the final profile, which will be refined with a stone after tempering.

This step can be rough-shaped on the backstand. Some blacksmiths work exclusively with power tools. For my part, I start by giving it a very light pass on the backstand, then refine the shape with a file. Sometimes I work exclusively with a file, from start to finish.

Tsuchioki: Applying Clay

The blade is now coated with a clay-based refractory mixture. It’s a fascinating process—one in which a single lifetime isn’t enough to explore all its possibilities.

The classic recipe is one-third clay, one-third charcoal, and one-third chamotte. But in reality, there are thousands of variations to explore: the type of clay, the type of chamotte, the proportions, and the additional ingredients. Multiple layers with different compositions can be applied, and the method of application is obviously adapted to the steel and the intended heat treatment.

It’s a process that lies somewhere between alchemy and painting. The goal is to harden only a specific part of the blade, making it more resilient and creating a unique pattern. We call it the blacksmith’s signature. But beyond a signature, it’s almost like a painting being created through the interaction between the blacksmith and the elements. We don’t have complete control over the result. We merely guide it, and that’s what makes this stage so magical.

Yakiire: Selective Tempering

This is where all the previous work is put to the test. The blade may come out perfectly, or it may crack, warp, or break.

The blade is heated for a long time to the correct temperature for that type of steel. This heating process transforms its crystalline structure: the steel transitions to the austenite phase, an unstable, malleable structure that is just waiting to transform. If too much force is applied, it changes. And if the blade were to cool slowly, it would return to its original, flexible structure.

But suddenly, the blade is plunged into the water. It’s Yakihire.

The thermal shock instantly solidifies the structure. In unprotected areas, austenite transforms into martensite: a hard, dense crystalline structure that gives the cutting edge its ability to hold a sharp edge. In areas protected by clay, cooling occurs more slowly. There, the steel remains in the form of pearlite, which is more flexible and more resilient.

The hamon is taking shape at the boundary between these two worlds.

Togi: Hand Polishing

A new chapter is beginning. Traditionally in Japan, a new profession takes over: that of the polisher.

There are countless ways to carry out this step. Traditional, purist polishing is done exclusively with stones—using about ten stones of progressively coarser grit. It is a task of exceptional precision that brings out the hamon, reveals the steel’s grain, and tells the blade’s entire story. It is also the most time-consuming step: it can take several dozen hours, depending on the size of the piece, and requires expertise that is honed over many years. We’re talking here about blades intended for collections and as works of art.

Depending on the intended use, the type of steel, and the budget, other polishing techniques—also done by hand—are used as well. This is particularly true for utility blades, where cutting performance is paramount.

The components of a tanto: tsuka, saya, and related parts

The Tsuka: Making the Handle

the woods

The core of the tsuka is traditionally made of honoki (朴の木, Japanese large-leaved magnolia). For my work in Provence, I use linden wood, the local equivalent of traditional honoki, a wood that offers low moisture content, stability, a relatively straight grain, and a good balance between shock absorption and strength—for both the tsuka and the saya—without the presence of tannins that could corrode the steel over time. My wood has been drying for over 4 years before being worked. The grain of the wood must follow the curve of the koshirae as closely as possible, particularly in the handle area where the stresses are greatest.

Shaping

The tsuka takes shape in two stages: first, the block of wood is split in two; then, each half is hollowed out to fit the nakago (the tang) exactly, before the two halves are joined and the handle is carved into its final external shape. The nakago is positioned slightly off-center within the block so that the nakago ha (the lower edge of the tang) rests directly on the solid wood rather than on the glue line, which enhances its strength.

collage

For gluing, I use mugiurushi, a mixture of wheat glue and urushi lacquer, which creates a strong, traditional bond free of chemicals. This same bonding process can also be done using sokui, or rice glue, depending on the piece’s requirements.

finish

The tsuka is then fitted with various components depending on the complexity of the desired design. Finally, it is finished according to the desired look: lacquer, cord wrapping, traditional cotton cord, or even stingray skin.

The saya: the wooden scabbard

The saya is also split in two, and then each half is hollowed out to accommodate the blade and precisely house the habaki, which must slide into it without any play. The rest of the scabbard is then shaped with chisels and a plane to achieve its final form.

The two halves are joined using the same gluing method as for the tsuka—either mugiurushi or sokui, depending on the piece.

We strictly prohibit the use of belt sanders or sandpaper here: even a single grain of sand left inside the saya could compromise the polishing of the blade. These shaping steps must therefore be performed by hand, using traditional tools.

The finish of the saya then depends on its intended use: the shirasaya, a storage scabbard, where the wood is simply waxed; or the koshirae, which often features a more elaborate lacquer finish offering numerous possible finishes, as well as various mounting parts described below.

Other parts: fuchi, kashira, habaki, kurikata, etc.

• Fuchi / Kashira : ends of the tsuka (base and pommel), made of copper, horn, or other materials
• Koiguchi / Kojiri : ends of the saya (mouthpiece and tip)
• Habaki : locking collar on the blade, usually made of copper
• Kurikata : a tab or ring for the lanyard, made of horn, wood, or metal
• Mekugi : bamboo pin passing through the tsuka and nakago
• Seppa : copper rings on either side of the tsuba
• Tsuba : guard, made of wrought iron, bronze, copper, or other material
• Same : skate skin under the coil
• Ito : cord used to wrap the tsuka
• Sageo : cord attached to the kurikata

Urushi Lacquering

Urushi is an art form in its own right, requiring patience and precision. This natural lacquer is actually a sap harvested from the lacquer tree (a type of sumac that is toxic upon contact before it dries), which, once applied, hardens and deeply waterproofs the wood.

The process is carried out in two stages: first, the surface is prepared by sealing, filling, and sanding; then, the finish coats are applied to give the piece its final appearance. Each lacquered piece is placed in a “furo,” a drying chamber kept warm and dust-free, where precise temperature and humidity are essential for the lacquer to cure properly. If humidity rises too quickly, it can cause the surface to wrinkle or prevent the interior from curing thoroughly.

Depending on the number of coats applied, drying can take several days between each coat, and the pace also varies with the season. In total, it takes several weeks of work to complete a single piece. Between each coat, the surface is wet-sanded to smooth out any irregularities before the next coat is applied. This slow process is an integral part of the craft: it gives urushi its depth, durability, and that distinctive patina that develops over time.

Steels Used in Handcrafted Tantos

Homogeneous steel

When we talk about homogeneous steel, we’re referring to modern industrial steel. It’s a cost-effective choice that nonetheless allows for the forging of very high-quality blades. We’ll opt for a preferably unalloyed steel with a suitable carbon content similar to that of traditional steels—that is, around 0.6 to 0.7% of carbon.

Centennial Steel

It is possible to use reclaimed steel, carefully selected for its aesthetic and mechanical qualities. This steel is old and, in some cases, several centuries old.
Depending on the situation, they can be processed directly as if they were homogeneous steel, or they can be further processed by laminating them and, in some cases, by joining different types of steel welded together in the forge.

Low-melting-point steel: Tamahagane

Direct-reduction low-hearth steel is the method that produces the highest-quality steel. Its structure is preserved because it does not pass through the molten state (unlike the blast furnace methods that emerged with industrialization).

The production process is very time-consuming because the artisan must collect the ore from nature and process it through multiple stages. He then smelts it after building his furnace. Once smelted, he obtains a ingot that he must refine in the forge—a process known as “taren.” The pieces are assembled, then welded, and finally stretched and folded repeatedly. Ten folds result in several thousand layers.

Frequently Asked Questions About the Japanese Tanto

What is a tanto?

The tanto is the samurai's short sword. It is an iconic example of Japanese swords—so much so that some famous Japanese swordsmiths have specialized in making tantos.

How big is a Japanese tanto?

The Tanto is officially less than 30 cm long (equal to one shaku: 30.3 cm). Anything longer is called a Wakizashi. Most Tanto are around 25 cm long. And most blades are straight (sori). Of course, there are exceptions.
There are subtle differences in many aspects: blade shape, width, groove, engraving, tip type, flank type, etc.

Artisanal or industrial: what's the difference?

Most of the Japanese tanto knives found around the world today are mass-produced. They aren't really tanto knives, but rather low-end imitations.
Within the realm of handcrafted tanto knives, there are several approaches that can be divided into two main categories: tanto-inspired blades, which are inspired by the lines and hilts of the tanto but allow for considerable freedom in terms of manufacturing methods and wooden hilts. These tanto blades are often simplified compared to the classic versions, whose production is highly complex, time-consuming, and follows precise codes and methodologies.

As for me, my Tanto knives are largely inspired by traditional, classical methods and designs, but I do allow myself some creative freedom.

Is it legal to own a tanto in France?

Yes. The tanto is classified as a Category D bladed weapon under the Internal Security Code. Any adult may freely purchase and possess one at home without having to file a report or obtain authorization. However, the sale of a tanto to minors is prohibited.

What is prohibited is carrying or transporting a tanto in a public place without a legitimate reason. In practical terms, you cannot go out in public with a tanto on your person. However, transporting it is permitted in certain cases recognized as legitimate: taking the blade home after purchase, bringing it to an exhibition, or going to a martial arts class (iaidō, kenjutsu, tanto jutsu). In these situations, always transport the blade in its saya, stored in a sheath or sealed packaging, and never directly accessible.

How do I order a handcrafted tanto?

I invite you to get in touch to discuss this. Based on your expectations, your budget, and my availability, I’ll suggest several options. The next step is to pay a deposit to get your project started. I’ll then keep you updated on its progress.