Japanese
A Superlative and Beautiful Koto Katana Circa 1500, A Museum Quality Ancient Sword, Sengoku Era, with Stunning Original, Edo Period, Soten School Mounts of Shakudo & Gold, “Koushi Seiyu Zu” Tsuba
Soten school shakudo and gold fuchi kashira depicting gamboling pure gold and shakudo samurai ponies, on a nanako ground. Nanako Ji: "fish roe ground" A surface decoration produced by forming very small raised bosses by a sharply struck punch or burin called 'nanako tagane'. Shakudo is the metal most often used, but copper and gold are quite often employed. The harder metals, shibuichi, silver and iron are rarely decorated in this way. The size of the dots vary from 0.04" to 0.008" (25 to 125 and inch) and the regularity of the work is marvelous as the dots must be spaced entirely by touch. The dots are usually arranged in straight lines or in lines parallel to the edge of the piece being decorated, but sometimes in more elaborate patterns. Used on guards since the Momoyama period although the technique existed since much earlier periods. Usually done by specialist 'nanako-shi', but sometimes done by the maker of the guard himself.
Complimented with a wonderful Soten school tsuba in iron and gold, depicting sages crossing a bridge below a temple. Tsuba design in the manner of Mogarashi Nyudo Soten 藻柄子 入道宗典, a tsuba we would suitably title, Koushi Seuyu Sukashi.
Mogarashi Nyudo Soten was the son of the first Soten, who was a famous metalworker in the middle of the Edo period. He was excellent at the same type of engraving technique as his father. This Tsuba describes “Koushi Seiyu Zu” with sukashi {openwork}. It is a popular motif that has been designed since ancient times. Koushi means an honourable person, and Seiyu means to travel. It would be a longing for sages to indulge in hobbies and arts in nature, far away from the world. Each wise sage's face is clearly and minutely engraved. All the trees, clouds, rocks, the sage's clothes and the temple are all inlaid with pure gold. It is easy to appreciate its stunning beauty. It was his notable technique that if you focus on sage’s clothes pattern, you will find be able to find a traditional Japanese good-luck pattern of oblique crosses called the kikkou pattern, named after the turtle shell which represents long life. Under the traditional black silk tsuka-ito {hilt binding} ,are copper and gold jumonji yari {trident spear form} samurai polearms, over same-gawa {giant rayskin}
A superb ancient samurai sword that would grace any fine collection of oriental art or compliment any residence albeit traditional or contemporary decorated.
The Sengoku period was initiated by the Ōnin War in 1467 which collapsed the feudal system of Japan under the Ashikaga Shogunate. The Sengoku period was named by Japanese historians after the similar but otherwise unrelated Warring States period of China. The era is beautifully depicted in Akira Kurowsawa’s films called Jidaigeki. The Sengoku Period (1467-1568 CE) was a lawless century-long era characterized by rising political instability, turmoil, and warlordism in Japan. During this period, field armies and soldiers rapidly rose in number, reaching tens of thousands of warriors. Many castles in Japan were built during the Sengoku Period as regional leaders and aristocrats alike competed for power and strong regional influence to win the favours of the higher-class Japanese at the time. Kurosawa’s film depiction of Macbeth, Throne of Blood, is set in this era of Japan’s feudal period. Original title 蜘蛛巣城, Kumonosu-jō, lit. 'The Castle of Spider's Web'
This then led to the creation of a more complex system within the military, the armoured infantry known as the ashigaru. Initiated by the collapse of the country’s feudal system during the 1467 Onin War, rival warlords or daimyō, continued to struggle to gain control of Japan until its reunification under Japan’s three “Great Unifiers” –– Nagoya Nobunaga, Hideyoshi, and Ieyasu Tokugawa –– thus, bringing the war-stricken era to an end in the siege of Osaka
The classical beauty of samurai swords is remarkable, in that there is barely any kind of decor that is not improved with their addition. With fine Soten mounts of pure gold ponies grazing in a meadow and an iron and gold inlaid Soten sukashi tsuba depicting mandarin and companion crossing a bridge with a warrior guard armed with a polearm. Blade with a fine sugaha straight hamon in original Edo polish. Fine black silk wrap covering menuki of long. Fine black Edo lacquer saya with sageo of gold and brown woven silk. Of all the weapons that man has developed since our earliest days, few evoke such fascination as the samurai sword of Japan. To many of us in the, the movie image of the samurai in his fantastic armour, galloping into battle on his horse, his colourful personal flag, or sashimono, whipping in the wind on his back, has become the very symbol of Japan, the Empire of the Rising Sun. And, truly, to the samurai of real life, nothing embodied his warrior’s code of Bushido more than his sword, considered inseparable from his soul.
Indeed, a sword was considered such a crucial part of a samurai's life that when a young samurai was about to be born, a sword was brought into the bedchamber during the delivery. When the time came for an old samurai to die and cross over into the White Jade Pavilion of the Afterlife, his honoured sword was placed by his side. Even after death, a daimyo, or nobleman, believed he could count on his samurai who had followed him into the next world to use their keen blades to guard him against any demons, just as they had wielded their trusty weapons to defend him against flesh-and-blood enemies in this life. 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. The hilt and scabbard were created from the finest hand crafted materials by the greatest artisans that have ever lived. 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. Overall 37.5 inches long in saya read more
9995.00 GBP
A Stunning & Beautiful Edo Period Tachi-kake, Japanese Samurai Sword Stand Okuyama Family, Descendants of the Famous Genji Clan
Finest black urushi Japanese lacquerwork, over carved wood, bearing numerous hiramaki-e gold clan "four eyes" Hakkoryu kamon throughout. Constructed in two main pieces, that slot together for assembly, and apart, for storage and transportation in the samurai baggage train. Shown holding our 600 year old ‘golden dragon’ tachi [code number 22660] The Hakkoryu’s Yotsume-no-mon of the Okuyama clan who are descendants of the famous Genji clan (also called Minamoto). The clan was popularized in a famous Heian period romance Genji Monogatari, written by Murasaki Shikibu.
Most prominent of the Genji clan was Minamoto Yoritomo, a renowned general during the Kamakura period. During this era, the two most powerful clans were the Genji and their enemies, the Taira (also Heiko). The Taira were defeated in a fierce sea battle during the Genpei war and Minamoto Yoritomo and his descendants reigned supreme in Japan for some time.
The type of mon (crest) used in Hakkoryu was used by a retainer of the Minamoto clan and is commonly known as Meyui, after the concept of tie-dying. The particular style of the Hakkoryu mon is commonly known as Yotsume (“four eyes”). The significance of the crest is related primarily to the ancestors of the Okuyama family. However, the geometric design of eight squares related directly to the number eight of Hakkoryu* and the four eyes denotes preparedness for attack from all directions. There is also a superstition attached to Yotsume, as the “four eyes” guard against evil. This idea has been extended to include personal protection as in the case of Hakkoryu. The tachikake sword stand displayed the sword in a standing upright position, as opposed to the katanakake horizontal position. The vertical meant only one sword could be held, the horizontal two or several. The vertical tachikake makes a more impressive centrepiece display today, but when originally made if stood on the floor immediately next to the samurai's bed roll, the sword could be grabbed in an instant by a recumbant sleeping samurai if alerted to imminent danger. The Edo period (1603–1868) saw an increase in the focused cultivation of lacquer trees for urushi, and the development of the techniques used. In the 18th century coloured lacquers came into wider use. With the development of economy and culture, and the artistic quality of lacquered furniture improved. Hon'ami Kōetsu and Ogata Kōrin brought the designs of the Rinpa school of painting into lacquerware. After the middle of the Edo period, Inro [box containers worn from the samuria's obi hung by cords] became popular as men's accessories, and wealthy merchants of the chōnin class and samurai class collected inro of the highest aesthetic value, most precisely designed with urushi lacquer. Marie Antoinette and Maria Theresa were known collectors of fine Japanese lacquerware and their collections are exhibited in the Louvre and the Palace of Versailles. During this period, due to the development of the economy, shishiai-togidashi maki-e, an advanced technique, became popular. Small areas of natural age wear markings. read more
3450.00 GBP
A Beautiful & Stunning Edo Period Tetsu Round Tsuba Of a Bat Flying in Rain Over Turbulant Seas.
The reverse is a willow carved in sunken relief, all upon a russet ground. somewhat reminiscent of the work my master Kenzui,
In Japanese folklore, bats are often associated with good luck and prosperity. One popular folktale is the story of "Bakeneko," a mythical creature resembling a cat with bat-like features. Bakeneko is believed to bring blessings and protection to households, particularly during times of hardship.
In the context of kimono designs, the depiction of bats holds specific symbolism. Bats are often featured alongside other auspicious motifs such as the pine, bamboo, and plum—traditional symbols of longevity, resilience, and prosperity. When bats are included in these designs, they reinforce the notion of good fortune and longevity, making them popular motifs for celebratory occasions such as weddings and New Year's festivities.
During the Meiji period (1868-1912), Japan underwent significant cultural and societal transformations. Bats continued to be prominent symbols during this era, often depicted in art and textiles as representations of prosperity and modernisation. As Japan embraced Western influences and embarked on industrialisation, the symbolism of bats evolved to reflect aspirations for economic growth and social advancement. Bats were frequently incorporated into decorative arts, such as ceramics and textiles, to convey wishes for prosperity and success in the changing landscape of Meiji Japan.
72mm read more
895.00 GBP
Superb Tsuba Signed Choshu Koku Hagi ju Kawaji Go {no} Ju Tomochika. A Retainer of The Mori Daimyo
The westerly province of Chōshū (Nagato) was the home of eight or more important families engaged in making sword-furniture, of whom the parent was the Nakai group, originally established in the neighbouring province of Suō. The indication “of Hagi” (Hagi no jū), so frequently added to the signatures on Chōshū work, may not perhaps in all cases imply the artist’s actual residence at the Nagato capital.
The early work was influenced by Umetada Miōju (Group XI), who spent some time at the Suō capital, Yamaguchi, as well as by members of the Shōami group (XII); thus, examples by the Nakai often show incrustation of the softer metals on the iron ground. Chōshū guards are usually in iron of a rich black patina, with sharp, powerful and carefully modelled relief, either solid or perforated. There may be a sparing enrichment of gold, but this is unusual.
After the Tokugawa family had reconstituted Japan’s central government in 1603, the head of the Mōri family became the daimyo, or feudal lord, of Chōshū, the han (fief) that encompassed most of the western Honshu region. Although the Tokugawa tolerated the existence of the Mōri in Chōshū, the two clans remained hostile toward each other. Chōshū warriors played the leading role in the overthrow of the Tokugawa government in 1867, after which Chōshū men dominated the new government until the end of World War II. Nevertheless, throughout the Tokugawa period (1603–1867) the Mōri family indoctrinated their warriors with hatred of the Tokugawa family and respect for the emperor, whose power the Tokugawa usurped. When Chōshū warriors led the fight to overthrow the Tokugawa in 1867, they did so under the banner of restoring power to the emperor.
74mm read more
995.00 GBP
A Beautiful Omori School Tsuba Turbulant Sea With Crashing Waves and A Crane Swooping Over Turtle Below.. Edo Period
The crane and the turtle have a significant position in Japanese folk lore and tradition, as both symbolically represent longevity in Japanese art.
The shibuichi tsuba of marugata shape, with a kozuka and kogai hitsu-ana, the nakago-ana with some suaka sekigane, finely worked takabori and takazogan to depict breaking waves carved in the typical manner of the Omori school with inlaid gold spray drops. Sekigane. Late 18th century, Edo period (1615-1868)
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 closely related shibuichi tsuba with waves {omitting the crane and turtle} by Omori Teruhide is in the Museum of Fine Arts, Boston, accession number 11.5454.
Koryūsai Isoda, woodblock print, of a crane flying over crashing waves.
64mm read more
625.00 GBP
A Beautiful Unokubi Zukuri Blade Samurai Armour Piercing Tanto. Ise-ebi or Kamakuraebi Sayajiri 鞘尻, & Matching Matsushiro Sinano School Kozuka and Kogai. 16th To 17th Century Blade, Original Edo Koshirae, Of Nagano Province
A wonderful earliest Shinto bladed armour piercing tanto, with its unique original Edo period “Matsushiro” koshirae made in Matsuro-han in Shinano (Nagano) province, with a Matsuhiro kamakuraebi lobster tail mount on the end of the deep red urushi lacquer saya, that is overdecorated with black speckling and dragonflies.
Sometimes called "the old man of the sea" because of its bent back, the Japanese lobster (ise-ebi or kamakuraebi) is a symbol of longevity. Here it appears on the saya as a sayajiri but it can also appear in many ways, such as the back of a vest worn for theatrical performances. Kyōgen is a comic form of Japanese theatre performed together with the more serious Noh. Boldly patterned overvests (kataginu) were worn for important kyōgen roles, such as Tarōkaja, the comical servant.
Unokubi (鵜首): Is an uncommon tantō blade style akin to the kanmuri-otoshi, with a back that grows abruptly thinner around the middle of the blade; however, the unokubi zukuri regains its thickness just before the point. There is normally a short, wide groove {hi} extending to the midway point on the blade, this is a most unusual form of unokubi zukuri blade tanto with a short wide hi. It has a copper, habaki, with original Edo period lacquered saya large with lobster form Sayajiri 鞘尻 & a fully matching suite of sinchu and contrasting silver line mounts to the kozuka and kogai of the fine Matsushiro Sinano school, including the tsuba and fuchi kashira. Carved buffalo horn fittings and kurikata. the original Edo urushi lacquer is over decorated with speckles and black dragonflies in flight. The tsuka is also bound in rare, original Edo period micro thin tsuka-ito. Over a fine pair of shakudo menuki of butterflies and a bird combined.
Japan was once known as the “Land of the Dragonfly”, as the Emperor Jimmu is said to have once climbed a mountain in Nara, and looking out over the land, claimed that his country was shaped like two Akitsu, the ancient name for the winged insects, mating.
Dragonflies appeared in great numbers in 1274 and again in 1281, when Kublai Khan sent his Mongol forces to conquer Japan. Both times the samurai repelled the attackers, with the aid of huge typhoons, later titled Kamikaze (the Divine Winds), that welled up, destroying the Mongol ships, saving Japan from invasion. For that reason, dragonflies were seen as bringers of divine victory.
Dragonflies never retreat, they will stop, but will always advance, which was seen as an ideal of the samurai. Further, although the modern Japanese word for dragonfly is Tombo, the old (Pre Meiji era) word for dragonfly was Katchimushi. “Katchi” means “To win”, hence dragonflies were seen as auspicious by the samurai.
Japanese lacquer, or urushi, is a transformative and highly prized material that has been refined for well over 7000 years. The use of natural lacquer, known as urushi, has a 9,000-year history in Japan. Lacquered artifacts dating back to the prehistoric Jomon period (10,000–300 BCE) have been found at various archeological sites throughout Japan.
Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords
Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.
The blade has an amazingly vibrant and active hamon.
It has spent two full weeks in our workshop being conserved and cleaned by hand by our artisans for around 65 hours, returning it to near exactly how it looked 150 years ago. Of course there are slight signs of natural wear and aging on the exterior etc., but it was important to leave this as intact as possible to complete a museum grade conservation. read more
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A Most Fine & Beautiful Koto Period Katana Signed Sukesada of Bizen Dated 1560. With Original & Exceptionally Rare Original Dutch Black-ship 1540’s Imported Leather Bound Tsuka. With Original Japanese Insect Pattern Embossing
Signed Bizen kuni ju Osafune Sukesada. One of the Sukesada, Bizen smiths. A very nice Koto blade, that has seen battle, with fine mounts and, most unusually, a very interestingly, embossed Dutch leather, called goudleer, bound tsuka, with cloisonne enamel menuki. Embossed Dutch leather goudleer was imported to Japan by the Dutch and Portuguese in the 16th century and was highly prized as screens and other decorative works of art. We have also seen, although most rarely, other items decorated with this distinctive Dutch leatherwork such as samurai purses and saya coverings. The embossing on the leather are various insects, highly popular in samurai fittings decor. The fushi tsuka mount is very fine, signed by the maker, and decorated with flowers and gold buds.
Insects in general have been celebrated in Japanese culture for centuries. The Lady Who Loved Insects is a classic story of a caterpillar-collecting lady of the 12th century court; the Tamamushi, or Jewel Beetle Shrine, is a seventh century miniature temple, once shingled with 9,000 iridescent beetle forewings. In old Japanese literature, poems upon insects are to be found by thousands, Daisaburo Okumoto is director of the Fabre Insect Museum. An avid insect collector and a scholar of French literature, he has translated many of Fabre's works. He ascribes the popularity of insects in Japan to national character. It seems like Japanese eyes are like macro lenses and Western eyes are wide-angle, he says. A garden in Versailles, it's very wide and symmetrical. But Japanese gardens are continuous from the room and also very small. We feel calm when we look at small things. The medieval Japanese monk Yoshida Kenko put it this way: “If man were never to fade away like the dews of Adashino, never to vanish like the smoke over Toribeyama, how things would lose their power to move us”
Harima, Mimasaka and Bizen provinces were prospering under the protection of the Akamatsu family. Above all, Bizen province turned out a great many talented swordsmiths. A large number of swords were made there in the late Muromachi period not only supplying the demand of the Age of Provincial Wars in Japan but also as an important exporting item to the Ming dynasty in China. At the onset of the decline of the Ashikaga shogunate in 1565 ad., and Yoshiteru's assassination the shogunate of Yoshiteru was filled by his two-year old son, Yoshiaki. Yoshiteru's brother was the abbot of a Buddhist monastery. He resigned this position and attempted to assume the shogunate. These efforts ultimately failed. The demand for swords began an accent to unimaginable levels. The national unrest and violent civil war did not cease until the successful takeover of the shogunate by Tokugawa Iyeyasu. The "Osafune - Kozori" group was the major supplier of blades for these events. 29 inch blade Tsuba to tip. On just one side of the blade there are combat stress hagire marks near the top section. This blade has certainly seen combat, and is simply ideal for the historical collector of beautiful samurai weaponry of battle, rather than those seeking blade condition perfection. 40 inches long approx overall in saya read more
6450.00 GBP
A Beautiful, Signed Shinto-Shinshinto Samurai Katana. The Stunningly Attractive Blade With Full Length Hi, Fine Iron Plate Tsuba, Gold Dragon Menuki & Higo Fuchi Kashira. The Green Silk Tsuka-Ito & The Nishiji & Black Ribbed Saya is Being Fully Conserved
It will look wonderful once our specialist trained artisan has completed his restoration and conservation of the tsuka and saya. The tsuka has Higo school Edo period iron fuchi kashira, and a very nice pair of gold, dragon with ken menuki, and a fine copper habaki with green silk tsuka-ito over traditional samegawa {giant rayskin}. All of these mounts and ito are being cleaned restored and professionally conserved.
Despite the exterior suffering a little poorly since the late 1800's, the blade has been extremely well protected and looks wonderful, with an elegant and narrow suguha hamon, with just a few, as to be expected minuscule, age and edge marks. The habaki & tsuba are superb too.
An eight-spoke wheel connects the rim to the plate in this Katchushi Tsuba, likely Koto period. The ‘spokes’, which symbolize the ‘eight fold path’, radiate from the plate, of ribbed octagonal rim. The surface has perfect colouration and patina, the quality of iron is very good. The Buddhist Eightfold Path consists of eight practices: right view, right resolve, right speech, right conduct, right livelihood, right effort, right mindfulness, and right samadhi ('meditative absorption or union'; alternatively, unanimous meditative awareness)
Katchushi means armoursmith in Japanese.
So, it is said that the definition of Katchushi-Tsuba is tsuba made by armoursmiths.
The photos show the sword prior to its imminent full exterior conservation and restoration of the lacquer saya and tsuka-ito. read more
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A Superb WW2 Officer's Sword in Type 94 Deluxe Quality Early War Mounts, Made by the Suya Company of Tokyo, & Full Length Hi Blade in Excellent Polish
This is truly and exemplary example of an original, early, WW2 IJA officer's sword, in stunning condition for age, especially the blade that is superbly bright with not a trace of rust or staining on the blade surface at all. The nakago {the hidden tang under the hilt} is surface pitted as usual and totally as to be expected for a sword of this vintage. A collector would have to go a long way to ever see a better surviving example, if at all! A 5 Star plus example, set in its original, and rarest, type 94 koshirae {sword mounts}. An absolute beauty!. The tsuba {sword guard} bears the logo of the Suya Company of Tokyo. They appear to be a private company that provided military fittings, all the fittings are original and just as issued, with the scarce, type 94 four pierced boar's eyes, tsuba. Seppa all serial numbered to match the tsuba.
The blade with full length hi {fuller} is in excellent near mint bright polish, and bears, probably, a small Tokyo 1st army arsenal stamp, and its habaki is very fine quality indeed. The filemarks on the mumei nakago are still visible by around 50%, and are sujikai, a pattern of perpendicular lines going straight from left to right. A nakago-Miri Chestnut End (Kurijiri 栗尻)
The saya has its original wartime military olive green paint. Button scabbard retaining clip still present without catch, {about 80% were removed entirely}, the scabbard {saya} is completely dent free. the tsuka has its original cotton silk hilt binding intact.
Gunto Type 94 mounts;
The “type 94” shin guntō (九四式軍刀, Kyuuyon-shiki guntō) officers sword replaced the western style kyu gunto in 1934. It had a traditionally constructed hilt (tsuka) with ray skin (same) wrapped with traditional silk wrapping (ito). A cherry blossom (a symbol of the Imperial Japanese Army) theme was incorporated into the guard (tsuba), pommels (fuchi and kashira) and ornaments (menuki).
The scabbard (saya) for the Type 94 was made of metal with a wood lining to protect the blade. It was often painted olive green and was suspended from two brass mounts, one of which was removable and only used when in full dress uniform. The fittings on the scabbard were also decorated with cherry blossom designs.
The blades found in “Type 94” shin guntō ranged from modern machine made blades through contemporary traditionally manufactured blade to ancestral blades dating back hundreds of years.
Somewhere around just 1 of 1,000 Japanese Army swords are Type 94's. This sword would make an important addition to any collection. read more
A Most Handsome & Original Fine Chisa Katana Samurai Sword Signed Bishu Osafune Kiyomitsu. (備州長船清光）Koto Period – Muromachi Era. Around 475 years Old
With original Edo period Higo school fuchi kashira an iron plate mon-sukashi tsuba, with good hand made suaka sekigane within the nakago-ana {inserted soft metal copper fillets} and a stunning urushi bright lacquer ribbed and ishime two stage Edo saya, with polished buffalo horn kurigata and sayajiri, and fine blue silk tsuka-ito. The fine blade has a beautiful active notare hamon.
Likely late Muromachi period (1558-1570: Eiroku Era)
Based on the signature on this blade, we believe it was possibly forged by the second-gen Kiyomitsu, who was the son of Goro Zaemon Kiyomitsu. The second-gen Kiyomitsu was active in sword-forging during the Eiroku era(1558-1570: Late Muromachi period). While a few swordsmiths signed as Kiyomitsu during the mid-late Muromachi period, the second-gen Kiyomitsu is one of the most famous ones. Kiyomitsu belonged to Bizen Osafune school.
Those who forged swords in the Bizen province(Okayama prefecture) at the end of the Muromachi Period(1492-1569 A.D) are called Matsu Bizen (Matsu means the end). Kiyomitsu school was one of the most famous schools.
It flourished for generations among Osafune schools(The head branch) under the auspice of the Akamatsu clan. There were various styles forged by the generations of Kiyomitsu during this period.
Bizen is the birthplace of Bizen Den, one of the most famous Japanese sword traditions, along with Yamashiro Den, Soshu Den, Mino Den, and Yamato Den.
The swordsmiths in Bizen produced many swords for feudal lords during the Muromachi period as it was in the middle of the Sengoku period(Warring state period). The demand for blades increased among strong feudal lords. It would be nice to have a piece forged in the warring state period when there was so much rivalry between warlords.
This blade comes with beautiful sword mountings, including the usual tsuba, menuki, and fuchi kashira.
The Muromachi period or Muromachi era (室町時代, Muromachi jidai), also known as the Ashikaga period or Ashikaga era (足利時代, Ashikaga jidai), is a division of Japanese history running from approximately 1336 to 1573. The period marks the governance of the Muromachi or Ashikaga shogunate (Muromachi bakufu or Ashikaga bakufu), which was officially established in 1338 by the first Muromachi shōgun, Ashikaga Takauji, two years after the brief Kenmu Restoration (1333–1336) of imperial rule was brought to a close. The period ended in 1573 when the 15th and last shogun of this line, Ashikaga Yoshiaki, was driven out of the capital in Kyoto by Oda Nobunaga.
From a cultural perspective, the period can be divided into the Kitayama and Higashiyama cultures (later 15th – early 16th centuries).
The early years from 1336 to 1392 of the Muromachi period are known as the Nanboku-chō or Northern and Southern Court period. This period is marked by the continued resistance of the supporters of Emperor Go-Daigo, the emperor behind the Kenmu Restoration. The Sengoku period or Warring States period, which begins in 1465, largely overlaps with the Muromachi period.
The chisa katana was also the shorter long sword of choice for the art of twin sword combat, using two at once in unison, a chisa katana and wakazashi, one in each hand, a form used by the great and legendary samurai Miyamoto Musashi who reportedly killed 60 men before his 30th birthday.
Miyamoto Musashi 1584 – June 13, 1645), also known as Shinmen Takezo, Miyamoto Bennosuke or, by his Buddhist name, Niten Doraku, was an expert Japanese swordsman and ronin. Musashi, as he was often simply known, became renowned through stories of his excellent, and unique double bladed swordsmanship and undefeated record in his 60 duels. He was the founder of the Hyoho Niten Ichi-ryu or Niten-ryu style of swordsmanship and in his final years authored the The Book of Five Rings, a book on strategy, tactics, and philosophy that is still studied today. read more