Japanese

A Fine, Nice Condition WW2 Japanese Officer's Katana Signed {Kojima} Kanemichi with Good Hamon, in Regulation Type 98 Mounts. Wooden Saya With Leather Field Service Combat Cover

Kanemichi was famous for being a leader of contemporary sword smiths and had brought up his fellow pupils, younger brother Kanenori, his son Kanetoki and grandson 2nd Kanemichi. His real name is Kojima Tokijiro, born in July 35th year (1902) of Meiji, lived in Seki city. Kanemichi was a highly rated smith of both Gendaito and Gunto. Early on he signed with the name Kanetoki. He was a Rikugun Jumei Tosho (teacher) and had many students and has won awards in sword competitions. Interestingly, one of his common features is that he signed his name in numerous different ways, with even considerable variances in his kanji inscriptions. He is such a desirable WW2 maker there are many collectors that just collect his signed versions of WW2 officer's swords.

Untouched since its surrender in 1945, with traditional WW2 IJA officer's sword mounts, with a traditional jungle combat field service leather wooden saya, all original binding and a good signed blade with superbly active hamon, likely gendaito.

A WW2 traditional officer's sword used in the Japanese Islands and surrendered in 1945. Japan launched a surprise attack on the United States Pacific fleet at Pearl Harbor, Hawaii, on December 7, 1941. The attack severely damaged the American fleet and prevented, at least for the short term, serious American interference with Japanese military operations. In response, the United States declared war on Japan. Following Germany's declaration of war on the United States, the United States also declared war on Germany.

After the attack on Pearl Harbor, Japan achieved a long series of military successes. In December 1941, Guam and Wake Island fell to the Japanese, followed in the first half of 1942 by the Philippines, the Dutch East Indies, Hong Kong, Malaya, Singapore, and Burma. Thailand remained officially neutral. Only in mid-1942 were Australian and New Zealander forces in New Guinea and British forces in India able to halt the Japanese advance.

The turning point in the Pacific war came with the American naval victory in the Battle of Midway in June 1942. The Japanese fleet sustained heavy losses and was turned back. In August 1942, American forces attacked the Japanese in the Solomon Islands, forcing a costly withdrawal of Japanese forces from the island of Guadalcanal in February 1943. Allied forces slowly gained naval and air supremacy in the Pacific, and moved methodically from island to island, conquering them and often sustaining significant casualties. The Japanese, however, successfully defended their positions on the Chinese mainland until 1945.

Overall the exterior just general surface wear and age, the blade has aged fingerprint stains throughout.

Photo in the gallery of Martial arts master and cutting tester, Mr. Nakayama Hakudo {holding a blade}, standing next to the famed WW2 smith Kanemichi  read more

Code: 25435

A Superb Shinto Period Samurai Katana By Bizen Osafune Sukesada, Named By The Swordsmith, Likely For its Original Samurai Owner

Circa 1650. This beautiful Katana is most intriguing in that it is not only signed by one of the great schools of samurai swordsmiths but also inscribed as to whom is was made for, we we have yet to translate, as the kanji are difficult to interpret
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Fully matching suite of stunning koshirae all decorated with the gold imperial chrysanthemum, including the superb tsuba. Superb habaki blade collar with fabulous mirror bright shakudo patina, with gold lines. isime urushi lacquer saya.

Being descendant of the Ichimonji Line they were also known to have made some of the finest swords. This is where they really shine, swordsmiths such as Yozosaemon Sukesada were known to make masterpiece blades that outshone the vast majority of the time period. In fact Yozosaemon is considered one of the representative swordsmiths of the Era, going hand in hand with names like Muramasa of the Soshu/Sengo Tradition and Kanemoto of the Mino Tradition. Sukesada swords were also popular with those in high ranks and we see many tachi and longer katana being made, these were often of exceptional quality and were quite deserving of their Jchimonji lineage. Sukesada swords would spread throughout Japan, with their home forges being in Bizen province. This however ; would not last. The great flood of the Yoshii River around 1590 signalled a death toll to the Sukesada line. This flood hit Bizen province hard and wiped out nearly all of the Sukesada forges, leaving only several offshoots of the Sukesada family swordsmiths to carry out the tradition, such the Shinto period Yokoyama Sukesada family swords. The Sukesada tradition struggled to survive and eventually died out partway through the Shinto Era as it never really came close to reaching the Majesty and quality of its predecessor and mainline schools. The great flood essentially marked the end for one of the Koto Era's greatest sword making traditions.

The blade has a fabulous hamon, with some thin, naturally aged light edge delamination thinning around the top of the hi on either side. . 27.5 inch blade from tsuba to tip.  read more

Code: 24820

A Late 19th Century Hand Carved Samurai Style Export Sword From the Late Edo to Taisho Period

A very decorative original antique Japanese sword depicting the samurai tachi of old. Meiji period, circa late`19th century, Carved bone mountings {called koshirae}, with carved figures of Japanese sages and samurai. Made in the late Meiji to Taisho period as a most decorative and attractive samurai style sword, with a Japanese Hocho tetsu {cutler's} blade.

Of course this was not a traditional sword mounting for conflict, but when Japan was opening up to the world, after being a closed feudal society for almost 400 years, and the wearing of the samurai sword was forbidden in public, starting with the Haito edict.
Thus samurai swords and dagger fittings, such as this, were made especially for the early visitors from Europe, that arrived from the early steamship trade that started in Victorian England, through companies such as Thomas Cook & Co. The tachi is a Japanese term referring to the a traditional weapon, the slung sword, of the samurai.

The Haitōrei was one of a series of steps taken by the government to abolish the traditional privileges of the samurai class. The first Haitōrei of 1870 prohibited farmers or merchants from wearing swords and dressing like samurai. This measure was in part an effort to restore public safety and order during the tumultuous period immediately after the Meiji Restoration and during the Boshin War.

In 1871, the government issued the Danpatsurei Edict, allowing samurai to cut their top-knots and wear their hair in the Western manner. However, this was not required, simply allowed and encouraged. Universal military conscription was instituted in 1873, and with the creation of the Imperial Japanese Army, the samurai lost their monopoly on military service. The hereditary stipends provided to the samurai by their formal feudal lords (and assumed by the central government in 1871) were likewise abolished in 1873. The prohibition on wearing swords was controversial with the Meiji oligarchy, but the argument that it was an anachronism not in keeping with the westernization of Japan won out.

On March 28, 1876 the Haitō Edict was passed by the Daijō-kan. It prevented former samurai, now known as shizoku, from carrying swords.

Effects
These changes in Japanese society and in the social and economic status of the samurai, then part of the four classes, were a major cause of discontent in early Meiji period Japan, and led to a number of samurai-led insurrections, particularly in western Japan and Kyūshū

Some of the carved sections have had old repairs, so it is priced accordingly.

Overall length 28.5 inches, blade length 18.5 inches  read more

Code: 24818

A Simply Fabulous Samurai's Loyalty, Ritual-Exchange, Wine Bowl, A Sakazuki of Hiramaki-e Pure Gold Lacquer. Signed Yoyusai (1772-1845)

A Sakazuki cup, a footed Circular Wine Cup of pure gold lacquer signed Hira Yoyusai decorated with the symbols of the highest ranking samurai, an Imperial court cap, a pole arm and General's war fan. Sakazuki is a ritual of exchanging sake cups as a means of pledging loyalty. The word itself refers to ceremonial cups used on special occasions like weddings, tea ceremonies, etc. There are currently two known versions of the sakazuki ritual.
Worthy of any museum grade collection of the finest Japanese Ob'ject D'art. Edo period (19th century), signed Yoyusai (1772-1845). A footed, circular cup of pure gold lacquer in gold hiramaki-e on fundame ground. Decorated with an Imperial court cap, a war fan, a pole arm and a tied sack. Likely commissioned for a notable of the highest rank, such as a daimyo lord or member of the Japanese nobility. In the period Kwansei, 1789 to 1801 C.E., Koma Kwansai, Inouye Hakusai, and Hara Yoyusai were the most famous artists, the first of whom was foremost in the delicacy of his work, but was comparatively unknown. Nakayama Komin was a distinguished lacquerer who worked in Edo and learnt the art from Hara Yoyusai (1772-1845). Yoyusai and other 19th-century lacquer artists including Koma Kansai and Zeshin, Nakayama Komin turned to famous early masterpieces of Japanese lacquer for inspiration. A superbly executed piece of finest artwork, showing remarkable skill for the minutest detail. Hiramaki-e, in Japanese lacquerwork, gold decoration in low, or flat, relief, a basic form of maki-e. The pattern is first outlined on a sheet of paper with brush and ink. It is then traced on the reverse side of the paper with a mixture of heated wet lacquer and (usually red) pigment. The artist transfers the pattern directly to the desired surface by rubbing with the fingertips, a process called okime. In the next step (jigaki), the pattern that has been transferred is painted over with lacquer usually a reddish colour. A dusting tube is used to sprinkle gold powder on the painted design while the lacquer is still wet. When the lacquer is dry, superfluous gold powder is dusted off, and a layer of clear lacquer is applied over the gold-covered design. When dry, it is polished with powdered charcoal. A second layer of lacquer is added, allowed to dry, and given a fingertip polish with a mixture of linseed oil and finely powdered mudstone.

The hiramaki-e technique, which dates from the latter part of the Heian period (794-1185), was preceded by togidashi maki-e, a technique in which not only the design but the whole surface is covered with clear lacquer after the sprinkling of metal powder; the lacquer is then polished down to reveal the design. During the Kamakura (1192-1333) and Muromachi (1338-1573) periods, hiramaki-e tended to be overshadowed by takamaki-e (gold or silver decoration in bold relief). It came fully into its own only in comparatively modern times. During the Azuchi-Momoyama period (1574-1600), hiramaki-e artists often left the sprinkled gold powder unpolished in a technique called maki-hanashi (left as sprinkled). A very beautiful piece by the master or an homage to Yoyusai bearing his name.

5" diameter across 1.33 inches high  read more

Code: 22989

A Fabulous, Museum Quality Piece Sunobi-Tanto or Ko-wakazashi, With Stunning Quality, Soten, Shakudo and Gold Takebori Dragon Fittings,

. Blade signed Takeshige, circa 1700. A very fine original samurai weapon, for a samurai of very high rank and status, it is a weapon that straddles two forms of classification a very long tanto, sunobi-tanto [extra long samurai dagger] or a ko-wakazashi, an extra short wakazashi [the samurai’s shoto, short sword].

The complete koshirae [mounts] of, fushi, kashira, menuki and tsuba are Soten school, one of the most beautiful and exceptional quality forms of the schools of sword fitting makers, and all are depicting in deep takebori, the dragon in pure gold, over shakudo, patinated, hand nanako ground, copper.
The chisseling of the dragon’s features has been created in such stunning detail, and they are all true works of art in all respects.

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.

The blade has A very attractive undulating hamon with distinct Shinto period yakideshi [ a hamon pattern change as it approaches the habaki] and all the blade is in nice bright polish. The blade has a few natural old age pitting marks as can be expected and one around the length of a small grain of rice, around 5 inches from the tip. The saya is decorated in beautiful black sprial ishime stone finish lacquer.

O-Tanto or 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

The blade tsuba to tip 15.25 inches, full length 22 inches.  read more

Code: 22884

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

Completely untouched in 150 years, and 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 silver flowers, underneath the Edo pale light corn coloured cloth 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 copper, habaki, with original Edo period In its original Edo period lacquered saya.

The blade is absolutely beautiful.
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 tsuka is bound with its Edo wrap that, as usual, is the only part that shows its age. We could certainly have it expertly rebound to how it likely appeared near mint condition all those centuries ago. However, we thought it should be left just ‘as is’ for those that prefer it’s original aged appearance.  read more

Code: 25439

A Singularly Fabulous Ancient Koto Period 15th Century Katana Circa 1480, With Stunning Heianjo School Tsuba

A very fine and beautiful 600 year old Koto katana that looks absolutely spectacular, with an o-suriage blade, with full length hi groove, and with a notare hamon that undulates with extraordinary depth into the blade. The blade has no combat damage of any kind, just natural surface minuscule age pin prick marks, and it has been untouched since it came to England in the 1870's.

All original Edo mounts and saya, with Higo mounts inlaid with gold leaves and tendrils, and original Edo period turquoise blue tsuka-ito (柄糸) over gold and shakudo menuki (目貫):of flowers, on traditional giant rayskin.

The saya is finely ribbed with silk cord ribbing under black lacquer, with carved buffalo horn kurigata (栗形) and kaeshizuno (返し角) and It has a fine and large four lobed mokko gata tsuba (鍔 or 鐔) form, with punch marks, sekigane inserted in the nakago ana, a look of a great strength, and a lightly hammered ground to effect a stone like surface, on the both sides, from the natural folding of the plate. It is pierced in delicate manner on top and bottom with stylised warabite, bracken shoots, and on either side of the central opening with large irregular ryohitsu shaped apertures of two hisago. The iron plate is finely inlaid on both sides and on the rounded rim with a thin roped band made in brass, and decorated all around the edge in brass hirazogan in a design of bellflower blossoms, clementis leaves and tendrils, flushing to the surface, and known as Chinese grass or karasuka. The formal design in negative silhouette is straightforward, the lowering of the level of the surface between the rim and the seppadai contributes to a sense of stability, the metal has a deep purplish patina, and the entire guard has a rustic appearance. This very pleasing masterpiece exhibits a nice feel due to the simplicity of the design.
This ko sukashi work is the ultimate in simplification. this severe, unemotional work is a deep humanity that speaks to us today. This strict style marks the dividing line between youthful severity and older warm humanity. All of these traits make this an exceptoional work of Heianjo school, in a style influenced by workers of Yoshiro school of the Koike family in Kyoto and as a gift from one Daimyo to another. The size, quality of inlay, and condition all confirm the excellent craftsmanship characteristic of this school. This is probably a transition piece between the onin and the Heianjo school. This style of tsuba often given the designation of Heianjo school, could also be from the last period of onin brass inlay style of the Muromachi period. Yoshiro tsuba are originated from the Heianjo Zogan school, active in the second half of the 16th century. Naomasa was the most famous member of the large Koike family school, he took the technique and style to the highest level. Early Edo period tsuba. 17th Century. Overall condition of the tsuba is excellent. To place it in context as to just how old this sword is, in its British time-scale comparison, it was made, in Japan, in the era of the 'Wars of the Roses' between King Richard IIIrd and King Henry VIIth. 28 inches long blade tsuba to tip  read more

Code: 24866

Original Samurai Kazuya Ya {Arrow} Near Identical To Those Presented To The Prince Of Wales in May 1922. Of Yadake Bamboo, With Sea Eagle Flights and Steel Ya-no-ne Head

With the advent of peace in Edo-period Japan, the samurai class were instructed to maintain their warrior spirit through continued practice of archery (kyūdō) and the sword (kendō).

Arrows (ya) vary in length according to the physical stature of the user. They have a simple iron or steel tip (ya-no-ne), slightly blunted for use on a straw or paper target, and are traditionally fletched with eagle or hawk feathers. Arrowheads of different shapes were available depending on the arrows’ purpose.

On his final day in Japan in May 1922, Edward, Prince of Wales was entertained by Prince Shimazu Tadashige (1886–1968), son of the last feudal lord of the Satsuma domain. Lunch was served at Prince Shimazu’s villa, followed by an archery demonstration. Afterwards, the Prince of Wales was presented with a complete set for archery practice, including an archer’s glove, arm guard and reel for spare bowstrings, as well as the items here.

The set of arrows in the Royal Collection {see the photo in our gallery} was made using yadake bamboo (Pseudosasa Japonica), a tough and narrow bamboo long considered the choice material for Japanese arrow shafts. The black and white feather flights (hane) are likely Steller's sea eagle feather. Each shaft is painted painted gold and red and fitted with a metal arrowhead (ya-no-ne) of standard design, indicating that the arrows are kazuya, for target distance practice.

Text adapted from Japan: Courts and Culture (2020)

Photo in the gallery {at present} of five near identical arrows to ours in the Royal Collection. Our photo will be added next week.

We have a collection of over 12 similar superbEdo Kazuya ya, but some to be sold separately.  read more

Code: 25429

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

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

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

The arrows are made using yadake bamboo (Pseudosasa Japonica), a tough and narrow bamboo long considered the choice material for Japanese arrow shafts. The black {now faded to brown} and white feather flights {hane} are likely Steller's sea eagle feather. Period 1599 -1863.Kyu Jutsu is the art of Japanese archery.The beginning of archery in Japan is pre-historical. The first images picturing the distinct Japanese asymmetrical longbow are from the Yayoi period (c. 500 BC – 300 AD).
The changing of society and the military class (samurai) taking power at the end of the first millennium created a requirement for education in archery. This led to the birth of the first kyujutsu ryūha (style), the Henmi-ryū, founded by Henmi Kiyomitsu in the 12th century. The Takeda-ryū and the mounted archery school Ogasawara-ryū were later founded by his descendants. The need for archers grew dramatically during the Genpei War (1180–1185) and as a result the founder of the Ogasawara-ryū (Ogasawara Nagakiyo), began teaching yabusame (mounted archery) In the twelfth and thirteenth century a bow was the primary weapon of a warrior on the battlefield. Bow on the battlefield stopped dominating only after the appearance of firearm.The beginning of archery in Japan is pre-historical. The first images picturing the distinct Japanese asymmetrical longbow are from the Yayoi period (c. 500 BC – 300 AD).
The changing of society and the military class (samurai) taking power at the end of the first millennium created a requirement for education in archery. This led to the birth of the first kyujutsu ryūha (style), the Henmi-ryū, founded by Henmi Kiyomitsu in the 12th century. The Takeda-ryū and the mounted archery school Ogasawara-ryū were later founded by his descendants. The need for archers grew dramatically during the Genpei War (1180–1185) and as a result the founder of the Ogasawara-ryū (Ogasawara Nagakiyo), began teaching yabusame (mounted archery) Warriors practiced several types of archery, according to changes in weaponry and the role of the military in different periods. Mounted archery, also known as military archery, was the most prized of warrior skills and was practiced consistently by professional soldiers from the outset in Japan. Different procedures were followed that distinguished archery intended as warrior training from contests or religious practices in which form and formality were of primary importance. Civil archery entailed shooting from a standing position, and emphasis was placed upon form rather than meeting a target accurately. By far the most common type of archery in Japan, civil or civilian archery contests did not provide sufficient preparation for battle, and remained largely ceremonial. By contrast, military training entailed mounted maneuvers in which infantry troops with bow and arrow supported equestrian archers. Mock battles were staged, sometimes as a show of force to dissuade enemy forces from attacking. While early medieval warfare often began with a formalized archery contest between commanders, deployment of firearms and the constant warfare of the 15th and 16th centuries ultimately led to the decline of some archery in battle. In the Edo period archery was also considered an art, and members of the warrior classes participated in archery contests that venerated this technique as the most favoured weapon of the samurai.

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

Code: 25431

A Delightful & Beautiful Early to Mid Edo Period 1598-1863 Samurai War Arrow. A Tagari-Ya Of Yadake Bamboo, With Sea Eagle Flights and Steel Head

With original traditional eagle feathers, probably the large edge-wing feathers of a Japanese sea eagle. The arrow tip is a traditional tamagahane steel hand made long arrow head, originally with folding and tempering exactly as would be a samurai sword blade, possibly signed on the tang under the binding but we would never remove it to see. The Edo period early eagle feathers are now slightly worn worn.


The Togari-Ya or pointed arrowheads look like a small Yari (spear) and were used only for war and are armour piercing arrows . Despite being somewhat of a weapon that was 'fire and forget' it was created regardless of cost and time, like no other arrow ever was outside of Japan. For example, to create the arrow head alone, in the very same traditional way today, using tamahagane steel, folding and forging, water quench tempering, then followed by polishing, it would likely cost way in excess of a thousand pounds, that is if you could find a Japanese master sword smith today who would make one for you. Then would would need hafting, binding, and feathering, by a completely separate artisan, and finally, using eagle feathers as flights, would be very likely impossible. This is a simple example of how incredible value finest samurai weaponry can be, items that can be acquired from us that would cost many times the price of our original antiques in order to recreate today. Kyu Jutsu is the art of Japanese archery.The beginning of archery in Japan is pre-historical. The first images picturing the distinct Japanese asymmetrical longbow are from the Yayoi period (c. 500 BC – 300 AD).
The changing of society and the military class (samurai) taking power at the end of the first millennium created a requirement for education in archery. This led to the birth of the first kyujutsu ryūha (style), the Henmi-ryū, founded by Henmi Kiyomitsu in the 12th century. The Takeda-ryū and the mounted archery school Ogasawara-ryū were later founded by his descendants. The need for archers grew dramatically during the Genpei War (1180–1185) and as a result the founder of the Ogasawara-ryū (Ogasawara Nagakiyo), began teaching yabusame (mounted archery) In the twelfth and thirteenth century a bow was the primary weapon of a warrior on the battlefield. Bow on the battlefield stopped dominating only after the appearance of firearm.The beginning of archery in Japan is pre-historical. The first images picturing the distinct Japanese asymmetrical longbow are from the Yayoi period (c. 500 BC – 300 AD).
The changing of society and the military class (samurai) taking power at the end of the first millennium created a requirement for education in archery. This led to the birth of the first kyujutsu ryūha (style), the Henmi-ryū, founded by Henmi Kiyomitsu in the 12th century. The Takeda-ryū and the mounted archery school Ogasawara-ryū were later founded by his descendants. The need for archers grew dramatically during the Genpei War (1180–1185) and as a result the founder of the Ogasawara-ryū (Ogasawara Nagakiyo), began teaching yabusame (mounted archery) Warriors practiced several types of archery, according to changes in weaponry and the role of the military in different periods. Mounted archery, also known as military archery, was the most prized of warrior skills and was practiced consistently by professional soldiers from the outset in Japan. Different procedures were followed that distinguished archery intended as warrior training from contests or religious practices in which form and formality were of primary importance. Civil archery entailed shooting from a standing position, and emphasis was placed upon form rather than meeting a target accurately. By far the most common type of archery in Japan, civil or civilian archery contests did not provide sufficient preparation for battle, and remained largely ceremonial. By contrast, military training entailed mounted maneuvers in which infantry troops with bow and arrow supported equestrian archers. Mock battles were staged, sometimes as a show of force to dissuade enemy forces from attacking. While early medieval warfare often began with a formalized archery contest between commanders, deployment of firearms and the constant warfare of the 15th and 16th centuries ultimately led to the decline of archery in battle. In the Edo period archery was considered an art, and members of the warrior classes participated in archery contests that venerated this technique as the most favoured weapon of the samurai. The last photo in the gallery is not this arrowhead, but it shows how long the arrow head tang would be.  read more

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