Japanese

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

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

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

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


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

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

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

Code: 25240

A Fine & Most Beautiful Japanese Katana, Signed Mitsuhiro Saku Late Koto to Shinto Period

A very attractive samurai katana, around 400 to 450 years old in a superb colour livery of blue-green tsuka-ito and a two colour saya of brown ishime {stone finish} and bright black urushi ribbed lacquer to the top quarter section, bound with white sageo, and a polished carved buffalo horn kurigata and sayajiri. The blade is signed, Mitsuhiro and shows a beautiful gunome hamon. The pair of menuki are a pair of caught Warasubo spine toothed fish, one with a mouse foraging on the top of its body. The mud flats of Japan’s Ariake Sea are home to a creature that is reportedly as delicious as it is disgusting-looking. Introducing the “Warasubo”, an eel-like xenomorph goby fish that for obvious reasons is known as the “Alien of Ariake Sea”, found in a large bay in Kyushu,

The fuchi kashira tsuka fittings are a pair of Edo period iron Higo school inset with silver droplets either representing a heavenly constellation, or snowflakes falling at night.

Made and used in the time of the greatest battle in samurai history. The Battle of Sekigahara Sekigahara no Tatakai) was a decisive battle on October 21, 1600 that preceded the establishment of the Tokugawa shogunate. Initially, Tokugawa's eastern army had 75,000 men, while Ishida's western army numbered 120,000. Tokugawa had also sneaked in a supply of arquebuses. Knowing that Tokugawa was heading towards Osaka, Ishida decided to abandon his positions and marched to Sekigahara. Even though the Western forces had tremendous tactical advantages, Tokugawa had already been in contact with many daimyo in the Western Army for months, promising them land and leniency after the battle should they switch sides.

Tokugawa's forces started the battle when Fukushima Masanori, the leader of the advance guard, charged north from Tokugawa's left flank along the Fuji River against the Western Army's right centre. The ground was still muddy from the previous day's rain, so the conflict there devolved into something more primal. Tokugawa then ordered attacks from his right and his centre against the Western Army's left in order to support Fukushima's attack.

This left the Western Army's centre unscathed, so Ishida ordered this unit under the command of Shimazu Yoshihiro to reinforce his right flank. Shimazu refused as daimyos of the day only listened to respected commanders, which Ishida was not.

Recent scholarship by Professor Yoshiji Yamasaki of Toho University has indicated that the Mori faction had reached a secret agreement with the Tokugawa two weeks earlier, pledging neutrality at the decisive battle in exchange for a guarantee of territorial preservation, and was a strategic decision on Mori Terumoto's part that later backfired.

Fukushima's attack was slowly gaining ground, but this came at the cost of exposing their flank to attack from across the Fuji River by Otani Yoshitsugu, who took advantage of this opportunity. Just past Otani's forces were those of Kobayakawa Hideaki on Mount Matsuo.

Kobayakawa was one of the daimyos that had been courted by Tokugawa. Even though he had agreed to defect to Tokugawa's side, in the actual battle he was hesitant and remained neutral. As the battle grew more intense, Tokugawa finally ordered arquebuses to fire at Kobayakawa's position on Mount Matsuo to force Kobayakawa to make his choice. At that point Kobayakawa joined the battle as a member of the Eastern Army. His forces charged ?tani's position, which did not end well for Kobayakawa. Otani's forces had dry gunpowder, so they opened fire on the turncoats, making the charge of 16,000 men mostly ineffective. However, he was already engaging forces under the command of Todo Takatora, Kyogoku Takatsugu, and Oda Yuraku when Kobayakawa charged. At this point, the buffer Otani established was outnumbered. Seeing this, Western Army generals Wakisaka Yasuharu, Ogawa Suketada, Akaza Naoyasu, and Kutsuki Mototsuna switched sides, turning the tide of battle

The top section of the blade, near the kissaki has two very small areas of natural age pitting  read more

Code: 25237

A Koto to Early Shinto Sengoku Period Samurai Wakizashi Circa 1520's to 1590'

With a stunningly attractive blade with fine suguha hamon.
All original edo period fittings and black urushi lacquer saya. Beautiful Higo style fuchi kashira decorated with takebori ponies. O sukashi square section tsuba

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."
The Sengoku period Sengoku Jidai, "Warring States period") is a period in Japanese history of near-constant civil war, social upheaval, and intrigue from 1467 to 1615.

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

The Sengoku period was named by Japanese historians after the similar but otherwise unrelated Warring States period of China.

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!  read more

Code: 24218

A Superb 15th Century, Ancient, Signed Samurai Sword, From the Famous Sukesada Line of Early Samurai Sword Smiths

This sword is an absolute ancient beauty, in fabulous condition for its age.

As with all fine samurai swords that have been owned, cared for correctly, and appreciated for centuries, it’s blade condition belies its great age.

John Keats once wrote that ‘a thing of beauty is a joy forever’, well this sword has certainly been a joy for almost 600 years.

Made and signed by one of the early Sukesada school of master swordsmiths, in around 1450, between 570 to 600 years ago. The blade has a spectacular curvature and a typical, early, Koto period narrow suguha hamon [super hardened edge temper line]. The saya is in superb condition, with pristine and perfect bright black urushi lacquer. It is a great historical ancient sword with its last all original Edo period mounts. Edo iron sukashi pierced mokko tsuba, sinchu fushi kashira, and the fuchi is decorated with takebori dragon. It has a pair of dragon menuki under the original Edo period lacquered cotton tsuka-ito binding.

The Sukesada line of swordsmiths descended in the Osafune school and are recorded as far back as the end of the Nambokucho period (around 1394). This blade here is from around 1450, placing it in the pre Sue-Koto Period (1469-1596).

It is known that some Sue-Koto Sukesada swordsmith’s produced many swords (Kazu-uchi mono) in order to keep up with the demand of battlefield swords. Mainly for the samurai foot soldier where were the combat factor was far more important than the artistic beauty.

The early Sukesada smiths however produced swords of outstanding quality. This is from one of the early pre Sue-Koto period Sukesada smiths. The Sukesada line of swordsmiths extend into the Bizen tradition with its roots coming from the Ichimonji line. (For those unaware, The Ichimonji swords of the Kamakura period are perhaps some of the finest swords to have ever been made, many would say these far exceed even Masamune in terms of quality and artistic beauty). The Bizen sword making tradition has long been considered the largest of sword making traditions, this has much to do with the Sukesada swordsmiths. Bizen Province was a province of Japan on the Inland Sea side of Honshu, in what is today the southeastern part of Okayama Prefecture. It would become home to what would be the biggest of the 5 mainline sword making traditions ( Yamato, Yamashiro, Bizen, Soshu, Mino). 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 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 could be trained by Zen Buddhist masters in meditation and the Zen concepts of impermanence and harmony with nature. They were also taught about painting, calligraphy, nature poetry, mythological literature, flower arranging, and the tea ceremony.

As part of their military training, it has been said, but possibly as part of the myth of samurai training, that 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. It is further said that 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, in certain circumstances, apparently didn't become a full-fledged samurai until, some say, he wandered around the countryside as begging pilgrim for a couple of years to learn humility. Again this may be part of the myth. However, when all his training was completed a samurai trainee that achieved samurai status and received a salary from his daimyo, paid from taxes (usually rice) raised from the local populace, he truly became the very best at his art in the world of sword combat

Swords in Japan have long been symbols of power and honour and seen as works of art.

Note on the photograph of the tang, around the signature can be seen five mekugi ana peg mounting holes, it appears to be four but on close examination one ana is actually two that overlap. This is one the desirable traditional indicators of a sword’s great antiquity, as each one represents a bespoke mounting and adaption, over the many centuries, of the blade for its various samurai owner's needs. It has remarkably already been a thing of great beauty, and universally admired for around 600 years, and we would like to think there is no reason it shouldn’t continue to do so for another 600 years.

25.70 inch blade tsuba to tip  read more

Code: 24472

A Simply Stunningly Mounted Handachi Katana Shinto Period Circa 1650

Shakudo and gold fittings with a pair of top quality gold and shakudo tiger menuki under the orginal Edo period silk wrap tsukaito, over black giant rayskin, samegawa. Bulls blood ishime stone finish lacquer, sukashi mokko tsuba in the form of clan mon [crests]. The sword is mounted in a beautiful matching suite of original Edo period gold and shakudo handachi fittings, with kabutogane, shibabiki, and ishizuki. 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] 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. The blade shows a dramatic sophisticated suguha hamon [straight] with a few natural age pit marks. As with all our items it comes complete with our certificate of authenticity.

Overall 39.75 inches long, blade tsuba to tip 25.65 inches long  read more

Code: 23354

A Beautiful, Shinto Period, Handachi Mounted Samurai Katana. Fitted With All Original Edo Mounts. Showing Great Quality, Shibui {Quietly Reserved} And Without Undue Extravagance. An Impressive Sword With Incredible & Elegant Lines & Curvature

Worthy of any museum grade collection.

All original, fabulous, Edo period koshirae sword fittings and mounts, a fully matching suite of han dachi mounts semi tachi form inlaid in pure gold arabesques on iron, Higo style. The blade is in beautiful polish showing a spectacularly undulating regular gunome hamon. The tsuka is bound in blue silk and the saya has its original old Edo ishime lacquer, the tsuba is a mokko form iron plate inlaid with a stylized dragon in gold to match the fittings.

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 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 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.

As part of their military training, apparently, 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 may be 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.

It can also be said 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. How accurate this was is dependant on the urgencies of war.

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.

As with all our items it comes complete with our certificate of authenticity. Blade tsuba to tip 27.5 inches, overall in saya 38.5  read more

Code: 23038

A Very Good & Beautiful, Late Koto Samurai Katana, Mounted With A Full Suite of Higo Mounts

Circa 1590. All original Edo period koshirae and a leather bound tsuka over bird menuki on a giant rayskin covered hilt, ishime stone lacquer finish saya in bull's blood sang de boeuf lacquer. Very fine Higo mounts including a sayagaki. Fine blade with suguha hamon.

A great sword in very nice condition. Made and used in the time of the greatest battle in samurai history. The Battle of Sekigahara Sekigahara no Tatakai) was a decisive battle on October 21, 1600 that preceded the establishment of the Tokugawa shogunate. Initially, Tokugawa's eastern army had 75,000 men, while Ishida's western army numbered 120,000. Tokugawa had also sneaked in a supply of arquebuses. Knowing that Tokugawa was heading towards Osaka, Ishida decided to abandon his positions and marched to Sekigahara. Even though the Western forces had tremendous tactical advantages, Tokugawa had already been in contact with many daimyo in the Western Army for months, promising them land and leniency after the battle should they switch sides.

Tokugawa's forces started the battle when Fukushima Masanori, the leader of the advance guard, charged north from Tokugawa's left flank along the Fuji River against the Western Army's right centre. The ground was still muddy from the previous day's rain, so the conflict there devolved into something more primal. Tokugawa then ordered attacks from his right and his centre against the Western Army?s left in order to support Fukushima's attack.

This left the Western Army's centre unscathed, so Ishida ordered this unit under the command of Shimazu Yoshihiro to reinforce his right flank. Shimazu refused as daimyos of the day only listened to respected commanders, which Ishida was not.

Recent scholarship by Professor Yoshiji Yamasaki of Toho University has indicated that the Mori faction had reached a secret agreement with the Tokugawa two weeks earlier, pledging neutrality at the decisive battle in exchange for a guarantee of territorial preservation, and was a strategic decision on Mori Terumoto's part that later backfired.

Fukushima's attack was slowly gaining ground, but this came at the cost of exposing their flank to attack from across the Fuji River by Otani Yoshitsugu, who took advantage of this opportunity. Just past Otani's forces were those of Kobayakawa Hideaki on Mount Matsuo.

Kobayakawa was one of the daimyos that had been courted by Tokugawa. Even though he had agreed to defect to Tokugawa's side, in the actual battle he was hesitant and remained neutral. As the battle grew more intense, Tokugawa finally ordered arquebuses to fire at Kobayakawa's position on Mount Matsuo to force Kobayakawa to make his choice. At that point Kobayakawa joined the battle as a member of the Eastern Army. His forces charged ?tani's position, which did not end well for Kobayakawa. Otani's forces had dry gunpowder, so they opened fire on the turncoats, making the charge of 16,000 men mostly ineffective. However, he was already engaging forces under the command of Todo Takatora, Kyogoku Takatsugu, and Oda Yuraku when Kobayakawa charged. At this point, the buffer Otani established was outnumbered. Seeing this, Western Army generals Wakisaka Yasuharu, Ogawa Suketada, Akaza Naoyasu, and Kutsuki Mototsuna switched sides, turning the tide of battle  read more

Code: 21331

A Beautiful Late Edo Bakumatsu Copper Katana Tsuba With NBTHK Papers.

Bakumatsu copper tsuba, NBTHK Kicho Kodugu papers from 2020. With a translation, the "ninteisho" is introducing the document as recognition written in calligraphy. The tsuba is decorated with Aki kusa, Autumn grass [flowers], unsigned. The Nihon Bijutsu Tōken Hozon Kyōkai is a public interest incorporated foundation established in February 1948 to preserve and promote Japanese swords that have artistic value. Tsuba are usually finely decorated, and are highly desirable collectors' items in their own right. 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. The tsuba has north and south kuchi-beni.
Literally "lipstick", but refers to the copper plugs of the nakago-ana. Their function is to secure the tsuba firmly when mounted on a blade. These plugs are sometimes called sekigane.  read more

Code: 23510

A Fine Edo Tsuba Kaga Kyoto Praying Mantis, Cricket Butterfly in Gold Inlay

Circa 1730 from the family of Air Marshal Lord Dowding, commander of the Royal Airforce in WW2. Iron plate inlaid with silver and gold superior Kaga Kyoto school tsuba of fine quality. After Hanabusa Itchō, a very popular subject in Japnese art in the late 17th to 18th century.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. 2.5 inches x 2.25 inches  read more

Code: 21757

A Beautiful and Most Impressive Nanban-Nari Kabuto High Conical Samurai Helmet. Likely of A Christian Samurai, Known As Krishitan, Momoyama to Edo Period. With Menpo Face Armour

A Nanban-nari, Christian decorated high conical helmet, with a koshi-no-ita base plate encircles the lower section of the skull, decorated around the border and across the apex with European form strap work with applied rivetted Catholic fleur-de-lys decor, a visor, or tousei mabisashi, is fitted to the front. Three-tiered black lacquer shikoro neck guard with sugake odoshi spaced lacing in very dark red braid. A tatsu tsunomoto holder for the maedate helmet crest, and a maedate in very decoratively pierced sinchu, brass alloy resembling gold. The maedate is of the form with slots that can have optional wakedate flat horns fitted.

The helmets fully embellished fleur-de-lys decor is a symbol of the 16th century Catholic Church, specifically Mary the Virgin. From antiquity it has been the symbol of purity and was readily adopted by the Roman Catholic church to associate the sanctity of Mary with events of special significance. The lily was said to have sprung from the tears shed by Eve as she left Eden. Thus, when Pope Leo III in 800 crowned Charlemagne as emperor, he is reported to have presented him with a blue banner covered (semé) with golden fleurs-de-lis.

The kabuto has a matching form Menpō face armour, that covered the face from the top of the nose down to the chin, with four rows of yodare-kake, throat guard armour. An early syle affixed and none removable nasal cover. All the main helmet and menpo surfaces, {except the shikoro} are in Higo russetted form.

Every year oir so we are delighted to acquired samurai swords with hidden Christian {Kakure Kirishitan} symbology, such as tsuba with pierced crucifix within in their designs, but we cannot recall ever seeing a Krishitan symbolised kabuto over these past 50 years. Only in Japanese museums, and very few of these.

The Nanban-nari Kabuto was introduced from the West during the Warring States period. Because it imitates the shape of a hat, it was called a “Nanban hat helmet”. Only the helmets bowl (Hachi ) was Nanban, other parts like Shikoro and Mabisashi were made and designed domestic style. This brand new kind of helmet was very popular at the time of introduction.
Nanban, In Japanese literally means “southern Barbarians”, actually refers to Europeans, because they came from the south of Japan. The helmets of the Europeans, Spanish and Portuguese, were of the morion or cabassat form. These new ‘barbarians’ not only brought Catholic monks to convert the samurai and their vassal peasants to Christianity, but their muskets, cannon, armour, leather, and clothing became de-riguer to influence everything from decor fashion armour and clothing. Especially amongst the converted daimyo lords, his family, and his samurai.

Face armour in Japan begins with the happuri, which is depicted in Heian- and Kamakura-era yamato-e paintings, and is thought to have appeared during the 10th or 11th centuries.It is depicted as being worn with or without a helmet by both mounted warriors and foot retainers. By the 14th century, the hōate appears, and according to Tom Conlan, this development is behind decreased facial wound statistics. However, others, such as Yamagishi Sumio, believe that the hōate was not widespread at that time, as it—and the later menpō—restricted the vision of the wearer. Hōate are also portrayed in art and literature of the period, most notably the Aki no yo no Nagamonogatari scroll and Taiheiki. The menpō (half-mask with detachable nosepiece) and the sōmen (full face mask) are believed to have been introduced around the mid to late 15th century, and the hanbō (chin guard) in the second half of the 16th century.

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.

The interior lining and cords of this kabuto have been replaced in the past 100 years  read more

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