Japanese

Please View & Explore Probably The Largest Selection Of Original Antique & Historical Samurai Arms From The Past 800 Years For Sale in The World. Including, Swords, Spears, Armour, Helmets, Long Bows, Arrows, Daggers & Sword Fittings

Our amazing collection of recently acquired fine antique swords have been, and some are to be, added to our gallery. Including a fabulous, Shinto, Tokugawa tachi presented to a visiting famous American admiral and war hero in 1896, another tachi, a representation of an Odachi great sword, made by Yoshiyuki, in the late Edo period, by a smith of such esteem that even when the samurai class were effectively made redundant, and relegated to history, swords were still commissioned from him, for presentation to esteemed persons of highest standing. Plus numerous other samurai swords are being added to the gallery soon, of all types and eras, also samurai war arrows ‘ tagari ya’ and rare swallow tail 'ageha ya’, a dozen ‘kazuya’ ya target arrows, plus a superb collection of 20 fabulous Koto to Shinto tsubas, have still yet to be collated and listed on our site. Plus, more swords, just added this month, both antique and WW2 ancestral shingunto etc. including one of the best we have seen in years.

“Weaponry both ancient and vintage, they all have style and a story to tell”

"Over the past 54 years I have personally supervised our company's determination to try provide the most historically interesting, educational, yet none too intimidating, gallery of original Japanese Samurai artefacts for sale in the collecting world. We were told a few years ago by Victor Harris { Japanese sword expert resident consultant at the British Museum, the UK's leading nihonto specialist} that we probably display the largest selection of original, fine samurai sword weaponry for sale, and of its kind, anywhere in the world.

Principally concentrating on a crucial combination of age, beauty, quality and history, & thanks to an extensive contact base, built up over the past 100 years or more, that stretches across the whole world, including collectors, curators, academics and consultants, we have been very fortunate, in that this effort has rewarded us with the ability to offer, what we believe to be, the most comprehensive selection of original ancient and antique samurai swords available for sale in one gallery or online in the world.

We have exported, over the past 100 years, likely tens of thousands of our original samurai weapons, helmets and armour to the four corners of the globe, with clients on all continents. Our swords grace the homes of collectors from literally all walks of life, from Presidents to Postmen, and we have traded with museums of all the major nations. We have always loved and been fascinated by the history of the Samurai, and their iconic weaponry, and we have long admired and envied their past near limitless skill at creating the unparalleled beauty and quality of samurai swords. Universally acknowledged to be likely the very best swords the world has ever seen.

Our Japanese weaponry vary tremendously in age, in fact up to, and sometimes over, an incredible 800 years old, and they are frequently some of the finest examples of specialist workmanship ever achieved by mankind.
We have tried to include, within the holistic description of most items, a brief generic history lesson, for those that have interest, and may wish to know, that will describe the eras, areas and circumstances that these items were used in ancient Japan. We have tried our utmost to be informative, holistic and as interesting as possible without being too academically technical, in order to keep the details vibrant, fascinating and comprehensible, thus not too complex.
We are always delighted to impart any knowledge that we have at our disposal to any curious new collectors when asked. In fact some of the most learned scholars in the world that we have met, and known, some studying the art of nihonto almost all of their adult lives, often admitted to us they were only scratching the surface of the knowledge to be learnt in this extraordinary field, so there is much to constantly uncover about the stories of the samurai and their legendary weaponry covering around 1000 years of Japanese history.

Please enjoy, with our compliments, our Japanese Gallery. It has been decades in the creation, and we intend it to remain as interesting and informative as possible, and, hopefully, for another century to come"..


Mark Hawkins
Partner
The Lanes Armoury

Did you know? the most valuable sword in the world today is a samurai sword, it belongs to an investment fund and has appeared illustrated in the Forbes 400 magazine. It is valued by them at $100 million, it is a tachi from the late Koto period 16th century and unsigned. Its blade is grey and now has no original polish remaining.  read more

Code: 22187

Outstanding, Huge Shogunate Antique Bunkyu Period 幕藩体制 Samurai's Tachi, Horseman's Sword, In Superb Condition. Signed 伯耆国住吉. Hoki no Kuni ju Yoshiyuki . A 'Statement' Piece, Par Excellance. A Late Edo Representation of The Ancient Ōdachi Great Sword

This sword has immense presence and stature, and my goodness, what a truly elegant shape and curvature, a magnificent centrepiece for any stylish decor. Shinshinto bladed tachi {slung mounted sword} from the late Edo bakuhan taisei 幕藩体制 period, signed Hoki no Kuni ju Yoshiyuki and dated 1857, decorated with traces of red, the tsuka with iron fuchi-kashira decorated with figures, its Nanban, earlier Edo mokko shaped iron tsuba, depicting the butterfly, signed, Umetada school "Cho" tsuba, signed Yamashiro Ju Shigeyoshi.(山城住重吉) It represents the Ikeda Family Mon (Mukai Cho Ka-mon, and interestingly the signature is also decorated with red within the chiselling of each kanji, an old Japanese tradition to indicate it is an item of reverence. It is mounted in a rich mid brown ishime, stone finish lacquer, tachi mounted saya, beautifully bound with contrasting sageo of stunning gold and black. the tsuka is black silk bound over samegawa {giant ray-skin} with a pair of menuki {beneath the silk binding} depicting war arrows combined with samurai armour.

The Umetada school was founded in the late 16th century by Umetada Myōju (埋忠明寿). He was a leading figure in the Shintō sword movement, making blades and fittings in Kyoto. Second in this line was Umetada Tachibana Shigeyoshi, who moved to Nishijin in the north of Kyoto, where he got inspired by European designs and technology. He made several forms of tsuba

Old Japanese kanji on blades, often the maker's signature (mei), can be decorated red because red ink (shuniku) symbolizes good luck, protection, vitality, and authority, while also ensuring the inscription (brushed in red) is visible and permanent before being chiseled into the tang. Red (aka) wards off evil, signifies the sun, and is used for celebrations, making it a powerful colour for important markings on samurai swords, connecting to national identity and spiritual strength.

As this superb tsuba bears an Umetada school "Cho" tsuba signed Yamashiro Ju Shigeyoshi.(山城住重吉) It represents the Ikeda Family Mon (Mukai Cho Ka-mon. Thus as it is its original mon tsuba it likely represents this sword was made for the Ikeda family clan.

To qualify as an ōdachi, the sword in question would normally have a blade length of around 3 shaku (90.9 cm (35.8 in)). However, as with most terms in Japanese sword arts, there is no exact definition of the size of an ōdachi.

Signed "Hoki no Kuni ju Yoshiyuki. swordsmith named Yoshiyuki (吉幸), worked in Hōki Province (伯耆国), modern-day Tottori Prefecture, during the late Edo period (around the 1860s). He signed his work with variations like "Hoki no Kuni ju Yoshiyuki," was known as Shimizu Tōshirō, and produced blades exhibiting detailed jihada (grain) and hamon (temper lines) with ko-nie (small bright particles).
Yoshiyuki (real name Shimizu Tōshirō).
Hōki Province (now Tottori, Japan).
Period: Late Edo (Bunkyū era, 1861-1864) through the Meiji Restoration.
Signature: "Hoki no Kuni ju Yoshiyuki" (伯耆国住吉幸).
Often features itame (wood grain) mixed with mokume ( burl grain), ji-nie, chikei, and utsuri, with a hamon of midare (irregular) with ko-notare (small drops) and ko-gunome (small arcs).
Yoshiyuki was a recognized smith from Hōki Province, noted for his work in the late Shintō period, even creating swords during the ban on wearing swords in 1876.
Blades from him often considered significant examples from that era, showcasing traditional craftsmanship even as Japan modernized.

This wonderful sword is photographed in the gallery not only displayed on a traditional katana stand {horizontal}, but also on a black lacquer, old, traditional tachi stand { tachi-kake, more vertical}. The sword with come complete with a complimentary katana stand. The tachi stand is sold separately.

The tachi style of swords preceded the development of the katana the first use of the word katana to indicate a blade different from tachi appears toward the end of the twelfth century. In later Japanese feudal history, during the Sengoku and Edo periods, certain high-ranking warriors of what became the ruling class would wear their sword tachi-style (edge-downward), rather than with the saya (scabbard) thrust through the belt with the edge upward. The bakuhan taisei was the feudal political system in the Edo period of Japan. Baku, or "tent," is an abbreviation of bakufu, meaning "military government" that is, the shogunate. The han were the domains headed by daimyo. The number of han (roughly 250) fluctuated throughout the Edo period. They were ranked by size, which was measured as the number of koku that the domain produced each year. One koku was the amount of rice necessary to feed one adult male for one year. The minimum number for a daimyo was ten thousand koku; the largest, apart from the shogun, was a million.

Samurai horsemen began as aristocratic mounted archers in Japan's Heian period (794-1185), serving nobles, evolving into powerful warriors controlling the state by the Kamakura era (1185-1333) with the rise of the Shogunate, mastering bows, swords, and later polearms, forming the iconic image of armoured, skilled riders who defended Japan and defined its military culture for centuries before their eventual abolition in the 19th century.
Origins and Early Development (Heian Period, 794-1185)
Early Protectors: The term "samurai" (meaning "one who serves") emerged as provincial warriors, often landowners, serving aristocratic families as guards.
Mounted Archery: Their initial primary skill was horseback archery, using asymmetrical bows, with horses and armour often signifying wealth.
Decentralized Power: Central government weakness led to reliance on these regional warrior clans (Uji), shifting power from the court to local strongmen.
Rise to Power (Kamakura Period, 1185-1333)
Feudal System: Clan rivalries culminated in the Genpei War, leading to the rise of the first Shogunate (military government) and establishing the samurai as Japan's dominant political and military force.
Bushido: The samurai code of honour, Bushido, became firmly established during this time.
Mongol Invasions (1270s): Samurai horsemen, skilled in archery and swordsmanship, successfully defended Japan against Mongol invasions.
Evolution of Tactics (14th - 16th Centuries)
Swords & Polearms: While archery remained important, swordsmanship (especially with the katana) grew, and later, the introduction of lance-armed cavalry charges became a feared tactic, notably by the Takeda clan.
Infantry Integration: By the late 16th century, powerful samurai leaders like Oda Nobunaga began integrating firearms and massed infantry, leading to significant tactical shifts, as seen at the Battle of Nagashino (1275).
Decline & Legacy (Late Edo Period to Meiji Restoration)
Abolition: The samurai class was officially abolished during the Meiji Restoration in the late 1870s, ending their military and social dominance but solidifying their legendary status in Japanese history and culture. However the presentation of samurai swords did not stop {after the samurai class were removed from power} as their status, was, for ever more indelibly linked entirely to both the history and the future of Japan, for without the sword there would have been no legendary samurai, and without the samurai there would have been no Japan.

Approx 32 inch blade tsuba to tip, tsuka 11.5 inches long, overall 45.5 inches long

Traditional tachi sword stands (tachi-kake) serve to display the sword's beauty, honour its spiritual status
Swords were symbols of honour; the stand showcased the owner's rank and the blade's importance, often with ornate designs.
Stands support the tachi's distinct curve, preventing stress and damage, especially when displayed edge-up, which highlights the blade. They secure the sword, keeping it safe from accidental falls or damage to the delicate fittings and scabbard (saya).
The orientation (edge up/down, handle left/right) could signify peace or war, or readiness for drawing, showing the sword's transition from weapon to art.
Unlike katana stands, tachi stands cradle the blade's natural curve, holding it at an angle or horizontally.
Often made from fine woods like cypress, they were built to be stable and aesthetically pleasing, sometimes featuring clan crests.
Tachi were worn edge-down for cavalry; displaying them this way mirrors that original function, while edge-up is for peacetime aesthetics,
In essence, the tachi stand {tachi-lake} transforms a formidable weapon into a revered art object, reflecting its historical importance and cultural significance in samurai society

Picture in the gallery is of Magara Naotaka, a retainer of the Asakura clan in the Battle of Anegawa. He was famous as a master of a ōdachi named Taro tachi (太郎太刀). One might presume the size of his Odachi may have been exaggerated somewhat for the sake of artistry.  read more

Code: 26006

A Most Fine and Impressive Samurai Horseman's Handachi Katana. Shinto Period From the 1600's Around 400 Years Old. Semi Tachi Mounted. Dressed in a Full Suite Of Matching Original Edo Koshirae. Designed To Be Worn & Used In Combat Upon Horseback

Without doubt this superb horseman’s sword must be classified as a statement piece within the world of original samurai art swords. It has a wonderful stand-alone presence that is at the same time subtle yet outstanding. Demonstrating the traditional timeless elegance of samurai object d’arte, yet a samurai’s sword of war, at home both at the court of a clan Daimyo, or within a battle scenario, during the hand to hand combat of a clash of a teeming mass of mounted samurai, in the middle of a melee, during the constant clan warfare in the early Tokugawa period.

Han-dachi semi-tachi can be displayed on a tachi stand (tachi-kake), usually with the handle pointing down, blade up for respect/preservation (preventing sheath damage), and sometimes the signature (mei) facing outward, though it's a matter of preference and historical context.

Superbly depicted in the great samurai masterpiece ‘Shogun’ by James Clavell. It clearly demonstrates that despite the eras title as the ‘era of prolonged peace’ after the Tokugawa unified the control of Japan, since their incredible victory at the Battle of Sekigahara, the internecine conflicts, created warfare that raged throughout Japan.
Clan after clan conspired and fought for dominance, within the new and greatest ‘Tokugawa’ Shogunate, that Japan had seen in 500 years. Political stability in the governance of Japan as a whole, did little the abate the power struggles between clans, within the new time of Japanese isolationism. The anti Christian resolve of many traditional clans, to rid Japan of the post 1530’s period of influence, due to the Catholic religious conversions, { from Shintoism and Buddhism} by the Portuguese and Spanish priests, that arrived hand in hand, as part of the ‘Black Ship’ merchant trade fleet. Several clans had been converted to Christianity since their arrival the century before.
It initially suited the new Shogun quite nicely, to subvert the Shinto religious authority, and their power, that had grown to rival his own, to allow Christian conversions, in order to somewhat ‘concentrate the minds’ of the traditional religious bodies, away from their influence and their continual attempted control {to a degree} of the autonomy of their Shogun, and thus to move their attention away from him, and towards the Christian clans, in order for them to crush the foreign interlopers. That has been a tactic used by many despotic powers for millennia, such as by Stalin, and Saddam, for example, that it is far better for the subordinate generals to be inspired to battle against each other for power, than for them to combine their power, in order conspire together against their leader and the dictator. But, once the Shogun’s power was irrefutable, he then allowed the Shinto clans to rid Japan of Christianity, and outlaw and slaughter all the converted Christian clans and their families. The more the clans fought amongst themselves, the better it was for the Shogun.

Fully leather bound tsuka-ito with iron fuchi and kabuto-gane with gilt edges, soft metal menuki in the form of a Daikyū and Ya, {war bow on one side and arrows on the other}, mokko-shaped signed iron tsuba, and the sword is set in its beautiful, original, original Edo period, urushi black lacquer saya decorated with an incredibly beautiful feathered swirling pattern, with traditional handachi mounts in black iron with gold trim that are fully en-suite and matching with the tsuka.

The blade has a stunning and complex gunome hamon, which in English terms, looks much akin to the surface of waves in choppy seas

Han-dachi originally appeared during the Muromachi period when there was a transition taking place from Tachi to katana. 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 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.

The Japanese samurai and their famously iconic swords lasted relatively unchanged for 1200 years. A Nara period tachi sword of 700 ad was not that much different from a late Tokugawa period tachi sword of 1860. Compare that to Europe, every style and pattern of sword was used, and dramatic changes meant all forms of sword, and sword combat, changed and evolved from century to century. Yet in Japan the form changed little, the style was excellent from the very earliest period, and all that was required was incremental small improvements and very subtle changes. A samurai armed with a sword from 700 ad, would not appear that much changed 1100 years later. However, the samurai sword had been improved, and improved more, to a standard of quality excellence, after 500 years, that remained unrivalled throughout the world. A sword steel that was the finest steel ever created by mankind, a steel so fine that it bears no useful comparison to every other finest blade steel ever made. Damascus is likely the closest, but still way, way, below Japanese samurai sword steel. If Japanese samurai steel, ranked in first place, was compared to a formula one racing car, Damascus or pattern welded sword steel, ranked in second place, would be the equivalent to a twenty year old New York taxicab, with serous transmission issues, and absolutely no sword steel, whatsoever, of any grade, would lay between the two of them.

Overall this wonderful sword is in superb condition for age. The saya’s incredible quality urushi lacquer is very good, to excellent, with just natural age marks and wear, the blade is similarly excellent for age, with just natural age wear and small surface pinprick areas. The tsuka-ito is also very good indeed, with just one very small area of surface wear near the daikyu bow menuki.

Samurai horsemen began as aristocratic mounted archers in Japan's Heian period (794-1185), serving nobles, evolving into powerful warriors controlling the state by the Kamakura era (1185-1333) with the rise of the Shogunate, mastering bows, swords, and later lances, forming the iconic image of armored, skilled riders who defended Japan and defined its military culture for centuries before their eventual abolition in the 19th century.
Origins and Early Development (Heian Period, 794-1185)
Early Protectors: The term "samurai" (meaning "one who serves") emerged as provincial warriors, often landowners, serving aristocratic families as guards.
Mounted Archery: Their initial primary skill was horseback archery, using asymmetrical bows, with horses and armor often signifying wealth.
Decentralized Power: Central government weakness led to reliance on these regional warrior clans (Uji), shifting power from the court to local strongmen.
Rise to Power (Kamakura Period, 1185-1333)
Feudal System: Clan rivalries culminated in the Genpei War, leading to the rise of the first Shogunate (military government) and establishing the samurai as Japan's dominant political and military force.
Bushido: The samurai code of honor, Bushido, became firmly established during this time.
Mongol Invasions (1270s): Samurai horsemen, skilled in archery and swordsmanship, successfully defended Japan against Mongol invasions.
Evolution of Tactics (14th - 16th Centuries)
Swords & Lances: While archery remained important, swordsmanship (especially with the katana) grew, and later, the introduction of lance-armed cavalry charges became a feared tactic, notably by the Takeda clan.
Infantry Integration: By the late 16th century, powerful samurai leaders like Oda Nobunaga began integrating firearms and massed infantry, leading to significant tactical shifts, as seen at the Battle of Nagashino (1275).
Decline & Legacy (Edo Period to Meiji Restoration)
Peace & Ceremony: During the peaceful Edo period (1603-1868), the samurai transitioned from battlefield warriors to bureaucrats, administrators, and guardians of a more refined culture.
Abolition: The samurai class was officially abolished during the Meiji Restoration in the late 1870s, ending their military and social dominance but solidifying their legendary status in Japanese history and culture

Overall 41 inches long in saya, tsuka 10 1/2 inches long, blade 29 1/2 inches long, tsuba to tip  read more

Code: 26067

A Very Fine, Original, Shinto, 'Tokugawa' Antique Tachi, Presented In Yokahama, Japan, in 1896, to Admiral Wildes, Capt. of USS Boston, Of Admiral Dewey's Spanish War Fleet, And, Veteran of The Civil War Battle of Mobile Under Admiral Farragut.

Admiral Frank Wildes, hero of the Spanish War, was firmly rooted within the entire maritime and military history and beginnings of American nationhood. His great grandfather was a Brigadier General in the Revolutionary War, Solomon Lovell of Weymouth, having commanded the defenses of Boston during the Revolution, and his grandfather, Capt. William Wildes, having been a Lieutenant of the old frigate Boston. His maternal grandfather. Ithamar Rice, participated in fight at Lexington. And, as a young ensign, { a graduate of the US Naval Academy in 1863} Admiral Wildes fought under Admiral Farragut at Mobile in the Civil War.
His presentation tachi spent the entire Christmas period break receiving a 'no expense spared' museum standard intensive conservation, taking sixty hours of artisan cleaning, polishing and preservation attention by our artisans. Who, at their own choice {despite protest from us} had no holiday break in order to finish the task before the New Year.

As all our regulars know almost every sword we display in our gallery is similarly respected with museum grade conservation undertaken as and when required. With our primary concern, for our ‘museum standard conservation’, is to be as original as possible, with all natural patination and beautiful aging remaining, if at all possible, and not to be a simply cosmetic restoration.

The samurai tachi is photographed displayed, traditional tachi style, upon an original rare Edo period tachi-kake stand with the Hakkoryu’s Yotsume-no-mon of the Okuyama clan {stock code 23511, and for sale separately}.

The sword bears traditional tachi koshirae throughout, of the Tokugawa shogun’s kamon, with nashiji urushi lacquer on the saya decorated with numerous mon, and the menuki are similarly of Tokugawa mon. The Shinto blade is o-Wazamono {supremely sharp} Photos in the gallery is an old family photo of the admiral, another is of the admiral’s sword, flag and uniform {from the auction sale} and yet one more of his old ship, USS Boston.

The tachi style of swords preceded the development of the katana the first use of the word katana to indicate a blade different from tachi appears toward the end of the twelfth century. In later Japanese feudal history, during the Sengoku and Edo periods, certain high-ranking warriors of what became the ruling class would wear their sword tachi-style (edge-downward), rather than with the saya (scabbard) thrust through the belt with the edge upward. The bakuhan taisei was the feudal political system in the Edo period of Japan. Baku, or "tent," is an abbreviation of bakufu, meaning "military government" that is, the shogunate. The han were the domains headed by daimyo. The number of han (roughly 250) fluctuated throughout the Edo period. They were ranked by size, which was measured as the number of koku that the domain produced each year. One koku was the amount of rice necessary to feed one adult male for one year. The minimum number for a daimyo was ten thousand koku; the largest, apart from the shogun, was a million. Kameda - Ishino - Magabuchi - Kawashima - Wada et Yamaoka clan.

Acquired from his descendant family, living in the UK. Famously, in America the US Navy hero's dress uniform and gold sword was auctioned by Skinnersinc, after his gilt, presentation American admiral's sword, was discovered after being locked in a mysterious family trunk for decades. It made American national news across the States, at the time the trunk was opened, to reveal its magnificent historical treasure and it was sold for $31,200.

Admiral, formerly Captain, Frank Wildes commanded the Protected Cruiser USS Boston (Cruiser No. 1) during the Spanish-American War, leading its crew of 19 officers and 259 men in action, a significant historical ship with a notable captain known for his leadership on this vessel.
Key Details about Captain Wildes & USS Boston:
Ship: USS Boston (Cruiser No. 1) was a protected cruiser, a type of warship. Captain Wildes commanded her during the Spanish-American War. He led a substantial crew of 19 officers and 259 enlisted men.

When USS Boston left Hong Kong for the war in Manila the British naval officers in Hong-Kong knew the difference between us and the Spanish in this particular, and when we were leaving port for Manila the captain of the HMS Immortality shouted to Captain Wildes: “You will surely win. I have seen too much of your target practice to doubt it.” The British in China were confident of our victory when we sailed, but I believe that the Russian, German, and French naval officers thought Spain would conquer.

From Gunner Joel C. Evans account after the victorious battle, 'When I returned to Hong-Kong on the SS McCulloch, leaving Manila on May 5. We made the trip in forty-six and a half hours. Our reception in the harbor was generous. We were surrounded by launches, while representatives of governments and of newspapers all over the world implored speedy information. That night ashore was to be remembered. ‘The Americans made a jollification of it that outdid any celebration in the memory of the oldest inhabitant. The British residents joined in it, and in spirit the men of the two nations were one in rejoicing over the victory of the Anglo-Saxon."

USS BOSTON was assigned to the United States Asiatic Squadron under Commodore Dewey. She took part in the Battle of Manila Bay on May 1, 1898, and the capture of the city of Manila on August 13th. The cruiser remained in the Philippines, assisting in their pacification, until June 1899. BOSTON returned to San Francisco in August, 1899 and went out of commission, rejoining the Pacific Squadron in 1902. In June, 1905 she helped represent the Navy at the Lewis and Clark Exposition at Portland, Oregon, and between April 23 and May 10, 1906 she helped care for the victims of the San Francisco earthquake and fire. As a militia training vessel and receiving ship she survived until 1946.

February 8th 1903 New York Times

SAN FRANCISCO, Feb. 7.-Rear Admiral Frank Wildes of the United States Navy died suddenly on board the steamship China yesterday morning. He was on his way home from China on sick leave when death overtook him.

Admiral Wildes had recently been in charge of the fleet in Manila and about the Philippines, his service on the station dating from June, 1902. From the first the trying climate seemed to be too much for the officer. Under the strain of the continued heat and excessive humidity he constantly lost strength, until finally the naval Board of Survey stepped in and the Admiral was condemned as physically unfit for duty and ordered home to recuperate.

It was reported that upon Admiral Wildes's arrival in this country, if the sea voyage had brought his health back, he was to be placed in charge of the Bremerton Navy Yard. But the sea air did not work the cure hoped for.

From the time Admiral Wildes boarded the China at Hongkong he failed steadily. In Honolulu he was unable to leave his berth. He died at 10:30 A. M. Friday. His body was embalmed and brought on to port

Admiral Wildes was appointed from Massachusetts, and his family lived in Boston. He was accompanied on the steamer by Lieut. Andrews, Commander E. B. Barry, and Capt. West of the navy. On the voyage he had told his fellow-officers that he expected death soon, and a day or two before the end came he arranged with Lieut. Andrews to take charge of all his effects and care for his remains. He was dressing on Friday morning when he was seized suddenly with heart failure. He died within five minutes.

The news of the Admiral's death was conveyed to the warships in the harbor soon after the arrival of the China in port, and as the steamer went up the bay to her wharf she passed close to the anchorage of the battleships and each of them had its flags at half-mast.

Rear Admiral Frank Wildes, recently Senior Squadron Commander of the Asiatic station on the flagship Rainbow, had a splendid career in the navy. His promotion from the rank of Captain followed closely upon his conspicuous conduct in the battle of Manila, May 1, 1898. He was at that time the Captain of the cruiser Boston and remained about the Philippines until the Spanish surrender, on Aug. 18. He was detached and ordered home on Nov. 6, 1898, and was sent to the navy yard in Brooklyn April 1, 1899. He had since that time been in the Philippines. His period of service there was scheduled to end on Dec. 22, 1902. He attained the rank of Rear Admiral in October, 1901.

He was born in Boston June 17, 1843. He came of a family of fighters, his great-grandfather, Brig. Gen. Solomon Lovell of Weymouth, having commanded the defenses of Boston during the Revolution, and his grandfather, Capt. William Wildes, having been a Lieutenant of the old frigate Boston. His maternal grandfather. Ithamar Rice, participated in fight at Lexington.

Wildes was graduated from the Naval Academy on May 28, 1863, and was appointed an Ensign. He participated in the battles of Mobile and the naval battery under Admiral Farragut until the surrender of Fort Morgan.

37 Inches long overall, blade 27 inches long tsuba to tip, tsuka 9 inches long

Traditional tachi sword stands (tachi-kake) serve to display the sword's beauty, honour its spiritual status
Swords were symbols of honour; the stand showcased the owner's rank and the blade's importance, often with ornate designs.
Stands support the tachi's distinct curve, preventing stress and damage, especially when displayed edge-up, which highlights the blade. They secure the sword, keeping it safe from accidental falls or damage to the delicate fittings and scabbard (saya).
The orientation (edge up/down, handle left/right) could signify peace or war, or readiness for drawing, showing the sword's transition from weapon to art.
Unlike katana stands, tachi stands cradle the blade's natural curve, holding it at an angle or horizontally.
Often made from fine woods like cypress, they were built to be stable and aesthetically pleasing, sometimes featuring clan crests.
Tachi were worn edge-down for cavalry; displaying them this way mirrors that original function, while edge-up is for peacetime aesthetics,
In essence, the tachi stand {tachi-lake} transforms a formidable weapon into a revered art object, reflecting its historical importance and cultural significance in samurai society  read more

Code: 26069

Beautiful, Original 'Tamashigiri Cutting Test' Antique Samurai Katana Signed By High Rated Master Smith, Masashige Tegarayama, 手柄山正繁 With Highly Rare Tamashigiri Cutting Test, By Gonnosuke Komatsubara, Dated 1799. & A Buddhist Eightfold Path Tsuba

The tsuka has Higo school, Edo period, plain iron fuchi kashira, and a very nice pair of gold dragon with ken menuki, and a fine copper habaki with blue-green silk tsuka-ito over traditional samegawa {giant rayskin}.

An elegant full length hi horimono blade, with a narrow suguha hamon, with just a few, as can occasionally be expected from swords kept in the UK in the 1870’s, minuscule, age and edge marks mostly to one side of the blade, thus priced accordingly. Signed by a master smith of great status dated and tested by the execution of a criminal by a a shogunate approved tamashgiri master of the Yamada family.

By Masashige Tegarayama. 手柄山　正繁
He was famous and highly regarded as a sword smith .
On the other side is a man named Gonnosuke Komatsubara. 小松原　権之助.
He is the tamegashiri master who tested the sharpness of this sword when he was going to execute a criminal with it.
The date is August 13,1799 （寛政十一年八月十三日）and the only people who could execute a criminal were those from family recognized by the shogunate, and who were adopted by the sixth head of that family Yoshimasa Yamada. 山田吉昌. known as the Shogun's Executioners
The text next to the date indicated the evaluation of the sharpness of the sword.
The characters written are “Chichiwari Dodan “ 乳割　土壇　which means that the criminal was laid on a foundation piled with earth, and when the chest was cut , the cut reached the ground, this is a record of where the sword was actually cut and how far it cut.

The tsuba is a super example of an eight-spoke wheel that connects the rim to the plate in this Katchushi Tsuba, likely Koto period circa 450 years old. The ‘spokes’, which symbolize the ‘eight fold path’, radiate from the plate, of ribbed octagonal rim. The surface has perfect colouration and patina, the quality of iron is very good. The Buddhist Eightfold Path consists of eight practices: right view, right resolve, right speech, right conduct, right livelihood, right effort, right mindfulness, and right samadhi ('meditative absorption or union'; alternatively, unanimous meditative awareness)

Katchushi means armoursmith in Japanese.
So, it is said that the definition of Katchushi-Tsuba is tsuba made by armour-smiths.

The saya has a beautiful black urushi lacquer ribbed top section, with a bottom section of nishiji gold urushi lacquer.

Tameshigiri (試し斬り, 試し切り, 試斬, 試切) is the Japanese art of target test cutting. The kanji literally mean "test cut" (kun'yomi: ためし ぎり tameshi giri). This practice was popularized in the Edo period (17th century) for testing the quality of Japanese swords. It continues to the present day, but has evolved into a martial art which focuses on demonstrating the practitioner's skill with a sword.
The practice of tameshigiri flourished during the Edo period, from 1600 to 1868. These blade tests were mainly conducted on katanas and wakizashis, which together are known as daishōs. Samurai warriors would perform these tests for their own use to ensure the sharpness of their future weapon. They could also carry out tameshigiri tests on behalf of their daimyō, testing katanas intended for their warlord's armies.

Different types of cuts were tested on various swords, each trajectory having its own name. For example, a vertical cut from the top of the body was called kami tatewari, while a vertical cut from the bottom was referred to as shimo tatewari. After each test, the number of bodies cut was inscribed on the tang of the blade, the nakago or 茎. This number was either marked with a file or inscribed as a column, along with the date, the name of the tester, and the cutting results. This katana has that very form of highly rare inscription on its nakago.
For some tests they were placed on a sand mound, about 11.81 inches high, known as dodan. To keep the bodies in place, four pieces of bamboo were fixed to hold the targets, referred to as hasamitake. The performance of the blade was then measured in terms of the number of bodies cut and the depth of the cut in centimeters. Renowned and proud swordsmiths would attend these events to witness their creations being tested. They would dress in ceremonial white kimonos for the occasion. If a blade failed the test, it brought such dishonour that the only way to cleanse their honour was through seppuku, ritual suicide.

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 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 exanding 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 synthesized 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 and was also a painting master. Members of a hierarchal class or caste, samurai were the sons of samurai and they were taught from an early age to unquestionably obey their mother, father and daimyo. When they grew older they could be trained by Zen Buddhist masters in meditation and the Zen concepts of impermanence and harmony with nature. The were also taught about painting, calligraphy, nature poetry, mythological literature, flower arranging, and the tea ceremony.

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

As with all our items it comes complete with our certificate of authenticity  read more

Code: 25464

A Beautiful, Handsome & Most Elegant Samurai Katana Signed Toshinaga, That Is Both The Smith’s Name & Represents to Long Life, Around 600 Plus Years Old. Late Nanboku-chō period (南北朝時代, Nanboku-chō jidai) & Leading into the Sengoku Jidai, Warring States

Koto blade with all original Edo period koshirae {fittings and mounts} two mekugi-ana in the nakago of the blade, signed Toshinaga, beautiful tsuka with shakudo, gold and silver fuchi-kashira, the kashira, decorated with a figure with a silver face and hands, on a shakudo ground, holding a gold amphibian, of shakudo, and a nanako ground shakudo fuchi decorated with gold and patinated copper bullrushes, over silver water lines, and gilt shakudo fish menuki. Silver habaki of very fine quality with fine engraved decoration

It is mounted with an old circular Awari iron sukashi tsuba, with gold onlaid within its design, and an original Edo black urushi lacquered saya.

Fine Koto blade in super condition, showing an elegant notare hamon, and flowing grain hada.

The name "Toshinaga" (歳長) or "Jumyo" (寿命, also meaning long life) made these swords highly desirable for samurai not only for combat but combined as celebratory ceremonial ‘art swords’. Over the next two centuries {in the Shinto period} the Toshinaga school became synominous with very fine and desirable swords. In the Koto period, the era from whence this sword came, it was the earliest days of the line of Toshinaga smiths. And the Toshinaga of`Bizen, for example, created swords, often without traditional Bizen features, so they are not easily identifiable as Bizen tradition swords. The principles of samurai bushido was frequently ridden with elements of superstition, some smiths for example were associated with bad luck, but Toshinaga had the opposite, due to its joint meaning, as the words representing long life, thus it imbued its owner with very good fortune, positive superstition, or as some might say today, good karma.

The Nanboku-chō era (1336–1392) in Japan was a tumultuous period of civil war between the Northern and Southern Imperial Courts, driven by rival claims to the throne after the Kamakura shogunate's fall, featuring significant shifts in warfare, art (increasing realism and warrior focus), and the rise of the Ashikaga shogunate, with key developments like extremely long swords no dachi also known as tachi, and guerrilla tactics amidst constant strife, culminating in the nominal reunification but underlying power struggles.

Key Aspects of Nanboku-chō Warfare & Era were the dual Imperial Courts: The imperial family split into a Northern Court (backed by Ashikaga) and a Southern Court (led by Emperor Go-Daigo and based in Yoshino).
The conflict facilitated the fall of the Kamakura Shogunate and the establishment of the Ashikaga (Muromachi) Shogunate, with Ashikaga Takauji emerging as a dominant figure.
The prolonged conflict saw the use of guerrilla warfare. Castles were built using suitable terrain, and ideal to survive sieges.
There was a move away from Heian-era courtly aesthetics towards more direct, virile, and realistic art reflecting the warrior class's values.
The era ended in 1392 when the Southern Court formally renounced its claim for the North, though this resolution left lingering questions of legitimacy.
Legacy: The period laid groundwork for the turbulent Muromachi era and the subsequent Sengoku period, shaping Japanese political identity and military. This led into the Ōnin War (1467–1477): A devastating civil war that shattered central authority and ushered in the Sengoku Jidai (Warring States).

There are many reasons why people enjoy collecting swords. Some people are drawn to the beauty and craftsmanship of swords, while others appreciate their historical and cultural significance. Swords can also be a symbol of power and strength, and some collectors find enjoyment in the challenge of acquiring rare or valuable swords.

One of the greatest joys of sword collecting is the opportunity to learn about the history and culture of different civilisations. Swords have been used by warriors for millennia, and each culture has developed its own unique sword designs and traditions. By studying swords, collectors can gain a deeper understanding of the people who made and used them.

Another joy of sword collecting is the sheer variety of swords that are available, and we are fortunate to have likely one of the most varied and largest selection of original swords, from all nations, in the world. There are swords in our gallery from all over the globe and from every period of history, going back almost 4000 years, Collectors can choose to specialize in a particular type of sword, such as Japanese katanas or medieval swords, or they can collect a variety of swords from different cultures and time periods. No matter what your reasons for collecting swords, it is a hobby that can provide many years of enjoyment. Swords are beautiful, fascinating, and historically significant objects.

The blades polish is beautiful with just the usual minuscule age surface mark

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 trading

Overall in beautiful condition, the only signs of old age wear is on the urushi lacquer on the saya.

Overall 37 inches long, blade length 24 inches long.  read more

Code: 26007

A Stunning & Beautifu, Edo Period Tachi-kake, The Traditional Japanese Samurai Tachi Sword Stand. Used by Such As The Okuyama Clan's Daimyo lord. A Clan That Were Descendants of The Famous Genji Clan

Finest black urushi Japanese lacquerwork, over carved wood, bearing numerous hiramaki-e gold clan "four eyes" Hakkoryu kamon throughout. Constructed in two main pieces, that slot together for assembly, and apart, for storage and transportation in the samurai baggage train.

Also shown in the gallery with sword {stock code 26069} holding our presentation Tokugawa shinto tachi, that was presented to the American Naval hero, Admiral Wildes, at Yokahama in Japan in 1896.

This gallery of photos show the stand holding a completely different 'dragon' tachi. The price shown here,{ £3450 gbp, } is for the stand {tachi-kake} alone, not with either of the tachis.

Traditional tachi sword stands (tachi-kake) serve to display the sword's beauty, honour its spiritual status
Swords were symbols of honour; the stand showcased the owner's rank and the blade's importance, often with ornate designs.
Stands support the tachi's distinct curve, preventing stress and damage, especially when displayed edge-up, which highlights the blade. They secure the sword, keeping it safe from accidental falls or damage to the delicate fittings and scabbard (saya).
The orientation (edge up/down, handle left/right) could signify peace or war, or readiness for drawing, showing the sword's transition from weapon to art.
Unlike katana stands, tachi stands cradle the blade's natural curve, holding it at an angle or horizontally.
Often made from fine woods like cypress, they were built to be stable and aesthetically pleasing, sometimes featuring clan crests.
Tachi were worn edge-down for cavalry; displaying them this way mirrors that original function, while edge-up is for peacetime aesthetics,
In essence, the tachi stand {tachi-lake} transforms a formidable weapon into a revered art object, reflecting its historical importance and cultural significance in samurai society

The Hakkoryu’s Yotsume-no-mon of the Okuyama clan who are descendants of the famous Genji clan (also called Minamoto). The clan was popularized in a famous Heian period romance Genji Monogatari, written by Murasaki Shikibu.

Most prominent of the Genji clan was Minamoto Yoritomo, a renowned general during the Kamakura period. During this era, the two most powerful clans were the Genji and their enemies, the Taira (also Heiko). The Taira were defeated in a fierce sea battle during the Genpei war and Minamoto Yoritomo and his descendants reigned supreme in Japan for some time.

The type of mon (crest) used in Hakkoryu was used by a retainer of the Minamoto clan and is commonly known as Meyui, after the concept of tie-dying. The particular style of the Hakkoryu mon is commonly known as Yotsume (“four eyes”). The significance of the crest is related primarily to the ancestors of the Okuyama family. However, the geometric design of eight squares related directly to the number eight of Hakkoryu* and the four eyes denotes preparedness for attack from all directions. There is also a superstition attached to Yotsume, as the “four eyes” guard against evil. This idea has been extended to include personal protection as in the case of Hakkoryu. The tachikake sword stand displayed the sword in a standing upright position, as opposed to the katanakake horizontal position. The vertical meant only one sword could be held, the horizontal two or several. The vertical tachikake makes a more impressive centrepiece display today, but when originally made if stood on the floor immediately next to the samurai's bed roll, the sword could be grabbed in an instant by a recumbant sleeping samurai if alerted to imminent danger. The Edo period (1603–1868) saw an increase in the focused cultivation of lacquer trees for urushi, and the development of the techniques used. In the 18th century coloured lacquers came into wider use. With the development of economy and culture, and the artistic quality of lacquered furniture improved. Hon'ami Kōetsu and Ogata Kōrin brought the designs of the Rinpa school of painting into lacquerware. After the middle of the Edo period, Inro box containers worn from the samuria's obi hung by cords became popular as men's accessories, and wealthy merchants of the chōnin class and samurai class collected inro of the highest aesthetic value, most precisely designed with urushi lacquer. Marie Antoinette and Maria Theresa were known collectors of fine Japanese lacquerware and their collections are exhibited in the Louvre and the Palace of Versailles. During this period, due to the development of the economy, shishiai-togidashi maki-e, an advanced technique, became popular. Small areas of natural age wear markings.  read more

Code: 23511

A Very Powerful & Beautiful Shinto Wakazashi, Signed Ujitsugu,With a Rare Chokuto Period Ancient Blade Style, Katakiriha-zukuri (片切刃造り), of 1300 Years Ago in the Nara Era {710 to 794 ad} . Made Circa 1670

Signed Ujitsugu, fine suguha hamon, bound tsuka with plain iron fuchi-kashira, floral menuki, iron sukashi tsuba, in its warm brown urushi lacquer lacquered saya circa 1670

Ujitsugu (康継): This is a renowned name, especially linked to the Echizen Yasutsugu school, a major sword-making family supported by the Tokugawa shogunate.

Katakiriha-zukuri (片切刃造り) refers to a style of Japanese sword construction where one side of the blade is flat (Hira), and the other side is a cutting edge (Kiriha) somewhat with a profile of a chisel edge. This style is characteristic of ""Chokuto"" (直刀), which are straight swords from the Nara period {710 to 794 ad} and earlier.

Although ""Katakiriha-zukuri"" is an old form of construction, it was revived in the early Edo period. During this time, short swords and "Wakizashi" (side word swords) were made in this style, using the early works as inspiration, as an homage to ancient samurai swords and warfare of 1300 years or more ago.

This style of construction is not only unique in its appearance but also in its functionality. The combination of a flat side and a cutting edge enhances the sword's cutting ability, making it a highly effective weapon. The revival of this style in the Edo period is a testament to the enduring value and appeal of traditional sword-making techniques."  read more

Code: 26068

An Ancient Nambokochu Han Dachi Mounted Nambokochu Period Samurai Koto Era Katana up to 600 Years Old

The sword in many ways looks just as it looked many centuries ago, and it has been lovingly cared for since it came from Japan to England 150 years ago, in the reign of the Meiji emperor .

The blade looks stunning with a typical ancient Koto, very narrow, suguha hamon of great simplicity and elegance.
All original Edo period han dachi mounts and the menuki, under the blue silk ito, are dragon with gold eyes over traditional samegawa.

Made during the late Nambokochu 1333 to 1391 period, to the early Muramachi period, that dates from 1392 to 1573. Han dachi mounted, with a very nice, original Edo period, matching suite of full mounts with gold and silver tendrils inlaid over iron. Round iron tsuba with inlays. Original ishime stone finish lacquer saya.

Han-dachi semi-tachi} can be displayed on a tachi stand (tachi-kake), usually with the handle pointing down, blade up for respect/preservation (preventing sheath damage), and sometimes the signature (mei) facing outward, though it's a matter of preference and historical context.


Han-dachi originally appeared during the Muromachi period when there was a transition taking place from Tachi to katana. 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 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.

In Japan the term samurai evolved over several centuries

In Japanese, they are usually referred to as bushi (武士,) or buke (武家). According to translator William Scott Wilson: "In Chinese, the character 侍 was originally a verb meaning 'to wait upon', 'accompany persons' in the upper ranks of society, and this is also true of the original term in Japanese, saburau. In both countries the terms were nominalized to mean 'those who serve in close attendance to the nobility', the Japanese term saburai being the nominal form of the verb." According to Wilson, an early reference to the word samurai appears in the Kokin Wakashū (905–914), the first imperial anthology of poems, completed in the first part of the 10th century.

Originally, the word samurai referred to anyone who served the emperor, the imperial family, or the imperial court nobility, even in a non-military capacity.It was not until the 17th century that the term gradually became a title for military servants of warrior families, so that, according to Michael Wert, "a warrior of elite stature in pre-seventeenth-century Japan would have been insulted to be called a 'samurai'".

In modern usage, bushi is often used as a synonym for samurai

40 inches in saya blade 28 inches

Every item is accompanied with our unique, Certificate of Authenticity. Of course any certificate of authenticity, given by even the best specialist dealers, in any field, all around the world, is simply a piece of paper,…however, ours is backed up with the fact we are the largest dealers of our kind in the world, with over 100 years and four generation’s of professional trading experience behind us  read more

Code: 24817

A Most Fine & Attractive Antique Pre Edo Period Koto Han Dachi Mounted {Semi Tachi Style} Samurai Katana With A Superb Blade in Near Pristine Condition

With two part hidden secret compartment fuchi, for concealing small intelligence notes.
Circa 550 years old, and a delight to observe the wonderful elegant curvature to the blade. It has all original Edo period mounts fittings and saya, with original saya intricately patterned pine needle urushi lacquer. Typical original Edo period handachi mounts of matching, kashira, sayajiri, kurigata in a crashing wave takebori design of gilded brass, and a brass fuchi that is disguised to conceal it seperates into two parts to reveal a very narrow section to conceal small script notes. With a beautiful Edo mokko form iron tsuba with gold onlay of immortals one holding a staff, another reading a scroll held by a third figure, beneath a prunus tree . All untouched for over 150 years since it arrived in England in the 1870's. It has a very active undulating notare hamon, and fine grain within the hada, on the stunning blade, and it’s all original Edo period tsukaito binding to the hilt, in black silk, wrapped over a pair of gilt dragon menuki, and overall it has usual light signs of wear and use upon the saya, with age appropriate wear as to be expected.

Han-dachi originally appeared during the Muromachi period when there was a transition taking place from Tachi to katana. 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 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 behavior on the battlefield. But unlike most medieval knights, samurai warriors could read and they were well versed in Japanese art, literature and poetry.

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 and was also a painting master. Members of a hierarchal class or caste, samurai were the sons of samurai and they were taught from an early age to unquestionably obey their mother, father and daimyo. When they grew older they may be trained by Zen Buddhist masters in meditation and the Zen concepts of impermanence and harmony with nature. The were also taught about painting, calligraphy, nature poetry, mythological literature, flower arranging, and the tea ceremony.

it has been said that part of their military training, samurai were taught to sleep with their right arm underneath them so if they were attacked in the middle of the night and their the left arm was cut off the could still fight with their right arm. Samurai that tossed and turned at night were cured of the habit by having two knives placed on either side of their pillow.

Samurai have been describes as "the most strictly trained human instruments of war to have existed." They were expected to be proficient in the martial arts of aikido and kendo as well as swordsmanship and archery---the traditional methods of samurai warfare---which were viewed not so much as skills but as art forms that flowed from natural forces that harmonized with nature.
Some samurai, it has been claimed, didn't become a full-fledged samurai until he wandered around the countryside as begging pilgrim for a couple of years to learn humility. When this was completed they achieved samurai status and receives a salary from his daimyo paid from taxes (usually rice) raised from the local populace.

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 decorated samurai sword saya and also ceremonial and decorative objects for their homes and palaces.  read more

Code: 25549