Japanese

An Edo Period Tettsu ‘ Krishitan’ {Christian} Samurai Sword Tsuba {Sword Guard} Of Twin Symbols of The Rope And The Cross. In Superb Condition & Traditionally Boxed For Display. From A Very Fine Collection Of Beautiful Antique Tsuba

This beautiful iron tsuba, contains the hidden Edo period Christian symbols of the rope and the cross, and it serves as both a reminder to the violence and to the subsequent hiddenness that came out of the Japanese convert Christians’ suffering. The rope was symbol of obedience - the symbol of an untied rope.
It may be that the design of the tsuba confronted the believer to the ambiguity born of a prolonged time of painful secrecy. Surrounded by the threat of violence, even a weapon could bear a hidden symbol of Christianity—the cross.

The Hidden Christians quieted their public expressions and practices of faith in the hope of survival from the great purge. They also suffered unspeakably if captured and failed to renounce their Christian beliefs.

In Silence, Endo depicts the trauma of Rodrigues’ journey into Japan through his early encounter with an abandoned and destroyed Christian village. Rodrigues expresses his distress over the suffering of Japanese Christians and he reports the “deadly silence.”

‘I will not say it was a scene of empty desolation. Rather was it as though a battle had recently devastated the whole district. Strewn all over the roads were broken plates and cups, while the doors were broken down so that all the houses lay open . . . The only thing that kept repeating itself quietly in my mind was: Why this? Why? I walked the village from corner to corner in the deadly silence.

...Somewhere or other there must be Christians secretly living their life of faith as these people had been doing . . . I would look for them and find out what had happened here; and after that I would determine what ought to be done.”

- Silence, Shusaku Endo

The current FX series 'Shogun' by Robert Clavell is based on the true story of William Adams and the Shogun Tokugawa Ieyesu, and apart from being one of the very best film series yet made, it shows superbly and relatively accurately the machinations of the Catholic Jesuits to manipulate the Japanese Regents and their Christian convert samurai Lords.

Oda Nobunaga (1534–82) had taken his first step toward uniting Japan as the first missionaries landed, and as his power increased he encouraged the growing Kirishitan movement as a means of subverting the great political strength of Buddhism. Oppressed peasants welcomed the gospel of salvation, but merchants and trade-conscious daimyos saw Christianity as an important link with valuable European trade. Oda’s successor, Toyotomi Hideyoshi (1537–98), was much cooler toward the alien religion. The Japanese were becoming aware of competition between the Jesuits and the Franciscans and between Spanish and Portuguese trading interests. Toyotomi questioned the reliability of subjects with some allegiance to the foreign power at the Vatican. In 1587 he ordered all foreign missionaries to leave Japan but did not enforce the edict harshly until a decade later, when nine missionaries and 17 native Kirishitan were martyred.

After Toyotomi’s death and the brief regency of his adopted child, the pressures relaxed. However, Tokugawa Ieyasu, who founded the great Tokugawa shogunate (1603–1867), gradually came to see the foreign missionaries as a threat to political stability. By 1614, through his son and successor, Tokugawa Hidetada, he banned Kirishitan and ordered the missionaries expelled. Severe persecution continued for a generation under his son and grandson. Kirishitan were required to renounce their faith on pain of exile or torture. Every family was required to belong to a Buddhist temple, and periodic reports on them were expected from the temple priests.

By 1650 all known Kirishitan had been exiled or executed. Undetected survivors were driven underground into a secret movement that came to be known as Kakure Kirishitan (“Hidden Christians”), existing mainly in western Kyushu island around Nagasaki and Shimabara. To avoid detection they were obliged to practice deceptions such as using images of the Virgin Mary disguised as the popular and merciful Bōsatsu (bodhisattva) Kannon, whose gender is ambiguous and whom carvers often render as female.

The populace at large remained unaware that the Kakure Kirishitan managed to survive for two centuries, and when the prohibition against Roman Catholics began to ease again in the mid-19th century, arriving European priests were told there were no Japanese Christians left. A Roman Catholic church set up in Nagasaki in 1865 was dedicated to the 26 martyrs of 1597, and within the year 20,000 Kakure Kirishitan dropped their disguise and openly professed their Christian faith. They faced some repression during the waning years of the Tokugawa shogunate, but early in the reforms of the emperor Meiji (reigned 1867–1912) the Kirishitan won the right to declare their faith and worship publicly.

Two images in the gallery are drawings of bronze fumi-e in use during the 1660s in Japan, during the time of the persecution. Each of these drawings mirrors actual brass fumi-e portraying Stations of the Cross, which are held in the collections of the Tokyo National Museum. Picture four in the gallery shows a samurai Christian convert wearing adapted papal armour taking a blessing from a missionary priest.  read more

Code: 25310

A Stunning Edo Period Tettsu {iron Plate} Kirishitan {Christian.} Tsuba, Of The Holy Cross, Heavenly Eight Pointed Stars in Gold, & The River Of Life in Silver. In Superb Condition & From A Very Fine Collection of Tsuba.

A stunning Kirishitan sukashi piercing of the cross with a silver river and gold eight pointed star inlays. With a kozuka hitsu-ana, and kogai hitsu ana
The Bible starts with an account of a river watering the Garden of Eden. It flowed from the garden separating out into four headwaters. The rivers are named, flowing into different areas of the world,

Eight pointed stars symbolise the number of regeneration and of Baptism. The Stars and The River as Christian Symbols, are images or symbolic representation with sacred significance. The meanings, origins and ancient traditions surrounding Christian symbols date back to early times when the majority of ordinary people were not able to read or write and printing was unknown. Many were 'borrowed' or drawn from early pre-Christian traditions.
The Hidden Christians quieted their public expressions and practices of faith in the hope of survival from the great purge. They also suffered unspeakably if captured and failed to renounce their Christian beliefs. Some were executed by being slowly sawn in half, vertically, from the groin upwards.

In Silence, Endo depicts the trauma of Rodrigues’ journey into Japan through his early encounter with an abandoned and destroyed Christian village. Rodrigues expresses his distress over the suffering of Japanese Christians and he reports the “deadly silence.”

‘I will not say it was a scene of empty desolation. Rather was it as though a battle had recently devastated the whole district. Strewn all over the roads were broken plates and cups, while the doors were broken down so that all the houses lay open . . . The only thing that kept repeating itself quietly in my mind was: Why this? Why? I walked the village from corner to corner in the deadly silence.

...Somewhere or other there must be Christians secretly living their life of faith as these people had been doing . . . I would look for them and find out what had happened here; and after that I would determine what ought to be done.”

- Silence, Shusaku Endo

Two images in the gallery are drawings of bronze fumi-e in use during the 1660s in Japan, during the time of the persecution. Each of these drawings mirrors actual brass fumi-e portraying Stations of the Cross, which are held in the collections of the Tokyo National Museum. Picture seven in the gallery shows a samurai Christian convert wearing adapted papal armour taking a blessing from a missionary priest.

The current FX series 'Shogun' by Robert Clavell is based on the true story of William Adams and the Shogun Tokugawa Ieyesu, and apart from being one of the very best film series yet made, it shows superbly and relatively accurately the machinations of the Catholic Jesuits to manipulate the Japanese Regents and their Christian convert samurai Lords.

Oda Nobunaga (1534–82) had taken his first step toward uniting Japan as the first missionaries landed, and as his power increased he encouraged the growing Kirishitan movement as a means of subverting the great political strength of Buddhism. Oppressed peasants welcomed the gospel of salvation, but merchants and trade-conscious daimyos saw Christianity as an important link with valuable European trade. Oda’s successor, Toyotomi Hideyoshi (1537–98), was much cooler toward the alien religion. The Japanese were becoming aware of competition between the Jesuits and the Franciscans and between Spanish and Portuguese trading interests. Toyotomi questioned the reliability of subjects with some allegiance to the foreign power at the Vatican. In 1587 he ordered all foreign missionaries and their guard to leave Japan but did not enforce the edict harshly until a decade later, when nine missionaries and 17 native Kirishitan were martyred.

After Toyotomi’s death and the brief regency of his adopted child, the pressures relaxed. However, Tokugawa Ieyasu, who founded the great Tokugawa shogunate (1603–1867), gradually came to see the foreign missionaries as a threat to political stability. By 1614, through his son and successor, Tokugawa Hidetada, he banned Kirishitan and ordered the missionaries expelled. Severe persecution continued for a generation under his son and grandson. Kirishitan were required to renounce their faith on pain of exile or torture. Every family was required to belong to a Buddhist temple, and periodic reports on them were expected from the temple priests.

By 1650 all known Kirishitan had been exiled or executed. Undetected survivors were driven underground into a secret movement that came to be known as Kakure Kirishitan (“Hidden Christians”), existing mainly in western Kyushu island around Nagasaki and Shimabara. To avoid detection they were obliged to practice deceptions such as using images of the Virgin Mary disguised as the popular and merciful Bōsatsu (bodhisattva) Kannon, whose gender is ambiguous and whom carvers often render as female.

The populace at large remained unaware that the Kakure Kirishitan managed to survive for two centuries, and when the prohibition against Roman Catholics began to ease again in the mid-19th century, arriving European priests were told there were no Japanese Christians left. A Roman Catholic church set up in Nagasaki in 1865 was dedicated to the 26 martyrs of 1597, and within the year 20,000 Kakure Kirishitan dropped their disguise and openly professed their Christian faith. They faced some repression during the waning years of the Tokugawa shogunate, but early in the reforms of the emperor Meiji (reigned 1867–1912) the Kirishitan won the right to declare their faith and worship publicly.

Some wear to the gold and silver inlays on the reverse side.  read more

Code: 25311

An Incredibly Rare Samurai Nanban-Do Gusoku {Southern Barbarian Steel} Armour 16th-17th Century Cuirass Dou {Body Armour} Made From The Cuirass of a 1530's Spanish or Portuguese 'Black Ship' Trader. The First Europeans To Arrive in Japan

Another really rare museum piece from the collection of likely the world's greatest authority, and author on Japanese polearms & their use in combat.

A superb, really rare and valuable, piece of early, original, samurai armour, created from the earliest armour worn by the first European visitors to Japan, that arrived in the 'Black Ships', as depicted in the fabulous historical novel {and films} 'Shogun' by James Clavell.

Such armour, was, and is, very rare indeed, it is incredibly sought after, and can be valued ten to twenty times the price that traditional, old, original samurai domestic armour.

An armour cuirass or dou {in Japanese} that is fitted with a complete sashimono mounting system, and, an incredible two sections of early engraved script, of thirty five kanji, in seven rows, and one section on the front right is highlighted in gold lacquer colour.

We sent a scan to our dear friend in Japan and requested assistance in order to translate it, and, we received a very kind, and prompt, reply. He believes it’s an ancient form of kanji thus difficult to read {unless one has been taught specifically how to, one conjectures} but, it is some kind of divine text to ask assistance from the gods to embolden the samurai’s strength, alongside additional divine power requested from those same gods.

We have never seen its like before.

Sashimono Mounting System Components;
The banner was held in place by a specialized, two-part system attached to the back of the armour's main chest piece, the dō (dou):The ukezutsu (socket) is a tube, often square-shaped, that held the bottom of the banner pole. This was typically located at the lower rear of the cuirass.

Called a gattari (bracket) is a metal fixture situated at shoulder level on the back of the dō, often hinged, designed to secure the pole in an upright position, and fold back down when not in use holding the sashimono


European armour was brought into Japan through trade with Spain and Portugal in the 16th century. Later the Japanese would adapt them and imitate them and began producing them in Japan, which were collectively called Nanban Dogusoku (Nanban Armour). The yoroi armour we show in photo 9 in the gallery, was given to Sakakibara Yasumasa by Tokugawa Ieyasu right before the Battle of Sekigahara (1600) and has since been handed down to the Sakakibara family. That suit nanban armour would be priceless, but similar suits of nanban armour, of the same period, but without the history that the Sakakibara gosuko armour has, are valued up to 100K today or even more. with that photo is a Japanese print showing how the sashimono flag was mounted upon the samurai do cuirass armour.
Tokugawa Ieyasu also wore a nanban armour at the battle of sekigahara. Ieyasu's armour is composed of an Italian peascod cuirass {dou} from circa 1580, a gorget fitted over the cuirass as a "manchira" (derived from the Spanish term 'mantilla', i.e., "mantle" or "cloak"), and a helmet of the Spanish cabasset type

The story of the traders is beautifully conveyed in the novel Shogun James Clavell. William Adams was the principle character, based on the first English real life 17th century navigator adventurer who traveled to Japan, depicted in James Clavell's epic masterpiece "Shogun". Sadly for him, he was never again allowed to leave Japan and return to his family in England.

It is a wonderful and historical part of rare samurai plate armour. English navigator, William Adams, who became a close advisor to the Shogun, and known in Japan as Anjin. However, John Adams became such a highly regarded 'foreigner' within the shogun's court. A picture in the gallery is a print of the Tokugawa's Red Seal ships based on the navigators own ship, and a period print of Richard Adams being presented to the shogun, alongside a contemporary map of Japan as it was detailed on European maps in the early 1600's.

William Adams English navigator, also known in Japan as Miura Anjin, was born in 1564 in Gillingham England
(born 1564, Gillingham, Kent, England—died May 26, 1620, in Hirado, Japan), he was a navigator, merchant-adventurer, and the first Englishman to visit Japan.

At the age of 12 Adams was apprenticed to a shipbuilder in the merchant marine, and in 1588 he was master of a supply ship for the British navy during the invasion of the Spanish Armada. Soon after the British victory, he began serving as a pilot and ship’s master for a company of Barbary merchants. In June 1598 he shipped out as pilot major with five Dutch ships bound from Europe for the East Indies (present-day Indonesia) via the Strait of Magellan. The trouble-ridden fleet was scattered by storms, and in April 1600 Adams’s ship, the Liefde (“Charity”), its crew sick and dying, anchored off the island of Kyushu in southern Japan, the first northern European ship to reach that country.

Adams and the other survivors were summoned to Osaka, where Tokugawa Ieyasu—soon to become the shogun of Japan—interrogated mainly Adams about a variety of political, religious, and technological topics. Ieyasu was so impressed with Adams’s knowledge, especially of ships and shipbuilding, that he made the Englishman one of his confidants. Adams was given the rank of hatamoto (“bannerman”), a retainer to the shogun, and was awarded an estate at Miura, on the Miura Peninsula south of Edo (now Tokyo). Despite those honours, in the early years of his sojourn Adams repeatedly expressed his desire to return to England (where he had a wife and family, whom he eventually was able to continue to support) but was refused permission. He thus became permanently settled in Japan, married a Japanese woman, and came to be known by the name Anjin (“Pilot and Navigator later called Miura Anjin.

Adams oversaw the construction of Western-style ships, wrote letters on behalf of the shogun encouraging Dutch and English traders to come to Japan, and then officiated between the shogunate and the traders who began visiting the country. In 1613 he helped to establish an English factory (trading post) for the East India Company at Hirado, in Kyushu northwest of Nagasaki. Adams was allowed to undertake several overseas voyages between 1614 and 1619, traveling as far as Southeast Asia. His name is still revered in Japan with a district of his estate still bearing his name and his story is detailed in the magnificent epic book and film Shogun by James Clavell.  read more

Code: 26216

A Simply Breathtaking and Spectacular O-Tanto By One Of The Shinto Period, Great, 'Best of the Best' Samurai Sword Smiths Dewa Daijo Fujiwara Kunimichi circa 1615, With Glorious & Fine Soten Gold Dragon Fuchigashira And A Tsurumaru O-Sukashi Tsuba

Dewa Daijo Kunimichi is considered to be among the “best of the best” (jo-jo saku) of the Shinto period. Dewa Daijo Fujiwara Kunimichi (出羽大掾藤原国路) was a prominent early Edo period swordsmith (1615–1658) in Kyoto and a top student of the Horikawa Kunihiro school. His works, including O-tanto and wakizashi, are highly regarded as Jō-jō-saku (above superior) and Wazamono (excellent cutting ability).

Superb original Edo Soten school fuchigashira of pure gold takebori dragon over shakudo nanako ground. Gold menuki of Takeda Shingen's clan of four diamond mon. Another clan symbol of Takeda were pairs of cranes {Tsuru}, heads bowing, symbolically represented in this sword by the O-Sukashi tsuba. Descendants of the Takeda Shingens clan would take prominent positions in the Tokugawa shogunate, established in 1603 The Matsumae clan (松前氏, Matsumae-shi) was a Japanese aristocratic family of the Takeda, bearing the four diamond mon, who were daimyo of the Matsumae Domain, now in Matsumae, Hokkaido, from the Azuchi–Momoyama period until the Meiji Restoration. They were given the march as their fiefdom in 1590 by Toyotomi Hideyoshi, and charged with defending it, and by extension the whole of Japan, from the Ainu "barbarians" of the north. They were descendants of Takeda Nobuhiro (1431-1494), son of Takeda Nobukata (1420-1471) of the Aki Takeda.

Takeda Shingen (武田 信玄, December 1, 1521 – May 13, 1573) was daimyo lord of Kai Province during the Sengoku period of Japan. Known as the "Tiger of Kai", he was one of the most powerful daimyo of the late Sengoku period, and credited with exceptional military prestige. Shingen was based in a poor area with little arable land and no access to the sea, but he became one of Japan's leading daimyo. His skills are highly esteemed and on par with Mōri Motonari. To bear the gold mon of the clan of Takeda Shingen indicates a descendant clan member of the highest rank. Tokugawa Ieyasu recognized the skill of Takeda troops and samurai, integrating many into his own army. The Hachiōji sen'nin-dōshin, a group of 1,000 former Takeda retainers, served the Tokugawa shogunate as defenders of Kai Province until the Meiji Restoration.
Legacy and Legitimacy: Ieyasu even claimed to be the "spiritual successor" to Takeda Shingen to gain loyalty in the former Takeda territories.
While the main Kai-Takeda line ended, minor, cadet branches of the Takeda family survived and continued into the Edo period

The complex hamon, typical of his work, and the blade condition is incredible and looks amazing, and it would be perfectly at home in the King's Royal Collection. This tanto is at present reserved.

Mid brown ishime stone finish saya, wonderfully crafted by a master of the craft, with black urushi ribbing at the top section, and gold tsukaito over gold Takeda clan menuki, set upon traditional samegawa giant rayskin. All of these amazing quality features are a joy to behold. Making the entire sword of museum quality and a piece to treasure and admire for generations to come.

This blade signed by Dewa Daijo Fujiwara Kunimichi (出羽大掾藤原国路), who was especially active during the the Genna-Meireki era (1615-1658: Early Edo period) in Yamashiro province (today’s Kyoto prefecture).
It is said that Kunimichi originally belonged to Mishina school at the beginning of his career and later started to serve Horikawa Kunihiro school. He also signed Heianjo Kunimichi (平安城国道), Heianjo Jyu Kunimichi (平安城住国路), Dewa Daijo Fujiwara Rai Kunimichi (出羽大掾藤原来国路).

He was born in the 4th year of the Tensho era (1576: Azuchi Momoyama period). Based on available records, he started to officially appear in Japanese sword history in the 13th year of the Keisho era (1608: The beginning of the Edo period).
He first signed Kunimichi (国道). As you can see, the letter of Michi is different from the one seen on this blade. Those who belonged to Mishina (三品) school used Michi (道) as their maker’s names, such as Iga no Kami Kimichi (伊賀守金道). That is why it is believed that Kunimichi originally belonged to Mishina school. Also, at the end of his career, he used Rai (来) in his maker’s name, which is the only characteristic of the swordsmiths who belonged to Mishina school back then.

This is an iron tsuba (Japanese sword guard) "Tsurumaru" or crane circle, featuring a four crane sukashi (openwork) design. The crane is a deeply significant motif in Japanese culture, representing longevity, purity, and good fortune.
The design depicts four cranes arranged symmetrically. In Japanese art, cranes are often portrayed as "dancing" or in flight, symbolizing high status and refined elegance. The style emphasizes wabi-sabi—simple, elegant, and sophisticated aesthetics popular with the samurai class, with a delicate, "positive silhouette" (positive, or ji-sukashi) that is characteristic of the Kyoto school.
Sukashi, this technique involves cutting away sections of the iron plate to create negative space. This not only adds aesthetic beauty but also lightens the guard to balance the sword’s weight.
While similar designs are found across several schools, this style—with its balance of openwork and strong iron lines—is characteristic of Kyo-Sukashi (Kyoto) or Owari schools from the Edo period (1603–1868).
It is a maru-gata (circular) tsuba, which was the most prevalent form for centuries.

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.

Shakudo is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark color is induced by applying and heating rokusho, a special patination formula.

Both of these features are stunningly represented on the Soten fuchi kashira. There’s fittings are without doubt, in our opinion, first division Soten school fittings, decorated in pure hammered gold embellished solid shakudo mounts. Soten, alongside Goto, are the two great Japanese schools of sword fittings. The original design of these fittings, were by renowned artisan Mogarashi Nyudo Soten, a master craftsman from Hikone in Goshu Province.  read more

Code: 26211

Beautiful Edo Jingasa Samurai Horserider's War Hat With Clan Mon of Kamei Korenori (亀井 茲矩; 1557 – February 27, 1612) Was a Japanese Daimyō. From The Collection of Likely The World's Greatest Authority, Author On Japanese Polearms & Their Use

Edo period original jingasa of the Kamei clan. in black urushi lacquer, large gold Kamei mon, and two ishime stone finish lacquer bands, either side of a gilt band. Some interior padding present

Their mon (family crest) is famously known as the Oi-katsubishi (追いかつ菱), which consists of two overlapping or "chasing" diamond shapes (hishimon). The clan, based in Tsuwano han during the Edo period, used this distinctive geometric crest.
These geometric kamon were popular during the Sengoku period because they were easy to recognize on battlefields.

Kamei Korenori (亀井 茲矩; 1557 – February 27, 1612) was a Japanese daimyō who lived through the early Edo period. He was first a retainer under the Amago clan of Izumo Province, but eventually became a daimyō in his own right.

Chūgoku Campaign (from 1578): After the fall of the Amago, he joined Hashiba (Toyotomi) Hideyoshi, fighting against the Mōri clan, specifically taking part in the Siege of Tottori Castle.
Receiving Shikano castle in Inaba Province as a reward for his notable service in 1578, Korenori ascended to higher rank as he assisted in Hideyoshi's 1587 invasion of Kyūshū.

Kyushu Campaign (1587): Participated in Toyotomi Hideyoshi's campaign to subdue the Kyushu region.
Invasions of Korea (1592–1598): Involved in the campaigns against Korea under the Toyotomi banner.
Battle of Sekigahara (1600): Fought for the Eastern Army under Tokugawa Ieyasu. He helped attack the Western Army's Minakuchi Okayama Castle.

Siege of Minakuchi Okayama (1600): Following the Battle of Sekigahara, he joined forces with Ikeda Nagayoshi to capture Natsuka Masaie at Minakuchi Okayama Castle.
Burning of Tottori Castle Environs: During his time in Inaba Province, he was involved in burning the village around Tottori Castle in conjunction with Masahiro Saimura.
Failed Ryukyu Expedition (1590): Though not a battle, Korenori prepared a fleet to target the Ryukyu Islands but was blocked by the Shimazu clan.

Korenori's descendants were eventually made daimyō (lords) of the Tsuwano Domain, which they ruled until the Meiji Restoration (1868).

Overall in jolly nice condition, the top of the helmet, off centre, has a small impact dent about the size of a pound coin {see photo 4}. Very small age losses to the lacquer  read more

Code: 26209

A Beautiful Kabuto 12 Plate Samurai Helmet The Hidari Mitsu Tomoe Mon, Meaning "Left Threefold Tomoe" Of A Hachi (鉢), Mabizashi (目庇) & Fukigaeshi (吹返) Tehen no Ana / Tehen Kanamono (八幡座): & Buddhist Bonji of Amida Nyorai {No Shikoro}

A Japanese kabuto helmet consists primarily of the hachi (bowl) and shikoro (neck guard), with key components including the mabizashi (visor), fukigaeshi (side wings), and maedate (front crest). These elements combine iron plating, decorative artistry, and functional protection for the head. This kabuto is around 70% complete but lacking its shikoro {rows of neck guard}. With the Buddhist bonji of Amida Nyorai (Amitābha) set at the front of the hachi bowl. The celestial Buddha of Infinite Light. Amida Nyorai (often called Amida Butsu) is a celestial Buddha who has the ability to intervene in this world and save people in a god-like manner. He has passed the bodhisattva path and has achieved superhuman powers giving him the power to live in the heavens.

Hachi (鉢): The main bowl/helmet shell, often made of riveted iron plates.
Mabizashi (目庇): The brim or visor located on the front of the hachi.
Fukigaeshi (吹返): Wing-like, often decorative projections on both sides of the helmet.
Maedate (前立物): The front crest or decoration, which could represent clan identity or religious symbols.
Tehen no Ana / Tehen Kanamono (八幡座): A small opening at the top of the hachi, often finished with an ornamental, chrysanthemum-shaped metal fitting.
Tsunamoto (角元): Mounting points or sockets used to attach the maedate.
Ukebari (受張): The cloth lining inside the hachi that makes it comfortable to wear.
Suji-kabuto: Refers to the type of hachi of ridge plates (suji),
Lacking any Shikoro (錣): A flexible, multi-layered neck guard hanging from the edge of the hachi.

The mon of the Kobayakawa clan and Kobayakawa Takakage

Kobayakawa Takakage (小早川 隆景, 1533 – July 26, 1597) was a samurai and daimyō (feudal lord) during the Sengoku period and Azuchi–Momoyama period. He was the third son of Mōri Motonari who was adopted by the Kobayakawa clan and became its 14th clan head. He merged the two branches of the Kobayakawa, the Takehara-Kobayakawa clan (竹原小早川氏) and Numata-Kobayakawa clan (沼田小早川氏). He became an active commander of the Mōri army and he with his brother Kikkawa Motoharu became known as the “Mōri Ryōkawa", or “Mōri's Two Rivers" (毛利両川). As head of the Kobayakawa clan, he expanded the clan's territory in the Chūgoku region (western Honshū), and fought for the Mōri clan in all their campaigns

At first he opposed Oda Nobunaga and Toyotomi Hideyoshi but later swore loyalty and became a retainer of Hideyoshi who awarded him domains in Iyo Province on Shikoku and Chikuzen Province on Kyūshū, totalling 350,000 koku. Hideyoshi gave him the title Chûnagon also appointed him to the Council of Five Elders but died before Hideyoshi himself.

The mitsudomoe is also closely associated with Shinto shrines, in particular those dedicated to Hachiman, the god of war and archery. Hachiman in Shinto cosmology and ritual, as for example at Hakozaki Shrine, is repeatedly connected with the number three. In Shintoist thinking, this number is taken to represent the three aspects of the four mitama or 'souls' (the other, the kushimitama being considered far rarer. Fragmentary sources suggest that the First Sho dynasty, who founded the Ryukyu Kingdom, used the symbol if not as their family crest. American historian George H. Kerr claims that King Sho Toku adopted the mitsudomoe as the crest of the royal house after his successful invasion of Kikai Island in 1465. The Second Sho dynasty, who ruled the Ryukyu Kingdom from 1470 to 1879, adopted the mitsudomoe as its family crest. Since it was the royal family crest, its usage was once severely restricted.

According to the story the origin of the Hidari-Gomon takes place in feudal Japan, when the feudal lords and their private armies of samurai fought fiercely for land ownership. It was during a time of constant war in Japan. During these wars, Okinawa was defeated and dominated by the lord of Kagoshima, who imposed conditions on the Ryukyuan people. He proclaimed without exception that the people should go unarmed and that those who were found carrying weapons should be executed. Also, as a tribute of war, he proclaimed that Ryukyuans should submit an annual tax of rice to Kagoshima.
For many years the Ryukyu people religiously fulfilled the terms of the lords agreement. At the time rice was plentiful and no one went armed because a way of fighting had been developed in Okinawa which did not require the use of weapons. We now know this as Karate. Karate was developed because the Ryukyuan King did not want his people to be defenceless and he began secretly sending members of his guard to China, where he knew various forms of bare-hand fighting were being taught. Gradually, karate was being formed, the weapon was the body of the fighter, and it did not conflict in any way the terms imposed by the lord of Kagoshima.  read more

Code: 26210

A Simply Magnificent, Huge, Ozutso Samurai Hand Cannon Teppo Matchlock Gun, of Negishi Sukenobu, Inlaid With Silver and Gold Dragon With Both the Clan Mon of Kamei Kenenori and Tokugawa Ieyasu.

Their mon (family crest) is famously known as the Oi-katsubishi (追いかつ菱), which consists of two overlapping or "chasing" diamond shapes (hishimon). The clan, based in Tsuwano han during the Edo period, used this distinctive geometric crest.
These geometric kamon were popular during the Sengoku period because they were easy to recognize on battlefields.

Signed Japanese red oak stock. The huge uncompromising barrel is inlaid with twin, large silver clan mon of Kamei Kanenori and and gold-copper triple leaf Aoi, clan mon of Tokugawa Ieyasu at the breech, as they were alligned, it has a pinhole block site, extravagant gold and silver scrolling dragon inlay, up through the length of the barrel, terminating in a multi sided and stunning tulip form muzzle. Within the channel of the stock is a beautiful hand scripted signature of the samurai owner, Negishi Sukenobu no Tutu. Translation; Negishi Sukenobu's gun tutu is an old Japanese name for a matchlock gun

It has a sinchu matchlock mechanism with a long engraved match arm, inlaid with speckles of silver, traditional spring release utilising the ball trigger. the stock has engraved, silver cherry blossom form inlaid, barrel retaining mekugi-ana apertures, for the long copper mekugi to retain the barrel..

Part of a fine collection that arrived O-Zutsu hand cannon tanegashima, it is huge and incredibly heavy, of around 10 monme, 18mm bore

It is often the case were early samurai weaponry bear twin mon decoration, often demonstrating a co-joining or allegiance between two samurai clans. This example represents its a hand cannon of Kamei Kanerori and the Tokugawa clan mon as he fought for the clan at Sekigahara and beyond .

Kamei Korenori (亀井 茲矩; 1557 – February 27, 1612) was a Japanese daimyō who lived through the early Edo period. He was first a retainer under the Amago clan of Izumo Province, but eventually became a daimyō in his own right.

Chūgoku Campaign (from 1578): After the fall of the Amago, he joined Hashiba (Toyotomi) Hideyoshi, fighting against the Mōri clan, specifically taking part in the Siege of Tottori Castle.
Receiving Shikano castle in Inaba Province as a reward for his notable service in 1578, Korenori ascended to higher rank as he assisted in Hideyoshi's 1587 invasion of Kyūshū.

Kyushu Campaign (1587): Participated in Toyotomi Hideyoshi's campaign to subdue the Kyushu region.
Invasions of Korea (1592–1598): Involved in the campaigns against Korea under the Toyotomi banner.
Battle of Sekigahara (1600): Fought for the Eastern Army under Tokugawa Ieyasu. He helped attack the Western Army's Minakuchi Okayama Castle.

Siege of Minakuchi Okayama (1600): Following the Battle of Sekigahara, he joined forces with Ikeda Nagayoshi to capture Natsuka Masaie at Minakuchi Okayama Castle.
Burning of Tottori Castle Environs: During his time in Inaba Province, he was involved in burning the village around Tottori Castle in conjunction with Masahiro Saimura.
Failed Ryukyu Expedition (1590): Though not a battle, Korenori prepared a fleet to target the Ryukyu Islands but was blocked by the Shimazu clan.

Korenori's descendants were eventually made daimyō (lords) of the Tsuwano Domain, which they ruled until the Meiji Restoration

Resembling the Portuguese arquebus, the first matchlock gun to be seen in Japan, this massive and handsome weapon expresses the Japanese desire for powerful, finely made firearms.

A 17th century Japanese tradition relates that after the accidental arrival of three Portuguese mariners on Tanegashima Island in 1543, the sword-smith Kiyosada gave his daughter to their captain in order to learn the secrets of musket manufacture.

The actual guns were snap matchlocks made in Malacca, a Portuguese colony, and by 1550 were in production on a large scale. Known as ‘Tanegashima’ or ‘Teppō’ they were used by the Samurai and their foot soldiers and changed the way war was fought in Japan forever.

Large carbines such as this example were known as ‘ozutsu’ or cannon and were mounted on castle walls, used on merchant ships to repel pirates, on horseback in war or as assault weapons to blast through door hinges.

They could also launch incendiary or explosive arrows known as ‘Hiya’ to set fires during sieges. When fired these powerful weapons had a large recoil, and bales of rice were used to support the gunners back from injury.

Ammunition consisted of heavy round lead balls with differing sizes described as ‘Monme’. Made to take between 10 to 30 ‘Monme’ shots, this carbine is one of the largest examples of Japanese Edo Period handheld firearm

One woodblock in the gallery of a samurai holding an ozutso, and another of the great Takeda Shingen contemplating a small teppo matchlock gun, and it’s dramatic effect on the future of samurai warfare. The shape and form of ours is the same as the one contemplated by Takeda Shingen in the print, but ours is around four times the size, not a long gun but of incredible mass, beauty and presence. Somewhat like a dragon, a beast to admire for its breathtaking beauty, but to fear and respect for its power and presence.
The Amago clan, descended from the Emperor Uda (868–897) by the Kyogoku clan, descending from the Sasaki clan (Uda Genji).

Kyogoku Takahisa in the 14th century, lived in Amako-go (Omi Province), and took the name 'Amago'. The family crest, is also the one of the Kyogoku clan.

They were Shugodai (vice-Governors) of Izumo and Oki provinces for generations, for the Kyogoku Shugo branch , and their seat was Gassan Toda castle.

In 1484, Amago Tsunehisa (1458–1541), was deprived of the position of Shugodai by Kyogoku Masatsune, who was the Shugo, because he did not obey the request of tax from the Muromachi bakufu, and was expelled from Gassan Toda castle. Although Enya Kamonnosuke was dispatched to Gassan Toda castle as the new Shugodai, Tsunehisa recaptured Gassan Toda castle by a surprise attack in 1486, took control of Izumo, and developed the Amago clan into a Sengoku Daimyo clan.

The Amago fought the Ouchi clan or the Mori clan (who had been among their vassals), during Japan's Sengoku period.

For much of the next hundred years, the clan battled with the Ouchi and Mori, who controlled neighbouring provinces, and fell into decline when Gassantoda Castle fell to the Mori in 1566.

Amago Katsuhisa tried to regain prestige for the clan by joining the forces of Oda Nobunaga, invaded Tajima and Inaba provinces, but was defeated and died in the siege of Kozuki by the Mori in 1578.
Kamei Korenori (亀井 茲矩, 1557 – February 27, 1612) was a Japanese daimyō who lived through the early Edo period. He was first a retainer under the Amago clan of Izumo Province, but eventually became a daimyō in his own right. Receiving Shikano castle in Inaba Province as a reward for his notable service in 1578, Korenori ascended to higher rank as he assisted in Hideyoshi's 1587 invasion of Kyūshū. Following Hideyoshi's death in 1598, entered the service of Tokugawa Ieyasu. Following the Sekigahara Campaign of 1600, his income was raised from 13,000 to 43,000 koku as a reward for his service to the Tokugawa clan. Korenori died of natural causes in 1612.

Korenori's descendants were eventually made daimyō (lords) of the Tsuwano Domain, which they ruled until the Meiji Resoration.

Weight an impressive and formidable 6.6 kilos, length overall, 42 inches, barrel 30.5 inches  read more

Code: 24307

Superb & Rare 10 Plate Tetsu Steel Jingasa Samurai Battle Hat Helmet of The 1700's Traces Of Silver Inlay of Insects Such As Crickets, Catydids & A Spider Web From The Collection of Likely The World's Greatest Authority, Author On Japanese Polearms

From The Collection of Likely The World's Greatest Authority and Author On Japanese Polearms & Their Use

The tetsu jingasa (iron or steel battle hat) was a common form of head protection used in combat in feudal Japan, particularly by foot soldiers (ashigaru) during the Sengoku period (1467–1615) and by both soldiers and samurai during the Edo period (1603–1868). Unlike the elaborate kabuto helmets, the jingasa was lightweight, and shaped like a cone or shallow bowl, often with a wide brim to protect against overhead cuts and rain.

It was mainly worn by ashigaru as part of their okashi gusoku (loaned armour) to protect against overhead strikes, arrows, and musketry. Howeve, being of much higher quality and inlaid with silver decoration this beautiful example was clearly the war hat of a high rank samurai

While offering less protection than a kabuto (traditional helmet), it was highly favored for its light weight and mobility, which were crucial during long, intense battles.
The steel hats were typically lacquered and bore the mon (family crest) of the lord, which allowed identification of allies and enemies in the chaos of battle.
Weapon Usage (Improvised): Some martial arts schools, such as the Yagyu Shingan-ryu, taught that the steel jingasa could be removed and used as a makeshift shield or a striking weapon (similar to a buckler) when in close combat, though this was generally an emergency tactic.

What an incredible, early Edo, original samurai iron jingasa helmet this is. Only a very small percentage of jingasa war hats are made of plate steel but this one is rarer still in that is was inlaid with representation decor of silver insects, some of which are still viewable. including a cricket, a catydid and a superb spiders web.

Insects in general have been celebrated in Japanese culture for centuries. The Lady Who Loved Insects is a classic story of a caterpillar-collecting lady of the 12th century court; the Tamamushi, or Jewel Beetle Shrine, is a seventh century miniature temple, once shingled with 9,000 iridescent beetle forewings. In old Japanese literature, poems upon insects are to be found by thousands, Daisaburo Okumoto is director of the Fabre Insect Museum. An avid insect collector and a scholar of French literature, he has translated many of Fabre's works. He ascribes the popularity of insects in Japan to national character. It seems like Japanese eyes are like macro lenses and Western eyes are wide-angle, he says. A garden in Versailles, it's very wide and symmetrical. But Japanese gardens are continuous from the room and also very small. We feel calm when we look at small things. The medieval Japanese monk Yoshida Kenko put it this way: “If man were never to fade away like the dews of Adashino, never to vanish like the smoke over Toribeyama, how things would lose their power to move us”

A similar metal example, dated to the 19th century, was included in the 2010 exhibition Kyoto­-Tokyo: Des Samourais aux Mangas at the Grimaldi Forum in Monaco in 2010.  read more

Code: 26206

One Of The Most Incredible And Rare Early Samurai Swords We Have Ever Seen The Great Sword Nagamaki, From The Collection of Likely The World's Greatest Authority and Author On Japanese Polearms & Their Use

What a magnificent beauty! The Great Nagamaki that crosses the divide between the fearsome naganata, and the no-dachi.

It is a joy to acquire this monumental and incredibly rare example of ancient samurai arms, even if just for a brief while. It is in the process of being conserved for the next 500 years, and once completed it will be photographed in all its magnificence. We show it in the gallery as is prior to its completion. The original Edo period koshirae fittings will be relatively left untouched as they are already in great condition, with light artistic 風が吹いている (kaze ga fuite iru) ‘the wind is blowing’ decor. Which may be a symbolic representational name of the sword, such as 山颪 yamaoroshi, ‘wind blowing down from a mountain’

The blade has no damage at all, and in superb order, but, it requires considerable cleaning and expert hand conservation in order to return the blade’s beauty to its previous best.

We also show in the gallery early Japanese woodblock prints of similar examples used by great figures of samurai history.

The nagamaki is a type of sword developed from the Odachi but has the reach of a polearm too. It offers versatile combat techniques, and has the cutting power and technique of a sword with the reach of a longer weapon/polearm.

This behemoth of a sword appears illustrated in the author's second seminal work on samurai polearms and their combat use, of 'Japanese Spears: Polearms and Their Use in Old Japan' published in 2004.

Hosokawa Sumimoto (1489–1520) was a prominent samurai commander during Japan's Muromachi period, often depicted in art holding or associated with the nagamaki, a distinctive, long-handled Japanese sword.
Sumimoto is famously depicted in a 1507 equestrian portrait by Kano Motonobu wearing armor and holding a nagamaki, which is often used in modern media to illustrate this specific weapon.

The nagamaki ("long wrapping") is a sword with a blade length similar to a katana but with a very long handle (sometimes equal in length to the blade) that is wrapped in cord or leather. It was used for powerful sweeping and slicing strokes, particularly effective for infantry against cavalry.
Armor Connection: The armor worn by Sumimoto in his famous 1507 portrait (now associated with the Eisei-Bunko Museum) was later worn by his descendant, Hosokawa Narimori, making his, and the weapon's, appearance historically significant to the family's legacy.
Historical Context: Sumimoto was a key figure in the Hosokawa clan, acting as a deputy shogun (Kanrei) during a period of extreme civil strife in early 16th-century Japan.

We have also acquired the collector's prized nagamaki great sword, almost six feet long in its koshirae. Early or pre Azuchi Momoyama period, circa 1550. The type of samurai sword you very, very rarely see in Europe today outside of a museum, and often not in most museums either. This is one of the rarest types, an example that escaped the Shogun's *edict to cut the nagamakis and no-dachis down to regular katana sword length, as he believed swords that were over length for regular close quarter combat and should be shortened. {see details below}

We show a famous woodbloock print of Hosokawa Sumimoto carrying his nagamaki while on horse back. Our nagamaki was likely made within eighty years or so of Sumimoto's sword, just around the time of the Battle of Sekigahara. From the dimensions in the print, our blade is likely around a foot longer than his nagamaki.

Hosokawa Sumimoto (1489–1520) was a prominent samurai commander during Japan's Muromachi period, often depicted in art holding or associated with the nagamaki, a distinctive, long-handled Japanese sword.
The nagamaki is a type of sword developed from the Odachi but has the reach of a polearm too. It offers versatile combat techniques, and has the cutting power and technique of a sword with the reach of a longer weapon/polearm.

The nagamaki ("long wrapping") is a sword with a blade length similar to a katana or considerably longer, our nagamaki has a 43 inch blade, and with a very long tsuka {handle} sometimes equal in length to the blade that is wrapped in cord or leather. Ours is wrapped in leather as is the saya, then over decorated in a pattern. It was used for powerful sweeping and slicing strokes, particularly effective for infantry against cavalry.

To appreciate the heft and greatness of this sword, by just reading here, it is around 70% longer than a more usual long katana, and around 50% wider, and thicker, thus, likely six to eight times heavier. Once mounted it is likely the most impressive, original, and early samurai sword you will ever likely see or handle, a true behemoth of a museum piece.

*The Tokugawa shogunate did not issue a single, specific edict exclusively to reduce sword lengths but rather, in 1603, shortly after establishing the Tokugawa Shogunate, they enacted strict regulations that mandated all swords—including the massive no-dachi (field swords) and nagamaki, —be restricted to a specific, shorter length.
Many long no-dachi and nagamaki blades used in the previous warring era (Sengoku) were cut down at the tang (the handle part) and reduce the blade length to meet the new, shorter regulations to fit with the standard daishō (pair of swords) that samurai were allowed to carry.

It also needs overall conservation, and will be shown and offered for sale once completed.

As of this time we know of no other original length Nagamaki available on the worldwide collectors market today. In over 100 years we can recollect only owning three before, and we have likely handled in that time more original Japanese swords than any other still remaining antique sword dealers in the world today.  read more

Code: 26203

A Beautiful Edo Period Bato Jingasa Samurai Horserider's War Hat With Beautiful Four Flower Panels and Two Geometric Takebori Relief Decor In Six Distinct Panels Within the Urushi Lacquer With Clan Mon

Brown urushi lacquer with superb well-head mon, with six ken and red lacquer interior

Four ring symbolic tahen top mount. The samurai believed that through the tehen the spirit of Hachiman, the god of war, could pass into them. For this reason this hole on the kabuto is sometime sometimes called hachiman-za, literally "the seat of Hachiman". In this jingasa the tahen aperture is covered with a removable cap.

From The Collection of Likely The World's Greatest Authority and Author On Japanese Polearms & Their Use

In the armour of the Edo period, the tehen was richly adorned with multi-layered decorations, sometimes made of various metals. There are some schools of armorers where the tehen was so well finished and precise that it was covered only with a small iron rim, and sometimes not even with that. In the latter case it is possible to appreciate the value of the kabuto and admire the mastery of those who made it. At the rear a ring is fixed at the back of the helmet, designed to carry a small identification flag (Kasa jirushi no kan).

Apart from protection (the main function), a jingasa carried out the functions essential to caps: sunshade and rainshelter. It played too the role of a marker indicating the status of the wearer’s family in society. They were used as a container or weapon too. Jingasa developed both in shape and decoration during the Edo era (1603-1867) and were a symbol of samurai culture. Some Jingasa was a conical helmet most commonly worn with Ashigaru Armour, others were dished and round and a few had an upturned brim like this example so the firing of arrows in combat would be unhindered by a wide brim at the front.

It was typically made of hardened lacquered leather, or wood or a pressed composition somewhat like papier mache but also sometimes with iron. The jingasa could also commonly be marked with the mon of the lord or clan to help identify the warrior's side on a battlefield.

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

Overall in very nice condition for age with small lacquer wear marks.

Photo in the gallery from renowned Japanese director Takashi Miike 's classic, 13 Assassins (Jûsan-nin no shikaku). Where a samurai lord, surrounded by his bodyguard of samurai under attack, wears his same jingasa.  read more

Code: 26208