Japanese

A Beautiful & Most Charming Aikuchi Tanto Japanese Civil Wars Period. With Early, Koto Blade Circa Late 14th Century, Delightful Takebori Matched Koshirae On The Theme of Japanese Plum Ume Blossom & Bamboo Sho-Chiku-Bai

The blade is in beautiful polish, six hundred plus years old, in delightful condition, with an uneven sanbonsugi hamon.

All the suite of later koshirae are wonderful quality, and the entire piece is thoroughly delightful, and with elegance that compliment its most ancient blade, from the Kamakura era.

Japanese Civil Wars of 1331–1392, In 1331, fighting broke out between the forces of Emperor Go-Daigo and those of the Kamakura shogunate. The shogunate sent Hōjō general Ashikaga Takauji to fight the emperor’s army. However, Ashikaga, seeing more potential power for himself as an ally of the emperor than as an ally of the shogun, switched sides and fought against the shogun. Many generals and samurai followed Ashikaga, and the Kamakura shogunate fell.

Go-Daigo regained power, but the Kemmu Restoration lasted only from 1334 to 1338. In 1336, Ashikaga named himself shogun, and in 1337, he revolted against Emperor Go-Daigo. That year, the emperor fled Kyoto and took his court to Yoshino, where he established a southern court. When leaving Kyoto, Go-Daigo took with him the traditional symbols of the Japanese imperial line, including the sword, the jewel, and the mirror. In 1338, Ashikaga located his government in Muromachi in Kyoto and placed a second emperor on the throne in Kyoto. Japan’s imperial powers were split between the northern emperor in Kyoto and the southern emperor in Yoshino.

For more than fifty years, the northern Japanese and southern Japanese empires waged war. The northern emperors hoped to regain the traditional symbols of the Japanese imperial line and, thus, establish themselves as the legitimate imperial house. Although the northern armies were generally stronger, the southern armies were able to invade Kyoto and destroy it regularly.

While the southern and northern emperors battled, the leading families of Japan were also engaged in fighting. Although the various sections of Japan had been relatively independent under the Hōjō, the Ashikaga shogunate centralized power in Japan and created a federation of states. Each state was ruled by a daimyo, who functioned as a military governor. The daimyo, who owned huge estates and were the patriarchs of Japan’s leading families, retained samurai, or hired warriors, for the constant battles with each other for land, power, and the possibility of controlling the shogunate.

In 1392, through the diplomacy of Ashikaga Yoshimitsu, the southern empire yielded to the northern empire, and Japan was reunited under the northern emperor Go-Kamatsu and his court.

However, the most important outcome of the Japanese Civil Wars of the fourteenth century was the determination that the Japanese imperial family would descend from the northern emperors, not the southern ones.

In Japanese art, bamboo designs symbolize strength, resilience, and purity. Because bamboo bends in fierce winds without breaking and stays green all year, it represents endurance and prosperity. Its hollow stalk also signifies humility and an open, clear mind.
Sho-chiku-bai {Bamboo} is frequently paired with pine (matsu) and plum (ume) to form the "Three Friends of Winter". This classic trio represents steadfastness, as all three thrive during the coldest months.
Bamboo is also one of the Four Noble Plants (alongside orchid, plum, and chrysanthemum) representing the four seasons and the moral qualities of a virtuous scholar.

It features heavily in kadomatsu (traditional bamboo and pine New Year decorations) placed by doorways to ward off evil and welcome good fortune  read more

Code: 26241

A Shinto Period, Circa 1650, Samurai Wakazashi, Of Extraordinary Beauty, Encompassing Numerous Contrasting Features. A Multitude Of Traditional Samurai Sword Koshirae Of The Finest Artistic Merit & Combined With A Magnificent Blade

A stunning colour combination of blue-green silk tsukaito hilt binding, with an amazing sea green ishime stone finish urushi lacquer saya. The hilt is mounted with a silver and gold handachi style kabuto-gane mount decorated throughout with a profuse hand-punched nanako ground, and a round, gold ito shitodome. Beneath the ito wrap are a pair of gold and shakudo cockerals {niwatori} a Bird of Virtue, above samegawa {giant rayskin}. The fuchi is of hammered takebori gold and silver prunus flowers and leaves on shakudo ground. The signed, round iron tsuba is Sukashi-bori (透かし彫り),

The iconic blade is an absolute wonder, its hamon, Ō-midare, is extraordinarily complex and incredibly beautiful. A statement piece worthy of any museum grade collection. One might conclude that the master smith who created this blade wished to emulate the style of hamon of the greatest sword maker of all history,
Gorō Nyūdō Masamune {五郎入道正宗}

Ō-midare translates to "large irregular." It is a dynamic, chaotic, and undulating tempering pattern featuring large, sweeping waves, peaks, and valleys.

While it first appeared in earlier Koto periods, it became a defining signature of the Soshu tradition. Pioneered by legendary masters like Masamune and Sadamune, this school is renowned for its aggressively tempered, complex, and beautiful blades.

No private collection can sadly boast a sword by the worlds most famous and arguably greatest samurai sword smith Masamune, but if one wanted to say this blade could be a representation of what one might look like, this is it
Later Soshu (Nanbokucho period onward): When referring to later Sagami or subsequent smiths influenced by the school (such as the Hasebe or later Sue-Soshu smiths), the Ō-midare became even more pronounced and varied.Hataraki: Later Soshu-style Ō-midare heavily features dynamic temper activities (hataraki) within the steel. You will often find vigorous crystals (nie), flowing lines of steel (sunagashi), and glowing golden streaks (kinsuji).
Unlike the straight, rigid Suguha hamon, the undulating valleys of an Ō-midare pattern act as multiple structural relief points, helping absorb impacts and reducing the odds of the sword breaking. It is somewhat reminiscent to us of the hamon on the missing national treasure, the Kokuhô Honjo Masamune sword, thankfully, its hamon is very well known, and was previously recorded by artistic representation at least four times.

The Honjo Masamune was passed down through generations of Japanese shoguns, symbolizing the power and prestige of its owners. It is believed to have been in the possession of Tokugawa Ieyasu, the founder of the Tokugawa shogunate.
The sword's whereabouts have been a subject of intrigue since the end of World War II. It was last seen in 1945 when it was surrendered to an American officer during the occupation of Japan. Its current location remains unknown. If found it would likely be valued in the many tens, or even hundreds of millions of pounds.

The surviving blades forged by the legendary 14th-century smith Goro Masamune are exclusively classified as National Treasures or Important Cultural Properties owned by museums, public institutions, or the Imperial Family.
Other verified Masamune blades are safely housed in public institutions, The Harry S. Truman Presidential Library and Museum (Independence, Missouri) Houses a Masamune blade gifted to President Harry S. Truman by General Walter Krueger following World War II. The Kyoto National Museum (Kyoto, Japan) Houses the "Shimazu Masamune," an authenticated masterpiece that was brought in for appraisal and confirmed by experts. The Tokyo National Museum (Ueno, Japan): Holds several designated National Treasures by the smith, including the famous "Kanze Masamune". The Victoria and Albert Museum (London, UK) Features a distinguished long sword with a gold-inlaid signature attributing it to Masamune

It has a very good Edo period Shinto era 'Nakago Form' Kodzuka utility biknife.
Iron body inlaid with copper kanji, with the signature kanji of a famous sword smith, and the Imperial chrysanthemum mon. Kodzuka have been collectable items for many centuries, simply as works of art, even though they were functional knife handles, for the utility blades that fitted into wakizashi, tanto and katana saya. They can vary in quality, and this is a most fine example, inlaid with pure copper. What is particularly scarce is that it is shaped like the tang of the sword, complete with simulated mekugi ana, and signed in much the same way. This type is rare and very collectable and represent very famous swords made by master swordsmiths in samurai history. It has a long thin blade that slotted into it's opening, and the blade was often considered to be almost of a disposable nature, with the handle itself being the prized part.

The tsuba is an o-sukashi form, and signed. It is a traditional Maru-gata (rounded/circular) shape. The main style is Sukashi-bori (透かし彫り), which is the Japanese art of openwork or negative-space stencilling. It incorporates both positive and negative elements to carve a pictorial scene out of the iron plate. The fluid, nature-inspired openwork, hammered rustic background texture, and prominent chiseled signature (mei) alongside the centre opening point toward the Shoami (正阿弥) or Kyo-Shoami tradition. Shoami craftsmen were famous for pioneering natural motifs—such as pine trees, branches, and vegetation—rendered in heavy, organic ironwork across the classic circular plate

Along with their practical purpose, sword guards served a symbolic function and were often decorated with a design that had particular meaning to the owner, reflecting their strength, personality and family background. As such the sword guard became an important status symbol to the samurai. The late 1400s through to the mid 1500s were marred by a period of warfare and many warriors, regularly facing death, found spiritual strength in Zen Buddhism. Religious script featured commonly in tsuba inscriptions, offering protection and spiritual guidance to the warrior.

As Japan entered the more peaceful Edo Period (1603-1868), tsuba became increasingly elaborate and decorative in design and function, and their manufacture became highly specialised and technically advanced. Different schools of makers developed their own styles, often influenced by the culture and environment of the region, and the role of the tsuba extended to become an elaborate piece of art. Subjects for decoration included Japanese mythology, history and nature. Since the 16th century, it was customary for the guard to feature the signature of the maker.

The gold and shakudo cockerel menuki may tell us more about a former samurai owner of this sword.
In Japanese culture, the cockerel (or rooster, niwatori) primarily represents courage, sacred divine intervention, and the triumph of light over darkness. As a sacred bird deeply rooted in Shinto mythology, its morning call is viewed as a herald of the sun.
According to the Kojiki (Japan's ancient chronicle), when the sun goddess Amaterasu hid in a cave and plunged the world into darkness, it was the loud crowing of roosters that helped lure her back out, restoring light to the world.
Because of their connection to the sun goddess, roosters are considered sacred animals. They are permitted to roam freely on the grounds of many Shinto shrines to ward off evil spirits and usher in good fortune.

Occupying the tenth position in the 12-year Japanese Zodiac (jūnishi), the rooster stands for order, precision, and diligence. In commerce, it is widely regarded as a symbol of financial luck and business prosperity. This is highlighted annually during November at Tori no Ichi (Festival of the Rooster) fairs held at Shinto shrines, where business owners purchase decorated bamboo rakes to figuratively "rake in" wealth and success for the upcoming year

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.

The wakizashi is a traditional Japanese short sword that served as a samurai's auxiliary weapon. Emerging in the 15th and 16th centuries, it evolved into a powerful symbol of status and honor, becoming the constant companion of the samurai class.
The wakizashi developed as an evolution of earlier short swords like the tanto (dagger). Its name translates to "sword thrust on the side," indicating its role as a secondary blade worn at the hip. During the Edo period, the Tokugawa shogunate required samurai to wear a pair of swords known as the daishō (meaning "big-little")—a katana and a wakizashi. This pair became the exclusive symbol of the warrior class.

Because the long katana was often required to be left at the door when entering, as a visitor or emissary, a castle or home, the wakizashi was allowed to be worn indoors as a symbol of trust, proffered to the visiting samurai. It served as vital self-defense and was highly effective in narrow, confined spaces.

Samurai famously used the wakizashi with the chisa-katana in dual-wielding styles, such as the Niten Ichi-ryū school pioneered by the legendary swordsman Miyamoto Musashi. In the chaos of the battlefield, it acted as a backup blade for close combat or finishing off a fallen foe.

The wakizashi also had a solemn role, frequently used to perform seppuku (ritual suicide) when a samurai needed to restore his honour.

The overall condition is superb with just a few near invisible minuscule age marks upon the blade surface.  read more

Code: 26243

A Superb Japanese Samurai Kozuka in Shakudo and Gold by One Of The Great Master Edo Period Koshirae Makers, Yasuchika 安親. Examples of His Work Are In The Metropolitan Museum of Art, The British Museum & The Victoria and Albert Museum

Tsuchiya Yasuchika (ca. 1670–1744) 安親 was one of the legendary "Three Masters of Nara" and a pinnacle craftsman of koshirae (the mountings and metal fittings of Japanese swords). Renowned for his unparalleled technical versatility, he elevated sword furniture into masterful works of art

This kozuka {a handle of a samurai sword's optional utility blade, stored in a saya pocket} is carved with a representation one of the Buddhist Four Heavenly Kings (known as Tian Wang in China or Shitenno in Japan), specifically Virūḍhaka, the Guardian of the South. He is a celestial Buddhist protector who is frequently depicted in East Asian art wearing fierce, heavy armour, brandishing a sword (ken), and carrying or standing near a parasol (or umbrella).

Signed on the reverse side, Yasuchika 安親.

In this rendition he is covered in his parasol, chatra, and holding his Azure Cloud Sword ken sword, with a long flowing beard.

The Master Edo Period Koshirae Maker Yasuchika

The visual elements of this specific figure trace back to Chinese and Tibetan tantric traditions and hold significant spiritual meanings:The Sword: Known as the "Azure Cloud Sword," it represents the wisdom required to cut through ignorance, ego, and worldly delusions.
In Buddhism, the ceremonial parasol or umbrella (chatra) symbolizes royalty, dignity, and protection against harmful forces, delusions, and the "heat" of mental agitation.

While historical depictions of Gautama Buddha rarely feature facial hair, Buddhist temple guardians, patriarchs (like Bodhidharma), and ancient deities are commonly illustrated with beards, flowing mustaches, and fierce expressions

Tsuchiya Yasuchika (ca. 1670–1744) is celebrated as one of the "Three Great Edo Metalworkers" and the founder of the Nara School's Yasuchika branch. Known by his art name Tō'u (東雨), he revolutionized sword fittings (koshirae) by moving away from traditional dense, pictorial figure-work.
He adapted the impressionistic, painting-like styles of renowned lacquerers like Ogata Kōrin into metalwork.Material Mastery: Yasuchika worked seamlessly across a variety of metals, including iron, shakudō (gold-copper alloy), shibuichi (silver-copper alloy), and refined copper. He elevated hammered and stone-grain (ishime-ji) finishes, which highlighted the natural beauty of the metals. Because koshirae pieces—such as the tsuba {handguard} kozuka {utility knife} and fuchikashira {hilt collar and pommel}—were so highly valued, his signature was continued by several subsequent generations.
Yasuchika I (1670–1744): The primary master.
Yasuchika II (d. 1747) & Yasuchika III (d. 1778): Carried the lineage, with subsequent generations working notably in katakiri-bori (sloping single-cut engraving).
Yasuchika VI: Honoured with the prestigious Buddhist rank of Hōgen.
Original Yasuchika sword fittings and complete mounts are highly prized and reside in the world's most prestigious museums:
The Metropolitan Museum of Art holds notable examples of Yasuchika's works, recognized by the NBTHK as Special Important Fittings. The Victoria and Albert Museum features an iconic iron tsuba with varied relief representing Chinese characters, created around 1714. The British Museum houses a broad collection of his signed tōsōgu (sword-furniture)

Shakudo Was historically used in Japan to construct or decorate katana fittings such as 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

Overall it is in jolly nice condition, with just a few light marks on the reverse side by the signature, very commonly caused by rubbing against the tsuba when the knife is withdrawn from its retaining pocket within the saya.

When in use, and not mounted within the saya of a sword, its seperate, inserted blade, is removed. The blade is the often replaced and disposable part of the kozukatana once assembled

In a traditional kiri wood lidded box for storage and display  read more

Code: 26240

A Most Handsome Shinto O-Tanto, Around 300 years Old Circa 1720 With a Most Impressive and Beautiful Large Blade Used As A Powerful Close-Combat Small Sword and Suitable as a Post Combat 'Head Cutter'

All original Edo period koshirae with a superb urushi lacquer saya of dark red with black angular overstriping and black banding at the top section, a fine takebori tetsu sayajiri mount, with a shakudo and gold kozuka utility knife with decoration of takebori zodiac animals, including a deer, rabbit, dragon, pony, snake, dog, rat, phoenix, hare etc.

It has very nice o-sukashi tetsu tsuba with a fine tsuka with Higo school fuchi kashira of iron decorated with takebori whirling clouds. The menuki under the tsuka ito are super quality of a pure gold sun and a shakudo crescent moon.
O-Tanto


The blade is long wide and very elegant with a great gunome hamon in beautiful polish. It has mighty strong thickness and size perfectly suitable as a samurai's close combat weapon, but also to double up, post combat, as a samurai's 'head cutter', if a kubikiri a solely dedicated head cutter, used by an attendant, was not available.

Samurai usually had to chop off their enemy’s head in order to prove to their daimyo or master that they actually killed the right person, not a woman or child.
Additionally collecting more heads meant getting more stipend and promotion.
However, after chopping the head, the samurai would always clean and put some light make up to the face to pay their respect to the dead person.
At the same time, every samurai also usually put incense within the inside their helmets knowing that they may get killed and their head's odour, due to the stress of battle, must not offend their killer.
In situations when the samurai did not have time to chop off the enemy’s head, they then used to cut off the upper lip (to distinguish if the head is male or female).
Tanto first began to appear in the Heian period, however these blades lacked artistic qualities and were purely weapons. In the Early Kamakura period high quality tanto with artistic qualities began to appear, and the famous Yoshimitsu (the greatest tanto maker in Japanese history) began his forging. Tanto production increased greatly around the Muromachi period and then dropped off in the Shinto period. Shinto period tanto are quite rare. Tanto were mostly carried by Samurai; commoners did not generally carry them. Women sometimes carried a small tanto called a kaiken in their obi for self defence.It was sometimes worn as the shoto in place of a wakizashi in a daisho, especially on the battlefield. Before the 16th century it was common for a Samurai to carry a tachi and a tanto as opposed to a katana and a wakizashi.

Blade 35.5 cm inches long, 3cm wide at the habaki, overall in the saya it is 51 cm long.

A solely dedicated kubikiri would normally have its cutting edge on the inside, and carried by attendants of high ranking samurai, but curiously the kubikiri would also be used for bonsai trimming.

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: 24340

A Rarely Seen, WW2 Era Japanese Officer's Tanto, Showa Period, with Armour Piercing Powerful Blade Of Much Heft And Of Very Beautiful Appearance. Stunning Patinated Copper Koshirae

Patinated copper koshirae with black urushi lacquer saya, inlaid with matching copper fittings. Original cherry blossom Showa menuki under black tsukaito over traditionaL samegawa giant rayskin. The black lacquer is completely imperfection free.

During the war it probably would have been covered in a full, leather, field service military cover, as it has no kurikata. Very likely made for the Japanese officer from his battle damaged shingunto katana. The blade thus shortened and mounted as a tanto for continued service.

We show a photo in the gallery of how it would have been carried for war service in a traditional, protective, combat service tan leather military cover. We do not know what became of this tanto's leather protective cover .

Over the past 50 years we have seen several such tanto or wakazashi, made in the same way, in the same circumstances, for the same purpose.

Overall this tanto is very clean indeed and all its fittings are in super condition due to its former, protective service combat covering.

Weight 1.2 pounds, blade length 9.5 inches, overal length in saya 14.25 inches.  read more

Code: 26237

A Beautiful Samurai Shinto Kirin Based Tanto Fabulous Signed Blade by Echizen Ju Yasutsugu

With an armour or even helmet piercing blade. The whole tanto is completely remarkable in that it is likely to have been completely untouched since the day it was made, it has all its original fittings from the Edo period including the tsukaito wrap on the hilt and the lacquer on the saya, the Saya is decorated with a stylised Kilin to match the fittings, the blade is stunning and shows fabulous deep choji hamon, this is a truly exceptional tanto,

The blade is extra thick at the base and shows its penetrating qualities and ability to cut through metal armour or even the iron plates of a helmet, this is a beautiful and remarkable tanto. The fuchigashira mounts are pure gold over shakudo of Kirin or Qilin, in deep takebori relief carving. The menuki are also Kirin, of shakedown inlaid with swirls of pure gold. The Kirin in Japanese, qilin (in Chinese: 麒麟; pinyin: qílín) is a mythical hooved chimerical creature known in Chinese and other East Asian cultures, said to appear with the imminent arrival or passing of a sage or illustrious ruler. It is a good omen thought to occasion prosperity or serenity. It is often depicted with what looks like fire all over its body. It is sometimes called the “Chinese unicorn” when compared with the Western unicorn. The Japanese kirin looked more like the Sin-you lion-like beast. Some later Japanese netsuke portray a Kirin that has wings that look like the Central Asian winged horse with horns or the Sphinx. Or they become increasingly dragon-like like Chinese Qilins.
The Kirin / Qilin can sometimes be depicted as having a single horn as in the Western tradition, or as having two horns. In modern Chinese the word for “unicorn” is 独角兽 “du jiao shou”, and a Qilin that is depicted as a unicorn, or 1-horned, is called “Du jiao Qilin” 独角麒麟 meaning “1-horned Qilin” or “Unicorn Qilin”. However, there are several kinds of Chinese mythical creatures which also are unicorns, not just Qilin. Qilin generally have Chinese dragon-like features.
Most notably their heads, eyes with thick eyelashes, manes that always flow upward and beards. The bodies are fully or partially scaled, though often shaped like an ox, deer or horse’s, and always with cloven hooves. In modern times, the depictions of Qilin have often fused with the Western concept of unicorns.
In legend, the Qilin became dragon-like and then tiger-like after their disappearance in East Asia and finally a stylised representation of the giraffe in Ming Dynasty. The identification of the Qilin with giraffes began after Zheng's voyage to East Africa according to recent scholarship. The modern Japanese word for giraffe is also kirin, which bears the same derived ideas. Shakudo is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark color is induced by applying and heating rokusho, a special patination formula.

Shakudo Was historically used in Japan to construct or decorate katana fittings such as 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: 24942

A Powerful Long & Formidable Samurai Antique Shinto Period Katana Signed Blade, of Shumada Kami Taira Yoshisuka, With an Incredible Yadome no Jutsu, Arrow Defensive Blocking Mark & Matsushiro Sinano School Koshirae

All original Edo period mounts and black lacquer saya, and a very good mokko shaped tsuba engraved with leaves and flowers with lines of silver inlay. Menuki of dragons. Fully matching suite of mounts to the tsuka and saya, Matsushiro Sinano school, Signed blade, Shumada Kami Taira Yoshisuka.
The hada is very nicely visible in the excellent polish and around one inch from the habaki the obverse blade face has deflected a blow from an enemy arrow, and created a tiny circular impact point surrounded with incredible hada grain rippling. Please note that unique phenomena, in the photograph, where a the fast travelling projectile has been deflected by the blade from its samurai target and the instant pressure wave incurred in micro seconds has created a miniature tsunami of steel sent out from the impact point for just a few millimetres and created an oval misshaped hada grain all of its own, within the natural hada grain of the blade. A visual record of the samurai’s extraordinary skill and ability to intercept an arrow in mid flight, and something even a nihonto {samurai sword} specialist might only see once in a lifetime. Below the photograph of impact, we show, in the same photo, an antique Japanese woodblock print of the very same action being performed by a samurai, the ‘Yadome no Jutsu’ blocking himself from the impact of arrows, with his sword blade, while being consumed by a hail of enemy yadome {arrows} in flight, while his faithful steed is being impaled by the deadly hail.

This is an amazing thing to see, in that the arrow impact was remarkably deflected, and otherwise the arrow would without doubt have penetrated the body of its samurai, and likely it would have been a fatal wound. Impacts to blades such as this are much revered and honoured, and if possible not removed in later blade polishing.

There is a move in samurai sword combat that is designed to deflect an incoming arrow, which must have been incredibly difficult to execute. The technique is called 'yadome' or 'yadome no jutsu' - the art of cutting or blocking arrows. There are stories of it in Sengoku Japan (and older), it must have required very impressive skill. In the Heike Monogatari (Tale of the Heike), one of the most famous examples of arrow cutting is described:

"Then Gochi-in Tajima, throwing away the sheath of his long naginata, strode forth alone on to the bridge, whereupon the Heike straightaway shot at him fast and furious. Tajima, not at all perturbed, ducking to avoid the higher ones and leaping up over those that flew low, cut through those that flew straight with his whirring naginata, so that even the enemy looked on in admiration. Thus it was that he was dubbed Tajima the arrow-cutter. Some katana can be light and finely balanced to reflect the stature of the samurai who wielded it in combat, others, such as this one, was most certainly for a mighty samurai, either to use on foot in full armour, or in armour on horseback. This is the stature of a sword that could be used against a foe, similarly adorned in full armour, and its power would easily be perfectly suitable against armour in the melee of battle.

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 rise in popularity of katana by samurai is believed to have been due to the changing nature of close-combat warfare. The quicker draw of the sword was well suited to combat where victory depended heavily on fast response times. The katana further facilitated this by being worn thrust through a belt-like sash (obi) with the sharpened edge facing up. Ideally, samurai could draw the sword and strike the enemy in a single motion. Previously, the curved tachi had been worn with the edge of the blade facing down and suspended from a belt.

As with all our items it comes complete with our certificate of authenticity. 28.25 inch long blade from the tsuba to tip.  read more

Code: 23061

Original Kai Gunto Japanese WW2 Naval Officer's Sword All The Traditional Fittings, Including The Signed Blade, by 伊奈波 兼吉 Inaba Kaneyoshi, A Kaigun Jumei Tosho Smith 海軍受命刀匠 . All Its Superior Grade Fittings Are In Great Condition A Most Desirable Maker

This is a superb original souvenir bring-back of the WW2 Pacific Theatre and the participating Imperial Japanese Navy. Like so many fine original Japanese swords we are constantly seeking and offering, this WW2 beauty would be near impossible to improve upon in so many respects. Such as condition, superior quality, it’s totally completeness in every way since acquired by the Japanese naval officer {likely of high rank} and hand made by a most collectable fully traditional naval swordsmith of WW2. Plus, it clearly shows the subtle signs of its prepared use for combat, likely during landing party service, during the conquest of so many regions lands and islands in the Pacific theatre. We are incredibly fortunate, that, due to being likely the premier Japanese sword dealers in the world, we can, and do, cherry-pick what we consider to be the very best best available swords from all our private contacts, and descendant families, of the swords original UK owners since acquisition the 1870’s, and up to the families of combat veterans of the Pacific War in WW2,

It has a superb naval stainless blade, and all the original koshirae are matching parts, all the mounts, the tsuba dai seppa, and the blade, that even the blades nakago, is assembly numbered 1576, to match all the other parts stamped numbers. The blade is very nicely signed 伊奈波 兼吉 Inaba Kaneyoshi, and also with his Naval arsenal stamp and Inaba kokuin. Some researchers believe he had a connection, reflected by his separate Inaba location stamp, with either Mount Inaba, or the Inaba Shrine

The tang is stamped with the "伊" of Inaba and the Anchor stamp of Toyokawa Navy Arsenal stamp, and Japanese Kai-Gunto naval officers swords are especially rare to survive, given that they so many usually went down with the ships, with their officers, that suffered badly from the continued {and well deserved} assaults and sinkings from the allied navies, though, to a degree, mostly from the US Navy, during 1942 and 1943, then with the British Pacific Fleet from 1944, with the Australian navy. From the beginning of the British Empire WW2 period, that lasted over two years longer than the combined Allied period when America joined, only the British and Australian navy faced and sank Japanese vessels, with able and heroic assistance from the Royal Netherlands Navy ships. {see below for details of the often forgotten heroic Royal Netherlands Navy WW2 service}

This particular example has the typical WW2 pattern naval fittings and deluxe grade samegawa giant rayskin saya {as opposed to the more standard grade black lacquer saya}.

It has a typical, numbering, to all the mounts and blade and they are all matching, and a traditional three part naval oval tsuba {with two sunburst seppa dai} also numbered and matching, the tsuka (handle) has two menuki (grip decorations), and kabuto-gane (pommel end cap), with the wooden securing peg still present. Good original sea-green tsuka-Ito {hilt binding with a small wear area at one point} wrapped over coarse, black, crinkle finish leather with traditional Showa cherry-blossom decorative design to all the mounts.

The condition of the blade, is in super order, with areas of surface marks left to show its age, and signs wartime of pre-combat, field service, edge honing.
Fortunately, these beautifully crafted swords were used on board ship, so the army version was far more likely to bear considerable wear, through considerable marching and combat through jungle warfare etc

The scabbard is covered in deluxe naval service samegawa {giant rayskin}, and has gilt brass fittings, now with good gilding and all of the fittings are crisp and very good
The two original scabbard hanging mounts are present, and the condition is excellent plus.

Really it is once more a super example of an original, Imperial Japanese Navy Officer’s Kai-Gunto, now in pristine condition with clear signature.

Inaba Kaneyoshi (伊奈波兼吉) was a commissioned swordsmith (Kaigun Jumei Tosho) who forged kai-gunto (Japanese naval officer swords) during World War II. Operating out of Aichi Prefecture (often associated with the Seki tradition), his real name was Matsubara Shozo. His wartime blades are highly distinctive and identifiable through specific markings on the tang (nakago)
Often signed as Inaba (伊奈波) or his full smith name Inaba Kaneyoshi (伊奈波兼吉). Frequently features the stamp of the Toyokawa Naval Arsenal (an anchor inside a circle). Often bears an authenticity stamp (resembling the character 伊 or a specialized authentication mark). He is well known among militaria collectors for producing specialized stainless steel blades used during the war.Today, his blades serve as highly sought-after historical artifacts from the Pacific theatre, giving insight into wartime Japanese metallurgy and naval armament

Kaigun Jumei Tosho (海軍受命刀匠) translates to "Navy-commissioned swordsmith". In World War II Japan, these were certified swordsmiths exclusively contracted by the Imperial Japanese Navy to forge traditional katana (kaigunto) for naval officers.They were the naval equivalent of the better-known Rikugun Jumei Tosho (Army-commissioned swordsmiths). Certification & Quotas: To earn this title, smiths had to pass rigorous tests and quality evaluations. Once accepted, they were provided with regular allocations of tamahagane (traditional steel) or high-quality mill steel by the Navy.

Unlike regular factory blades, the blades they produced were typically gendaito (traditionally handmade swords). Many of these smiths operated out of or near naval arsenals, such as the base at Miho.
To prevent low-quality mass-produced swords from tarnishing the military's reputation, these smiths subjected their pieces to strict inspection and impact testing prior to issue

It has been over one thousand years ago that the art of making swords appeared in Japan. The swordsmiths of the time may not have known it but they were creating a legendary sword. The Samurai sword has seen combat in many tens of thousands battlefields. From the early days of the Samurai warrior to the fierce battles in the South Pacific during WWII.

From the earliest days hand-made traditional the Samurai sword was unique because it was forged using the finest skills known to man. A tremendous amount of work was dedicated to creating these pieces. They were an instrument of war as much as a beautiful artifact to adorn any decor.

The Samurai sword has grown to be one of the most highly desired military antiques of all time.

The 1937 Pattern Japanese Naval Sword, known as the Kai-Guntō (海軍刀, Sea Military Sword), was formally enacted in October 1937 as the official sidearm for Imperial Japanese Navy officers. These mounts were designed to be more practical for combat than previous, more delicate dress swords, yet they retained traditional elements and were often fitted with high-quality stainless steel blades.

Photo of a Japanese naval captain’s sword, identical to this sword, and his Nambu pistol, examined by commonwealth naval officers, after the capture of the Japanese ship. Plus, another photo showing Admiral Nimitz after the war, admiring his war trophy sword, a Japanese Admiral's sword, identical to this sword we offer..

The British Pacific Fleet (BPF) was a Royal Navy formation that saw action against Japan during the Second World War. It was formed from aircraft carriers, other surface warships, submarines and supply vessels of the RN and British Commonwealth navies in November 1944.

After formation in Ceylon, the BPF began with operations against Japanese resources in Sumatra before moving to Australia where it made its headquarters at Sydney with a forward base at Manus Island off Papua New Guinea. The fleet supported the invasion of Okinawa in March 1945 by neutralising the Sakishima Islands. Though subjected to heavy attacks by Japanese aircraft, their well-armoured carriers and modern fighter aircraft gave effective protection. Submarines attached to the fleet sank Japanese shipping, and in July 1945 the fleet joined in the bombardment of the Japanese home islands. By the time Japan surrendered in August 1945, the fleet included four battleships, six fleet carriers, fifteen smaller carriers and over 750 aircraft.

All original matching parts koshirae tsuba and nakago, numbered 1576. Signed 伊奈波 兼吉Inaba Kaneyoshi

The tang is stamped with the "伊" of Inaba and the Anchor stamp of Toyokawa Navy Arsenal stamp.

The Royal Netherlands Navy fought the early phases of WWII in both European waters (1940) and the Pacific against the Japanese advance (1941–1942). The fleet suffered heavy casualties but achieved notable successes, particularly with its submarine and minelayer divisions. Light Cruisers HNLMS De Ruyter: Served as the flagship for the joint Allied fleet (ABDA) and was sunk during the Battle of the Java Sea in February 1942. HNLMS Java & HNLMS Sumatra: Java was lost alongside De Ruyter in the Java Sea. Sumatra was evacuated to the UK and later scuttled as a breakwater off Normandy during the 1944 D-Day landings. HNLMS Tromp: Survived the early Pacific battles, including the Battle of Badung Strait, and continued service throughout the war.
DestroyersAdmiralen-class: Included Van Ghent, Kortenaer, Piet Hein, Evertsen, Witte de With, and Banckert. These ships actively engaged Japanese forces in the Java Sea and Sunda Strait campaigns; several were sunk in early 1942.
SubmarinesHNLMS O 21 & HNLMS Dolfijn: Achieved significant success in the Mediterranean, where Dutch submarines sunk multiple Axis warships.
HNLMS O 16 & HNLMS K XVI: Both successfully engaged and sunk Japanese transport ships in the Pacific before being lost to mines and torpedoes in late 1941.
Minelayers / EscortsHNLMS Abraham Crijnssen: Famous for successfully evading Japanese forces by camouflaging itself as a tropical island and safely escaping to Australia.
HNLMS Willem van der Zaan: Escorted Allied convoys and operated in both the Pacific and the Atlantic.
It must always be remembered, all the above ships were crewed by Netherlanders whose families were in the NAZI occupied Netherlands, or as POWs of the Japanese. It must have clearly been particularly fraught time for those men.  read more

Code: 26232

Just Returned From Artisan Blade Cleaning & Conservation The Most Incredible Rare Early Samurai Sword Ever To Be Seen The Great Sword Nagamaki, From The Collection of Likely The World's Greatest Authority & Author, Japanese Polearms & Their Use

Our magnificent Nagamaki Japanese great sword, almost seven feet long, has just returned, after an 80 hour blade conservation, by hand, in the artisan workshop {about twice as long as we estimated} and it has achieved wonders.

Around 500 years old it is likely the only full length, original, surviving example available anywhere in the world outside of Japan, and those within Japan are mostly in museums, and certainly not for sale. The blade is superb, and a rare unokubi-zukuri form with a shinogi-ji that is crafted to become abruptly narrower before the middle of the blade, and forwards on towards the kissaki; the unokubi zukuri then regains its thickness just before the point.


The weapon became synonymous with the bodyguards of elite warlords, most notably Uesugi Kenshin, who employed a dedicated vanguard of nagamaki-wielding retainers. Nagao Kagetora (長尾 景虎; February 18, 1530 – April 19, 1578, later known as Uesugi Kenshin (上杉 謙信), was a Japanese daimyō (magnate). He was born in Nagao clan, and after adoption into the Uesugi clan, ruled Echigo Province in the Sengoku period of Japan. He was one of the most powerful daimyō of the Sengoku period. Known as the "Dragon of Echigo", while chiefly remembered for his prowess on the battlefield as a military genius and war hero.
Our behemoth of a sword may well have been created for such a daimyō guard.

What a magnificent beauty! The Great Nagamaki sword that crosses the divide between the fearsome naganata long pole-arm and the no-dachi great sword.

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

The blade has no damage, and in superb order which is remarkable, apart from a just a couple of very slight, very thin, surface openings {around the width of a human hair, around half an inch long } a common age trait, due to its several polishings over the past 500 years. The tsuba is a nice small, oval, and shibui plain iron with some kanji stampings, and it has a nice traditional copper habaki

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

Famous Users: The weapon became synonymous with the bodyguards of elite warlords, most notably Uesugi Kenshin, who employed a dedicated vanguard of nagamaki-wielding retainers. Nagao Kagetora (長尾 景虎; February 18, 1530 – April 19, 1578, later known as Uesugi Kenshin (上杉 謙信), was a Japanese daimyō (magnate). He was born in Nagao clan, and after adoption into the Uesugi clan, ruled Echigo Province in the Sengoku period of Japan. He was one of the most powerful daimyō of the Sengoku period. Known as the "Dragon of Echigo", while chiefly remembered for his prowess on the battlefield as a military genius and war hero,

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

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

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

The nagamaki ("long wrapping") is a sword with a blade length similar or much longer than a katana or tachi {as has this beauty} and with a very long handle (sometimes equal in length to the blade) that is wrapped in cord or leather. It was used for powerful sweeping and slicing strokes, particularly effective for infantry against cavalry.

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

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

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

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

To appreciate the heft and greatness of this sword, by just reading here, the blades polished cutting edge is around 70% longer than a more usual long katana, and around 50% wider, and thicker, thus, likely six to eight times heavier. Is is already massively impressive un-mounted in its fittings but, once mounted it is likely the most impressive, original, and early samurai sword you will ever likely see or handle, a true behemoth of a museum piece.

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

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

Many pieces that we acquired from the Roald Knutsen Collection were from his friend and fellow enthusiast Henry Russell Robinson's private collection. (7 May 1920, Hackney, London - 15 January 1978) He became Keeper of Armour at The Tower Of London, and it is likely many pieces of his was part of a display of Japanese armour he organised for display in the Tower of London. The Japanese armour exhibition in 1965, which featured samurai artefacts arranged to demonstrate evolving defensive technologies and cultural contexts, drawing thousands of visitors to the Tower.

This nagamaki may well have been displayed in the Tower of London exhibition of Japanese Armour in 1965, but we cannot find a surviving visitor catalogue list in order to check.

He was a British military armourer and historian.He served in the RAF during the Second World War making models interpreting aerial photographs. This was when he met Sir James Mann, Master of the Armouries at the Tower of London. Robinson joined the staff of the Tower Armouries in 1946 as a Temporary Assistant, before rising to Assistant Keeper and finally, in 1970, Keeper of Armour.

Robinson was a founder member and president of the Arms and Armour Society. In 1965, he was elected a Fellow of the Society of Antiquaries of London. In 1977, he was awarded an honorary MA by the University of Newcastle upon Tyne.

Between 1967 and 1969, he (a practical armourer) worked with Charles Daniels to interpret and reconstruct the Roman armour nowadays known as 'lorica segmentata'. He produced a series of reconstructions of the two sub-types of armour from the Roman site at Corbridge and one from Newstead in time for them to be exhibited at the 1969 Congress of Roman Frontier Studies held in Cardiff.

His work on the armour featured in one of his best-known books, The Armour of Imperial Rome. Published in 1975 by Lionel Leventhal at the Arms and Armour Press, it included line illustrations by his friend, Peter Connolly. Robinson's system of categorizing Roman helmets has been widely adopted in the UK and USA but never really found favour in Europe.

Robinson was not only known for Roman armour, since he worked on an exhibition of Japanese armour at the Tower Armouries and subsequently wrote two books on the subject. He was also an authority on Native American artefacts and was responsible for the production of the replica of the revised reconstruction of the Sutton Hoo helmet and wrote a guide to the Stibbert Museum.

We know from records, and from our mutual great friend and colleague of over 35 summers, Christopher Fox, who was Roald’s dojo sempei, that quite a few of his collection {acquired prior to 1978} were from, or gained with assistance, from Robinson and his invaluable recommendations.

There is another in the Royal Armouries Collection, but the cutting edge blade of theirs is considerably shorter {by 16 inches} at 27 inches long, ours is 43 inches. {see link below}

https://royalarmouries.org/collection/object/object-49421  read more

Code: 26203