Japanese

A Most Handsome Shinto O-Tanto, Around 300 years Old Circa 1720 With a Most Impressive and Beautiful Large Blade Used As A Powerful Close-Combat Small Sword and Suitable as a Post Combat 'Head Cutter'

All original Edo period koshirae with a superb urushi lacquer saya of dark red with black angular overstriping and black banding at the top section, a fine takebori tetsu sayajiri mount, with a shakudo and gold kozuka utility knife with decoration of takebori zodiac animals, including a deer, rabbit, dragon, pony, snake, dog, rat, phoenix, hare etc.

It has very nice o-sukashi tetsu tsuba with a fine tsuka with Higo school fuchi kashira of iron decorated with takebori whirling clouds. The menuki under the tsuka ito are super quality of a pure gold sun and a shakudo crescent moon.
O-Tanto


The blade is long wide and very elegant with a great gunome hamon in beautiful polish. It has mighty strong thickness and size perfectly suitable as a samurai's close combat weapon, but also to double up, post combat, as a samurai's 'head cutter', if a kubikiri a solely dedicated head cutter, used by an attendant, was not available.

Samurai usually had to chop off their enemy’s head in order to prove to their daimyo or master that they actually killed the right person, not a woman or child.
Additionally collecting more heads meant getting more stipend and promotion.
However, after chopping the head, the samurai would always clean and put some light make up to the face to pay their respect to the dead person.
At the same time, every samurai also usually put incense within the inside their helmets knowing that they may get killed and their head's odour, due to the stress of battle, must not offend their killer.
In situations when the samurai did not have time to chop off the enemy’s head, they then used to cut off the upper lip (to distinguish if the head is male or female).
Tanto first began to appear in the Heian period, however these blades lacked artistic qualities and were purely weapons. In the Early Kamakura period high quality tanto with artistic qualities began to appear, and the famous Yoshimitsu (the greatest tanto maker in Japanese history) began his forging. Tanto production increased greatly around the Muromachi period and then dropped off in the Shinto period. Shinto period tanto are quite rare. Tanto were mostly carried by Samurai; commoners did not generally carry them. Women sometimes carried a small tanto called a kaiken in their obi for self defence.It was sometimes worn as the shoto in place of a wakizashi in a daisho, especially on the battlefield. Before the 16th century it was common for a Samurai to carry a tachi and a tanto as opposed to a katana and a wakizashi.

Blade 35.5 cm inches long, 3cm wide at the habaki, overall in the saya it is 51 cm long.

A solely dedicated kubikiri would normally have its cutting edge on the inside, and carried by attendants of high ranking samurai, but curiously the kubikiri would also be used for bonsai trimming.

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: 24340

Suit Of Original Edo Period Samurai Horserider Armour, With a Bajojingasa 馬上陣笠 Kabuto, A Samurai Horse Rider Battle Helmet. With Gold Maruni Tsuta Kamon. The Maruni Tsuta (丸に蔦) Kamon, Meaning "Japanese Ivy in a Ring". Matsunaga Family Crest in Kakuda

In our opinion there is no greater aesthetically attractive suit of antique original armour to compare to the Japanese samurai armour. One can see them displayed in some of the finest locations of interior decor in the world today.

For example, in the Hollywood movies such as the James Bond films many of the main protagonists in those films decorated their lush and extravagant billionaire properties with samurai armours. They can be so dramatic and beautiful and even the simplest example can look spectacular in any correct location with good lighting.

Original early Edo period.
Chain mail over silk Kote arm armour with plate Tekko hand armour. Fully laced and plate Sode shoulder armour Fully laced four panels of Haidate waist armour Fully laced Kasazuri thigh Armour, with Suneate. This armour is absolutely beautiful.

Japanese armour is thought to have evolved from the armour used in ancient China and Korea. Cuirasses and helmets were manufactured in Japan as early as the 4th century.Tanko, worn by foot soldiers and keiko, worn by horsemen were both pre-samurai types of early Japanese cuirass constructed from iron plates connected together by leather thongs.

Black urushi lacquer bajojingasa horseriders helmet 馬上陣笠 with superb mon, red lacquer interior with pad and cords but the cords outer silk has separated. With five leaf ivy in a ring mon of the Matsunaga clan.

Jingasa developed both in shape and decoration during the Edo era (1603-1867) and were a symbol of samurai culture. It was typically made of hardened lacquered leather, but also sometimes with iron. The jingasa would also commonly be marked with the mon of the lord or clan to help identify the warrior's side on a battlefield.
Samurai Bajo Jingasa (Riding Battle Hat) were worn mainly by officers a the end of the Sengoku period (1467-1615) and through the Edo period (1603-1868) and a little after. Traditionally a defensive helmet, they were allegedly first crafted from wood, leather, lacquered rawhide, then iron and later steel. The combination of these elements provided a good head protection against sword blows. The bajo-gasa jingasa are shaped like low round hills, believed to decrease wind resistance while on horseback. The inside is padded with a cushion liner secured by ribbons that would be tied and secured under the chin.

Cherished for its infinite versatility, urushi lacquer 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! Overall in very nice condition for age with small lacquer wear marks.

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

In the 16th century Japan began trading with Europe during what would become known as the Nanban trade. Samurai acquired European armour including the cuirass and comb morion which they modified and combined with domestic armour as it provided better protection from the newly introduced matchlock muskets known as Tanegashima. The introduction of the tanegashima by the Portuguese in 1543 changed the nature of warfare in Japan causing the Japanese armour makers to change the design of their armours from the centuries old lamellar armours to plate armour constructed from iron and steel plates which was called tosei gusoku (new armours).Bullet resistant armours were developed called tameshi gusoku or (bullet tested) allowing samurai to continue wearing their armour despite the use of firearms.

The era of warfare called the Sengoku period ended around 1600, Japan was united and entered the peaceful Edo period, samurai continued to use both plate and lamellar armour as a symbol of their status but traditional armours were no longer necessary for battles. During the Edo period light weight, portable and secret hidden armours became popular as there was still a need for personal protection. Civil strife, duels, assassinations, peasant revolts required the use of armours such as the kusari katabira (chain armour jacket) and armoured sleeves as well as other types of armour which could be worn under ordinary clothing.Edo period samurai were in charge of internal security and would wear various types of kusari gusoku (chain armour) and shin and arm protection as well as forehead protectors (hachi-gane).

Armour continued to be worn and used in Japan until the end of the samurai era (Meiji period) in the 1860s, with the last use of samurai armour happening in 1877 during the Satsuma Rebellion. The armour has some affixing loops lacking. Stand for photo display only not included. This armour has areas of worn and distressed lacquer and areas of cloth/material that are perished due to it's great age as would be expected, but the condition simply adds to its beauty and aesthetic quality, displaying its position within its combat use in Japanese samurai warfare. We would always recommend, in our subjective opinion, that original antique samurai armour looks its very best left completely as is, with all it wear and age imperfections left intact.  read more

Code: 25717

A Beautiful Samurai Shinto Kirin Based Tanto Fabulous Signed Blade by Echizen Ju Yasutsugu

With an armour or even helmet piercing blade. The whole tanto is completely remarkable in that it is likely to have been completely untouched since the day it was made, it has all its original fittings from the Edo period including the tsukaito wrap on the hilt and the lacquer on the saya, the Saya is decorated with a stylised Kilin to match the fittings, the blade is stunning and shows fabulous deep choji hamon, this is a truly exceptional tanto,

The blade is extra thick at the base and shows its penetrating qualities and ability to cut through metal armour or even the iron plates of a helmet, this is a beautiful and remarkable tanto. The fuchigashira mounts are pure gold over shakudo of Kirin or Qilin, in deep takebori relief carving. The menuki are also Kirin, of shakedown inlaid with swirls of pure gold. The Kirin in Japanese, qilin (in Chinese: 麒麟; pinyin: qílín) is a mythical hooved chimerical creature known in Chinese and other East Asian cultures, said to appear with the imminent arrival or passing of a sage or illustrious ruler. It is a good omen thought to occasion prosperity or serenity. It is often depicted with what looks like fire all over its body. It is sometimes called the “Chinese unicorn” when compared with the Western unicorn. The Japanese kirin looked more like the Sin-you lion-like beast. Some later Japanese netsuke portray a Kirin that has wings that look like the Central Asian winged horse with horns or the Sphinx. Or they become increasingly dragon-like like Chinese Qilins.
The Kirin / Qilin can sometimes be depicted as having a single horn as in the Western tradition, or as having two horns. In modern Chinese the word for “unicorn” is 独角兽 “du jiao shou”, and a Qilin that is depicted as a unicorn, or 1-horned, is called “Du jiao Qilin” 独角麒麟 meaning “1-horned Qilin” or “Unicorn Qilin”. However, there are several kinds of Chinese mythical creatures which also are unicorns, not just Qilin. Qilin generally have Chinese dragon-like features.
Most notably their heads, eyes with thick eyelashes, manes that always flow upward and beards. The bodies are fully or partially scaled, though often shaped like an ox, deer or horse’s, and always with cloven hooves. In modern times, the depictions of Qilin have often fused with the Western concept of unicorns.
In legend, the Qilin became dragon-like and then tiger-like after their disappearance in East Asia and finally a stylised representation of the giraffe in Ming Dynasty. The identification of the Qilin with giraffes began after Zheng's voyage to East Africa according to recent scholarship. The modern Japanese word for giraffe is also kirin, which bears the same derived ideas. Shakudo is a billon of gold and copper (typically 4-10% gold, 96-90% copper) which can be treated to form an indigo/black patina resembling lacquer. Unpatinated shakudo Visually resembles bronze; the dark color is induced by applying and heating rokusho, a special patination formula.

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

Code: 24942

A Fabulous Wakizashi by Master Sadahide Student of Masahide Dated 1830

A simply wonderful wide and sizeable blade with fine hamon and incredible tight grain hada. Copper patinated fushi kashira of the ‘tiger in the bamboo grove’. A very good signed copper tsuba with samurai. Original black lacquer saya with fine kozuka utility knife. As Sukehiro and Shinkai were highly praised by Kamada Natae in his book he wrote in this period swordsmiths begun to imitate their works making strong shape and Hamon in Toran-Ha. Swords in this period imitated the Osaka style. Then Masahide ( one of most famous sword smiths in Shinshinto time ) advocated in his book that "we should make swords by the method of the Koto era." With this final aim swordsmiths begun to create their own steels trying to reach the quality of the ancient one. Combining materials which have different quantity of carbon, a good Jihada will appear. Therefore, swordsmiths used a lot of materials like old nails and the like to adjust the quantity of carbon to be suitable for swordmaking.Even today this steel is called Oroshi-gane. As already said an easy way to produce Tamahagane was available in Shinto time and swordsmith could get good quality Tamahagane. Therefore, it seems that most of them didn't make their own Oroshi-gane. But some swordsmiths like Kotetsu or Hankei followed Masahide suggestions and reached a top-quality level combining ancient iron/steel with modern one. In effect Ko-Tetsu means "ancient steel". Exceptionally powerful 16inch blade  read more

Code: 20552

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 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.

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

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 Fine Edo Period {1600-1868} Samurai Pole Arm Yari, A Hira Sankaku Yari, The Samurai's Combat Lance With Full Tang and its Original Long Haft With Abilone Shell Decor

A super antique samurai's combat pole arm with a three sided blade in the form of an Isosceles triangle with a very sharp point and two sharp edges on a sockle, in beautiful polish, with narrow suguha hamon, and a full length tang. Mounted in its original haft of traditional form, with copper banding and the top section decorated with crushed abilone shell under urushi lacquer. Interestingly, the nakago {tang} has two clear and obvious filed edge notches {see photo}. In the world of arms such concealed notches go back centuries, and often could be symbolic of victories in combat. This might be for single hand to hand combat, or, for a combined victory in a battle. This aspect would only be known by the combatant that created them, but they are immensely intriguing as to the specific combat events that they represent.

Ideal for use by samurai both on foot and horseback and especially effective as an armour piercing blade.

Yari is the Japanese term for a spear, but technically it is actually a lance, or more specifically, the straight-headed lance.

The martial art of wielding the yari is called sojutsu. A yari can range in length from one metre to upwards of six metres (3.3 to 20 feet). The longer versions were called omi no yari while shorter ones were known as mochi yari or tae yari. The longest versions were carried by foot troops (ashigaru), while samurai usually carried a shorter yari , up to around 8 feet long, such as this example. Yari are believed to have been derived from Chinese spears, and while they were present in early Japan's history they did not become popular until the thirteenth century.
The original warfare of the bushi was not a thing for "commoners"; it was a ritualized combat usually between two warriors who may challenge each other via horseback archery and sword duels. However, the attempted Mongol invasions of Japan in 1274 and 1281 changed Japanese weaponry and warfare.
The Mongol-employed Chinese and Korean footmen wielded long pikes, fought in tight formation, and moved in large units to stave off cavalry. Polearms (including naginata and yari) were of much greater military use than swords, due to their much greater range, their lesser weight per unit length (though overall a polearm would be fairly hefty), and their great piercing ability. Swords in a full battle situation were therefore relegated to emergency sidearm status from the Heian through the Muromachi periods. Around later half of sixteenth century, ashigaru holding pikes (naga yari) with length of 4.5 to 6.5 m (15 to 22 feet) or sometimes 10 m became main forces in armies. They formed lines, combined with harquebusiers and short spearmen. Pikemen formed two or three row of line, and were forced to move up and down their pikes in unison under the command.Yari overtook the popularity of the daikyu for the samurai, and foot troops (ashigaru) used them extensively as well
Various types of yari points or blades existed. The most common blade was a straight, flat, design that resembles a straight-bladed double edged dagger. This type of blade could cut as well as stab and was sharpened like a razor edge. Though yari is a catchall for spear, it is usually distinguished between kama yari, which have additional horizontal blades, and simple su yari (choku-so) or straight spears. Yari can also be distinguished by the types of blade cross section: The triangular sections were called sankaku yari and hira sankuku, the latter for Isosceles of two equal sides as opposed to three.
This hira sankaku yari has clearly seen combat service as the blade has an impact curvature.

92 inches long overall mounted upon its original Edo pole {haft}, the steel blade is 6 inches long, plus the nakago which is 9.25 inches. Total 15.25 inches long.

In its full length, upon its haft, regular export delivery is not available. UK mainland delivery is available though for its full and complete length. In museum collections only the blade is displayed, with the haft, if kept at all, stored separately.  read more

Code: 25665

A Superb Nobukuni 信国 Signed Mount Fuji Shinto Samurai Katana, Circa 1670, Signed on The Nakago Nobukuni Saku, With Mount Fuji Hamon and The Wave Fuchi Kashira.

This fabulous and unique 360 year old sword, by a high rated master swordsmith. A most substantial and incredibly impressive sword in super condition, with likely the most desirable and rarest form of hamon pattern.

It has a most rare, superb hamon that shows an horizon combined with Mount Fuji hamon, with the incredibly desirable hamon temper line that depicts seperate various views of the horizon with the snow topped Mount Fuji. The original Edo period Fuchigashira hilt mounts are carved iron, Higo style engraved with the representation of the crashing wave pattern that traditionally accompanies Mount Fuji, as can be seen the the world famous painting by Hokusai, 'The Wave' with Mount Fuji in the background.

The pierced early Edo iron tsuba is further complimentary with pierced clouds. Fully restored blue silk tsukaito binding, and the whole of the swords mounts have been cleaned and conserved to as good as new, with gilt dragon menuki beneath the silk ito.

In the most ancient swords, all hamon were of the straight-edge variety. Irregular patterns started to emerge around the 1300s, with famous smiths such as Kunimitsu, Muramasa, and Masamune, among many others. By the 1600--1700s, hamons with various shapes in them became very desirable, such as trees, flowers, clovers, pillboxes, and many others. Common themes included juka choji (multiple, overlapping clovers), kikusui (chrysanthemums floating on a stream), Yoshino (cherry blossoms on the Yoshino River), or Tatsuta (maple leaves on the Tatsuta River), and one of the most desirable of all, just as this sword has, was the design Fujimi Saigyo (Priest Saigyo viewing Mount Fuji)

Mount Fuji is a composite volcano, capped with snow, growing larger as layer upon layer of lava and ash built up on its slopes. Like its geologic history, Mount Fuji’s sacred history has also developed over time as different religions, beliefs and myths have added new layers. Since ancient times, the mountains of Japan have been revered as sacred places, giving rise to a tradition of beliefs and rituals that scholars call sangaku shinko, meaning “mountain creed.” When Shinto, the native religion of Japan, emerged sometime before the sixth century A.D., it wove this mountain creed into a wider veneration of nature. According to Shinto belief, natural features such as trees, lakes, streams, rocks and mountains are the dwelling places of spirits called kami, which hold influence over human affairs and respond to human prayer and ritual. Kami are believed to be concentrated in mountain areas, and shrines have been erected to mark sacred spots. The introduction of Buddhism from China in the sixth century further developed the practice of mountain worship as Buddhists, who viewed mountain climbing as a metaphor for the spiritual ascent to enlightenment, adopted Shinto sacred mountains as pilgrimage destinations. In the ninth century, a religious sect called Shugendo arose that based its doctrine and practice on mountain climbing itself, believing that practitioners could commune with deities on mountain summits and thereby obtain supernatural powers.

The name “Fuji” most likely came from an indigenous Ainu word meaning “deity of fire”—not surprising for a volcano that erupted often. In about 800 A.D., a shrine was built near the base of the mountain with the hope of placating the god that caused the volcano’s eruptions. Fuji later became regarded as the dwelling of the Shinto goddess Konohana Sakuya Hime, “the Goddess of the Flowering Trees.” Today, she is still the principal deity of the sacred mountain, revered in Shinto shrines at Fuji’s base and summit, including the one originally built for the older fire god, and honored in a fire ceremony at the end of each year’s climbing season. Buddhists found in Fuji an inspiring symbol of meditation and called its summit zenjo, a Buddhist term describing a perfect meditative state. Buddhists also came to regard Fuji as the abode of the Buddha of All-Illuminating Wisdom. In the 14th century, Shugendo practitioners established the first climbing route to lead pilgrims to Fuji’s summit.

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


A most substantial blade, in nice condition for its age {of around 360 years} 28.25 inches long, from tsuba to tip overall 41 inches long including saya.  read more

Code: 24955