Japanese

A Most Attractive Koto Wakizashi Attributed to Kanemune of Etchu, 1532 WIth Japanese Attribution Papers

Uda school blade with bo hi to both sides. Fine sugaha hamon with mokume hada. Edo period Goto school mounts in shakudo patinated copper and gold depicting carved shi shi lion dogs. Menuki of shakudo and gold dragons. Iron Edo tsuba of fan formed windows, with Amidayasuri. NTHK certificated in 2003 as attributed to Kanemune of Etchu by a previous owner. The founder of the Uda School is considered to have been Kunimitsu. He was originally from the Uda district of Yamato Province. He worked around the Bunpo Era or 1317 at the end of the Kamakura Era. All of the succeeding smiths of this school used the kanji character â"Kuni", in their signatures. At some point he moved to Etchu Province so even though the Uda School had its foundation in the Yamato tradition, it is considered to be one of the wakimono schools from this region together with such schools as he Fujishima and Chiyozuru. Together these three schools are often referred to as the kita kuni mono.


Since remaining works by Kunimitsu are non-existent, his students, Kunifusa and Kunimune, are generally thought to be the true founders of this school. Both of these smiths studied under Norishige of the Etchu Province and they were active around the Koan Era (1361). The works of these early Uda smiths followed the style of the Yamato Den particularly in the areas of sugata and hamon. We rarely have swords with papers for our swords mostly came to England in the 1870's long before 'papers' were invented, and they have never returned to Japan for inspection and papers to be issued. However, on occasion we acquire swords from latter day collectors that have had swords papered in the past 30 years or so. this is one of those. 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.

28 inches long overall in saya, 21.5 inch long blade tip to tsuba.  read more

Code: 23596

An Absolutely Superb, & Signed, Samurai’s Large Sunobi-Tanto or Wakazashi Late Koto to Early Shinto Period. Mutsu no Kami Daido School. Carved Horimono Blade With Bonji, of Fudō-myōō (不動明王), & Buddhist Ken Sword. Nabeshima Clan

The blade, around 400 years old, is very wide and powerful, and has horimono carved to both sides, of ancient Buddhist ken swords, one with a varjira a Buddhist god's lightning creator and the swirling grain in the hada looks absolutely stunning, but it has to be viewed in the right light, with a typical narrow suguha hamon. Beautiful shakudo and pure gold Mino Goto school fuchigashira of takebori water dragon on a nanako ground, with an iron ground matching water dragon tsuba, possibly 3rd or 4th generation Jakushi, from the first half of the 18th century. Chinese-style dragons became a popular subject for Jakushi carvers. Two-toed dragons indicate nothing more than the Jakushi carvers’ bold appetite for artistic license. This piece resembles designs by the second generation, Shiraki Kizaemon, whose works were copied by the third. The founder of the school Kawamura Fukuyoshi, studied painting under Shoyu Itsunen, the Chinese-born abbot of Kofukuji temple in Nagasaki. It appears that Kawamura took the art-name Jakushi (young turf), and collaborated with Kizaemon to transfer his painting ideas into metal, as sword-fitting. Kizaemon and his descendants kept the name Jakushi.”.

It bears the clan mon of the Nabeshima.The clan initially aided Ishida Mitsunari against Tokugawa Ieyasu in the Sekigahara Campaign in 1600. Which is when this fabulous sword dates from. However, they switched sides to support the Tokugawa, who were ultimately victorious, before the campaign had ended, battling and occupying the forces of Tachibana Muneshige, who was thus prevented from contributing directly to the battle of Sekigahara. Though regarded as tozama daimyō ("outside" lords), and assigned particularly heavy corvée duties, the Nabeshima were allowed to keep their territory in Saga, and in fact had their kokudaka increased. The clan's forces served the new Tokugawa shogunate loyally in the years which followed; they remained in Kyūshū during the 1615 Osaka Campaign as a check against a possible rebellion or uprising by the Shimazu clan, and aided in the suppression of the Shimabara Rebellion of 1637. In recognition of their service, members of the clan were granted the prestigious family name Matsudaira in 1648.

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 marvelous 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 pair of pure gold and shakudo flowering menuki under the tsukaito, and are of wonderful quality, and a stunning shakudo decorated kozuka utility knife with the Nabeshima clan mon of the Daki Myoga ginger plant, and the blade is also fully signed, is set within the saya pocket. The original Edo saya is fabulously decorated with kairagi polished giant rayskin. "Kairagi" means "Ume Blossom Skin".
When you polish the skin, Ume Blossom patterns will appear. Kairagi-same is very rare. The saya is polished samegawa. Polished giant ray skin, samegawa, was, at the time of the Samurai, some one of the most expensive and highly prized forms of decoration to be used on sword scabbards Saya. It was the same material as is used on sword hilts under the binding, but the large and small protruding nodules were hand polished, for hundreds of hours, to create a highly polished flat surface, that was then hand dyed and thus created a decorated scabbard with immense natural beauty, and huge expense for the time. The name Daido is most interesting, his early name is Kanemichi, and he changed to “O”Kanemichi when he received the “O” or “Dai” kanji from the Emperor Ogimachi. Later he called himself “Daido” and then received the title of “Mutsu No Kami” in Tensho 2. It is also believed that he was the personal swordsmith to Oda Nobunaga and the fact that he moved to Kyoto at the same time Nobunaga established his residence in Kyoto seems to support this idea. There are Juyo-Token by him, as well as joint effort works with Horikawa Kunihiro. The Horimono are double edged Buddhist ken straight sword, and a Bonji of 'Fudo' warrior deitie. Fudō-myōō (不動明王) is the full Japanese name for Acala-vidyaraja, or Fudō (o-Fudō-sama etc.) for short. It is the literal translation of the Sanskrit term "immovable wisdom king". The sword engraved on this sword is as a kongō-ken (金剛杵 "vajra sword"), which is descriptive of the fact that the pommel of the sword is in the shape of the talon-like kongō-sho (金剛杵 "vajra") of one type or another. It may also be referred to as "three-pronged vajra sword. The blade 17.5 inches long tsuba to tip, overall 25.5 inches long in saya  read more

Code: 24449

An Amazing Samurai Long-Sword Katana.Signed, Hizen kuni Dewa no kami Yukihiro Circa 1670 Made For the Nabeshima Clan. Yukihiro Acquired the Title of Dewa Daijo in 1648 & Was Ranked Up to Dewa (No) Kami in 1663. (Governor of Dewa Province)

A fabulous, signed, samurai katana of the Nabeshima clan lords. Likely, for such as a hatamoto (旗本, "Guardian of the banner") who was a high ranking samurai in the direct service of the Tokugawa shogunate of feudal Japan.

Hatamoto:
This term literally means "bannerman" and referred to the samurai who served directly under the Tokugawa Shogunate. They were a higher-ranking class compared to the Gokenin, who were the lower vassals.
Daimyo were powerful feudal lords who ruled their own domains and held significant power in Japanese society.
Karo, or clan elders, were the highest-ranking positions among a feudal lord's samurai retainers. They played a crucial role in managing political and economic affairs.

Overall in superb condition, and an absolute corker of an early samurai sword
All original Edo fittings to compliment the blade. A sword made circa 1670, with fine iron Higo school mounts with pure gold inlaid Imperial chrysanthemum mon to the fushi and kashira. Round iron signed Edo tsuba. Original Edo period urushi lacquer saya.

Yukihiro was a swordsmith of Hizen province, and as we believe this sword was made by him around 1670, he was making his swords for the Nebeshima at this time, so we believe it is very likely this was created for a high ranking samurai of that family clan, possibly such as a hatamoto. .
He was the Second son of Hashimoto Yoshinobu.
Yukihiro acquired the title of Dewa Daijo in 1648 and was ranked up to Dewa (No) Kami in 1663.
He travelled to Nagasaki to learn under Hisatsugu and Tanenaga who were highly informed about western steels brought to Japan by the Dutch. Yukihiro also studied Bizen-den style under the swordsmith that belonged to the Ishido School and sometimes added the character Ichi to his signature. Later he became a retained swordsmith of the Nabeshima family and lived in Nagase town. He passed away in 1683, aged 66. The clan controlled Saga Domain from the late Sengoku period through the Edo period.

The Nabeshima clan was a cadet branch of the Shoni clan and was descended from the Fujiwara clan. In the late 12th century, Fujiwara no Sukeyori, a descendant of Fujiwara no Hidesato in the 9th generation, received the title of Dazai Shoni (equivalent to that of vice-governor of the military government of Kyushu) from Shogun Minamoto no Yoritomo, and the title became the family name.

The clan played an important role in the region as early as the Muromachi period, when it helped suppress opposition to the Ashikaga shogunate's control of Kyushu. It did not take the name Nabeshima, however, until the late 15th century, when Shoni Shigenao established himself at Nabeshima in Hizen province (today part of Saga City, Saga prefecture). Later, in the Sengoku period (1467-1603), the Nabeshima were one of a number of clans which clashed over the island. The Nabeshima sided with the Ryuzoji clan against the Otomo clan, though this ultimately ended in failure and the death of Ryuzoji Takanobu at the 1584 battle of Okita Nawate. Several years later, however, the Nabeshima recovered power and prominence by aiding Toyotomi Hideyoshi in his 1587 invasion of Kyushu; Nabeshima Naoshige was granted the region of Saga as his fief, as a reward for his efforts. Naoshige also contributed to Hideyoshi's invasions of Korea in the 1590s.

The clan initially aided Ishida Mitsunari against Tokugawa Ieyasu in the Sekigahara Campaign in 1600. However, they switched sides to support the Tokugawa, who were ultimately victorious, before the campaign had ended, battling and occupying the forces of Tachibana Muneshige, who was thus prevented from contributing directly to the battle of Sekigahara. Though regarded as tozama daimyo ("outside" lords), and assigned particularly heavy corvee duties, the Nabeshima were allowed to keep their territory in Saga, and in fact had their kokudaka increased. The clan's forces served the new Tokugawa shogunate loyally in the years which followed; they remained in Kyushu during the 1615 Osaka Campaign as a check against a possible rebellion or uprising by the Shimazu clan, and aided in the suppression of the Shimabara Rebellion of 1637. In recognition of their service, members of the clan were granted the prestigious family honorific name of Matsudaira in 1648, Matsudaira being the original Tokugawa family name, the ruling Shogun of Japan for almost 300 years.

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 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 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.


Very long 29.75 inch blade from tsuba to tip.

THE LANES ARMOURY, THE PREMIER HOME OF ORIGINAL AND AFFORDABLE ANCIENT ANTIQUITIES & ANTIQUE COLLECTABLES IN BRITAIN.

The Lanes Armoury, is world renown as Britain's favourite specialist collectors shop, and also a font of historical and educational information that is detailed with every single item. We detail each piece alongside its historical context, either generic or specific, for those that may wish to read, learn, or be informed, as opposed to simply acquire collectable items. We are probably one of the oldest companies of our kind in the whole of Europe and we have been established through generations, as specialists in armoury, military antiques, militaria collectables, and specialist books, since the early 1900’s, and thus we have continued to be one of the largest in the world today. We are also very pleased to know we are also studied and read by academics and students from hundreds of universities around the world, by those that are interested in not only British but worldwide history.
For this reason we are also well known to be a learning and researching website for students of history around the world.
Everyday we are contacted by historians that wish to make contributions to our detailed information for our pieces, and to thus add to our constant dedication to impart historical knowledge, that may be unknown to many of our millions of viewers.

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

Overall 39 inches long in saya, some natural age surface thinning.  read more

Code: 25760

A Big, Beautiful, and Impressive Katana Bearing A Very Desirable Name & Signature of the ‘Gassan School’

Very long blade measuring a huge 31 inches from Tsuba to Tip. Signed Osaka-ju Gassan Unryûshi Minamoto Sadakazu. With wave design fuchi kashira highlighted with gilt, gilded menuki of gourds. Original Edo lacquer saya. A very nice Koto sukashi tsuba, probably a Choshu school tsuba, of butterflies and leaves, with a russetted surface.
It is a very beautiful sword, that is bearing the name of one of the great 19th century sword smith school's of ‘Gassan’, yet we price it for it's own merits and beauty alone, as if it was not actually signed personally, but, it has most intriguing possibilities. A few swords, also bearing his signature name, have appeared in the past fifteen years and sold in the best London auction rooms, but similarly without any guarantee at all as to the authenticity of the smith's personal signature, yet they have still sold for very respectable five figure sums. Thus this is a superbly executed sword, and therefore very possibly a Gassan school homage to a piece bearing his personal name.
It has a stunning hamon that looks tremendously vibrant and impressive, with yakideshi. It has a few small pitting marks at the upper end of the blade, but nothing at all to effect it's use in any way.
This beautiful katana has lain externally untouched as a sleeper for nigh on 100 years or more.
Gassan Sadakazu was born in 1836 in Sugoshi Village in Omi Province. He was the son of Tsukamoto Shichirobei. When he was a young boy, he was adopted into the family of the famous sword maker Gassan Sadayoshi who's only living heir died prematurely.
Gassan Sadayoshi was the founder of the Osaka ‘Gassan school’ of sword making. He studied under Suishinshi Masahide until Masahide's death in 1825. At that time he moved to Osaka and started the revived ‘Gassan school’ of sword making which had died out in the early Edo period.

Sadakazu started studying the art of sword making at about age 11. He made his first sword at age 14 and by age 20 was recognized as a top quality swordsmith and horimono carver.
In the early 1860's when his teacher passed the age of 60, he assumed the role of Daisaku and made swords in his father's name. About this time he produced a number of swords in the Bizen or Yamato style in addition to the main Ayasugi tradition. His blade structure featured a modest curvature and a pronounced large boshi with only a slightly rounded edge (fukura-kareru), which were also characteristic of Sadayoshi's work.
Work stopped for Sadakazu from 1876 when the wearing of swords was abolished until around 1887 when Japan went to war with China and the demand for swords resumed.
He died in 1918 after a long and very distinguished career as one of the premier sword makers of the 19th and 20th centuries.

With reference to part of an article {above} by Fred Weissberg on the ‘Gassan School’.  read more

Code: 23309

A Good, Antique, Edo Period Iron Plate 17th Century Saotome Tembo Katana Tsuba, From The Tembo School of Tsubako.

A well hammered rough surface forged iron plate Saotome Tembo tsuba.

The first master of the Saotome school was Nobuyasu of Shimotsuke. Nobuyasu moved to Odawara in Sagami were the Saotome school itself was founded. Some of the early Saotome makers were Nobuyasu, Iyenori, Iyetsugu, Iyetada and Iyesada although there is some disagreement on the lineage of the school. There were many other generations working well into the late Edo period. The Saotome School gave rise to the Tembo School of tsubako.

Tempo {Tembo} school and the yakite finish (heat treatment) is typical, as is the excellent iron. Typical wildness of the hot-stamping, and it is very finely constructed. The patina is amazingly soft and velvety, kozuka and kogai ana, on each side, numerous deep stamps, kozuka and kogai hitsu ana (suhama) copper ume infills. 74 mm  read more

Code: 22454

A Very Good & Beautiful Shinto Long Katana Signed Chikanobu. Very Good, Unique Matsushiro Sinano Sinchu & Silver Line Koshirae. Gold and Shakudo Dragon Clutching The Pearl Of Wisdom Menuki. Circa 1680.

All original Edo period mounts and lacquer saya. Fine iron tsuba. With a very beautiful choji hamon to the blade is an absolute beauty, and fully polished.
Long kissaki. Dark blue silk tsukaito over traditional giant rayskin with gold and bronze menuki of dragons. Fully matching suite of sinchu and contrasting silver line mounts to the tsuka and saya, of the Matsushiro Sinano school. A well hammered rough surface...smooth rim though, Saotome Tembo tsuba with kakine kokuin stamps, udenuki-ana, lead ume, uchikaeshi mimi rim, boars eye piercing.
The first master of the Saotome school was Nobuyasu of Shimotsuke. Nobuyasu moved to Odawara in Sagami were the Saotome school itself was founded. Some of the early Saotome makers were Nobuyasu, Iyenori, Iyetsugu, Iyetada and Iyesada although there is some disagreement on the lineage of the school. There were many other generations working well into the late Edo period. The Saotome School gave rise to the Tembo School of tsubako.

The Tembo School (also spelled Tempo, Tenpo or Tenbo) also worked well into the Edo Period. They are most noted for the use of kokuin (hot stamps) on their plates,

This unique original mounting is called “Matsushiro” koshirae which was specially made in Matsuro-han in Shinano (Nagano) province in the edo period.

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.
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 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 were 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 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.
An individual 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. Swords in Japan have long been symbols of power and honour and seen as works of art. Often times swordsmiths were more famous than the people who used them.
likely details on the Chikanori nobu. Slight name change here, he was then actually signing Chikanobu as he did on this blade, appears in kanji reference notes as nori, nobu is next to nori, and thus often confused . He also used to be known as Shigechika

Chikanobu, previously known as Shigechika, studied under 1st generation Aizu Kanetomo, circa 1660.

Chikanobu received the name nobu from Kanetomo as an honour to therefore thus change his name.

Kanetomo also used to be known as another name once, Kanenobu and thus passed the nobu name to Shigechika as an honour, who thus changed his name to Chikanobu  read more

Code: 23063

A Wonderful Late Koto to Early Shinto Period Samurai Katana In Superb Condition Circa 450 Years Old. Superb Original Full Suite of Original Edo Koshirae, Including Gold and Shakudo Goto School Mounts & Signed Tsuba

The blade is absolutely stunning in very fine polish, and showing a beautiful billowing, very deep hamon of extraordinary fine quality. Goto gold and shakudo fuchi kashira of deep takebori chrysanthemums and tendrils. Gold menuki of hawks, and a complimentary signed mokko form iron plate tsuba with a hawk in flight with gold highlights. Original Edo tsuka-ito and blade polish, and original Edo saya with fabulous original ishime pattern urushi lacquer of top quality, with minor age bruising and a saya jiri mount of pierced openwork.

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.

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 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, it has been said, that if they 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.

Long 29 inch blade, overall in saya 40.3 inches long

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  read more

Code: 24998

A Very Fine & Beautiful Handachi Katana Dated 1539 signed Bizen Kuni Osafune ju Tsuguiye

Just under 500 years old, and a delight to observe the wonderful curvature to the blade. It possesses a very long signature by the smith on the nakago. It has all original Edo period mounts fittings and saya, with original saya intricately patterned urushi lacquer. Typical Edo handachi mounts with a beautiful iron tsuba with gold onlay of prunus and grasses. It has a very active hamon on the stunning blade and it’s all original Edo tsukaito binding to the hilt, now somewhat pleasingly colour faded in part and usual signs of combat use age appropriate wear as to be expected.

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.

27.25 inch blade tsuba to tip.

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: 24332

A Superb Samurai, Shinto Period, 350 Year Old, Ryo-Shinogi Yari Polearm Spear, Signed Bushu ju Shimosaka Fujiwara Kazunori, In Incredible Polish, Showing Fine Grain in the Hada and Wide Fine Suguha Hamon, With 12 'Notch' Tang

An Edo Period Samurai Horseman Ryo-Shinogi Yari Polearm on original haft, circa 1680. Fantastic polish showing amazing grain and deep hamon.

The blade is signed Bushu ju Shimosaka Fujiwara Kazunori, and bears 12 hand cut notches to the tang, which often represented the number of vanquished samurai by the yari weilding samurai, likely in a single battle

With original pole and iron foot mount ishizuki. Four sided double edged head. The mochi-yari, or "held spear", is a rather generic term for the shorter Japanese spear. It was especially useful to mounted Samurai. In mounted use, the spear was generally held with the right hand and the spear was pointed across the saddle to the soldiers left front corner.

The warrior's saddle was often specially designed with a hinged spear rest (yari-hasami) to help steady and control the spear's motion. The mochi-yari could also easily be used on foot and is known to have been used in castle defense. The martial art of wielding the yari is called sojutsu. A yari on it's pole can range in length from one metre to upwards of six metres (3.3 to 20 feet). The longer hafted versions were called omi no yari while shorter ones were known as mochi yari or tae yari. The longest hafted versions were carried by foot troops (ashigaru), while samurai usually carried a shorter hafted yari. Yari are believed to have been derived from Chinese spears, and while they were present in early Japan's history they did not become popular until the thirteenth century.The original warfare of the bushi was not a thing for "commoners"; it was a ritualized combat usually between two warriors who may challenge each other via horseback archery and sword duels. However, the attempted Mongol invasions of Japan in 1274 and 1281 changed Japanese weaponry and warfare. The Mongol-employed Chinese and Korean footmen wielded long pikes, fought in tight formation, and moved in large units to stave off cavalry. Polearms (including naginata and yari) were of much greater military use than swords, due to their much greater range, their lesser weight per unit length (though overall a polearm would be fairly hefty), and their great piercing ability.
Swords in a full battle situation were therefore relegated to emergency sidearm status from the Heian through the Muromachi periods.

70.5 inches long overall,5.5 inches long blade, blade with tang overall 15 inches long  read more

Code: 25131

An Edo Period, 1603 -1867 Tanto Tsuba, Tetsu With Silver Inlaid Rim

A charming tsuba with traces of silver inlays around the entire rim. Probably made around 1680.
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.

A tanto would most often be worn by Samurai, and it was very uncommon to come across a non samurai with a tanto. It was not only men who carried these daggers, women would on occasions carry a small tanto called a kaiken in their obi which would be used for self-defence. In feudal Japan a tanto would occasionally be worn by Samurai in place of the wakizashi in a combination called the daisho, which roughly translates as big-little, in reference to the big Samurai Sword (Katana) and the small dagger (tanto). Before the rise of the katana it was more common for a Samurai to carry a tachi and tanto combination as opposed to a katana and wakizashi.
46mm

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Code: 24234