Japanese

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

Code: 25268

An Edo Period, 1603 -1867 Tanto Tsuba, Tetsu With Silver Inlaid Rim

A charming tsuba with traces of silver inlays around the entire rim. Probably made around 1680.
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 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.
46mm

 read more

Code: 24234

A Simply Magnificent 17th Century Samurai Katana with Signed Soten Gold and Shakudo Mounts. A Spectacular Museum Grade Katana

This is a most stunning high ranking samurai's sword. Made and used at the beginning of the great Japanese Edo period. The blade has a wondrous hamon, shown in all it's beauty. All of the fittings are very fine and the overall effect is simply wonderful. A singularly fine museum quality quality katana, with a full suite of, original, Edo period, signed Soten, gold and patinated copper fittings. This is truly a sword of great beauty, worthy of any top ranked collection of the most beautiful swords of the Japanese samurai.
The saya is original Edo period in black urushi in a two section design, with a partially deeply ribbed lacquer top section.

A revolution took place in the centuries from the time of the Kamakura shogunate, which coexisted with the Tenno's court, to the Tokugawa, when the bushi became the unchallenged rulers in what historian Edwin O. Reischauer called a "centralized feudal" form of government. Instrumental in the rise of the new bakufu was Tokugawa Ieyasu, the main beneficiary of the achievements of Oda Nobunaga and Toyotomi Hideyoshi. Already powerful, Ieyasu profited by his transfer to the rich Kanto area. He maintained 2.5 million koku of land, new headquarters at Edo, a strategically situated castle town (the future Tokyo), and also had an additional two million koku of land and thirty-eight vassals under his control. After Hideyoshi's death, Ieyasu moved quickly to seize control from the Toyotomi family.

Ieyasu's victory over the western daimyo at the Battle of Sekigahara (October 21, 1600, or in the Japanese calendar on the 15th day of the ninth month of the fifth year of the Keichi era) gave him virtual control of all Japan. He rapidly abolished numerous enemy daimyo houses, reduced others, such as that of the Toyotomi, and redistributed the spoils of war to his family and allies. Ieyasu still failed to achieve complete control of the western daimyo, but his assumption of the title of shogun helped consolidate the alliance system. After further strengthening his power base, Ieyasu installed his son Hidetada (1579?1632) as shogun and himself as retired shogun in 1605. The Toyotomi were still a significant threat, and Ieyasu devoted the next decade to their eradication. In 1615, the Tokugawa army destroyed the Toyotomi stronghold at Osaka.

The Tokugawa (or Edo) period brought 250 years of stability to Japan. The political system evolved into what historians call bakuhan, a combination of the terms bakufu and han (domains) to describe the government and society of the period. In the bakuhan, the shogun had national authority and the daimyo had regional authority. This represented a new unity in the feudal structure, which featured an increasingly large bureaucracy to administer the mixture of centralized and decentralized authorities. The Tokugawa became more powerful during their first century of rule: land redistribution gave them nearly seven million koku, control of the most important cities, and a land assessment system reaping great revenues. As Japan entered the more peaceful Edo Period (1603-1868), tsuba and sword fittings became increasingly elaborate and decorative in design and function, and their manufacture became highly specialised and technically advanced. Different schools of makers developed their own styles, often influenced by the culture and environment of the region, and the role of the tsuba and mounts extended to become an elaborate piece of art. Subjects for decoration included Japanese mythology, history and nature. Since the 16th century, it was customary for the guard and mounts to feature the signature of the maker. The katana's saya has a few small Edo period contact marks throughout. It could be re-lacqured to as new condition if it was required by its new owner or left original as is. Valued for their excellence in design and execution, sword fittings today exist as refined pieces of art, and although now only used for state occasions and consecrations, the Japanese sword and its fittings remain a symbol of authority and reminder of Japan's powerful, and at times tumultuous, samurai past.

There are many reasons why people enjoy collecting swords. Some people are drawn to the beauty and craftsmanship of swords, while others appreciate their historical and cultural significance. Swords can also be a symbol of power and strength, and some collectors find enjoyment in the challenge of acquiring rare or valuable swords.

One of the greatest joys of sword collecting is the opportunity to learn about the history and culture of different civilisations. Swords have been used by warriors for millennia, and each culture has developed its own unique sword designs and traditions. By studying swords, collectors can gain a deeper understanding of the people who made and used them.

Another joy of sword collecting is the sheer variety of swords that are available. There are swords in our gallery from all over the world and from every period of history. Collectors can choose to specialize in a particular type of sword, such as Japanese katanas or medieval longswords, or they can collect a variety of swords from different cultures and time periods. No matter what your reasons for collecting swords, it is a hobby that can provide many years of enjoyment. Swords are beautiful, fascinating, and historically significant objects

As once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords

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 trading


Blade 30.3 inches long tip to tsuba, sword length 40 inches out of saya. 41 inches long overall. saya has all its original Edo lacquer finish with just a few natural age surface blemishes as to be expected.  read more

Code: 22994

A Marvelous Museum Quality Samurai Tanto, 15th Century, Signed Sukesada, A Famous Line of Exemplary Master Swordsmiths That Continued From the 1400’s To The End of The Tokugawa Shogunate. This Wonderful Tanto is Around 600 Years Old

The great line of smiths that started in the 15th century when this sword was made, and continued until the end of the Tokugawa Shogunate in the 1860’s. {Tanto, despite being referred to as samurai daggers, are always traditionally regarded as ‘swords’, irrespective of length.}

This is truly a wondrous ancient armour piercing bladed samurai tanto from the mid 1400's, is signed Sukesada, and the beautiful hamon is very clear to see, and is an undulating gunome. Complete with all original Edo period fittings, tsukaito and saya.
The saya is of lobster scale ribbed roiro urushi lacquer, with matte lacquer at the bottom section of the saya.

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 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 fuchigashira mounts are fabulous quality, of multi coloured shakudo and silver decorated over a hand punched nanako ground with carved takebori inro, with pellets of inlaid coral representing the inro's himo mounted ojimi. An inrō (印籠, lit., "pillbox") is a traditional Japanese case for holding small objects, suspended from the samurai's obi worn around the waist when wearing kimono. They are often highly decorated, in a variety of materials and techniques, often using lacquer. The tsuba is a takebori carved with flower petals in incredible detail. The menuki are gold recumbant water buffalo. The tanto was designed primarily as a stabbing weapon, but the edge can be used for slashing as well. Tanto are generally forged in hira-zukuri style (without ridgeline), meaning that their sides have no ridge line and are nearly flat, unlike the shinogi-zukuri structure of a katana. Some tanto have particularly thick cross-sections for armour-piercing duty, and are called yoroi toshi. The tantos primary use was a type of stabbing weapon, however, the blade could also be used for slashing as well. Some tanto were forged with a particularly thick cross section which was thought to aid in piercing the armour of enemies, this type of dagger would be called a yoroi toshi.

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.

As once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords

Overall 13.5 inches long overall, 9.25 inch blade  read more

Code: 23245

.An Ancient Samurai Nambokochu Era Hira Zukuri Ancient Tanto Circa 1390. Stunning Polished Giant Rayskin {Kairagi-Gawa} Saya. Twin Clan Mon of Nakui Kagetaka of Triple Pawlonia Leaves Interspersed With Three Ken Swords.

This most ancient original short sword has a simply stunning and superb quality, original, Edo period, polished giant kairagi ray skin saya, "Kairagi" means "Ume Blossom Skin".When you polish the skin, Ume Blossom patterns will appear.
Kairagi-same is very rare. In simply fabulous condition, with a kogai pocket containing its highest grade and quality shakudo kogai, with a shakudo clan mon onlaid, of Nakui Kagetaka.

Kagetaka was born the eldest son of Nukui Tsugumune in Noto Province. Kagetaka's grandfather, Nukui Fusasada, had risen to be the most influential member of the Hatakeyama clan. In a bid to reclaim power, Fusasada was killed in 1555 by Hatakeyama Yoshitsuna. In response, the Nukui clan rose in an unsuccessful revolt, leading to Kagetaka fleeing to Kaga Province for safety. He remained in Kaga until 1566, when Yoshitsuna was subsequently cast out by other clan retainers, clearing the way for Kagetaka to return back to the Hatakeyama.

Within a few years, the much larger Oda and Uesugi clans began competing for control over the lands that Kagetaka called home. Chō Tsugutsura used this escalating conflict to attack Kagetaka and his allies, driving him into allaince with the Uesugi. Tsugutsura in turn called for aid from the Oda, but was isolated because the Oda were bogged down by their own inconvenient insurrection (Matsunaga Hisahide chose that moment to declare his own rebellion). By 1577, the main army of Uesugi Kenshin invaded Nanao Castle, with Kagetaka secretly aiding Kenshin by collaborating with Yusa Tsugumitsu to murder Chō Tsugutsura and the rest of the Chō clan.

While Nukui Kagetaka failed to kill Tsugutsura, he did manage to retake Nanao castle. Kagetaka maintianed this control until Kenshin died in 1578. With Kenshin gone, the Oda moved in and placed Nanao castle under seige. Kagetaka chose to abandon the castle to the Oda and Tsugursura, seeking shelyer with the Uesugi. In 1582, Kagetaka joined Uesugi Kagekatsu on campaign to retake Noto, but he was killed in battle against Sakuma Morimasa and Maeda Toshiie during the Arayama War.


The kogai or sword needle, was a samurai's hairdressing tool. The main parts of the kogai are the grip section called do (胴), the needle itself called sao (棹 or 竿) and the little scoop at the back of the grip called mimikaki (耳掻). The saya is polished samegawa, that is then termed Kairagi-Gawa that is transformed giant ray skin, as samegawa, was, at the time of the samurai, some one of the most expensive and highly prized forms of decoration, effectively super hardened marine leather, to be used on sword scabbards, saya. It was the same material as is used on sword hilts under the binding, but the large and small protruding nodules were hand polished, for hundreds of hours, to create a highly polished flat surface, that was then hand dyed and thus created a decorated scabbard with immense natural beauty, and created at huge expense for the time.
Very attractive tsuba of an oval copper plate with inlaid shakudo and gold takebori figures of a mounted samurai and retainers, beneath Mount Fuji at the horizon. Copper and gold onlaid fushigashira on a botanical theme. The blade is most ancient and beautiful looking. A samurai weapon perfect for one who is interested in ancient samurai history and the form of original weapons carried at that time. In the late fourteenth century, the Kantō region was dominated by powerful warrior families. Of these, the Uesugi were the most powerful. They were able to take advantage of the fighting that erupted between families in the region to advance their own interests. In 1368, the Utsunomiya family revolted against the Kamakura headquarters of the Muromachi regime, because they had lost their shugo posts to the Uesugi. The Uesugi family was able to extend their influence by amassing shugo military governor posts under their jurisdiction, and by enfoeffing vassals in the Kantō region at the expense of other families. One could advance a theory that the Kantō region had become semi-independent from Kyoto, and that the Kamakura headquarters of the Muromachi regime existed because of Uesugi support. The Uesugi family was legally recognized by the Muromachi regime by their appointment to the Kantō kanrei post because of their unassailable position. The blade’s hamon is very narrow indeed, typical for blades of such great age, and thus due to its great age, and its yakiba partially contacts with the edge.

As once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords

Overall 20 inches long in saya, blade inches 13.25 from tsuba to tip long  read more

Code: 24451