Japanese

Wonderful, Original Antique, Japanese Samurai Battle Armour. A Super Pair of Edo Period Samurai Saddle Stirrups, Silver Inlaid & Signed By Yoshihira from Kashu Province. Probably a Daimyo or Seieibushi Samurai of the Maeda Clan, Lords of Kaga

Despite being designed, made and used, for samurai combat and warfare, they can be magnificent works of art in their own right, and created using the finest skills and materials with little or no consideration to the incredible cost involved.
The form of these gorgeous and luxurious stirrups is known traditionally as hato mune (pigeon breast). The stirrups were made in Kashu (now Kanazawa City, Ishikawa Prefecture), probably under the patronage of the Maeda clan, lords of Kaga and one of the most powerful families in Japan at the time. This Kaga zougan abumi, is a pair of armoured samurai stirrups, made in iron and of exceptional quality, and bears stunningly beautiful silver inlay of scrolling vines and leaves.

These are truly noteworthy museum grade works of art in their own right. There are a few most similar in the Metropolitan Museum in the USA for example. Absolutely signal examples, perfectly displaying the skill and technical craftsmanship of the highest order, for antique Japanese accoutrements, handmade for a samurai Daimyo clan lord or for a Seieibushi samurai, they were the elite, and the highest ranking of the samurai Made and used as part of his armour saddle fittings, but also for use as much when the samurai was in full armour or in regular daytime wear. The signature, of the maker Yoshihira from Kashu province, is inlaid in pure silver to match the d?cor. Abumi, Japanese stirrups, were used in Japan as early as the 5th century, and were a necessary component along with the Japanese saddle (kura) for the use of horses in warfare. Abumi became the type of stirrup used by the samurai class of feudal Japan Early abumi were flat-bottomed rings of metal-covered wood, similar to European stirrups. The earliest known examples were excavated from tombs. Cup-shaped stirrups (tsubo abumi) that enclosed the front half of the rider's foot eventually replaced the earlier design.

During the Nara period, the base of the stirrup which supported the rider's sole was elongated past the toe cup. This half-tongued style of stirrup (hanshita abumi) remained in use until the late Heian period (794 to 1185) when a new stirrup was developed. The fukuro abumi or musashi abumi had a base that extended the full length of the rider's foot and the right and left sides of the toe cup were removed. The open sides were designed to prevent the rider from catching a foot in the stirrup and being dragged.

The military version of this open-sided stirrup, called the shitanaga abumi, was in use by the middle Heian period. It was thinner, had a deeper toe pocket and an even longer and flatter foot shelf. It is not known why the Japanese developed this unique style of stirrup, but this stirrup stayed in use until European style-stirrups were introduced in the late 19th century. The abumi has a distinctive swan-like shape, curved up and backward at the front so as to bring the loop for the leather strap over the instep and achieve a correct balance. Most of the surviving specimens from this period are made entirely of iron, inlaid with designs of silver or other materials, and covered with lacquer. In some cases, there is an iron rod from the loop to the footplate near the heel to prevent the foot from slipping out. The footplates are occasionally perforated to let out water when crossing rivers, and these types are called suiba abumi. There are also abumi with holes in the front forming sockets for a lance or banner. Seieibushi (Elite Samurai)
Traditionally the highest rank among the samurai, these are highly skilled fully-fledged samurai. Most samurai at the level of Seieibushi take on apprentices or Aonisaibushi-samurai as their disciples.

Kodenbushi (Legendary Samurai)
A highly coveted rank, and often seen as the highest attainable position, with the sole exception of the rank of Shogun. These are samurai of tremendous capability, and are regarded as being of Shogun-level. Kodenbushi are hired to accomplish some of the most dangerous international missions. Samurai of Kodenbushi rank are extremely rare, and there are no more than four in any given country.

Daimyo (Lords)
This title translates to 'Big Name' and is given to the heads of the clan.

Shogun (Military Dictator)
The apex of the samurai, the Shogun is the most prestigious rank possible for a samurai. Shoguns are the leaders of their given district, or country, and are regarded as the most powerful samurai.Beautiful and sophisticated patterns in Kaga zougan have an outstanding, keen feel for designs and such fine expression is supported by the minute methods. The craftsman carves the pattern part on the metallic basis material with a burin (tagane in Japanese), making the bottom wider than the surface (this method is called "ari wo kiru" in Japanese) and inserts and drives in a different metal in the part.
Then, the metallic part for the pattern is pressed and spread inside and does not come off itself. This bonding technology was closely employed especially in Kaga to enable to express variously on the metal for expressive work and gained a high reputation as for the solid work.

Of all the techniques, "Abumi" (stirrup) has been a synonym for Kaga zougan and well known for the scrupulous technique making sure that the metallic parts of Kaga zougan never come off, in addition to its excellent novel designs and beauty.  read more

Code: 23043

A Beautiful Koto-Shinto Period Signed Yasuhiro, in KiiKuni. Antique Samurai Daisho With Rokakku Clan Mon. Traditional Daisho, the Two Swords Of The Samurai, Comprise a Fine Daito Long Sword & Signed Shoto Short Sword. With With Pierced Rokakko Mon

Signed Koto daisho, circa 16th century , with beautiful elegant blades, the saya are very fine, delicate and rare, light ‘cinnabar red’ lacquer, also known as coromandel red {named from the pink petaled flower} urushi lacquer to the saya, often made with the addition of perilla oil. The condition of both saya is very good just a couple of aged surface nicks
The colour created from urushi lacquer mixed with cinnabar was rewarded to them as the most famous warriors of all the samurai clans of Japan, the Li, and the Takeda.
The blades both have superbly beautiful notare hamon, in very good polish
Signed 記伊國住 康廣
Kii Kuni. Jyu Yasu Hiro.
The meaning is Yasuhiro, who lives in KiiKuni.
However, the first word is written as 記. But the better kanji should be 紀. It is impossible to mistake the name of the place where one lives, so one could research that kanji.
This sword was made in the 1500’s to 1600s. There were two generations of Yasuhiro there at that time.

Their clan mon tettsu tsuba have a polished surface finish bevelled towards the edge. Matching daito long sword and shoto short sword tsubas, very finely pierced with the Rokakku samurai clan's crest, the "kamon". The tsuka ito was rebound in cream silk in the post Taisho period, as is very usual due to the wear and natural aging of the Edo period silk tsuka-ito, and the signed cast fuchi kashira, that have a deep takebori design Hiranami style of crashing waves in gilt over metal, and the four gilt and silvered menuki of samurai are all very likely from that same late period.

Founded by Sasaki Yasutsuna of Omi Province in the 13th century, the name Rokkaku was taken from their residence within Kyoto; however, many members of this family continued to be called Sasaki. Over the course of the Muromachi period, members of the clan held the high post of Constable (shugo) of various provinces.
During the Onin War (1467-77), which marked the beginning of the Sengoku period, the clan's Kannonji Castle came under assault. As a consequence of defeat in the field, the clan entered a period of decline.
Like other hard-pressed daimyos, the Rokakku tried to enhance their military position by giving closer attention to improved civil administration within their domain. For instance, in 1549, the Rokakku eliminated a paper merchant's guild in Mino under penalty of confiscation. Then they declared a free market in its place.

The Rokakku were defeated by Oda Nobunaga in 1568 on his march to Kyoto and in 1570 they were absolutely defeated by Shibata Katsuie. During the Edo period, Rokkaku Yoshisuke's descendants were considered a koke clan. Historically, or in a more general context, the term koke may refer to a family of old lineage and distinction. 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 samurai's daisho were his swords, as worn together, as stated in the Tokugawa edicts. In a samurai family the swords were so revered that they were passed down from generation to generation, from father to son. If the hilt or scabbard wore out or broke, new ones would be fashioned for the all-important blade. The hilt, the tsuba (hand guard), and the scabbard themselves were often great art objects, with fittings sometimes of gold or silver. Often, too, they ?told? a story from Japanese myths. Magnificent specimens of Japanese swords can be seen today in the Tokugawa Art Museum?s collection in Nagoya, Japan.
In creating the sword, a sword craftsman, such as, say, the legendary Masamune, had to surmount a virtual technological impossibility. The blade had to be forged so that it would hold a very sharp edge and yet not break in the ferocity of a duel. To achieve these twin objectives, the sword maker was faced with a considerable metallurgical challenge. Steel that is hard enough to take a sharp edge is brittle. Conversely, steel that will not break is considered soft steel and will not take a keen edge. Japanese sword artisans solved that dilemma in an ingenious way. Four metal bars, a soft iron bar to guard against the blade breaking, two hard iron bars to prevent bending and a steel bar to take a sharp cutting edge were all heated at a high temperature, then hammered together into a long, rectangular bar that would become the sword blade. When the swordsmith worked the blade to shape it, the steel took the beginnings of an edge, while the softer metal ensured the blade would not break. This intricate forging process was followed by numerous complex processes culminating in specialist polishing to reveal the blades hamon and to thus create the blade's sharp edge. Inazo Nitobe stated: 'The swordsmith was not a mere artisan but an inspired artist and his workshop a sanctuary. Daily, he commenced his craft with prayer and purification', or, as the phrase was, 'he committed his soul and spirit into the forging and tempering of the steel.'
Celebrated sword masters in the golden age of the samurai, roughly from the 13th to the 17th centuries, were indeed revered to the status they richly deserved.

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

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

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

Code: 25536

A Very Fine Yasutsugu School Katana, circa 1675-1684 Likely the 4th Generation, Signed, with Aoi Mon, Namban Tetsu Oite Bushu Edo Echizen Yasutsugu

With a stunning bi coloured, black ribbed and cinnabar red lacquer saya, hand decorated with a wonderful light feathering and a scrolling silver saya jiri bottom mount. The mounts [fuchi kashira and menuki] are gold and shakudo decorated of the chrysanthemum. The story of the Yasutsugu lineage starts with the birth of the first generation, Ichizaemon, who is believed to have been born around the middle of the sixteenth century. His place of birth was in Shimosaka of Shiga-gun in the province of Omi. Omi is next to Mino and contains Lake Biwa. Yasutsugu was born into a sword making family headed by his father, Hironaga, reputed to be the last descendent of Yamato no Kuni Senjuin. Though his father was from Omi, he was trained in the Mino tradition. Around the 11th or 12th year of this same period of Keicho (1606-1607), Yasutsugu’s fame reached the point that he was called to Edo (Tokyo) to share his forging skills with Tokugawa Ieyasu. About this time Yasutsugu was given the privilege of using the character “Yasu” (康) from Tokugawa Ieyasu’s (徳川家康) name. Thus, from that point on, he changed his name to Yasutsugu. About the same time (some feel it was a few years later) he was given the additional privilege of carving the Hollyhock crest (Aoi mon) on his blades. These privileges were given in perpetuity to Yasutsugu and his descendants. Thus the Yasutsugu swordsmiths became the kaji of the Tokugawa Family.
Yasutsugu worked in Echizen and Edo as was the custom with the Tokugawa family in those days. It was much like the practice of Sankin Kodai (alternate year attendance) that was required of the Daimyo of the country. He died in seventh year of Genna (1621) probably in his 70’s.

Upon the death of the first generation Yasutsugu , the family mantle was taken up by his son, Ichinojô.
Nidai Yasutsugu made swords in the same style as the first generation. Some say that his ability was nearly the equal of his father’s. While all do not agree, there seems to be a consensus that he was without a doubt a close second
The two branches of the Yasutsugu school continued for many generations. The Edo school continued through eleven generations. It is generally agreed that the only two smiths of the last eight generations that were of note are the fourth our sword and the eleventh generations. The fourth generation had the advantage of being trained by the third generation, a quality smith. In addition, the fourth generation left several works in which he collaborated with the well-known smith, Izumi (no) Kami Kaneshige. The fourth generation’s working period was from 1675, the third year of Enpo to 1684, the first year of Teikyo era.
Interestingly, the steel used to produce this sword was in part sourced from Europe, likely from
Dutch traders. This steel was known as “Namban tetsu”, (lit. Southern Barbarian steel). It would
have been expensive and unique to produce swords with steel from faraway lands in the late
1600s. Thus the nakago (tang) is chiselled with the words Namban tetsu.

it is mounted with An Antique Edo Period Iron Large Tsuba Inlaid with Silver Aoi Leaves
The Tsuba can be solid, semi pierced of fully pierced, with an overall perforated design, but it always a central opening which narrows at its peak for the blade to fit within. It often can have openings for the kozuka and kogai to pass through, and these openings can also often be filled with metal to seal them closed. For the Samurai, it also functioned as an article of distinction, as his sole personal ornament. The tsukaito is beautifully traditionally rebound as is the black ribbing lacquer, on its original Edo lacquer saya.
As can be seen it is likely in its last original Edo polish in stunning condition which is beautiful, with just the tiniest natural aged surface mark. The kashira is carved buffalo horn with an applied gold lacquer partially complete aoi mon

Overall length in saya 38 3/4, blade tsuba to tip 27 3/4 inches long  read more

Code: 24038

The Lanes Armoury, Europe’s Leading Original Samurai Sword Specialists & Gallery. Plus 1000’s of Other Magical & Rare To Find Ancient and Vintage Wonders. Another Historic Collection Acquired This Week Including Amazing Medieval Swords & Antiquities

Including a small exclusive & original collection of Medieval and Roman rings and crucifixes. Thanks to us being so long established here in Brighton we are contacted or visited every day by private families interested in selling their long past collected antiques and antiquities. Artefacts of all kinds, from all eras and all nations. Some collected by their ancestors hundreds of years ago. And this week has been particularly fascinating for the diversity and beauty of our finds.

After more than 54 years personal experience by Mark, in our galleries, since 1971, and David’s 44 years since 1981, we are also regarded, by many, as Europe’s leading original samurai sword gallery, and probably the leading samurai sword specialists in the world, outside of Japan. With hundreds of original ancient and antique samurai swords to view and buy online, or, to journey to our world famous gallery in Brighton on a personal visit, 6 days a week.

By train we are just under an hour from Victoria Train Station in London.

We are also now offering a handmade bespoke frame or casing service. Created by a local specialist we have known for many decades. See the gallery for an example of a lidded box display casing just created for an item acquired from us for one of our esteemed regulars.

It has been said that the Hawkins family, have, in their sword dealing history, handled, bought and sold more original Japanese swords than any other sword dealers outside of Japan since World War I, trading over 100 years, numbering well into the tens of thousands of samurai weapons and artefacts. In one single acquisition alone, in the early 1960’s, David senior {the current partner’s father} purchased, in one collection, over 500 original antique and vintage Japanese swords, and Mark helped to disassemble each and every one of them, and was in charge of stringing together the tsuba sword guards into loops, 20 at a time. In those days tsuba were more collectable than swords. It was one of Mark’s very first introductions to the workings of the wonderful works of art that make up a complete samurai sword.
He can still remember listening to the very first hit of the Beatles ‘Love me do’ on the radiogram, in late 1963, while stringing together 25 loops of 20 tsuba, before he started school that early morning.
Our close family association with the legendary samurai sword continues unabated. In fact we still know of no better and varied original samurai sword selection, for sale under one roof, anywhere in the world today, outside of Japan, or possibly, even within it. Hundreds of antique pieces for sale to choose from, and some up to an incredible 800 years old.

Why is The Lanes Armoury probably the worlds most popular, original Japanese samurai gallery? well, we believe that not only are we the oldest still thriving store of our kind outside of Japan, but we have an entirely historical view of all our samurai artefacts, be they armour, helmets, swords, spears or accoutrements,

We place each piece within its historical context, a unique, holistic view if you like, never concentrating on such as simply the minutiae of blade detail alone {that has never been our forte} but of the entire sword as a work of art, and an example of the worlds highest craftsmanship, and thus it’s potential place within all of over 1000 years of samurai history.

Can they be expensive? Well, they certainly can appear so, however up to 70% of our completely fitted swords may still be half the price of just a newly made sword blade alone, commissioned from one of the few still remaining fine sword smiths in Japan, and ours could well be up to 500 years old, completely and stunningly fitted in fabulous quality original antique mounts, and potentially used in the past by up to 30 samurai within their own working life and history. And yet, they can still look as good as new.

A samurai sword for example, is in many respects, more the sum of its parts, although always dated by its blade’s vintage, each sword can have amazing koshirae mountings of equal beauty to the blade, displaying the skill of likely the most talented artisans in sword making history, and representing the most intriguing and certainly one of the most popular forms of ancient hand to hand combat in the world today.

For example one of the greatest films ever made in the history of cinema is Akira Kurosawa’s 1954 “Seven Samurai”. A groundbreaking epic of such influence on modern cinemas it is said to inspired more films in its genre than any other film ever made. A well deserved masterpiece of cinema, based entire on a simple single event of legendary samurai combat.

Still today, more incredible films in the genre are made involving the legendary samurai sword than any other, such as some of the billion dollar epics made by the Marvel Universe, that still enthral the worlds movie watching audiences.

There is no other country in the world that continually used the very same form of weaponry, in hand to hand combat, for over 800 years. A samurai sword of around 800 years of age, would be just as recognisable and as usable to any 19th century samurai, or even current exponent of samurai martial arts, if he were alive today.

Finally, a visit to The Lanes Armoury is considered and remarked upon, by near every single visitor to our store, that is is an unforgettable experiance, and every samurai sword buyer is afforded the best possible attention, not just for the time that they may view, choose, and buy a sword, but for as long as they own the sword. We are available for every aspect of ownership to its new owner, essentially forever. Our world renown 5 Star service knows no time limit.

And be assured, every single item, from a cap badge to a 800 year old ancient samurai sword, to an Ancient Greek solid gold crown, will be accompanied with our unique Certificate of Authenticity. Based on over 100 years and four generations of experience.  read more

Code: 24230

A Stunning Quality Edo Period Tanto Fuchi In Shakudo and Pure Gold. Incredible Fine Quality Chisselled Takebori Carving of Rats Around a Gold Koku Traditional Rice Bale. Signed with Kikihan

Decorated shakudō (copper/gold alloy) with a hammered ground of fine nanako (fish-roe) points and decorated with rats and an applied pure gold rice bale. Signed Sadachika with kao (the artist's personal kakihan art signature seal). A wondeful indication of his skill, one can clearly see with a 10x magnifying glass the rats individual hairs on their body.

This is probably by the master fuchgashira maker Nomoto Sadachika, although relatively little is known about him, other than he worked in the later Edo period, his skill is self evident and was obviously exemplary.

In old Japanese culture the illustration of the rat in art was not a negative connotation, but a positive one. The presence of rats symbolised a successful harvest, so their presence was a symbol of good fortune,

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. The articles of sword ornamentation made by the Goto artists were practically all on shakudo grounds with nanako finish; after the emergence of the machibori artisans in the mid-Edo period and the popularity of the newly inspired kozuka, shakudo grounds with nanako finish "became the rage". Nanako finish is probably an evolution and refinement of a very old style finish (which it vaguely resembles); "millet finish", 'awa ishime', which is found on some old armorer tsuba. However, awa ishime consisted of small, round dimples punched into the surface of the ground; on the other hand, nanako is formed by striking the ground with a cup-shaped punch to raise, and project upward from the surface, small semi-hemispheric nipples. Since we find nanako finish on old yamagane grounds, it was in use as early as the Kamakura period. It is note-worthy that a nanako finish on a shakudo ground has been used since the time of the first Goto 1440 - 151 in the mitokoromono, "set of three", for use on formal or ceremonial occasions. Later, shakudo nanako became the regular finish for use by the metal artisans. (deleted repeated sentences) In applying nanako, meticulous and scrupulous care must be used in positioning and striking the "cupping tool" in order to achieve fine, regular, carefully and closely spaced, identical results, row after row. Careless, imprecise and even coarse workmanship can be detected in the nanako of some older works and on "ready made" products, but work of later years, executed with infinite and scrupulous care, are beautiful beyond belief. However, even the finest of execution of nanako finish applied to brass (shinchu) or shibuichi fails to carry the distinct air of refinement and elegance of similar work on shakudo. The very elegance of nanako workmanship reflects not only the extraordinary skills of the Japanese in the execution of minute, detailed work, but also their tremendous patience and artistic inspiration. It is said that blindness of nanako workers at thirty years of age was usual because of the microscopic and meticulous work so carefully and patiently executed. On many old tsuba, pre-dating the period of the Goto, one encounters nanako laid in horizontal or vertical rows; on subsequent work nanako was applied along curved lines conforming to the shape of the tsuba.

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

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

Code: 25598

Fine Pair of Samurai Sword Mounts, A Fuchigashira In Pure Gold Onlay & Inlay On Shakudo, Soten School, Edo Period {1615-1868} Inscribed Sōheishi Nyūdō Sōten Sei. Taira Atsumori (1169-1184) Riding On Horseback Through Crashing Waves To Escape The Minamoto

Soten school, late, Edo period {1615-1868} By Sōheishi Nyūdō Sōten Sei. It is rare to find Soten work in shakudo or any soft metals as they typically worked in iron

Very likely depicting Taira Atsumori (1169-1184) Riding On Horseback Through Crashing Waves To Escape The Minamoto Warriors. Woodcut By Toyokuni Utagawa,

The founder of the
Soten school, Kitagawa Sōteen I (also called Shūten and possibly Sōheishi Niūdō), flourished about 1650 and, like his successors, worked at Hikone, whence the name Hikone-bori for the style they evolved. The signature of his son, Sōten II (Sōheishi Niūdō), is that most frequently found on tsuba sword guards of this school.

The Sōten style may be summed up as the marubori-zōgan with the addition of elaborate landscape details. The figures, whether large or small, are either modeled completely in the round, the ground being more or less cut away and the whole enclosed by a border; or else they are in high relief on a solid ground. The work is nearly always in iron, with the nude portions encrusted in silver or copper, the patterns of the garments and the minute botanical details of the landscape being richly overlaid with gold.

The favourite subjects are taken from Chinese history and legend, or represent Japanese battle-scenes, especially from the Gempei campaigns of the 12th century and the Korean expeditions of the Empress Jingō and the Taikō Hideyoshi.

According to The Tale of the Heike, the Taira were scattered by Yoshitsune's attack from the Ichi-no-Tani cliff. Kumagai no Jirō Naozane, while scanning the beach for fleeing soldiers, spotted the young Atsumori swimming towards the fleeing vessels.

Ukiyo-e of Kumagai Naozane and Taira no Atsumori
Kumagai beckoned Atsumori with his fan, taunting Atsumori by saying, “I see that you are a commander-in-chief. It is dishonorable to show your back to an enemy. Return!”

Atsumori returned and they grappled on the beach. Kumagai was stronger. He knocked off Atsumori's helmet to deliver the finishing blow, only to be struck by the beauty of the young noble. Atsumori was “sixteen or seventeen years old, with a lightly powdered face and blackened teeth—a boy just the age of Naozane's own son...”

Kumagai, wishing to spare the life of the boy, asked for Atsumori's name, but the youth refused. He simply said that he was famous enough that Kumagai's superiors would recognize his head when it was time to assign rewards. At that moment, other Minamoto warriors arrived, and Kumagai knew that if he did not kill Atsumori, the other warriors surely would. Kumagai reasoned that it was better if he was the one to kill Atsumori, because he could offer prayers on his behalf for the afterlife.

Kumagai while crying beheaded the youth, searched the body for something to wrap the head in, he came across a bag containing a flute. He realized that Atsumori must have been one of the soldiers playing music before the battle and thought, “there are tens of thousands of riders in our eastern armies, but I am sure none of them has brought a flute to the battlefield. Those court nobles are refined men!”

It is said that the beheading of Atsumori is what led Kumagai to take priestly vows and become a Buddhist monk.

See photo 10 in the gallery of a similar subject fuchigashira in the Metropolitan Museum of Art
Sword-Hilt Collar and Pommel (Fuchigashira)
Japanese ca. 1615–1868 Fuchi inscribed: 藻柄子入道宗典製 Sōheishi Nyūdō Sōten sei (Made by the lay priest Sōheishi Sōten)
Donated by Herman A. E. and Paul C. Jaehne, New York and Coco Beach, Florida (by 1915–43; their gift to MMA).  read more

Code: 25605

A Most Beautiful Signed Koto Katana, Circa1500's. All Original Edo Mounts of Onlaid Pure Gold, Silver & Shakudo Fuchi-Kashira of A Samurai Warrior In Armour On Horseback

A circa 500 year old Koto period samurai katana blade, with a signed nakago, Bitchu ju Kuni... {the last part of the name can't be clearly read}.
It has a very good suguha hamon, and a traditional silk bound over samegawa gint rayskin tsuka, with stunning shakudo fuchi-kashira with gold and silver decoration of a takebori samurai on horseback on the kashira, and a samurai by a shoreline with overhanging trees and wave,s on the fuchi, beautiful gold bamboo leaves menuki, circular iron tsuba chiselled with leaves, in its black urushi lacquered saya. Black tsuka-ito over gold bamboo leaves, on samegawa giant rayskin.

The motif of this iron tsuba’s takebori design seems to be numerous conch shells, known as “Horagai” (法螺貝). The conch shell originates from Hinduism and is closely linked to the teachings of Buddha. Historically, Yamabushi (mountain ascetics) used it to convey sermons. The conch was brought to Japan around 806 AD by monks like Kukai (空海) and Saicho (最澄), who returned from Tang China, with five of the eight bringing conch shells. Its sound represents the teachings of Buddha, making it a sacred instrument in Japanese esoteric Buddhism. The conch is one of the Eight Auspicious Symbols in Tibetan Buddhism, symbolizing purity and the dissemination of Buddhist teachings.

Shellfish have been eaten all over the world since ancient times. At the same time, they have been used in a wide variety of applications, such as coins, ornaments, daily necessities, and toys, due to the beauty and preservability of their shells. In Japan, there is also a folk belief that seashells with prominent projections are hung from the eaves to ward off evil spirits, and their names are said to ward off fire, such as the Suijigai (水字貝, 水 means water in Japanese). In addition, ascetic monks who trained in the mountains blew trumpet shells to exorcise evil spirits. During the Warring States period (戦国時代, 1467-1615), trumpet shells were used to signal the formation of battle lines and to boost the fighting spirit. It is only natural that this shell, which was used as a cue in battle and to raise the fighting spirit of soldiers, was incorporated into the decoration of armour, which is the uniform of fighting.

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 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.
Some, it is said, warriors, 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.
Shakudo {that can be used to make samurai sword mounts and fittings} is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark colour is induced by applying and heating rokusho, a special patination formula.

Shakudo was historically used in Japan to construct or decorate the finest katana fittings such as fuchi-kashira, tsuba, menuki, and kozuka; as well as other small ornaments. When it was introduced to the West in the mid-19th century, it was thought to be previously unknown outside Asia, but recent studies have suggested close similarities to certain decorative alloys used in ancient Egypt, Greece, and Rome.
Blade surface has areas of the usual age surface micro thinning seen in Koto blades

Blade 27.25 inches long tsuba to tip, overall sword length in saya 38 inches long  read more

Code: 24182

A Delightful & Beautiful Early to Mid Edo Period 1598-1863 Samurai War Arrow. A Tsubaki-ne, With A Haft of Yadake Bamboo & With Sea Eagle Flights. With A Beautifully Rare Stunningly Polished Tamahagane Steel Head

It is most rare to find original, antique samurai war arrows {ya} that still have beautifully polished tamagahane steel blades, that they would all have had originally, that often show the traditional hamon, the same as a sword would have. Acquired by us by personally being permitted to select from the private collection one of the world's greatest, highly respected and renown archery, bow and arrow experts. Who had spent his life travelling the world to lecture on archery and to accumulate the finest arrows and bows he could find. .

With original traditional eagle feathers, probably the large edge-wing feathers of a Japanese sea eagle. The armour piercing arrow tip, that is swollen at the tip to have the extra piercing power to penetrate armour and helmets {kabuto}, is a brightly polished, traditional tamagahane steel hand made, by a sword smith, long arrow head, originally hand made with folding and tempering exactly as would be a samurai sword blade, possibly signed on the tang under the binding but we would never remove it to see. The Edo period early eagle feathers are now slightly worn. It is entirely indicative of the Japanese principle that as much time skill and effort be used to create a single 'fire and forget' arrow, as would be used to make a tanto or katana. A British or European blacksmith might once have made ten or twenty arrows a day, a Japanese craftsman might take a week to make a single arrow, that has a useable combat life of maybe two minutes, the same as a simplest British long bow arrow.

The Togari-Ya or Tsubaki-ne, were pointed arrowheads look like a miniature version of a long Yari (spear) and were used only for war and are armour piercing arrows . Despite being somewhat of a weapon that was 'fire and forget' it was created regardless of cost and time, like no other arrow ever was outside of Japan. For example, to create the arrow head alone, in the very same traditional way today, using tamahagane steel, folding and forging, water quench tempering, then followed by polishing, it would likely cost way in excess of a thousand pounds, that is if you could find a Japanese master sword smith today who would make one for you. Then would would need hafting, binding, and feathering, by a completely separate artisan, and finally, using eagle feathers as flights, would be very likely impossible. This is a simple example of how incredible value finest samurai weaponry can be, items that can be acquired from us that would cost many times the price of our original antiques in order to recreate today. Kyu Jutsu is the art of Japanese archery.The beginning of archery in Japan is pre-historical. The first images picturing the distinct Japanese asymmetrical longbow are from the Yayoi period (c. 500 BC – 300 AD).
The changing of society and the military class (samurai) taking power at the end of the first millennium created a requirement for education in archery. This led to the birth of the first kyujutsu ryūha (style), the Henmi-ryū, founded by Henmi Kiyomitsu in the 12th century. The Takeda-ryū and the mounted archery school Ogasawara-ryū were later founded by his descendants. The need for archers grew dramatically during the Genpei War (1180–1185) and as a result the founder of the Ogasawara-ryū (Ogasawara Nagakiyo), began teaching yabusame (mounted archery) In the twelfth and thirteenth century a bow was the primary weapon of a warrior on the battlefield. Bow on the battlefield stopped dominating only after the appearance of firearm.The beginning of archery in Japan is pre-historical. The first images picturing the distinct Japanese asymmetrical longbow are from the Yayoi period (c. 500 BC – 300 AD).
The changing of society and the military class (samurai) taking power at the end of the first millennium created a requirement for education in archery. This led to the birth of the first kyujutsu ryūha (style), the Henmi-ryū, founded by Henmi Kiyomitsu in the 12th century. The Takeda-ryū and the mounted archery school Ogasawara-ryū were later founded by his descendants. The need for archers grew dramatically during the Genpei War (1180–1185) and as a result the founder of the Ogasawara-ryū (Ogasawara Nagakiyo), began teaching yabusame (mounted archery) Warriors practiced several types of archery, according to changes in weaponry and the role of the military in different periods. Mounted archery, also known as military archery, was the most prized of warrior skills and was practiced consistently by professional soldiers from the outset in Japan. Different procedures were followed that distinguished archery intended as warrior training from contests or religious practices in which form and formality were of primary importance. Civil archery entailed shooting from a standing position, and emphasis was placed upon form rather than meeting a target accurately. By far the most common type of archery in Japan, civil or civilian archery contests did not provide sufficient preparation for battle, and remained largely ceremonial. By contrast, military training entailed mounted maneuvers in which infantry troops with bow and arrow supported equestrian archers.

Mock battles were staged, sometimes as a show of force to dissuade enemy forces from attacking. While early medieval warfare often began with a formalized archery contest between commanders, deployment of firearms and the constant warfare of the 15th and 16th centuries ultimately led to the decline of archery in battle. In the Edo period archery was considered an art, and members of the warrior classes participated in archery contests that venerated this technique as the most favoured weapon of the samurai. In the gallery is from an Edo exhibition of archery that shows a tagari ya arrow pierced completely through, back and front, an armoured steel multi plate kabuto helmet. Another photo shows an unmounted arrow head with the considerable length of the tang that is concealed by the haft.

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

Code: 25590

A Magnificent and Large Horse Mounted Samurai's Battle Sword Katana, With A Simply Stunning Shinto Blade In Near Mint Condition for Age. The Mounts Are All Completely Original Edo Period.

A beautiful substantial and impressive Bizen tradition war katana, with a very fine classic koshi no hiraita midare hamon. High-ranking warriors sword that were the only samurai permitted to fight on horseback.

Plain tettsu Higo school fuchi kashira in a traditional russet finish. Original Edo tsuka ito wrapped over ancient form menuki of russet iron spear heads, in early yari and naganata form. Round tetsu Higo schookl kinuki tsuba with two udenuki-no-ana. The holes being for the passage of a cord, tying the tsuba to the scabbard.

The saya is very fine, with a sayjiri bottom iron mount, with light ‘cinnabar pink’ urushi lacquer finish, also known as coromandel pink {named from the pink petaled flower} urushi lacquer to the saya, often made with the addition of perilla oil. The condition of both saya is very good just a couple of aged surface nicks
The colour created from urushi lacquer mixed with cinnabar was rewarded to them as the most famous warriors of all the samurai clans of Japan, the Li, and the Takeda.

Samurai endured for almost 700 years, from 1185 to 1867. Samurai families were considered the elite. They made up only about six percent of the population and included daimyo and the loyal soldiers who fought under them. Samurai means one who serves."

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

In Japan the term samurai evolved over several centuries

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

Originally, the word samurai referred to anyone who served the emperor, the imperial family, or the imperial court nobility, even in a non-military capacity.It was not until the 17th century that the term gradually became a title for military servants of warrior families, so that, according to Michael Wert, "a warrior of elite stature in pre-seventeenth-century Japan would have been insulted to be called a 'samurai'".
This is a katana was likely made for a senior, high ranking samurai, a seieibushi. based upon horseback in combat, certainly not a light and deeply cursive katana, but a battle sword, made to complete an uncomprimising task of close combat and aggressive close quarter hand to hand swordmanship. Designed as much for cleaving through samurai armour and kabuto helmets in two, as much as defeating another samurai while 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


30 inch blade overall 43 inches long in saya.  read more

Code: 25539

A Fine Edo Period 17th Cent. Samurai Armour Gosuko, Dangae dou Part Suit of Armour. Shown With A Kabuto For Display Only, {Kabuto Now Sold}

17th century body armour {kabuto helmet sold seperately} comprising full a cuirass {do}, of front and back plates, constructed of iron plates over lacquered and fully laced, and linked with chain mail.
Dangae dou (dō) meaning "step-changing" is a Japanese (samurai) chest armor that is a combination of two or more other styles. The main part of the dou (dō) may be an okegawa dou (dō), but the bottom two lames are laced (kebiki or sugake) instead of riveted or vice versa, or an armour is laced in sugake but the tateage and bottom lames are in kebiki.

Plus, steel chain mail and armour plate arm defences, inner lined with blue green material. The kabuto we show in photos 4 and 5, would compliment it beautifully, and for sale separately {code number 24030}.

During the Heian period (794-1185), the Japanese cuirass evolved into the more familiar style of armour worn by the samurai known as the dou or do. Japanese armour makers started to use leather (nerigawa) and lacquer was used to weather proof the armor parts. By the end of the Heian period the Japanese cuirass had arrived at the shape recognized as being distinctly samurai. Leather and or iron scales were used to construct samurai armours, with leather and eventually silk lace used to connect the individual scales (kozane) which these cuirasses were now being made from.

In the 16th century Japan began trading with Europe during what would become known as the Nanban trade. Samurai acquired European armour including the cuirass and comb morion which they modified and combined with domestic armour as it provided better protection from the newly introduced matchlock muskets known as Tanegashima. The introduction of the tanegashima by the Portuguese in 1543 changed the nature of warfare in Japan causing the Japanese armour makers to change the design of their armours from the centuries-old lamellar armours to plate armour constructed from iron and steel plates which was called tosei gusoku (new armours). Bullet resistant armours were developed called tameshi gusoku or (bullet tested) allowing samurai to continue wearing their armour despite the use of firearms. Please note the helmet is not with the armour. The silk lacing on the breast and back plate is 400 years old and very frayed throughout.

In Japan the term samurai evolved over several centuries

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

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

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

Code: 20178