Japanese

A Simply Beautiful Original Signed & Dated Antique Samurai Katana, Edo Period Shinshinto. In Superb Polish With All Original Edo Period Mounts of Shakudo and Gold by Yasuyuki 安随, & Its Original Edo Saya of Black Urushi and Abilone Shell

It has a stunning urushi lacquered original Edo saya with ribbing on the black urushi middle top section, and crushed abilone, over green, black and clear urushi lacquer, on the top and bottom sections a most pleasing and artisistic combination.

Original Edo shakudo fuchi kashira decorated with silver and gold birds, bamboo and flowers, on a hammered ground, signed Yasuyuki 安随. The tettsu tsuba has a geometric openwork design of an approaching wagon wheel with hon-zogan decoration of shinchu hira inlay. The tsuka ito {silk binding} had perished with age, so the photographs in the gallery only show the tsuka fittings, we are having the hilt rebound with silk tsuka ito.

A pair of superb menuki, in gold and shakudo, one is the turtle the other the phoenix. In Japanese folklore, the minogame, it is a legendary turtle of tremendous age. Sometimes living for up to 10,000 years, its most distinctive feature is the tail of seaweed and algae that trails behind it.

The most well known minogame {turtle} in Japan comes from the tale of Urashima Tarō, a legendary fisherman who rescues a turtle being tormented by children on a beach. A minogame informs him that he has actually rescued the daughter of the sea god Ryūjin, and takes him down to the bottom of the ocean to receive his thanks.

The other menuki is a Hō-ō bird . As the herald of a new age, the Hō-ō {phoenix} decends from heaven to earth to do good deeds, and then it returns to its celestial abode to await a new era. It is both a symbol of peace (when the bird appears) and a symbol of disharmony (when the bird disappears).

Some provinces of Japan were famous for their contribution to the ishime style of urushi lacquer art: the province of Edo (later Tokyo), for example, produced the most beautiful lacquered pieces from the 17th to the 18th centuries. Lords and shoguns privately employed lacquerers to produce ceremonial and decorative objects for their homes and palaces.
The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!
Flowing from incisions made in the bark, the sap, or raw lacquer is a viscous greyish-white juice. The harvesting of the resin can only be done in very small quantities.
Three to five years after being harvested, the resin is treated to make an extremely resistant, honey-textured lacquer. After filtering, homogenization and dehydration, the sap becomes transparent and can be tinted in black, red, yellow, green or brown.
Once applied on an object, lacquer is dried under very precise conditions: a temperature between 25 and 30°C and a humidity level between 75 and 80%. Its harvesting and highly technical processing make urushi an expensive raw material applied in exceptionally fine successive layers, on objects such as bowls or boxes, or as you see, samurai sword saya {scabbards}. After heating and filtering, urushi can be applied directly to a solid, usually wooden, base. Pure urushi dries into a transparent film, while the more familiar black and red colours are created by adding minerals to the material. Each layer is left to dry and polished before the next layer is added. This process can be very time-consuming and labour-intensive, which contributes to the desirability, and high costs, of traditionally made lacquer goods. The skills and techniques of Japanese lacquer have been passed down through the generations for many centuries. For four hundred years, the master artisans of Zohiko’s Kyoto workshop have provided refined lacquer articles for the imperial household. It is extraordinary that a finest urushi lacquer saya would have taken up to, and over, a year to hand produce, by some of the most finely skilled artisans in the world.

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

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

Code: 25542

A Stunning, Antique, Edo Period Shinto 'Dragon Horimono' Katana With A Carved Horimono Blade of a Dragon. With a Superb Suguha Hamon

Horimono, a type of carving, often adds other decorative Horimono to the blade in addition to grooves. The properties of horimono are usually traditional images, such as swords, dragons, deities, Buddhist patterns, bonji, Chinese characters, and so on.Among the blades of the Koto period of sword manufacture (1600), many of the carvings display religious meaning: Bonji (sanskrit), Su-ken, Fudo Myo-o,Kurikara, Sanko-tsuki-ken, Goma-bashi, Hachiman-daibosatsu, Namu-myoho-renge-kyo, and Sanjuban-shin.In the Shinto period of swordmaking (1600), the carvings become more decorative with depictions of cranes and turtles, ascending and descending dragons, shochikubai (pine, bamboo and plum), and the deity of wealth, Daikoku.These images are carved with hammers hitting small chisels of various sizes. The internal surface of horimono is ground smoothly and finely, and polished during the polishing process. Making horimono is both difficult and time-consuming; Swordsmiths mostly carve grooves and simple Sanskrit characters themselves, while the more magnificent horimono is made by specialized craftsmen. After deciding which image to use, carefully draw a detailed pattern with a brush at the position to be carved, and then complete the horimono. The ideal horimono has a moderate proportion, the size matches the word to be carved, and is engraved in the appropriate position

The decorative horimono were introduced during the Edo period on the katanas and are generally larger than the votive ones. They often depict a dragon, taking up traditional iconography but using superfine techniques to embellish the blade.

More details to add Wednesday 20th.
The saya has a split to repair so the katana’s availability will be only once the restored saya is completed.  read more

Code: 25541

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.

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 Beautiful Koto Period Antique Samurai Daisho With Rokakku Clan Mon. Traditional Daisho, the Two Matching Swords Of The Samurai, Comprise a Fine Daito Long Sword & Signed Shoto Short Sword. With With Pierced Rokakko Clan Daisho Tsuba

Signed Koto daisho, circa 1590, with beautiful elegant blades, the saya are very fine, delicate and rare, light ‘cinnabar red’ lacquer, also known as coromandel red {named from the pink petaled flower} urushi lacquer to the saya, often made with the addition of perilla oil. The condition of both saya is very good just a couple of aged surface nicks
The colour created from urushi lacquer mixed with cinnabar was rewarded to them as the most famous warriors of all the samurai clans of Japan, the Li, and the Takeda.
The blades both have superbly beautiful notare hamon, in very good polish, with a few old red stain marks {see photo 2 in the gallery, sword blade left} that we are having removed. It will be completed in around 10 days from the the 20th Nov.

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

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

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

Code: 25536

A Rare, Original, Japanese Antique Edo Period Samurai War Bow 'Daikyū ' With Urushi Lacquered Woven Rattan Quiver 'Yabira Yazutsu' With 3 'Ya' Arrows

A wonderful, original, antique Edo period {1603-1863} Samurai long war bow 'Yumi', made in either yohonhigo or gohonhigo form {4 piece or 5 piece bamboo laminate core, that is surrounded by wood and bamboo, then bound with rattan and lacquered}

Edo Era, 1600 to 1700's, with practice arrows, unfeathered, that fit into in a lacquer quiver {yabira yazutsu} with three arrows {ya}. we show a photo in the gallery from a samurai museum display that shows a practice arrow stand with the same form of flightless 'ya' inbedded in sand within the stand.

The arrows are made using yadake bamboo (Pseudosasa Japonica), a tough and narrow bamboo long considered the choice material for Japanese arrow shafts. The lidded quiver is a beautiful piece of craftsmanship in hardened urushi lacquer on woven rattan. Practice arrows were a fundamental part of samurai bowmanship.

These sets are very rarely to be seen and we consider ourselves very fortunate, indeed privileged, to offer another one.
It was from the use of the war bow or longbow in particular that Chinese historians called the Japanese 'the people of the longbow'. As early as the 4th century archery contests were being held in Japan. In the Heian period (between the 8th and 12th centuries) archery competitions on horseback were very popular and during this time training in archery was developed. Archers had to loose their arrows against static and mobile targets both on foot and on horseback. The static targets were the large kind or o-mato and was set at thirty-three bow lengths and measured about 180cm in diameter; the deer target or kusajishi consisted of a deer's silhouette and was covered in deer skin and marks indicated vital areas on the body; and finally there was the round target or marumono which was essentially a round board, stuffed and enveloped in strong animal skin. To make things more interesting for the archer these targets would be hung from poles and set in motion so that they would provide much harder targets to hit. Throughout feudal Japan indoor and outdoor archery ranges could be found in the houses of every major samurai clan. Bow and arrow and straw targets were common sights as were the beautiful cases which held the arrows and the likewise ornate stands which contained the bow. These items were prominent features in the houses of samurai. The typical longbow, or war bow (daikyu), was made from deciduous wood faced with bamboo and was reinforced with a binding of rattan to further strengthen the composite weapon together. To waterproof it the shaft was lacquered, and was bent in the shape of a double curve. The bowstring was made from a fibrous substance originating from plants (usually hemp or ramie) and was coated with wax to give a hard smooth surface and in some cases it was necessary for two people to string the bow. Bowstrings were often made by skilled specialists and came in varying qualities from hard strings to the soft and elastic bowstrings used for hunting; silk was also available but this was only used for ceremonial bows. Other types of bows existed. There was the short bow, one used for battle called the hankyu, one used for amusement called the yokyu, and one used for hunting called the suzume-yumi. There was also the maru-ki or roundwood bow, the shige-no-yumi or bow wound round with rattan, and the hoko-yumi or the Tartar-shaped bow. Every Samurai was expected to be an expert in the skill of archery, and it presented the various elements, essence and the representation of the Samurai's numerous skills, for hunting, combat, sport and amusement, and all inextricably linked together.

The mounted archer mainly controls his horse with his knees, as he needs both hands to draw and shoot his bow. As he approaches his target, he brings his bow up and draws the arrow past his ear before letting the arrow fly with a deep shout of In-Yo-In-Yo (darkness and light).

Yabusame (流鏑馬) is a type of mounted archery in traditional Japanese archery. An archer on a running horse shoots three special "turnip-headed" arrows successively at three wooden targets.

This style of archery has its origins at the beginning of the Kamakura period. Minamoto no Yoritomo became alarmed at the lack of archery skills his samurai possessed. He organized yabusame as a form of practice.

Nowadays, the best places to see yabusame performed are at the Tsurugaoka Hachiman-gū in Kamakura and Shimogamo Shrine in Kyoto (during Aoi Matsuri in early May). It is also performed in Samukawa and on the beach at Zushi, as well as other locations.
On his final day in Japan in May 1922, Edward, Prince of Wales was entertained by Prince Shimazu Tadashige (1886–1968), son of the last feudal lord of the Satsuma domain. Lunch was served at Prince Shimazu’s villa, followed by an archery demonstration. Afterwards, the Prince of Wales was presented with a complete set for archery practice, including an archer’s glove, arm guard and reel for spare bowstrings  read more

Code: 25534

A Superb, Original, Antique Japanese Shinshinto Period, 19th Century, Samurai's, Secret, Hidden Fan-Dagger, A Kanmuri-Otoshi Form Kakushi Ken

A fantastic original antique samurai conversation piece, a samurai tanto {dagger} disguised as a folded fan, that the blade is concealed within. A wide and very attractive kanmuri-otoshi form kakushi ken, with clip back return false edge, overall bright polish and just the faintest traces of miniscule old age pitting. Edo period secret bladed tanto,19th century, with carved wood and bi-colour urushi lacquered fittings, in ishime black and golden yellow, beautifully simulated to look like a traditional Japanese folded fan.

A photo in the gallery from Edo Japan of a seated high ranking samurai holding his tachi and war fan. Another samurai standing also with fan and daisho through his obi. Samurai sometimes disguised their blades as inoffensive items, such as cleverly made walking sticks or other common objects such as fans. Their ancestors, the classical warriors, overlooked nothing which could be used as a weapon. Also, deprived of their swords by law in the Meji era, late 19th century samurai had to rely even more on their own ingenuity and resourcefulness for protection against thieves, hoodlums, bandits and intrigue. The blade nakago sealed in place, so there was no telltale visible mekugi blade affixing peg.
A Japanese war fan is a fan designed for use in warfare. Several types of war fans were used by the samurai class of feudal Japan and each had a different look and purpose. One particularly famous legend involving war fans concerns a direct confrontation between Takeda Shingen and Uesugi Kenshin at the fourth battle of Kawanakajima. Kenshin burst into Shingen's command tent on horseback, having broken through his entire army, and attacked; his sword was deflected by Shingen's war fan. It is not clear whether Shingen parried with a tessen, a dansen uchiwa, or some other form of fan. Nevertheless, it was quite rare for commanders to fight directly, and especially for a general to defend himself so effectively when taken so off-guard.

Minamoto no Yoshitsune is said to have defeated the great warrior monk Saito Musashibo Benkei with a tessen.

Araki Murashige is said to have used a tessen to save his life when the great warlord Oda Nobunaga sought to assassinate him. Araki was invited before Nobunaga, and was stripped of his swords at the entrance to the mansion, as was customary. When he performed the customary bowing at the threshold, Nobunaga intended to have the room's sliding doors slammed shut onto Araki's neck, killing him. However, Araki supposedly placed his tessen in the grooves in the floor, blocking the doors from closing. Types of Japanese war fans;
Gunsen were folding fans used by the average warriors to cool themselves off. They were made of wood, bronze, brass or a similar metal for the inner spokes, and often used thin iron or other metals for the outer spokes or cover, making them lightweight but strong. Warriors would hang their fans from a variety of places, most typically from the belt or the breastplate, though the latter often impeded the use of a sword or a bow.
Tessen were folding fans with outer spokes made of heavy plates of iron which were designed to look like normal, harmless folding fans or solid clubs shaped to look like a closed fan. Samurai could take these to places where swords or other overt weapons were not allowed, and some swordsmanship schools included training in the use of the tessen as a weapon. The tessen was also used for fending off knives and darts, as a throwing weapon, and as an aid in swimming.
Gunbai (Gumbai), Gunpai (Gumpai) or dansen uchiwa were large solid open fans that could be solid iron, metal with wooden core, or solid wood, which were carried by high-ranking officers. They were supposedly used to ward off arrows, as a sunshade, and to signal to troops.

12 inches long overall. approx 7.5 inch blade. The black ishime lacquer is near pristine, the golden yellow urushi lacquer has some natural, dark, handling age staining.  read more

Code: 25529

A Rare, Antique, Kamakura, {鎌倉時代}, Kamakura Jidai, 1185–1333 Style, Ageha 'V' Shaped 'Swallow Tail' War Arrow Of Yadake Bamboo, With Good Sea Eagle Flights and Steel Head

The ageha swallow tail war arrows of this type appear mostly in the Kamakura period, the steel head may indeed be from that period, and the Edo period sea eagle feathers are in superb condition. From a superb collection of rare samurai war arrows and bows we acquired,

Experienced Kamakura archers were allowed to use arrows with the V-shaped swallowtail prong {ageha}. If armour is struck, it will splinter, so, the optimum target for a lethal blow on any opponent, wearing full traditional samurai armour (O-Yoroi), is the space just beneath the helmet visor that is often bare. It was once told to us by a very aged and respected Japanese sensei visitor, who was a master of Yabusame mounted archery, that to hit a samurai at the bridge of the nose, beneath his kabuto helmet peak, with the swallowtail ageha ya, it would penetrate both eyes at once. It may not be instantly lethal but the samurai would be immediately blinded, and thus have no function in combat. The samurai’s Ya could also be made with tamehagane steel, the same as used for swords, with similar tempering, despite potentially being a ‘fire and forget’ weapon, used only once for barely a minute of combat for each arrow.

In the post Kamakura era, in the Edo period, the swallow tail arrow was changed slightly and used with two interior sharpened edges, and its use was changed to cut the retaining straps of cuirass armour and the like.

The arrows are made using yadake bamboo (Pseudosasa Japonica), a tough and narrow bamboo long considered the choice material for Japanese arrow shafts. The black {now faded to brown} and white feather flights {hane} are likely Steller's sea eagle feather. Period 1599 -1863. 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 some archery in battle. In the Edo period archery was also 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.

Picture 8 in the gallery shows a different arrow head, but the same form of elongated tang, similar to yari, is used to hold the arrow head firmly in place. Some are signed by the smith. Naturally this ageha head cannot be removed to show this.  read more

Code: 25533

Arrived & Now Sold A Singularly Fine 17th Century Asano Clan Wakazashi Signed Bizen no Kami Ujifusa Mounted in Its Bespoke Shira Saya. The Asano Were The Famed & Historical Clan of the 47 Ronin Fame

The blade is superb with a beautiful hamon. Bizen no kami Ujifusa is the son of Hida no kami Ujifusa
and is the second generation Ujifusa. Made a few decades before and thus used by a samurai retainer of rank during the time of the world famous Asano clan 47 Ronin, and their revenge taken against their master’s enemy, who had enforced his ritual seppuku. However slim the possibility, it is just possible this sword might have been used by one of the Asano samurai that became one of their legendary Ronin, and one of the great heroes of loyalty and honour representing the most notable and famous warriors of samurai history

The 'taka no ha' hawkfeather mon of Asano Naganori, who was the daimyo of the Ako Domain in Japan (1675 - 1701). His title was Takumi no Kami. He is known as the person who triggered a series of incidents retold in a story known as Chushingura, or the 47 Ronin, one of the favourite themes of kabuki, joruri, and Japanese books and films. Described by Japanese historians as a "National Legend", the revenge of the 47 Ronin took place in Japan and is the ultimate expression of the samurai code of honour, Bushido.

The story began on April 21st, 1701, when lord Asano Naganori, the Daimyo of the Ako Domain was forced to commit ritual suicide for attacking Kira Yoshinaka, a rude and arrogant Master of Ceremony under the Tokugawa Shogunate.

The loyal 47 Ronin took over a year to planned their raid on Kira's mansion. On a snowy December night, they strike on Kira's home, taking everyone by surprise.

After killing Kira, they went to their Master's Grave and turned themselves into the authorities. For committing such a vendetta, the 47 Ronin were requested by the Shogun to commit seppuku, ritual self-disembowelment, in honour of their lord, they willingly complied.

On the day of Asano Naganori's death, he had drawn his sword and attempted to kill Kira, in the Corridor of the Pines at Edo Castle in what is now Tokyo. He was wounded and failed to kill Kira. This resulted, on the same day, in the ultimate penalty, the fifth Tokugawa shogun, Tsunayoshi, sentenced him to commit seppuku, ritual suicide which he did after writing this death poem:

"kaze sasofu hana yori mo
naho ware ha mata
haru no nagori wo
ika ni yatosen."

"More than the cherry blossoms,
Inviting a wind to blow them away,
I am wondering what to do,
With the remaining springtime."

He was buried in the graveyard of Sengaku-ji.

His retainers became ronin when the Shogunate confiscated his fief. Under the leadership of Oishi Kuranosuke, however, they avenged the death of their lord by killing Kira at his mansion in Edo on December 15, 1702. These former retainers became famous as the Forty-seven Ronin, and their vendetta ranks as one of the most renowned in Japan. Print in the gallery of Ukiyo-e depicting the assault of Asano Naganori on Kira Yoshinaka in the Matsu no Oroka of Edo Castle.

Woodblock Print in the gallery {just for historical interest only}
Oribe Yasubei Taketsune, from the series Stories of the True Loyalty of the Faithful Samurai (Seichû gishi den)
by Utagawa Kuniyoshi (1797-1861)

Oribe Yasubei Taketsune (堀部 安兵衛 武庸, 1670–March 20, 1703) was a warrior in Japan. Yasubei was born to Nakayama Yajiemon (中山 弥次右衛門), a samurai of the Shibata Domain (a han in present-day Niigata Prefecture) . When Yasubei was 13, his father lost his position and became a rōnin. Soon afterwards, Yajiemon died, and as Yasubei's mother had died shortly after giving birth to him, Yasubei was thus orphaned. Eventually, Yasubei ended up in Edo and became successful as a master swordsman at the dōjō.

In 1694, Yasubei came to the aid of his dōjō mate and pledged uncle in a duel at Takadanobaba in Edo, killing three opponents. He received acclaim for his role, and Horibe Yahei of the Akō Domain asked Yasubei to marry his daughter and become the heir to Yahei's family. Yahei was so impressed with Yasubei that he pleaded to his liege, Asano Naganori, to allow Yasubei to keep his Nakayama surname while marrying into the Horibe family. Yasubei eventually took on the Horibe surname and became a successful retainer of the Akō Domain.

In 1701, Asano Naganori was sentenced to commit seppuku as a result of an attack on Kira Yoshinaka. The Akō Domain was disbanded, and Yasubei once again became a rōnin. In 1702, Yasubei and Yahei were among the Forty-seven Rōnin who attacked and killed Kira, avenging their late lord's death. Yasubei surrendered to the authorities and was placed in the custody of Matsudaira Oki no Kami Sadanao. On March 20, 1703 (according to the Gregorian calendar), he was sentenced to commit seppuku. Superb shirasaya, excellent silver Asano clan habaki, stunning hamon to the signed flawless blade just light surface aged cleaning marks

There is certainly no way to prove that this fine sword might have been used by such as Yasubei, but its potential to be so, is certainly intriguing  read more

Code: 25530

A Very Fine Superior, Very Likely Gendaito, Traditional Hand Made Japanese Officer's Sword. Signed Tanigawa Ichishin Saku In Fabulous Condition

The blade tang is signed by the maker, and appears to be handmade in the traditional fashion from the 1930's.

The blade on this example was hand forged, and the tang of the blade is signed (Mei) with the characters 谷 川 一 心, that read as Tanigawa Ichishin saku {Tanigawa Ichishin made this}
Research indicates that this smith's real name was 谷川 慶治 - Tanigawa Keiji, so in this case "Tanigawa" was his family name, and "Ichishin" his "swordsmith name." We have seen many other smiths sign their swords in this fashion. His name appears in the Seki Tanrensho Book printed in 1939. Ichishin was active during the Showa Period and worked at Seki arsenal in Gifu, with that stamp on the nakago, Mino Province (美濃国), and look to have made both arsenal forged and traditional blades. The signature is his tradtional type.

The stunning blade appears handmade and was expertly crafted by the sword smith. The mekugi-ana hole in the tang is punched and not drilled, {typical for handmade blades for ichishin}. it has a beautifully visible temper line {hamon} on the fabulous blade.

The blade is is stunning condition, and signed on the tang by the maker "the Mei".the Blade has a fine yokote at the tip, kissaki, with a boshi (tip temper line).

It has a traditional lacquered saya bound in field service combat leather. The tsuka is a traditional katana type with fine patinated Higo school iron fuchi kashira engraved with crashing waves in turbulant seas. the tsuba is a plain Higo School mokko form tettsu {iron} plate with five hammered Kiri mon, the Imperial mon of Japan.
Under the original silk tsuka-ito are tettsu menuki of tageha {arrow} in a yabira yazutsu {quiver}.

This is a superior quality sword for likely a higher ranked officer of the IJN due to its mounting that is of completely traditional samurai form, with simply a leather field service protective combat cover on its saya that still has its kurigata.

The IJN launched a surprise attack on Pearl Harbor, killing 2,403 Americans and crippling the US Pacific Fleet. During the first six months of the Pacific War, the IJN enjoyed spectacular success inflicting heavy defeats on Allied forces. Allied navies were devastated during the Japanese conquest of Southeast Asia. Japanese naval aircraft were also responsible for the sinkings of HMS Prince of Wales and HMS Repulse which was the first time that capital ships were sunk by aerial attack while underway. In April 1942, the Indian Ocean raid drove the Royal Navy from South East Asia.

In 1943, the Japanese also turned their attention to the defensive perimeters of their previous conquests. Forces on Japanese held islands in Micronesia were to absorb and wear down an expected American counteroffensive. However, American industrial power become apparent and the military forces that faced the Japanese in 1943 were overwhelming in firepower and equipment. From the end of 1943 to 1944 Japan's defensive perimeter failed to hold.

The defeat at the Philippine Sea was a disaster for Japanese naval air power with American pilots terming the slanted air/sea battle the Great Marianas Turkey Shoot, mostly going in the favour of the US,126 while the battle of Leyte Gulf led to the destruction of a large part of the surface fleet. During the last phase of the war, the Imperial Japanese Navy resorted to a series of desperate measures, including a variety of Special Attack Units which were popularly called kamikaze. By May 1945, most of the Imperial Japanese Navy had been sunk and the remnants had taken refuge in Japan's harbours. By July 1945, Nagato was the only remaining ship of the Imperial Japanese Navy's capital ships that had not been sunk in raids by the United States Navy.

The blade is in excellent plus condition, overall 37.5 inches long in saya, blade tsuba to tip 26.5 inches long. the saya also excellent, the tsuba, fuchi kashira are similarly excellent plus. The original blue tsuka ito silk wrap is aged and with small frays as usual for age.  read more

Code: 25528

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

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

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

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

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

In Japan the term samurai evolved over several centuries

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

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

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

Code: 20178