Japanese

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 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

Beautiful Shinto Samurai Folklore Tanto, 1600, With A Wonderful Suite Of Copper Koshirae Engraved With Japanese Legendary Noh Tales. Figures of Folklore Including, Sanbaso, Samurai, Kappa & Yokai The Turtle & Human Face Octopus, Lamp, Fans & Cricket

Made for a samurai devoted to the Japanese historical traditions of storytelling through Noh and Kabuki. Such as the great Miyamoto Musashi, the revered "sword saint" himself, who was not a performer, but he adored kabuki and its culture. And Shogun Tokugawa Ieyasu revered Noh theatre and often performed it himself as shigegaku, an official military performance.

A stunning tanto with delightful patinated suite of original Edo period copper mounts, all finely engraved with an entirely cosmopolitan selection of subjects from bushido, the way of the warrior, and ancient Japanese folklore, based on tales from Noh and Kabuki theatre including legendary figures, trickster deities, shapeshifters and spirits. Although they appear disconnected, they are all together combining the great legends of Noh and Kabuki with Bushido. A most clever convergence of the mystical, with the practical life of the samurai.

Accompanied fine finely engraved patinated copper kozuka utility knife with signed blade, and fine, original Edo striped urushi black lacquer saya, bound with original Edo silk sageo. The menuki are the tiger with a Ōtsuchi, a six foot war hammer, and a dog with a kaiku war drum. Tigers appear heavily in Japanese folklore, often as symbols of courage and ferocity. They are intrinsically tied to Kabuki through legendary plays. And, the Kai Ken is an incredibly rare, indigenous breed of Japanese dog often nicknamed the "Japanese tiger dog.

On the habaki is the fine engraving of a samurai on one side and of a cricket on a war fan on the other. Placing a cricket on a war fan was a visual reminder of Bushido (the way of the warrior), which demanded that a samurai cultivate a deep appreciation for art, poetry, and nature, alongside martial discipline. The Duality of Life, Together, they represent the philosophical balance of the warrior's life: the need for both brute strength on the battlefield and a refined, gentle spirit in times of peace. Of course the war fan resembles the Peony Fan, Oni Ōgi of Noh theatre, yet another subtle convergence.

The kashira is engraved with the two distinct elements in Japanese folklore, the Peony Lantern (Botan Dōrō), which is one of Japan's most famous ghost stories, and the Peony Fan (Oni Ōgi), a traditional prop used in Noh theatre

Created for a samurai who had a desire for the sword’s decor to be the embodiment of ancient Japanese folklore tales from Kabuki theatre and Noh, of mystical creatures and oni, each piece, engraved, from the fuchigashira, the tsuba, and the habaki, all of this delightful work was beautifully executed with immense skill.

The carving on the tsuba is Sanbaso (三番叟), a sacred, celebratory character from traditional Japanese performing arts like Kabuki and Noh.
The combination of the tall court cap, prominent lolling tongue, pole, and carp corresponds to specific props and rituals performed in the traditional Okina and Sanbaso dances
The Tall Cap (eboshi): Sanbaso wears a rigid black court cap called an eboshi (烏帽子) to signify his high ritual status as a deity who prays for a bountiful harvest and peace: In certain energetic interpretations of the dance, Sanbaso’s face contorts, often displaying a lolling tongue to channel the vibrant, earthly spirit of the gods.The Pole & Carp: He is universally depicted as a jovial, smiling man carrying a traditional fishing rod in one hand, and a large red sea bream (tai) or a giant carp (koi) in the other.
He wears a traditional court cap called a kazaori eboshi (a folded, pointed black cap worn by nobles in ancient Japan)..

The kashira depicts the a lantern is of a romantic but tragic ghost story, it is likely the classic Japanese folktale Botan Dōrō (The Peony Lantern).
A handsome samurai named Hagiwara falls in love with a beautiful woman named Otsuyu. She visits him every night carrying a distinctive paper lantern that glows with a pale, ghostly light.
It is eventually revealed that Otsuyu is a ghost and her companion is an equally dead spirit. The samurai is warned to stop seeing them, but he succumbs to his love and is eventually found cold and dead in his room, his servant blowing out the weird, yellow flame of the peony lantern.

The fuchi is In Japanese folklore, the specific combination of a human-faced octopus and a turtle usually points to the infamous Tako Nyūdō, a human-faced octopus yōkai, and a Kappa, the legendary turtle-like water monster. Together, they represent the eerie and highly revered shapeshifters of the deep water.The Turtle: The KappaThe Kappa is one of Japan's most celebrated yōkai. Known as "river-children," they live in the lakes and streams of Japan. They resemble a mix of a human child and a turtle, with scaly or slimy skin, webbed hands and feet, and a hard turtle-like shell (carapace) on their back. On their head, they have a shallow depression or "dish" (sara) filled with water. This water is their source of power and life; if it spills or dries out, the Kappa becomes severely weakened.
Kappas are known as mischievous trickster water deities who enjoy sumo wrestling and eating cucumbers. However, they can also be deadly, occasionally dragging unsuspecting humans or animals into the water to drown them.

Countless samurai revered the performing arts, and several even left the warrior class to become professional kabuki actors, or established theatres of their own. Famous warriors with direct ties to kabuki include, Sakata Tōjūrō I a former samurai who founded the sophisticated wagoto (soft style) romantic acting in 17th-century Kyoto.
Ichikawa Danjūrō, an actor and son of a low-ranking samurai who created the dynamic, bombastic aragoto acting style.

The great Miyamoto Musashi, the revered "sword saint" himself was not a performer, but he loved kabuki and its culture. He became a popular subject for plays during his own lifetime.Many other historical figures became the very subjects of kabuki, which often served as a subversive way for the public and actors to praise legendary samurai. Notable legends adapted for the kabuki stage include:
Minamoto no Yoshitsune, a tragic, iconic general and the subject of several classic plays.The 47 Ronin, a legendary tale of masterless samurai avenging their fallen lord.Sakura Sōgorō: A historical farmer-hero whose rebellion inspired Japan's first modern political kabuki play

Three legendary figures of the Sengoku and Azuchi-Momoyama periods—Oda Nobunaga, Toyotomi Hideyoshi, and Tokugawa Ieyasu—are the most famous samurai who revered and patronized Noh theatre. These warlords studied the art, performed it themselves, and established Noh as the official ceremonial performance of the military government.The profound connection between these samurai commanders and Noh is detailed below:Oda Nobunaga (1534–1582), he frequently recited and danced the famous excerpt "Atsumori," which centers on the tragedy of a young fallen warrior from the Gempei War. Nobunaga viewed his own military ambitions in the dramatic and fatalistic light of these Noh epics.Toyotomi Hideyoshi (1537–1598): He took his passion a step further by studying under the Konparu School and performing on stage. He even commissioned new plays that cast himself as the victorious protagonist.
Tokugawa Ieyasu (1543–1616), made Noh the official ceremonial performance (shikigaku) for all state events, which solidified its status among the samurai elite

Overall in very good condition, small saya split under the sageo at the base of the kozuka slot.  read more

Code: 26247

A Beautiful & Most Charming Aikuchi Tanto. Japanese Civil Wars Period 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. Dark gold lacquer saya with light gold bamboo decor, mounted in patinated sinchu suite of mounts with applied takebori design of ume and blossom, a kozuka of a bamboo stem, and wraparound sayajiri and fuchi. the menuki are of coiled vine and leaves, and bamboo leaves, beneath ivory coloured tsuka-ito, over samegawa giant rayskin.

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.

The stunning koshirae are later Edo or Taisho, in super condition, and the beautiful ancient blade is in very nice order, with just a very small thumbprint mark near the habaki on one side, and slight wear at the kissaki.  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