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A Fabulous Samurai Long Tanto Signed Kaneshige 1570
With a super blade in great condition for age. Gold and shakudo pony menuki, flower head shakudo fushi kashira. The kodzuka is also decorated with gold ponies and has a signed blade but it bears a wide cut in the edge, possibly cut by a sword. The tanto is commonly referred to as a knife or dagger. The blade can be single or double edged with a length between 15 and 30 cm (6-12 inches, in Japanese 1 shaku). The tanto was designed primarily as a stabbing weapon, but the edge can be used for slashing as well. Tanto are generally forged in hira-zukuri style (without ridgeline), meaning that their sides have no ridge line and are nearly flat, unlike the shinogi-zukuri structure of a katana. Some tanto have particularly thick cross-sections for armour-piercing duty, and are called yoroi toshi

Code: 21742Price: 3750.00 GBP


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A Beautiful Ancient Samurai Katana Blade Kamakura Nambokuchu 1280 to 1337
From the time of the attempted Mongol invasions of Japan. With a very active gunome hamon and a chu kissaki [small tip] The blade being so ancient is in remarkable condition for its age. It does have a few small surface pits and some blade thinning but typical for blades of such incredible age. The tang is o suriage with three mekugi ana. It has two small cut out areas on the nakago by the habaki. In 1185, the Minamoto family took over the control over Japan after defeating the Taira clan in the Gempei war. Minamoto Yoritomo was appointed shogun in the year 1192 and established a new government, the Kamakura Bakufu. The new feudal government was organized in a simpler way than the one in Kyoto and worked much more efficient under Japanese conditions.

After Yoritomo's death in 1199, quarrels for supremacy started between the Bakufu of Kamakura and the Imperial court in Kyoto. Those quarrels for supremacy found an end in the Jokyu disturbance in 1221 when Kamakura defeated the Imperial army in Kyoto, and the Hojo regents in Kamakura achieved complete control over Japan. By redistributing the land gained during the Jokyu disturbance, they were able to achieve loyalty among all the powerful people throughout the country. The emperor and the remaining governmental offices in Kyoto lost practically all effective power. N 1232 a legal code, the Joei Shikimoku was promulgated. It stressed Confucian values such as the importance of loyalty to the master, and generally attempted to suppress a decline of morals and discipline. Tight control was maintained by the Hojo clan, and any signs of rebellions were destroyed immediately.

The shogun stayed in Kamakura without much power while deputies of him were located in Kyoto and Western Japan. Stewards and constables controlled the provinces tightly and loyally. Indeed, the Hojo regents were able to bring several decades of peace and economic expansion to the country until an external power began to threaten Japan.

By 1259, the Mongols had conquered China and became also interested in Japan. Several threatening messages of the powerful Mongols were ignored by Kamakura. This resulted in the first Mongol invasion attempt in 1274 on the island of Kyushu. After only a few hours of fighting, however, the large naval invasion fleet, was forced to pull back because of bad weather conditions. This was very fortunate for the Japanese since their odds against the large and modern Mongol force were not favourable at all.

Due to good preparations, the Japanese were able to maintain a strong defence for several weeks during a second invasion attempt which occurred in 1281. But again, the Mongols were finally forced to withdraw mainly because of bad weather. Kyushu remained in alert for a possible third invasion attempt, but the Mongols soon had too many problems on the mainland in order to care about Japan.

The consequences of the many years of war preparations against the Mongols were fatal to the Kamakura government since they resulted only in expenditures and no profits. Many of the loyal men who were fighting for Kamakura, were now waiting for rewards that the government could not pay. Hence, financial problems and decreasing loyalty among the powerful lords were some of the reasons for the fall of the Kamakura government.

Code: 21741Price: 3275.00 GBP


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A Delightful Katana Signed Yukihiro Circa 1660
Its fushi kashi are signed by the maker with a kakihan seal mark, and are original Edo period, finely decorated with a rabbit in waves looking at the moon, in iron with gold and silver décor. The original Edo saya has superb lacquer grained to resemble crashing waves to match the fittings. The menuki are two sages decorated with gold. The tsuba is an sukashi nanban tsuba with chrysanthemums. Hokusai's Ryakuga Haya-oshie of 1812 shows that he had an intuitive grasp of the presence of self similarity in nature that leads to what today are known as fractals. In the page reproduced here he demonstrates that drawing arcs of circles of various radii allows one to replicate the form of breaking waves and of a rabbit. “The Moon and a Rabbit”

Long, long ago there lived an old man and his wife in a village. Being honest and hard workers, they were always so poor and lived from hand to mouth.

One day he went to a mountain as usual to get woods, when he found a rabbit caught in a trap. He freed her from it.

A few days later, a lady in white Kimono visited their house.

“Excuse me. I’m so sorry to disturb you. I lost my parents and my house because of the fire. I have no place to go. Please help me. Please let me stay here with you. I’ll do whatever I can do for you. Please”

“I see. You can stay here in this house if you want to. But as you see, we are so poor that we don’t have much rice.” said the old man.

As the old couple had no child, they took care of her as if she were their own daughter.

She worked and worked, helping her father with the rice-field and getting woods, helping her mother with cooking, washing, sewing and so on. Having worked day after day, their life never changed for the better.

One night under the full moon, she said to her parents,

“My dear parents. I’m a rabbit helped by you in a mountain. To tell the truth, I came from the moon to meet my friends on the earth. It was careless of me to be caught in a trap. I wanted to help you in return for your kindness. But I can’t change your life. You are always hungry and poor. The last thing I can do for you is ….Please eat me.”

On saying so, she changed into a white rabbit and jumped into a big pot, in which stew was being cooked, on the hearth.

They tried to help her but it was too late. The steam out of the stew went up and up to the moon.

To their surprise, they saw the rabbit smiling and making rice cake in the full moon. They never felt hungry.

Code: 21740Price: 6150.00 GBP


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A Spectacular Ladies Gold Diamond & Ruby Bracelet Rolex Watch
In the middle of October 1970 Elizabeth Taylor and Richard Burton arrived in Brighton for the location filming of Burton's latest film, Villain. During the filming they toured the Lanes in Brighton and visited our shop in Prince Albert St. During their hour long visit to our store some extraordinary business was transacted. Camilla and David snr [Mark and David's mother and father] bought from Elizabeth, a spectacular custom made Rolex gold and diamond bracelet watch that Richard had recently bought for Elizabeth. It was the culmination of a conversation that Elizabeth had with David and Camilla concerning the purchase of a Hove mansion, that Michael Wilding was trying to buy from David snr for his 'other' ex wife, Susan Wilding. That most curious conversation turned into a heated discussion between Elizabeth and Richard concerning a ring in Brighton that Richard wouldn't buy for Elizabeth. In high dudgeon she sold to Camilla this Rolex, likely in order to anger the ever patient Richard, and possibly to demonstrate her independence of his opinions. So, Camilla gained this magnificent watch that October, and eventually gave it to Mark as a wedding present in 1978. Mark was in fact present when the watch was bought from Elizabeth in the shop on that grey October day in 1970, as he was home from college for the day, it was, he says, one of the more curious days he had ever spent in the shop for over 50 years. It was said that to custom make and replicate this unique, finest quality gold, diamond and ruby bracelet watch by Rolex it would likely cost over a million dollars today. Over the past near 40 years we have combed the photographs of Elizabeth to find her wearing it, sadly without success, and when she created her magnificent book on her world famous jewel collection it was thirty years after this magnificent Rolex had been sold. A photo in the gallery is of Richard and Elizabeth arriving at Brighton in October 1970, and views from her famous jewel collection book that we include with the watch. The watch is being sold in part to benefit Mark and Judy's [Mark's late wife] favourite charities, the National Society for the Prevention of Cruelty to Children, and The Guide Dogs for The Blind Association. 10.5 inches long x 1.4 inches wide at the buckle, 130.8 grams. Bears Swiss .750 hallmark 24 diamonds and 40 rubies. There was once a small card with it from Elizabeth that doubled as it's receipt, but sadly it was lost many decades ago. After meeting on the set of Cleopatra in the early '60s, actress Elizabeth Taylor (1932-2011) and actor Richard Burton (1925-1984) began one of the most publicized and turbulent love stories of all time, captivating millions with their on-again, off-again relationship. Despite the drama, they shared a love that was deep and fierce, the kind of love that can often be as destructive as it is beautiful. According to TIME, Burton admitted he was making movies due to his desire for money, not a love for the art. However, he thought quite highly of his talented wife. He once wrote, "You are probably the best actress in the world, which, combined with your extraordinary beauty, makes you unique. When, as an actress, you want to be funny, you are funnier than W.C. Fields; when, as an actress, you are meant to be tragic, you are tragic." We recommend this watch is professionally serviced before wearing which we will undertake. Over the decades we have sold many watches, mostly military but we have never seen another watch so beautiful as this. A true work of the finest object d'art as well as a piece of useful and functional jewellery. It will come with a signed statement from Mark Hawkins, but there is no longer any surviving paperwork from Elizabeth Taylor. Set in a Cartier box

Code: 21739Price: 180000.00 GBP


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A Very Good Year 13 French Cavalry Pistol Of The Napoleonic Wars
Made at the Imperial Arsenal at Charleville dated 1808. Inspected by Charleville inspector Francois Tisseron [ held office from 1796 to 1815]. His mark is the T within a crown. Good overall used patinated condition, nice tight action. Used as a regimental issue sidearm, by the very best French, Napoleonic frontline cavalry, such as the carabineers, cuirassiers, chasseurs, dragoons and lancers, serving in Napoleon Bonaparte's Grande Armee during the Napoleonic Wars. It bears good stock markings, some struck out, and all fully marked steel and brass parts. Lock engraved Manufacture Imperial Charleville. This is the pistol pattern called AN 13 [year 13] which represents it first appeared and was issued in the 13th year of French Ist Republic of 1792. The French Republican Calendar or French Revolutionary Calendar was a calendar proposed during the French Revolution, and used by the French government for about 12 years from late 1793. This would have seen service in the Elite Imperial Guard Cuirassiers of Napoleon's great heavy cavalry regiments. The Cuirassiers Heavy Cavalry Regiments used the largest men in France, recruited to serve in the greatest and noblest cavalry France has ever had. They fought with distinction at their last great conflict at the Battle of Waterloo in 1815, and most of the Cuirassiers pistols now in England very likely came from that field of conflict, after the battle, as trophies of war. This pistol may well have been taken from a vanquished Cuirassier [as his pistol was drawn for combat] on the field of battle. One can imagine this pistol lying freely, or, maybe, even still clasped in his cold desperate hand, or even under his fallen steed, at the field of conflict at Waterloo. Every warrior that has ever entered service for his country sought trophies. The Mycenae from a fallen Trojan, the Roman from a fallen Gaul, the GI from a fallen Japanese, the tradition stretches back thousands of years, and will continue as long as man serves his country in battle. In the 1st century AD the Roman Poet Decimus Iunius Iuvenalis [Juvenal]
wrote; "Man thirsts more for glory than virtue. The armour of an enemy, his broken helmet, the flag ripped from a conquered trireme, are treasures valued beyond all human riches. It is to obtain these tokens of glory that Generals, be they Roman, Greek or barbarian, brave a thousand perils
and endure a thousand exertions". A truly super Napoleonic pistol. The cuirassiers were the greatest of all France's cavalry, allowing only the strongest men of over 6 feet in height into it's ranks. The French Cuirassiers were at their very peak in 1815, and never again regained the wonder and glory that they truly deserved at that time. To face a regiment of, say, 600 charging steeds bearing down upon you mounted with armoured giants, brandishing the mightiest of swords that could pierce the strongest breast armour, much have been, quite simply, terrifying. Made in the period that Napoleon was Emperor and ruling most of Europe, it was used through the Royal restoration period, when Napoleon was imprisoned at Elba, and then during the War of the 100 days, culminating at Waterloo .
All Napoleon's heavy Cavalry Regiments fought at Waterloo, there were no reserve regiments, and all the Cuirassiers, without exception fought with their extraordinary resolve, bravery and determination. The Hundred Days started after Napoleon, separated from his wife and son, who had come under Austrian control, was cut off from the allowance guaranteed to him by the Treaty of Fontainebleau, and aware of rumours he was about to be banished to a remote island in the Atlantic Ocean, Napoleon escaped from Elba on 26 February 1815. He landed at Golfe-Juan on
the French mainland, two days later. The French 5th Regiment was sent to intercept him and made contact just south of Grenoble on 7 March 1815. Napoleon approached the regiment alone, dismounted his horse and, when he was within gunshot range, shouted, "Here I am. Kill your
Emperor, if you wish." The soldiers responded with, "Vive L'Empereur!" and marched with Napoleon to Paris; Louis XVIII fled. On 13 March, the powers at the Congress of Vienna declared Napoleon an outlaw and four days later Great Britain, the Netherlands, Russia, Austria and Prussia bound themselves to put 150,000 men into the field to end his rule. Napoleon arrived in Paris on 20 March and governed for a period now called the Hundred Days. By the start of
June the armed forces available to him had reached 200,000 and he decided to go on the offensive to attempt to drive a wedge between the oncoming British and Prussian armies. The French Army of the North crossed the frontier into the United Kingdom of the Netherlands, in modern-day Belgium. Napoleon's forces fought the allies, led by Wellington and Gebhard Leberecht von Blücher, at the Battle of Waterloo on 18 June 1815. Wellington's army withstood repeated attacks by the French and drove them from the field while the Prussians arrived in force and broke through Napoleon's right flank. The French army left the battlefield in disorder, which
allowed Coalition forces to enter France and restore Louis XVIII to the French throne. Off the port of Rochefort, Charente-Maritime, after consideration of an escape to the United States, Napoleon formally demanded political asylum from the British Captain Frederick Maitland on HMS Bellerophon on 15 July 1815. The pistol is in very nice condition overall, just lacking ramrod and a sliver of wood around the rear of the lock which was sustained as combat damage in its working life. As with all our antique guns no license is required as they are all unrestricted antique collectables

Code: 21735Price: 1995.00 GBP


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A Fine English Silver Enamel Boer War Cigarette Case by Saunders & Shephard
This exceptional antique Victorian sterling silver cigarette case has a plain rectangular form with rounded corners.
This Victorian case has a subtly curved form proffering a comfortable fit in the majority of pockets.
The anterior cover of this Victorian case is embellished with an impressive painted enamel panel depicting a British soldier holding a rifle and standing on a rocky hillside, with a blooded bandage around his head and a helmet to his feet.
The enamel decoration is accented with the quote ‘A Gentleman in Kharki’* with the engraved word ‘copyright’ to the lower edge.
The posterior surface and rounded sides of this cigarette case are plain and unembellished.
This silver Victorian cigarette case is fitted with a push fit catch, which when released reveals two hinged compartments.This impressive case retains the original gilded interior and two retaining straps.
It was crafted by the Birmingham silversmiths Cornelius Desormeaux Saunders & James Francis Hollings (Frank) Shepherd.
This notable illustration is a representation of Richard Caton Woodville’s ‘A Gentleman in Kharki’. This design accompanied the song/poem ‘The Absent-Minded Beggar’ by Rudyard Kipling, was used in a press release to raise funds for the British soldier in the Boer War.
Made by Cornelius Saunders & Francis Shepherd
Halmarked 1899 made in Birmingham, England. 83mm long, 99.5 grams

Code: 21734Price: On Request


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Stunning Signed Katanakake Sword Stand in Black Urushi Lacquer Gold Maki-e
Nasiji gold lacquer This is a most superior quality piece of nashiji gold lacquer work with stunning takamaki-e, examples of this workmanship, exhibited in the the more standard designs such as boxes or inro can achieve many times this price. A most subtle design of immense beauty. For the display of the samurai's daisho, his two swords, both long and short. The superior grade Japanese lacquer work of the 19th century was without question the finest in the world, the subtleties of design and texture combined with the greatest skilled craftsmanship created artefacts without equal by any other country before or since. The rich nashiji ground decorated in gold takamaki-e with a cherry tree. Hiramaki-e, in Japanese lacquerwork, gold decoration in low, or “flat,” relief, a basic form of maki-e. The pattern is first outlined on a sheet of paper with brush and ink. It is then traced on the reverse side of the paper with a mixture of heated wet lacquer and (usually red) pigment. The artist transfers the pattern directly to the desired surface by rubbing with the fingertips, a process called okime. In the next step (jigaki), the pattern that has been transferred is painted over with lacquer—usually a reddish colour. In some forms of lacquerwork a dusting tube is used to sprinkle gold powder on the painted design while the lacquer is still wet. When the lacquer is dry, superfluous gold powder is dusted off, and a layer of clear lacquer is applied over the gold-covered design. When dry, it is polished with powdered charcoal. A second layer of lacquer is added, allowed to dry, and given a fingertip polish with a mixture of linseed oil and finely powdered mudstone.

The hiramaki-e technique, which dates from the latter part of the Heian period (794–1185), was preceded by togidashi maki-e, a technique in which not only the design but the whole surface is covered with clear lacquer after the sprinkling of metal powder; the lacquer is then polished down to reveal the design. During the Kamakura (1192–1333) and Muromachi (1338–1573) periods, hiramaki-e tended to be overshadowed by takamaki-e (gold or silver decoration in bold relief). It came fully into its own only in comparatively modern times. During the Azuchi-Momoyama period (1574–1600), hiramaki-e artists often left the sprinkled gold powder unpolished in a technique called maki-hanashi (“left as sprinkled”). These artistic principles came to their zenith in the Meiji era with fabulous works of art such as this.

Code: 21733Price: On Request


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A Superb Antique Edo Period Musha-Ningyo Samurai General Warrior Doll
Adorned with full traditional miniature armour of lacquerwork and lacings and lacquer jingasa and damask silk clothing, he is holding a tiger's tail katana and a wakazashi plus a general's war fan. He is seated on a traditional generals campaign folding chair. Warrior dolls also known as musha-ningyo are very popular as fine Japanese traditional works of art among Western collectors. Embodying the martial spirit of the samurai, these figures are decked out in full military regalia with lacquered armour, weaponry tachi katana wakazashi and tanto, and occasionally as does this one, a gunbai ichiwa [a general's war fan]. They frequently represent very specific historical characters and are a fascinating window into Japan’s rich military past. There may be a continuity in the making of the dog?, humanoid figures, by the ancient Jomon culture in Japan (8000-200 BC) and in the Haniwa funerary figures of the subsequent Kofun culture (around 300-600 AD). Expert Alan Pate notes that temple records refer to the making of a grass doll to be blessed and thrown into the river at Ise Shrine in 3 BC; the custom was probably even more ancient, but it is at the root of the modern doll festival or Hinamatsuri. There are various types of traditional dolls, some representing children and babies, some the imperial court, warriors and heroes, fairy-tale characters, gods and (rarely) demons, and also people of the daily life of Japanese cities. Many have a long tradition Musha, or warrior dolls, are usually made of materials similar to the hina dolls, but the construction is often more complicated, since the dolls represent men (or women) seated on camp chairs, standing, or riding horses. Armor, helmets, and weapons are made of lacquered paper, often with metal accents. There is no specified "set" of such dolls; subjects include Emperor Jimmu, Empress Jingu with her prime minister Takenouchi holding her newborn imperial son, Shoki the Demon-Queller, Toyotomi Hideyoshi and his generals and tea-master, and fairy-tale figures such as Momotaro the Peach Boy or Kintaro the Golden Boy. In the nineteenth century ningyo were introduced to the West. Doll collecting has since become a popular pastime in the West. Famous well known collectors from the West include individuals such as James Tissot (1836–1902), Jules Adeline (1845–1909), Eloise Thomas (1907–1982), and Samuel Pryor (1898–1985). During the Meiji period, three men became pioneers in collecting ningyo, Shimizu Seif? (1851-1913), Nishizawa Senko (1864–1914), and Tsuboi Shogoro (1863–1913). The three men are referred to as "Gangu San Ketsu" (the three great toy collectors). They introduced a systematic approach to collecting ningyo in an effort to preserve and document the various forms of ningyo. Shimizu, an artist and calligrapher, put his artistic ability to use by creating an illustrated catalog of his own collection of 440 ningyo dolls. The catalog was published in 1891, under the title Unai no Tomo. Nishizawa, a banker, gathered a significant collection on hina-ningyo. He was an active researcher, collector of stories, documents, and information relating to the development of hina-ningyo during the Edo period. Nishizawa’s son Tekiho (1889–1965) inherited his collection but a great portion of the collection was lost in the Kanto earthquake of 1923. Tsuboi, founder of the Tokyo Anthropological Society, was the most trained of the three, and he brought a scientific element to the collecting of ningyo. Dolls have been a part of Japanese culture for many years, and the phenomenon of collecting them is still practiced. Many collections are preserved in museums, including the Peabody Essex Museum, Kyoto National Museum, and the Yodoko Guest House. 15.5 inches high x 11 inches

Code: 21732Price: On Request


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Ashigaru Samurai Foot Soldier's Conical Jingasa Helmet Edo Period
Toppai jingasa with agari-fuji mon. Ashigaru were foot-soldiers employed by the samurai class of feudal Japan. The first known reference to ashigaru was in the 14th century, but it was during the Ashikaga shogunate–Muromachi period that the use of ashigaru became prevalent by various warring factions. shigaru were commonly armed with naginata, yari, yumi and swords. Ashigaru armour varied depending on the period, from no armour to heavily armored and could consist of conical hats called jingasa made of lacquered hardened leather or iron, cuirasses (d?), helmets (kabuto), armoured hoods (tatami zukin), armored sleeves (kote), greaves (suneate), and cuisses (haidate).

The warfare of the Sengoku period (15th and 16th centuries) required large quantities of armour to be produced for the ever-growing armies of ashigaru. Simple munition quality cuirasses and helmets were produced including tatami armour which could be folded or were collapsible. Tatami armour was made from small rectangular or hexagonal iron plates that were usually connected to each other by chainmail and sewn to a cloth backing. In the 16th century the ashigaru were also armed with matchlocks of the type known as tanegashima. Small banners called sashimono could be worn on their backs during battle for identification. In the Sengoku period the aspect of the battle changed from single combat to massed formations. Therefore, ashigaru became the backbone of many feudal armies and some of them rose to greater prominence.

Those who were given control of ashigaru were called ashigarugashira. The most famous of them was Toyotomi Hideyoshi, who also raised many of his warrior followers to samurai status. Yamauchi Kazutoyo was one of such samurai and later daimyo who rose from ashigaru. Ashigaru were considered to be of the samurai class in some han (domains), but not in others

Code: 21731Price: 1175.00 GBP


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A Formidable Shinto Katana With A Most Impressive Blade
Circa 1750. Good Edo period original mounts and an iron and gold embellished tsuba. Two colour saya of cinnabar and black, with the black in a rivulated ishime stone finish patterned lacquer. The fushi kashira decorated in a botanical theme with small gold highlights. The tsuba is decorated with a very finely chisselled pagoda. It has a delightful and good choji hamon on the blade, and is in around 75% original polish, it also has a good, long kissaki. It bears light surface scratches that would improve somewhat with polishing. The saya bears a small traces of a gilt exhibition label that shows at some time in its past history this sword was exhibited. 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 bu (“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 marital 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 upper portion of the saya's lacquer in the cinnabar section has small lines of dark discolouration. Length overall in saya 43 British inches, blade from tsuba to tip 28.75 inches.

Code: 21730Price: 6950.00 GBP

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