Japanese

A Simply Beautiful Ancient Koto Katana, Sengoku Era, Circa 1530, Signed Fuchi with Artisans Kakihan of a Cursive Monogram and Signed Tsuba, And the Matsudaira Tokugawa Clan Mon Gold Habaki

Beautiful Koto blade with wonderful quality original Edo fittings of a signed fushi hilt mount of shakudo and pure gold, with a takebori samurai daimyo lord, in court dress, wearing his tachi.

Very good tsuba in iron, also signed. Menuki of cranes underneath the silk ito. Very beautiful blade with typical Koto period narrow straight hamon of fine simplicity. Engraved gilt habaki blade collar with Tokugawa clan mon of Aoi hollyhock leaves. Original utushi lacquer saya with small wear areas. Bound with dark red and white sageo.

Before the Edo period, there were 19 major branches of the Matsudaira clan: Takenoya (竹谷), Katanohara (形原),4 Ōgusa (大草), Nagasawa (長沢),5 Nōmi (能見),6 Goi (五井), Fukōzu (深溝), Ogyū (大給),7 Takiwaki (滝脇),8 Fukama (福釜), Sakurai (桜井), Tōjō (東条), Fujii (藤井),9 Mitsugi (三木), Iwatsu (岩津), Nishi-Fukama (西福釜), Yata (矢田), Udono (鵜殿), and Kaga (加賀). Each of these branches (with the exception of the Kaga-Matsudaira, which relocated to Kaga Province) took its name from the area in Mikawa where it resided. Also, many of the branches often fought with each other.

Matsudaira of Okazaki
It was the main Matsudaira line residing in Okazaki Castle which rose the highest during the Sengoku period. During the headship of Matsudaira Hirotada, it was threatened by the Oda and Imagawa clans, and for a time was forcibly brought into Imagawa service. After the death of Imagawa Yoshimoto and the fall from power of the Imagawa clan, Hirotada's son Matsudaira Motoyasu was successful in forming an alliance with Oda Nobunaga, the hegemon of Owari Province. Motoyasu is better known as Tokugawa Ieyasu, who became the first Tokugawa shōgun in 1603.
The Sengoku Period (Sengoku Jidai, 1467-1568 CE), also known as the Warring States Period, was a turbulent and violent period of Japanese history when rival warlords or daimyo fought bitterly for control of Japan. The period falls within the Muromachi period (Muromachi Jidai, 1333-1573 CE) of Japanese medieval history when the Ashikaga shogun capital was located in the Muromachi area of Heiankyo (Kyoto). The beginning of the Sengoku period witnessed the Onin War (1467-1477 CE) which destroyed Heiankyo. The fighting that followed over the next century would eventually reduce the warlords to only a few hundred in number as the country was effectively carved up into princedoms. Eventually, one warlord rose above all his rivals: Oda Nobunaga, who set Japan on the road to unification from 1568 CE.

To many of us in the West, the movie image of the samurai in his fantastic armour, galloping into battle on his horse, his colourful personal flag, or sashimono, whipping in the wind on his back, has become the very symbol of Japan, the Empire of the Rising Sun. And, truly, to the samurai of real life, nothing embodied his warrior's code of Bushido more than his sword, considered inseparable from his soul.

Indeed, a sword was considered such a crucial part of a samurai's life that when a young samurai was about to be born, a sword was brought into the bedchamber during the delivery. When the time came for an old samurai to die and cross over into the White Jade Pavilion of the Afterlife his honoured sword was placed by his side. Even after death, a daimyo, or nobleman, believed he could count on his samurai who had followed him into the next world to use their keen blades to guard him against any demons, just as they had wielded their trusty weapons to defend him against flesh-and-blood enemies in this life. Shakudo is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark colour is induced by applying and heating rokusho, a special patination formula.

Shakudo Was historically used in Japan to construct or decorate katana fittings such as tsuba, menuki, and kozuka; as well as other small ornaments. When it was introduced to the West in the mid-19th century, it was thought to be previously unknown outside Asia, but recent studies have suggested close similarities to certain decorative alloys used in ancient Egypt, Greece, and Rome  read more

Code: 22207

Beautiful Koto Wakazashi, 16th Century, Soten School Fuchgashira, Goto Shishi Lion Dog Kozuka, Silver Urushi Aoi Leaf Lacquer Decor Saya, Hira-zogan Tetsu Shinto Tsuba Inlaid With Kinko Weeping Willow

Blade just returned from a no expense spared fabulous & traditional, fine, hand polish, showing an excellent gunome hamon. All original Edo period finest koshirae, with Edo saya and urushi lacquer.

The round tsuba is hira-zogan iron tetsu inlaid with flat kinko, and a pair of menuki of Okinawa Goldlined Spinefoot fish over traditional samegawa, and under the traditional blue silk tsuka-ito hilt binding. Soten fushigashira in takebori shakudo, pure gold and silver overlay, of Laozi riding a water buffalo, in a gold robe and matching cap, holding a gold fan. Beneath him is a water buffalo and flowing water, and the fuchi of takebori gold flower heads, in turbulent waves.

Laozi riding a water buffalo is a popular depiction in Chinese art, rooted in a legend where he left China for the west on a water buffalo, writing down his wisdom at the border. The water buffalo symbolizes strength, nature, and the journey of the sage, representing his philosophy of living in harmony with the natural flow of things

Wakizashi have been in use as far back as the 15th or 16th century. The wakizashi was used as a backup or auxiliary sword; it was also used for close quarters fighting, and also to behead a defeated opponent and sometimes to commit ritual suicide. The wakizashi was one of several short swords available for use by samurai including the yoroi toshi, the chisa-katana and the tanto. The term wakizashi did not originally specify swords of any official blade length and was an abbreviation of "wakizashi no katana" ("sword thrust at one's side"); the term was applied to companion swords of all sizes. It was not until the Edo period in 1638 when the rulers of Japan tried to regulate the types of swords and the social groups which were allowed to wear them that the lengths of katana and wakizashi were officially set.

Kanzan Sato, in his book titled "The Japanese Sword", notes that the wakizashi may have become more popular than the tanto due to the wakizashi being more suited for indoor fighting. He mentions the custom of leaving the katana at the door of a castle or palace when entering while continuing to wear the wakizashi inside. Wakizashi were worn on the left side, secured to the obi waist sash. The Sengoku period Sengoku Jidai, "Warring States period") is a period in Japanese history of near-constant civil war, social upheaval, and intrigue from 1467 to 1615, straddling the end of the Koto era and into the early Shinto.
20.3 inches overall in saya, 13.5 inch blade tsuba to tip blade Overall in very nice condition, natural aging wear to the tsukaito, usual age wear to fuchigashira. Saya and blade excellent.

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading, as Britain’s oldest established, and favourite, armoury and gallery  read more

Code: 25967

A Wonderful Shinto 'Shishi' Katana With All Original Edo Period Koshirae of Exemplary Museum Grade Fittings based on The Mythical Protectors of The Shinto Shrines, the Shishi Lion-Dogs

A typical example of a very fine katana of a seieibushi (elite samurai) traditionally the Highest rank of elite samurai. Circa 1670, with a most fine hon-zukuri blade form with suguha hamon, mumei; and a wonderful iron sumiiri kakugata tsuba with shishiaibori decoration of a shishi lion dog below a waterfall, with complimentary matching mino-goto fuchi, fabulous large shishi lion-dog menuki in shakudo with pure gold inlay highlights; set within its original beautiful Edo period saya of a combination of ribbed and lobster-scale urishi lacquer. The fuchi is Goto school of deep takebori of gold and shakudo catydids and insects, with a carved polished buffalo horn kashira. Tradition black tsuka Ito wrapped over the fabulous menuki on the samegawa {giant rayskin}

Shishi (or Jishi) is translated as "lion” but it can also refer to a deer or dog with magical properties and the power to repel evil spirits. A pair of shishi traditionally stand guard outside the gates of Japanese Shinto shrines and Buddhist temples, although temples are more often guarded by two Nio Protectors. The Shishi (like the Nio) are traditionally depicted in pairs, one with mouth open and one with mouth shut. The opened/closed mouth relates to Ah (open mouth) and Un (closed mouth). “Ah" is the first sound in the Japanese alphabet, while "N" (pronounced "un") is the last. These two sounds symbolize beginning and end, birth and death, and all possible outcomes (from alpha to omega) in the cosmic dance of existence. The first letter in Sanskrit is "Ah" as well, but the last is "Ha." Nonetheless, the first and last sounds produced by the mouth are "Ah" and "M." The Sanskrit "m" and the Japanese "n" sound exactly the same when hummed with mouth closed. The spiritual Sanskrit terms AHAM and AUM thus encapsulate the first letter-sound (mouth open) and the final sound (mouth closed). Others say the open mouth is to scare off demons, and the closed mouth to shelter and keep in the good spirits. The circular object often shown beneath their feet is the Tama 玉, or sacred Buddhist jewel, a symbol of Buddhist wisdom that brings light to darkness and holds the power to grant wishes.
The Incredible Story of Japanese Lacquer on Samurai Swords Scabbards, called Saya

Japanese lacquer, or urushi, is a transformative and highly prized material that has been refined for over 7000 years.
Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords
Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.

Some provinces of Japan were famous for their contribution to this art: the province of Edo (later Tokyo), for example, produced the most beautiful lacquered pieces from the 17th to the 18th centuries. Lords and shoguns privately employed lacquerers to produce ceremonial and decorative objects for their homes and palaces.
The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!
Flowing from incisions made in the bark, the sap, or raw lacquer is a viscous greyish-white juice. The harvesting of the resin can only be done in very small quantities.
Three to five years after being harvested, the resin is treated to make an extremely resistant, honey-textured lacquer. After filtering, homogenization and dehydration, the sap becomes transparent and can be tinted in black, red, yellow, green or brown.
Once applied on an object, lacquer is dried under very precise conditions: a temperature between 25 and 30°C and a humidity level between 75 and 80%. Its harvesting and highly technical processing make urushi an expensive raw material applied in exceptionally fine successive layers, on objects such as bowls or boxes.After heating and filtering, urushi can be applied directly to a solid, usually wooden, base. Pure urushi dries into a transparent film, while the more familiar black and red colours are created by adding minerals to the material. Each layer is left to dry and polished before the next layer is added. This process can be very time-consuming and labor-intensive, which contributes to the desirability, and high costs, of traditionally made lacquer goods. The skills and techniques of Japanese lacquer have been passed down through the generations for many centuries. For four hundred years, the master artisans of Zohiko’s Kyoto workshop have provided refined lacquer articles for the imperial household

Blade 28.5 inches long from tsuba to tip. Overall 40.5 inches long in saya.

As once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading  read more

Code: 25304

A Superb 500 Year Old Koto Era Muramachi Period Katana With Clan Mon Of The Atagi Clan of Naval Samurai. Silver Habaki Engraved with the Atagi Crest Mon

Superb Koto blade in very fine polish showing stunning activity. When it first arrived the blade looked super but had a few very light old fingerprint stains, after two months away for conservation it now looks absolutely wonderful, likely just as it did when it left Japan after it was presented to an Englishman in the 1870’s. It has very fine quality Edo period shakudo and shibuishi mounts, including a fuchi decorated with takebori pure gold monkeys climbing a tree on a nanako ground.

Nanako Ji: "fish roe ground" A surface decoration produced by forming very small raised bosses by a sharply struck punch or burin called 'nanako tagane'. Shakudo is the metal most often used, but copper and gold are quite often employed. The harder metals, shibuichi, silver and iron are rarely decorated in this way. The size of the dots vary from 0.04" to 0.008" (25 to 125 and inch) and the regularity of the work is marvellous as the dots must be spaced entirely by touch. The dots are usually arranged in straight lines or in lines parallel to the edge of the piece being decorated, but sometimes in more elaborate patterns. Used on guards since the Momoyama period although the technique existed since much earlier periods. Usually done by specialist 'nanako-shi', but sometimes done by the maker of the guard himself.
A very similar example of a Fuchi with gold monkeys, possibly by the same Japanese craftsman, is in the Walters Art Museum in Baltimore USA.

The kashira is decorated with gold and silver sea shells and sea grasses, and the tsuba has a shakado basket, a jingasa helmet and the ninja angle bladed hand weapon with chain called a Kusarigama, and a ninja shikome-zue a hidden sword disguised as a walking stick. Very fine pure gold decorated shakudo menuki under the Edo silk binding, and the Edo saya has a fine ishime stone finish lacquer. Very good and well defined gunome based on suguha hamon.

Used by a high ranking samurai retainer of the samurai Governor of Settsu, Fuyuyasu, who in his turn served as a highest rank retainer of the Miyoshi clan and a samurai Captain of the Awaji Navy. He was the third son of Miyoshi Motonaga and adopted by the Atagi clan. The Atagi were related to the Miyoshi clan and served the Mioyshi clan. They commanded ships for the Miyoshi clan crewed by samurai. Fuyuyasu served as captain of the Awaji Navy in support of the Miyoshi governance, but was killed by his eldest brother, Miyoshi Nagayoshi. There are many views and uncertainties regarding the reasons for the incident.

Fuyuyasu’s father, Motonaga, reached a settlement with Hosokawa Harumoto, in 1531, only to be killed the following year by monks acting in concert with Harumoto’s rival, Hosokawa Takakuni. Harumoto served as a sengoku daimyō and kanrei, or deputy shōgun, to Ashikaga Yoshiharu. Harumoto was the final kanrei of the Muromachi period to exercise real authority.

The Atagi clan served as the navy for Awaji Province. His older brother, Nagayoshi, was driven out of the Kinai and went to the island province of Awaji. Nagayoshi arranged for Fuyuyasu to be adopted by Atagi Haruoki, lord of the Atagi clan, and to become his successor.

On behalf of the Miyoshi clan, Nagayoshi led soldiers on battles in Settsu, Kawachi, and Izumi provinces. Fuyuyasu’s next eldest brother, Miyoshi Jikkyū, operated in Awa Province. Fuyuyasu served in Awaji, and his younger brother, Sogō Kazumasa, in Sanuki Province. Fuyuyasu participated in suppression actions near Ōsaka Bay, the Battle of Kitashirakawa against Hosokawa Harumoto in 1558, and the Battle of Kumeda against Hatakeyama Takamasa in 1562, causing the loss of his brother, Jikkyū. Fuyuyasu retreated to Awa, and just months later, prevailed against Takamasa at the Battle of the Kōkyō Temple in the Takayasu District of Kawachi Province.

Thereafter, Kazumasa, Jikkyū, and Miyoshi Yoshioki (Nagayoshi’s eldest son and Fuyuyasu’s nephew), all died in succession. Fuyuyasu made great efforts supporting Nagayoshi in a bid for survival of the Miyoshi family. Nevertheless, in 1564, Fuyuyasu was summoned to Iimoriyama Castle and forced to kill himself at the age of thirty-eight. His son, Atagi Nobuyasu, became his successor. The naval history of Japan began with early interactions with states on the Asian continent in the 3rd century BCE during the Yayoi period. It reached a pre-modern peak of activity during the 16th century, a time of cultural exchange with European powers and extensive trade with the Asian continent.
The Sengoku period (15th–16th century)
Various daimyo clans undertook major naval building efforts in the 16th century, during the Sengoku period, when feudal rulers vying for supremacy built vast coastal navies of several hundred ships. The largest of these ships were called atakebune. Around that time, Japan seems to have developed one of the first ironclad warships in history, when Oda Nobunaga, a Japanese daimyo, had six iron-covered Ō-atakebune ("Great Atakebune") made in 1576 . These ships were called tekkosen (鉄甲船), literally "iron armoured ships", and were armed with multiple cannons and large calibre rifles to defeat the large, but all wooden, vessels of the enemy. With these ships, Nobunaga defeated the Mori clan navy at the mouth of the Kizu River, near Osaka in 1578, and began a successful naval blockade. The O-atakebune are regarded as floating fortresses rather than true warships, however, and were only used in coastal actions. After over two centuries of self-imposed seclusion under the Tokugawa shogunate, Japan's naval technologies became outdated compared to Western navies. The country was forced to abandon its maritime restrictions by American intervention with the Perry Expedition in 1854. As to be expected the blade has a few light fingerprint stains. overall in saya 37.25 inches, blade tsuba to tip 26.3 inches long It is important to bear in mind, that due to the revered status that Japanese swords achieve for most of their working lives in Japan, that the condition they survive in can be simply remarkable. One can see just how remarkable it can be, by comparing the condition of this fine sword that was made around the same time as the early Tudor period of King Henry the VIIIth to any equivalent aged, surviving, early Tudor period sword, from any country outside of Japan, and that comparison will show just how fine any Japanese sword’s state of preservation, from the same era, truly can be.  read more

Code: 23644

A Simply Stunning 15th Century Sengoku Period Wakizashi Samurai Short Sword Circa 1480 With Shobu Zukuri Form Blade

Mounted in wonderous, original, full suite of Edo period mounts based entirely on pure gold and silver ponies, made somewhat in the fashion of a very famous set by Yokoya Somin. The most elegant shobu zukuri iris leaf form blade has to be one of the most beautiful blade styles ever made and is rarely seen. Shakudo nanako and gold fuchi kashira, large silver pony menuki under gold silk on giant rayskin. Matching tsuba with gold and silver ponies. cinnabar lacquer saya with ribbed top section with rubbed gold lacquer. The koto blade has wonderful grain and an undulating hamon. Shakudo is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark color is induced by applying and heating rokusho, a special patination formula.

Shakudo Was historically used in Japan to construct or decorate katana fittings such as tsuba, menuki, and kozuka; as well as other small ornaments. When it was introduced to the West in the mid-19th century, it was thought to be previously unknown outside Asia, but recent studies have suggested close similarities to certain decorative alloys used in ancient Egypt, Greece, and Rome. Wakizashi have been in use as far back as the 15th or 16th century. The wakizashi was used as a backup or auxiliary sword; it was also used for close quarters fighting, and also to behead a defeated opponent and sometimes to commit ritual suicide. The wakizashi was one of several short swords available for use by samurai including the yoroi toshi, the chisa-katana and the tanto. The term wakizashi did not originally specify swords of any official blade length and was an abbreviation of "wakizashi no katana" ("sword thrust at one's side"); the term was applied to companion swords of all sizes. It was not until the Edo period in 1638 when the rulers of Japan tried to regulate the types of swords and the social groups which were allowed to wear them that the lengths of katana and wakizashi were officially set.

Kanzan Sato, in his book titled "The Japanese Sword", notes that the wakizashi may have become more popular than the tanto due to the wakizashi being more suited for indoor fighting. He mentions the custom of leaving the katana at the door of a castle or palace when entering while continuing to wear the wakizashi inside. Wakizashi were worn on the left side, secured to the obi waist sash. The Sengoku period Sengoku Jidai, "Warring States period") is a period in Japanese history of near-constant civil war, social upheaval, and intrigue from 1467 to 1615.

The Sengoku period was initiated by the Ōnin War in 1467 which collapsed the feudal system of Japan under the Ashikaga Shogunate. Various samurai warlords and clans fought for control over Japan in the power vacuum, while the Ikkō-ikki emerged to fight against samurai rule. The arrival of Europeans in 1543 introduced the arquebus into Japanese warfare, and Japan ended its status as a tributary state of China in 1549. Oda Nobunaga dissolved the Ashikaga Shogunate in 1573 and launched a war of political unification by force, including the Ishiyama Hongan-ji War, until his death in the Honnō-ji Incident in 1582. Nobunaga's successor Toyotomi Hideyoshi completed his campaign to unify Japan and consolidated his rule with numerous influential reforms. Hideyoshi launched the Japanese invasions of Korea in 1592, but their eventual failure damaged his prestige before his death in 1598. Tokugawa Ieyasu displaced Hideyoshi's young son and successor Toyotomi Hideyori at the Battle of Sekigahara in 1600 and re-established the feudal system under the Tokugawa Shogunate. The Sengoku period ended when Toyotomi loyalists were defeated at the siege of Osaka in 1615.

The Sengoku period was named by Japanese historians after the similar but otherwise unrelated Warring States period of China. The Edo period habaki small copper-gilt blade collar has been perfectly restored and we shall photograph it soon. The photos that show it still in place see photos 2 and 9 are before it was restored.  read more

Code: 23939

A Fine Koto Period Wakizashi, Circa 1500 With Exceptional Mounts & Blade

The fuchigashira, are very special indeed hilt mounts and decorated with dragonfly and signed with an archaic style gold makers seal mark, and the menuki grip fittings, are of also stunning quality made in stunning quality shakudo. The menuki are based around the meditating Daruma. Daruma is a repesentation of a 5th century Buddhist monk,and has a design that is rich in symbolism and is regarded more as a talisman of good luck to the Japanese. He is completely wrapped in his robe, he holds a hossu-fly, the opposing menuki is showing, what is likely a view of Daruma wrapped in his cloak from behind, is inlaid with a pure gold seal mark of the maker, signed, Masayuki. The details in very high relief are accented with finely shakudo and gold inlaid in a Yanagawa style. This notable school takes rank with the Goto, the Nara, and the Yokoyoya in the extent of its influence, the numbers of its pupils, and the importance of the branch school founded by them. The founder, Yanagawa Naomasa (1692 ?1757 ) was a pupil of the early Yokoya and of the Yoshioka, and combined characteristics of both this school. Shakudo was historically used in Japan to construct or decorate katana fittings such as tsuba, menuki, and kozuka; as well as other small ornaments. When it was introduced to the West in the mid-19th century, it was thought to be previously unknown outside Asia, but recent studies have suggested close similarities to certain decorative alloys used in ancient Egypt, Greece, and Rome. The fittings are set within their two bespoke wooden display cases. Antique Japanese koshirae Japanese samurai sword mounts and fittings are considered as fine object d'art in their own right, and have been collectable as individual items or sets, since the Edo period. The tsuka ito hilt binding is of leather. The tsuba is a fine sukashi tsuba in iron. The saya is decorated with intricately layered pine needles, placed in position to appear natural and random but are actually methodically put in position, in an incredible time consuming skillful manner to appear random, but are not. The surface is then over laid in clear lacquer. The whole process to make thgis saya could have taken an artisan a year or even longer. Overall 24 1/4 inches long, blade length tsuba to tip 17 5/8 inches long  read more

Code: 23140

An Exceptionally Handsome 500 Year Old Samurai Katana, Signed Bizen Osafune ju Kanemitsu, A Museum Quality Piece of Early Samurai History

In a classic and highly sophisticated all black ensemble of koshirae, and a sword that has a breathtakingly impressive curvature. It has all its original Edo mounts, of patinated copper, decorated with takebori relief dragons, an early iron Koto o-sukashi tsuba, a stunning, original, Edo period uniformly narrow ribbed black urushi lacquer saya, in super bright and glossy original condition. Deeply curved blade showing an outstanding active and vibrant hamon in great polish. The tsukaito is over-lacquered silk, in black, over-wrapped on pure gold and shakudo menuki which in turn are on traditional samegawa giant rayskin.

The activity in the hamon is, simply, spectacularly beautiful, and shows the wide Hi horimono groove on one side and a double Bo Hi on the other side of the blade face.

The Incredible Story of Japanese Lacquer on Samurai Swords Scabbards, called Saya

Japanese lacquer, or urushi, is a transformative and highly prized material that has been refined for over 7000 years.

Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords

Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.

Some provinces of Japan were famous for their contribution to this art: the province of Edo (later Tokyo), for example, produced the most beautiful lacquered pieces from the 17th to the 18th centuries. Lords and shoguns privately employed lacquerers to produce ceremonial and decorative objects for their homes and palaces.

The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!

Flowing from incisions made in the bark, the sap, or raw lacquer is a viscous greyish-white juice. The harvesting of the resin can only be done in very small quantities.
Three to five years after being harvested, the resin is treated to make an extremely resistant, honey-textured lacquer. After filtering, homogenization and dehydration, the sap becomes transparent and can be tinted in black, red, yellow, green or brown.

Once applied on an object, lacquer is dried under very precise conditions: a temperature between 25 and 30°C and a humidity level between 75 and 80%. Its harvesting and highly technical processing make urushi an expensive raw material applied in exceptionally fine successive layers, on objects such as bowls or boxes.After heating and filtering, urushi can be applied directly to a solid, usually wooden, base. Pure urushi dries into a transparent film, while the more familiar black and red colours are created by adding minerals to the material. Each layer is left to dry and polished before the next layer is added. This process can be very time-consuming and labor-intensive, which contributes to the desirability, and high costs, of traditionally made lacquer goods. The skills and techniques of Japanese lacquer have been passed down through the generations for many centuries. For four hundred years, the master artisans of Zohiko’s Kyoto workshop have provided refined lacquer articles for the imperial household . Overall 37.75 inches long, blade tsuba to tip 27 inches  read more

Code: 24324

A Most Impressive & Stunningly Beautiful Bladed Antique Shinto period, Edo Era Samurai Horseman's Katana. Matsushiro Sinano School Koshirae

A simply amazing sword, of the 1700's, with a blade of breathtaking beauty, with a highly complex and attractive gunome hamon, with 'crabclaws', 'islands' and 'gems' of hardened temper. It gives the impression of a mountain range { somewhat like multiples of Mount Fuji} and crashing seas.

All original Edo period fittings, and a superb takebori iron sukashi tsuba. The fuchigashira and sayagaki and jiri are all matching brass decorated with fulsome designs and silver striping. Fully matching suite of sinchu and contrasting silver line mounts to the tsuka and saya, of the Edo Matsushiro Sinano school The saya has all its original period Edo lacquer impressed with a cloud patterning, and in dark bulls blood red. The menuki are horsemen's saddle stirrups, called abumi, and a horseman's yari pole. The blade has a superb and elaborate gunome hamon.

This is a katana made for a senior ranking samurai based on horseback in combat, certainly not a light and cursive katana, but a battle sword, made to complete an uncomprimising task of close combat and aggressive swordmanship.
Designed as much for cleaving armour and helmets in two, as much as defeating another samurai on horseback. Although samurai would not, one would say, be a cavalry based warrior, all senior samurai would be mounted and thus travel on horseback, and some cavalry type samurai could be deployed in battle, but with differing combat styles depending on what part of Japan they came from. The cavalry troops, being Samurai, had personal retainers that stayed closer to them in the Sonae, carried their weaponry and worked as support units, much like an European squire. They also joined the fight whenever possible (especially in the mounted infantry scenario) and were often responsible of taking heads for their lords.
These foot Samurai were also used as heavy infantry or archers to support the ashigaru lines.


Tactics
Given the fact that the Samurai could directly dismount and operate as infantry, there were some specific tactics for horsemen.
Cavalry in general was only used after the battle was already started, either to deliver a decisive victory or to trying to save the day.

Norikiri
This is a classic charge, where several small groups of five to ten horseman ride consequently (possibly with a wedge formation) into a small area against the enemy lines, to maximize the shock. It was mainly used by heavy cavalry in the East, but given the fact that the ideal target where "weavering" units with low morale or disorganized, even medium cavalry could perform this charge.
The main role of this charge was to create confusion; if it didn't succeed, the cavalry regroups and either retreat or deliver another charge.

Norikuzushi
This is a combined infantry and cavalry charge. The horseman charged first, and after creating mayhem, a second charge is delivered by infantries armed with polearms, which could keep on fighting. The main target for this tactics were ranged units detached by the army. After a Norikuzushi usually follows a Norikiri by the cavalry group. 28 inch blade tsuba to tip. The saya has some old wear marks, but very nice indeed and untouched.  read more

Code: 25240

A Good Koto Period O Sukashi Tsuba

Cirtca 1550. Probably Owari school. The OWARI school should be divided into three periods. The first period comprises those pieces made in the Muromachi age. The earliest tsuba of the first period are a little younger than the earliest Kanayama tsuba. The second period is the work of the Momoyama age. The third period is from the early Edo age to the Genroku era (1688-1703). A few facts may be stated based on examination of the work of this school. They are always of positive silhouette design. The subjects of the designs vary greatly but they always have in common a strong masculine feeling. They are a noble tsuba whose influence may be seen in many contemporary schools.
Yamasaka Kichibei was the name of the first tsuba artist of this family. Later members of this school shortened the name to Yamakichibei, still later onwe see the name Yamakichi. The working period of the first Yamasaka Kichibei is from Tensho to Keicho eras (1575-1615), about contemporary with the second Nobuiye. The first generations lived in the Kiyosu area, but the later generations lived at Nagoya in Owari Province. Tsuba were made by whole dynasties of craftsmen whose only craft was making tsuba. They were usually lavishly decorated. In addition to being collectors items, they were often used as heirlooms, passed from one generation to the next. Japanese families with samurai roots sometimes have their family crest (mon) crafted onto a tsuba. Tsuba can be found in a variety of metals and alloys, including iron, steel, brass, copper and shakudo. In a duel, two participants may lock their katana together at the point of the tsuba and push, trying to gain a better position from which to strike the other down. This is known as tsubazeriai pushing tsuba against each other.  read more

Code: 20801

A 600 Year Old Samurai Wakazashi, Higo Han Dachi Mounted, Signed by Nobukuni

All original fittings and koshirae of the Edo period, the Higo han dachi mounts are most exceptional and a form very rarely seen, in that all seven pieces in the original full suite are Higo scholl, iron ground, stunningly decorated with splashes of pure silver droplets applied somewhat like flakes of snow falling in the night. They are absolutely captivating in their beauty.

The blade has an absolutely stunningly complex and active hamon, that looks fabulous, with totally as to be expected, a small area of the tip of the blade with pitting, Some pitting was left in place by the polisher, a conscious choice that helps to preserve as much of the original form, thickness, and therefore handling characteristics as possible. Otherwise, in good shape. The saya has its original Edo period ishime stone lacquer in super condition with just a couple of old areas of surface repair, with a kozuka pocket and its complimentary plain iron Higo kozuka [utility knife] present.
It has a fine mokko iron plate tsuba, decorated with a full moon over clouds and a gold and silver inlaid hanging rope, with attachments, over crashing waves.
Han-dachi mounted swords originally appeared during the Muromachi period when there was a transition taking place from tachi slung swords to katana obi mounted swords. The sword was being worn more and more edge up when on foot, but edge down on horseback as it had always been. The handachi is a response to the need of a sword to be worn in either style.
The samurai were roughly the equivalent of feudal knights. Employed by the shogun or daimyo, they were members of hereditary warrior class that followed a strict "code" that defined their clothes, armour and behaviour on the battlefield. But unlike most medieval knights, samurai warriors could read and they were well versed in Japanese art, literature and poetry.
Samurai endured for almost 700 years, from 1185 to 1867. Samurai families were considered the elite. They made up only about six percent of the population and included daimyo and the loyal soldiers who fought under them. Samurai means one who serves."

Samurai were expected to be both fierce warriors and lovers of art, a dichotomy summed up by the Japanese concepts of bu [to stop the spear] expanding into bushido (the way of life of the warrior) and bun (the artistic, intellectual and spiritual side of the samurai). Originally conceived as away of dignifying raw military power, the two concepts were synthesised in feudal Japan and later became a key feature of Japanese culture and morality. The quintessential samurai was Miyamoto Musashi, a legendary early Edo-period swordsman who reportedly killed 60 men before his 30th birthday.

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Code: 24251