Japanese

A Superb Antique, Shinto Era, Unokubi (鵜首) Zukuri Blade Tantō, Late 16th To Early 17th Century, from the Battle of Sekigahara, Shinjitai: 関ヶ原の戦い; Kyūjitai: 關ヶ原の戰い With, Signed Kaboku, 'Nakago Form' Kozuka Side Knife With Imperial Chrysanthemum Mon

A really nice and rare form of samurai tanto fitted with all its original Edo period koshirae Including a superb stunning urushi lacquer 'pine needle' decor saya with buffalo horn fittings, {kurigata, sayajiri}. Iron tetsu tsuba, signed, and decorated with a dragon in the foreground with mountains under clouds at the rear. Patinated copper fuchi of flowers, and a pair of iron rectagular menuki inlaid with flowers, underneath the rich brown coloured silk tsukaito {binding}. The silver inlay in the menuki is now blacked with age and very difficult to see. Made from around the era of the Battle of Sekigahara, Shinjitai: 関ヶ原の戦い; Kyūjitai: 關ヶ原の戰い

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 without a hi. It has a beautiful habaki, set in its original Edo period pine needle uriushi lacquered saya.The blade is absolutely beautiful.

A Very Nice Edo Period Shinto Era 'Nakago Form' Kodzuka Iron body inlaid with copper , with the signature kanji of Kaboku, 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. 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 Battle of Sekigahara (Shinjitai: 関ヶ原の戦い; Kyūjitai: 關ヶ原の戰い,Sekigahara no Tatakai) was a decisive battle on October 21, 1600 (Keichō 5, 15th day of the 9th month) in what is now Gifu Prefecture, Japan, at the end of the Sengoku period. This battle was fought by the forces of Tokugawa Ieyasu against a coalition of Toyotomi loyalist clans under Ishida Mitsunari, several of which defected before or during the battle, leading to a Tokugawa victory. The Battle of Sekigahara was the largest battle of Japanese feudal history and is often regarded as the most important. Mitsunari's defeat led to the establishment of the Tokugawa shogunate.

Tokugawa Ieyasu took three more years to consolidate his position of power over the Toyotomi clan and the various daimyō, but the Battle of Sekigahara is widely considered to be the unofficial beginning of the Tokugawa shogunate, which ruled Japan for another two and a half centuries

A tanto would most often be worn by Samurai, and it was very uncommon to come across a non samurai with a tanto. It was not only men who carried these daggers, women would on occasions carry a small tanto called a kaiken in their obi which would be used for self-defence. In feudal Japan a tanto would occasionally be worn by Samurai in place of the wakizashi in a combination called the daisho, which roughly translates as big-little, in reference to the big Samurai Sword (Katana) and the small dagger (tanto). Before the rise of the katana it was more common for a Samurai to carry a tachi and tanto combination as opposed to a katana and wakizashi.
The lacquer saya has 'pine needle' decor, a highly complex design of pine needles laid upon black lacquer, in a seemingly random pattern, but in reality each pine needle was strategically placed upon them, one at a time, to give the impression they fell naturally upon the ground, from above, from a pine tree. The surface was then lacquered in clear transparent urushi lacquer to create a uniform smooth surface. in the Edo period it would take anything around a year or more to create a samurai sword saya, as the lacquer coating would be anything up to 12 coats deep, and each would take a month to dry as they were made using on natural materials, not modern quick drying synthetic cellulose lacquers as used today.

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.

Some provinces of Japan were famous for their contribution to this 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!

The kozuka is signed Koboku, he was a master swordsmith and surgeon to his lord of Mito, and an extraordinarily eccentric character. He studied medicine under Tsunoda Kyuho, and he seems to have started forging swords at an early age. According to legend because he had taken up the study of western medicine and he was not satisfied with the scalpels that were available, so endeavoured to make his own. He left the employ of the Mito family in January of 1699, Genroku 12. Some say because he did not get along with his immediate superior the Karo, Nakayama Bizen no Kami, others that his peculiar behavior and egotistical manner was offending too many people and this reached the ears of the lord. House records from 1698, record that his health was failing and it was decided that he be “retired” to Mito. Perhaps he did not wish to leave Edo and be confined to Mito. Whatever the reason the house record notes that he officially asked to resign and left to devote himself to his religious studies on that date.
Five years later found him in the far north living in Oshu Nihonmatsu where one night he stood naked in his garden where he was confronted by an assassin. To this day no one knows who the man was nor why he might have been sent to kill Kaboku but his intent was clear enough. Without hesitation Kaboku, who held a mokuroku in Shibukawa-ryu Jujutsu, charged as his attacker charged him. He grabbed his left wrist with his right hand and used his own left arm to block the cut that was descending toward his head. Still clutching his severed left hand in his right he closed with his attacker and thrust the jagged bone into the mans mouth, here he fell upon him and smothered him with the bloody relic.
Kaboku then went back into his home, perhaps something the assassin had said struck him, perhaps he understood from his own wounds that he would not survive, it is not clear why but using only the right hand he drew out a tanto and took his own life. A strange end for one of the sword worlds strangest characters.

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: 25707

A Beautiful, Signed Samurai Long 17th Century Katana With Very Fine Edo Period Mounts Including Fabulous Quality Hand Chisselled Silver Fuchi Kashira of Takebori Turbulent Seas and Sea Shells. Signed Hisamichi

The sword has just returned from our Japanese, trained polisher, for a final hand conservation and it look simply fabulous.

Its fabulous munuki are bound underneath the micro woven plaited tsuka-ito hilt binding, depict takebori gold and shakudo Mount Fuji, and a man running in the waves that are before Mount Fuji. The saya is black urushi lacquer with a carved buffalo horn kurigata and brown sageo wrap. The blade shows a beautiful notare based on suguha hamon, with fine hada. The nakago is signed and bears the signature, Omi no Kami Hisamichi, but not, or very unlikey to be one of the four Mashina school masters, also named Hisamichi.

Very fine signed iron plate hira-kaku-gata tsuba, but when mounted, the tsuba seppa-dai is covered by seppa (metal spacers) and the signature (mei) is not visible as usual. With a mimi {a prominant rim} and a kozuka hitsu-ana, and kogai hitsu ana, and very scarcely seen, twin holes near the rim at the bottom of the tsuba called ude-nuki ana. These represent the sun and moon and were likely used for threading a leather wrist thong to prevent dropping the sword in battle on horseback, and to tie the tsuka to the saya.

The name katana derives from two old Japanese written characters or symbols: kata, meaning side, and na, or edge. Thus a katana is a single-edged sword that has had few rivals in the annals of war, either in the East or the West. Because the sword was the main battle weapon of Japan's knightly man-at-arms (although spears and bows were also carried), an entire martial art grew up around learning how to use it. This was kenjutsu, the art of sword fighting, or kendo in its modern, non-warlike incarnation. The importance of studying kenjutsu and the other martial arts such as kyujutsu, the art of the bow, was so critical to the samurai a very real matter of life or death that Miyamoto Musashi, most renowned of all swordsmen, warned in his classic The Book of Five Rings: The science of martial arts for warriors requires construction of various weapons and understanding the properties of the weapons. A member of a warrior family who does not learn to use weapons and understand the specific advantages of each weapon would seem to be somewhat uncultivated. European knights and Japanese samurai have some interesting similarities. Both groups rode horses and wore armour. Both came from a wealthy upper class. And both were trained to follow strict codes of moral behaviour. In Europe, these ideals were called chivalry; the samurai code was called Bushido, "the way of the warrior." The rules of chivalry and Bushido both emphasize honour, self-control, loyalty, bravery, and military training.

Samurai have been describes as "the most strictly trained human instruments of war to have existed." They were expected to be proficient in the martial arts of aikido and kendo as well as swordsmanship and archery---the traditional methods of samurai warfare---which were viewed not so much as skills but as art forms that flowed from natural forces that harmonized with nature.
Some samurai, it has been claimed, didn't become a full-fledged samurai until he wandered around the countryside as begging pilgrim for a couple of years to learn humility. When this was completed they achieved samurai status and receives a salary from his daimyo paid from taxes (usually rice) raised from the local populace.

Blade 28.3 inches long, tsuba to tip.  read more

Code: 25301

A Most Attractive 500 Plus Year Old Samurai Battle Katana With All Original Edo Mounts,

Shibui mounted in all its original Edo period mounts and saya. Higo iron fushigashira mounts, decorated with takebori gold aoi leaves. Tetsu round tsuba with pierced kozuka and [gilt copper filled] kogai hitsu-ana. The original Edo saya lacquer is simply beautiful, in two shades of black with an intricate fine rainfall pattern within the design. The menuki under the Edo silk binding, are patinated takebori flowers with pure gold highlights. The blade has a beautiful undulating hamon pattern of considerable depth.
Shibui is a term that effectively translates to ‘quiet’ , it is a reference to a sword that has a relatively subdued look as it concentrates on high quality yet subtle elegance, as it is a sword entirely concentrating on combat and less on flamboyant display. Of course all samurai swords were designed for combat, often despite being mounted as works of art, often with fantastic quality fittings worthy of Italian Renaissance jewels, such as the European equivalent work by the Italian master Cellini, but they would be for samurai eager to display their status in the elite hierarchy of the samurai class, such as daimyo. The swords mounted shibui were for the samurai of far more serious nature, dedicated to their more basic standards of bushido, the art of the ultimate warrior, with little or no interest in displays of rank. A samurai of the highest skill but preferring the anonymity of almost being invisible to unwanted attention.

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] exanding 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 and was also a painting master. Members of a hierarchal class or caste, samurai were the sons of samurai and they were taught from an early age to unquestionably obey their mother, father and daimyo. When they grew older they may be trained by Zen Buddhist masters in meditation and the Zen concepts of impermanence and harmony with nature. The were also taught about painting, calligraphy, nature poetry, mythological literature, flower arranging, and the tea ceremony. 40 inches long overall. 28.5 inch long blade, from tsuba to tip., The blade is in super condition for its age, with just a few wear marks, and pit marks on the mune back edge near the boshi. The saya lacquer has some natural age craking at the base  read more

Code: 24217

A Ko Wakizashi, or Long Sunobi Tanto, Signed Blade Shinto Period Circa 1650

All original Edo mounts and a most fine and elegant blade with notare based on suguha hamon, signed, possibly Norishige, but the kanji are somewhat difficult to interpret, 15.5 inch blade measured from tsuba to tip.

Suite of matching koshirae mounts in tetsu with the tsuba gold inlaid with a stylized dragon and clouds, similary in laid in the sayajiri and saya band inlaid, with a black stippled erushi lacquer, and a carved wood tsuka. The kozuka is a takebori dragon on the plain tetsu ground, the blade is carved wood. The blade has a fine silver foiled habaki engraved with oblique raindrop pattern.

Sunobi Tanto
The Tanto that varied from the traditional size were called Sunobi-Tanto or O-Tanto. These were larger versions of the Tanto which featured blades usually measuring between 13 to 14 inches long. It was close to the size of the Ko-Wakizashi, which is a shorter version of the Wakizashi. However as this blade is even longer that the usual 14 inches, that is why it can be considered as a transitional weapon that has a foot in both camps so to speak. Because of its often small size, the Samurai warriors were able to conceal the Tanto in their clothing. It was also the Shoto or small sword in the Daisho and was paired with the Tachi. This was before the Samurai chose to use the Wakizashi over the Tanto as an auxiliary sword.
The Wakizashi was a Samurai warrior’s backup weapon that was used for close-quarter battles. Aside from this, the sword was a Samurai warrior’s tool for beheading a defeated opponent. It was sometimes used for committing Seppuku, a ritualistic suicide.

In addition, the Wakizashi was one of the few short swords available to the Samurai warrior. Another sword they might use was called a Chisa Katana, effectively a short Katana perfect for use within buildings castles etc. and the prerogative of the personal full time bodyguard of a Daimyo lord, who were the usually the only samurai permitted to be armed in his presence day and night.

Because the sword was the main battle weapon of Japan's knightly man-at-arms (although spears and bows were also carried), an entire martial art grew up around learning how to use it. This was kenjutsu, the art of sword fighting, or kendo in its modern, non-warlike incarnation. The importance of studying kenjutsu and the other martial arts such as kyujutsu, the art of the bow, was so critical to the samurai a very real matter of life or death that Miyamoto Musashi, most renowned of all swordsmen, warned in his classic The Book of Five Rings: The science of martial arts for warriors requires construction of various weapons and understanding the properties of the weapons. A member of a warrior family who does not learn to use weapons and understand the specific advantages of each weapon would seem to be somewhat uncultivated. European knights and Japanese samurai have some interesting similarities. Both groups rode horses and wore armour. Both came from a wealthy upper class. And both were trained to follow strict codes of moral behaviour. In Europe, these ideals were called chivalry; the samurai code was called Bushido, "the way of the warrior." The rules of chivalry and Bushido both emphasize honour, self-control, loyalty, bravery, and military training  read more

Code: 24350

A Most Impressive and Beautiful Wakizashi Circa 1580 with Representations of the Two of the Japanese Seven Lucky Gods

Signed Izumi kami Kanesada original edo period fittings and saya. The saya has a light application of crushed abilone shell and pockets for the kodzuka and kogai. The fushigashira are iron inlaid with tendrils in gold and silver, with dragon menuki in patinated copper, a circular tsuba with kodzuka ana and kogai ana. the kodzuka has decor of takebori war fans, two open and one closed. the blade is signed. The kogai has has a takebori sinchu scroll and staff of Jurojin, and the blade is superb with a nice suguha hamon and a gold covered habaki with engraved raindrop pattern. The saya has a pair of very fine quality matching fittings, both gold and shakudo, a kurigata engraved with Hotei and the sayajiri, with engraved Jurojin. In Japan, Hotei and Jurojin are two of the Seven Gods of Fortune or Shichifukujin, according to Taoist beliefs.Jurojin is the god of longevity. Jurojin originated from the Chinese Taoist god, the Old Man of the South Pole. He is known as the immortal of the Northern Song dynasty (960–1127), and may have been a historical figure of the period. Jurojin is identified as the personification of the Southern Polar Star. While paintings and statues of Jurojin are considered auspicious, he never developed a following independent of the other deities Seven Gods of Fortune.

Jurojin is often identified with Fukurokuju, another of the Several Gods of Fortune. In some accounts, the two are said to inhabit the same body. As such, the two are often confused.

Jurojin walks with a staff and a fan. He is depicted as an old man of slight stature, and by tradition, less than 3 shaku (approximately 90 centimetres (35 in) He is depicted with a long white beard and often a very tall, bald head. He has a scroll tied to his staff, on which is written the lifespan of all living things. The scroll is sometimes identified as a Buddhist sutra. The deer, a symbol of longevity, usually (but not always) accompanies him as a messenger, as do other long-lived animals such as the crane and the tortoise. Hotei is the god of fortune, guardian of children, patron of diviners and barmen, and also the god of popularity. He is depicted as a fat, smiling, bald man with a curly moustache. He always appears half-naked, as his clothes are not wide enough to cover his enormous belly. He blessed the Chinese, and they nicknamed him "Cho-Tei-Shi" or "Ho-Tei-Shi", which means ‘bag of old clothes’.

Hotei was a Zen priest, but his appearance and some of his actions were against their moral code: his appearance made him look like quite a mischievous person and he had no fixed place to sleep.

He carries a bag on his shoulders which is loaded with fortunes for those who believe in his virtues. Hotei's traits and virtue are contentment, magnanimous and happiness.

Hotei's original Chinese name was Kaishi, and according to legend, he died in March 916.

The Japanese began to believe in Hotei during the Edo era. The reason why the Japanese have such great respect for this god comes from a legend that says that, before the Zen Buddhism arrived to Japan, an alternative Buddhist thought was extended by a priest of dubious aesthetic, who actually was a manifestation of Miroku. Miroku was the patron of those who could not be saved by the beliefs of Buddha, and Hotei was later perceived and accepted by the Japanese as a second Miroku.A Good Edo Period Noda Maru Gata Oval Iron Wakazashi Tsuba
With a simulated stone finish surface. The Tsuba can be solid, semi pierced of fully pierced, with an overall perforated design, but it always a central opening which narrows at its peak for the blade to fit within. It often can have openings for the kozuka and kogai to pass through, and these openings can also often be filled with metal to seal them closed. For the Samurai, it also functioned as an article of distinction, as his sole personal ornament. Tsuba are usually finely decorated, and are highly desirable collectors' items in their own right. Tsuba were made by whole dynasties of craftsmen whose only craft was making tsuba.  read more

Code: 23932

A Stunning True Art Sword. A Spectacular & Immensely. Beautiful Museum Grade Cloisonne Enamel Samurai's Suzaku Phoenix Tachi With A Signed Shinto Blade By Bizen Kuniyoshi. Bearing the Paulownia Mon of the Imperial Court

A true and iconic example of a stunning samurai art sword. A magnificent collision of beauty and utility. It does not fail to attract admiration and awe from all that see it, even those that have little or no interest at all in original fine antique weaponry, would agree that this is simply a remarkable example of the finest and intricate craftsmanship to be seen in the world. Enamel work comparable to such as a piece of sublime object d’art by the genius Romanov Family Imperial Court jeweller Carl Faberge himself. This is only the second such very rare cloissonne enamel 'Suzaku Phoenix' tachi we have seen and had the privilege to offer in around five years. Interestingly that one was used by a Daimyo of the court of the Shogun Tokugawa, and bore his aoi mon.

Such wondrous pieces, in near perfect condition, are incredibly rare, however, being one of the world's leading Japanese art sword dealers, we do manage to find such glorious swords on occasion. For us though, the exceptional is incredibly important, so we actively seek not the 'run of the mill', which certainly takes considerably more time and effort, but we firmly believe {and so do thousands of our regulars}, it to be well worth it.

Suzaku is one of the four, Japanese, 'Great Celestial Beasts'. Suzaku translates to "Vermillion Chinese Phoenix". Cloisonne enamel mounted ancient bladed swords were often fabulous cultural presentation pieces, offered to great samurai and nobles as a symbol of their status and importance within the Japanese samurai nobility class hierarchy. This sword bears the imperial court paulownia crest upon the tachi's saya hangers, that was granted to individuals and families by the imperial court as a mark of honour and distinction. It symbolizes high status, nobility, and honour. The fabulous Japanese cloisonne koshirae fittings and mounts may well have been designed by Namikawa Yasuyuki, who was 'Teishitsu Gigei’, an Imperial Craftsman to the court of the Emperor Meiji. He decorated his later pieces with areas of semi-transparent mirror black enamel ground, such as this fabulous piece displays, that became a hallmark of most of Yasuyuki’s finest later work. Overall decorated with the incredible and fantastically detailed, magnificent, mythological phoenix.

Although Chinese cloisonné enamels had long been highly valued it was not until the late sixteenth century that cloisonné enamels became more widely used in Japan.There had long been a demand among the samurai for fine decoration of sword fittings and cloisonné enamels were used on tsuba (sword guards). The finest of these were made by the Hirata School, founded by Hirata Dōnin (died 1646) which was active well into the nineteenth century. A former samurai and one of the greatest artisans of the art was the cloisonné artist Namikawa Yasuyuki. Yasuyuki began his career around 1868 and worked with the Kyoto Cloisonné Company from 1871 to 1874.

He established his own studio and exhibited his work at national and international expositions. The most significant result of the collaboration of Wagener and Yasuyuki was the creation of the semi-transparent mirror black enamel that became the hallmark of most of Yasuyuki’s subsequent work.

Yasuyuki’s cloisonné enamels are characterised by the skilful use of intricate wirework and superb attention to detail and the designs on his earlier pieces are relatively traditional, consisting mainly of stylised botanical and formal geometric motifs. Much of his later work tends to be more pictorial with scenes from nature and views of landmarks in and around Kyoto.

Yasuyuki continued to improve his technical and artistic skills and in 1896 he was appointed Teishitsu Gigei’ in (Imperial Craftsman) to the court of the Emperor Meiji.The four celestial beasts, Seiryu the dragon , Suzaku pheonix, Byakko white tiger, and Genbu tortoise were probably introduced to Japan from China sometime in the 7th century AD, for their images are found on the tomb walls at Takamatsuzuka in Nara, which was built sometime in the Asuka period (600 - 710 AD). They are also found on the base of the Yakushi Triad at Yakushi-ji Temple , also in Nara. In Japan, the term “Suzaku” is translated as “Red Bird” or “Vermillion Chinese Phoenix.” In both Japan and China, the symbolism of the red bird seems nearly identical to or merged with that of the mythological Phoenix. One must consider the Suzaku and the Phoenix to be the same magical creature, although one cannot be certain if this is entirely true. Scholar Derek Walters says the Phoenix was supplanted or replaced by the Red Bird, for the Red Bird more accurately reflected the astronomical iconography associated with the southern lunar mansions.

It corresponds to summer, red, fire, and knowledge; it makes small seeds grow into giant trees. Often paired with the dragon, for the two represent both conflict and wedded bliss; dragon (emperor) and phoenix (empress). Portrayed with radiant feathers, and an enchanting song; and it only appears in times of good fortune. Within the ancient Imperial Palace in Japan, there was a gate known as Suzakumon (Red Bird Gate) Pairs of vases from these Meiji period Japanese cloisonne enamel workshops can now command prices into six figures. All of the fittings are in superb condition, damage free, the blade is in beautiful polish for its age age.Overall 27.5 inches long, blade 18.75 inches long

It is important to bear in mind, that due to the revered status that Japanese swords achieve for most of their working lives in Japan, that the condition they survive in can be simply remarkable. The size of this tachi is around the size, overall, of a chisa katana, or o wakazashi.

A photo of the signature on the nakago will be added tomorrow.

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: 23683

Stunning,1600's 'Senshu Banzai' Antique Edo Samurai Katana With Signed Blade, Kashu ju Darani Tachibana Katsukuni Saku, Katsukuni of the Tachibana Clan, the Darani School of Smiths, Made This {Sword} in Kashu Province, Incredible Hamon of Sanbon-Sugi

Beautifully mounted in original Edo mounts of iron fuchi kashira of silver birds in reeds, a pair of takebori crab menuki, with a fine iron tsuba decorated with takebori prunus blossom in silver, upon their branches. Finest blue tsukaito binding, and a beautiful black lacquer saya carved buffalo horn kurigata and dark brown sageo.
Signed blade,
加州住陀羅尼橘勝國作
Kashu ju Darani tachibana Katsukuni saku.
The Darani school, was geographically located in the Kaga domain, and its aim was following the Mino forging style. The sword's smith, likely the third generation, of the 1600’s, was a member, and made for, the Tachibana clan of Kashu {Kaga} province.

Engraved upon the ura with mei Senshu Banzai, which means ‘celebrate long life’, it may be for the samurai for whom it was made, or possibly to whom it was presented. A most unusual engraved Mei blessing to see chisseled upon a blade nakago

The Tachibana clan
Home province Chikuzen
Parent house Ōtomo clan
Founder Tachibana Sadatoshi (Ōtomo Sadatoshi)
Founding year 14th century
The Tachibana clan (立花氏) was a Japanese clan of daimyō (feudal lords) during Japan's Sengoku and Edo periods. Originally based in Tachibana castle in Kyūshū, the family's holdings were moved to the Yanagawa Domain in the far north-east of Honshū in the Edo period.

Darani Katsukuni swords are rated on the Wazamono list in the Kokon Kajibiko (古今鍛冶備考) of 1830 and later additions, as
Yoki Wazamono (良業物), {Ryo Wazamono } "Very good." Swords that cut through the torso 5-7 out of 10 times.
Edo period 1597 to 1863
The head of Darani school - Katsukuni 勝国 followed Mino technique and made to emulate Sanbon-sugi hamon {three cedar pattern} of Kanemoto

Wazamono is a classification of Japanese swords and swordsmiths used in Japan to identify historic blades of exceptional quality. According to the first edition of Kaiho Kenjaku (懐宝剣尺) published in 1797, There are 163 Wazamono swords in total, grouped into four categories based on their quality. This rating is based on a book compiled by Yamada Asaemon V (山田浅右衛門吉睦), an official sword cutting ability examiner and executioner of the Tokugawa shogunate, and is an authoritative index of cutting ability of Japanese swords. The list of ratings concerning swordsmithing differs between Kaiho Kenjaku (懐宝剣尺) published in 1797 and the reprinted edition published in 1805, and the major revised edition of Kokon Kajibiko (古今鍛冶備考) published in 1830. Adding to the number of sword smiths in each edition: Saijo Ō Wazamono 15, Ō Wazamono 21, Yoki Wazamono 58, Wazamono 93, lower 3 grade mixed 65. In the original list of 1797 Twelve swords are classified as Saijō Ō Wazamono (Supreme Grade), twenty-one swords are classified as Ō Wazamono (Excellent), fifty swords are classified as Yoki (Ryō) Wazamono (Very Good), and eighty swords are classified as Wazamono (Good).

There was a most famous sword of the Tachibana it was named Raikiri: The Lightning Cutter, or Thunder Cutter.

Raikiri, also known as the Lightning Cutter, holds a place of honour within the annals of Japanese sword lore. Its story intertwines with the remarkable warrior Bekki Dōsetsu, the first head of the Tachibana family.
Originally, Raikiri began its existence as a long tachi sword named “Chidori.”
One fateful day, as Dōsetsu rested beneath a grand tree, a thunderbolt struck nearby. Swift as lightning, he drew his sword, Chidori, and slashed at the electrifying force.
The blade’s swift and decisive cut earned it a new name: Raikiri, signifying the lightning’s cleaving power.
Dōsetsu, father of the renowned Tachibana Ginchiyo, wielded Raikiri with unmatched skill. His valour and connection to the supernatural elevated the sword’s status.
Raikiri became a symbol of courage, a blade that could slice through not only flesh but also the very elements.

The katana was such a crucial part of a samurai's life that when a young warrior was on the verge of entering this world, the sword he would use as a protector was brought into the delivery room as if to greet the young one. And, when a weathered, old veteran warrior was on his deathbed, ready to cross over into the White Jade Pavilion of the afterlife, his katana was placed at his side, as if to protect him one last time. 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 exanding 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 synthesized in feudal Japan and later became a key feature of Japanese culture and morality.The quintessential samurai was Miyamoto Musashi, a legendary early Edo-period swordsman who reportedly killed 60 men before his 30th birthday and was also a painting master. Members of a hierarchal class or caste, samurai were the sons of samurai and they were taught from an early age to unquestionably obey their mother, father and daimyo. When they grew older they were trained by Zen Buddhist masters in meditation and the Zen concepts of impermanence and harmony with nature. The were also taught about painting, calligraphy, nature poetry, mythological literature, flower arranging, and the tea ceremony.

As part of their military training, it was said, that samurai were taught to sleep with their right arm underneath them so if they were attacked in the middle of the night and their the left arm was cut off the could still fight with their right arm. Samurai that tossed and turned at night were cured of the habit by having two knives placed on either side of their pillow. It seems somewhat extreme, but not entirely impossible.

Samurai have been describes as "the most strictly trained human instruments of war to have existed." They were expected to be proficient in the martial arts of aikido and kendo as well as swordsmanship and archery---the traditional methods of samurai warfare---which were viewed not so much as skills but as art forms that flowed from natural forces that harmonized with nature.
An individual didn't become a full-fledged samurai until he wandered around the countryside as begging pilgrim for a couple of years to learn humility. When this was completed they achieved samurai status and receives a salary from his daimyo paid from taxes (usually rice) raised from the local populace. Swords in Japan have long been symbols of power and honour and seen as works of art. Often times swordsmiths were more famous than the people who used them.

Antique Japanese woodblock prints in the gallery {not included} of Tachibana clan armour and Tachibana Masashige  read more

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