Japanese

Superb Early to Mid Edo, Museum Quality Samurai War Helmet Kabuto, by Nobutada. 21 'Helmet Skull Bowl Plates', With Carved Wood & Gold 月の兎, Tsuki no Usagi Moon Rabbit Maedate & Clan Mon of the Sakai Clan, & “Fierce Face” Ressai, Face Armour

A truly fabulous, original, signed Edo samurai's antique kabuto, war helmet, worthy of a museum display, the best samurai or Japanese art collections, or as a single 'statement' piece for any home.
This is, without doubt, one of the most beautiful and fine original antique samurai war helmets, kabuto, we have seen for a jolly long time. Helmets of such beauty and quality as this can be prized and valued as much as a complete original samurai armour.

The imposing beauty of the helmet is entrancing, and the menpo {the moustached, grimacing expression face armour} sets it off superbly with a most intimidating presence. When this was worn by its fierce-some armoured samurai he must have looked spectacularly impressive.

A 21 plate goshozan sujibachi kabuto, with ressei {fierce face } mempo face armour.

Probably a 17th-18th century, 21 ken plate, Sujibachi, which is a multiple-plate type of Japanese helmet skull bowl with raised ridges or ribs showing where the 21 tate hagi-no-ita (helmet plates) come together creating the main skull bowl bachi, and culminating at the multi stage tehen kanamono finial, with the fukurin metal edges on each of the standing plates.
The mabisashi peak is lacquered and it has a four-tier lacquered iron hineno-jikoro neck-guard laced with gold, and the skull is surmounted by a gilt-lacquered wood leaping animal, the maedate (forecrest), depicts the 月の兎, Tsuki no Usagi Moon Rabbit, the Fukigaeshi small front wings shows the mon crest symbol of a plain form katabami mon {the wood sorrel flower}.

The story and representations of the Japanese moon rabbit (月の兎, Tsuki no Usagi)

Early samurai warriors revered the moon rabbit (known as Tsuki no Usagi or Gyokuto) because it perfectly embodied the most sacred virtues of their strict warrior code, Bushido, alongside vital tactical attributes for the battlefield. Far from being just a cute folklore character, the rabbit was a potent, formidable symbol of ultimate self-sacrifice, speed, agility, and forward-moving determination

To the samurai, this narrative was the ultimate expression of loyalty and selflessness. A warrior was expected to lay down his life for his lord (daimyo) and his honour at a moment's notice without hesitation. The rabbit represented a fearless embrace of death for a higher duty.

Biologically, rabbits are known for jumping and running forward, finding it difficult to move backward easily. This physical trait was translated by the warrior class into a martial philosophy of relentless forward momentum. Just like the dragonfly (another popular samurai motif), the rabbit symbolized a warrior who never retreats on the battlefield. The moon was a symbol of clarity, enlightenment, and divine protection. By wearing a moon rabbit themed sword or a kabuto helmet with a moon rabbit crest, a samurai was channeling the mystical, shifting power of both the moon and the sea to overwhelm their enemies

It's one of popular kamon that is a design of the flower of oxalis corniculata.
The founder of the clan that chose this flower as their mon had wished that their descendants would flourish well. Because oxalis corniculata is renown, and fertile plant.
the mon form as used by clans such as the Sakai, including daimyo lord Sakai Tadayo

One of the great Sakai clan lords was Sakai Tadayo (酒井 忠世, July 14, 1572 – April 24, 1636). He was a Japanese daimyō of the Sengoku period, and high-ranking government advisor, holding the title of Rōjū, and later Tairō. You can see his image in the gallery wearing the very same form of war helmet kabuto.

The son of Sakai Shigetada, Tadayo was born in Nishio, Mikawa Province; his childhood name was Manchiyo. He became a trusted elder (rōjū) in Toyotomi Hideyoshi's government, alongside Tokugawa Ieyasu. Under Hideyoshi, he was made lord of Kawagoe Castle (in Musashi Province, today Saitama Prefecture) and later of Nagoya Castle in Kyūshū's Hizen Province. In 1600, in the lead-up to the decisive Sekigahara campaign, he fought against the Tokugawa at Aizu, and submitted to them at the siege of Ueda. Thus, having joined the Tokugawa prior to the battle of Sekigahara itself, Sakai was made a fudai daimyō, and counted among the Tokugawa's more trusted retainers. He served under Ieyasu for a time, and under the second shōgun, Tokugawa Hidetada, as a hatamoto.
The lacquered iron menpo (face mask) with four-lame yodarekake face armour. The kabuto is signed on the interior Nobutada saku Nobutada made this

After the introduction of firearms, smoke blanketed many battlefields, causing confusion for the troops. So they could be more readily identified, samurai began to wear helmets with elaborate ornaments at the front, back, or sides, often featuring an intricate crest (maedate).

In their quest for unique and meaningful armour, samurai turned to nature, folklore, or religion for inspiration. Whatever the source, they selected designs for their armor that would set them apart and communicate their personality and beliefs, whether whimsical, frightening, or spiritual.

An antique woodblock print in the gallery, likely of Sakai Tadayo, showing his same form of war helmet kabuto, decorated with his same Sakai clan mon of the katabami, and he also has a leaping animal, gold covered carved wood, as his maedate helmet crest as has ours. And he has the same 'fierce face' mempo face armour with the very same style of elaborate, pronounced moustache.

The Fukigaeshi on the left facing side of the helmet shows the mon crest symbol of a plain katabami mon but small surface lacquer area partly missing. There are very small age nicks to the helmet lacquer. It has its original helmet lining but most removed back to reveal the signature.

The story of the Moon Rabbit

The Japanese tale appears in Konjaku monogatarishū. A fox, a monkey, and a rabbit were traveling in the mountains when they came across a shabby-looking old man lying along the road. The old man had collapsed from exhaustion while trying to cross the mountains. The three animals felt compassion for the old man, and tried to save him. The monkey gathered fruit and nuts from the trees, the fox gathered fish from the river, and they fed the old man. As hard as he tried, the rabbit, however, could not gather anything of value to give to the old man. Lamenting his uselessness, the rabbit asked the fox and monkey for help in building a fire. When the fire was built, the rabbit leaped into the flames so that his own body could be cooked and eaten by the old man. When the old man saw the rabbit’s act of compassion, he revealed his true form as Taishakuten, one of the lords of Heaven. Taishakuten lifted up the rabbit and placed it the moon, in order that all future generations could be inspired by the rabbit’s compassionate act. The reason it is sometimes difficult to see the rabbit in the moon is because of the smoke which still billows from the rabbits body, masking his form somewhat.

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: 25056

A Beautiful Koto Wakazashi, In Superb Original Edo Fittings and Tsuba With a Masamune Signed Blade. The Koto Era Was From 900 to 1595. The Edo Period Was From 1603 to 1868

A delightful sword, bearing the signature Masamune, associated by legend as the finest samurai sword maker in all history.

Masamune is generally regarded as the greatest swordsmith in the history of the Japanese sword. His blades, mostly daggers (‘tanto’), were both strong and beautiful and could cut extremely efficiently. Many of the technological advances accredited to Masamune were practical ones brought about by experience gained during the invasions of Japan by the Mongols in 1274 and 1281
Currently, photo 5 in the gallery, is the Masamune blade signature in the Victoria and Albert Museum. Photo 6 is of the President Truman Masamune wakazashi. Photo 7 is the Victoria and Albert Masamune signature next to our sword's signature. Photos shown for educational purposes only, The museum Masamune's sword sgnature is somewhat similar to our blades signature.

However, we believe its fair to say our beauty is unlikely to have been made by 'the' Masamune, otherwise it would be absolutely priceless, which naturally, it isn't.

The wakazashi is beautifully presented with fine original Edo mounts and fittings, including, a delightful iron plate tsuba decorated with shallow takebori chisseling of a samurai helmet kabuto, embellished with pure gold and silver, and a samurai armour arm piece, a sode. The reverse side of the tsuba is chisselled with a samurai war bow and an arrow, also embellished with pure silver. The kashira is patinated shakudo with a gold seated samurai holding a kusari, a sickle form weapon, observing a hawk in flight. The fuchi, is also shakudo, with takebori sheaths of wheat next to a flowing river. The menuki, bound beneath gold silk tsukaito, are patinated shakudo of deep takebori in the form of bundles of flower stems, with pure gold decorated flower heads and fruits, and set upon the traditional samegawa giant rayskin.

The saya is ishime lacquer in a beautifully rich, russet colour, with polished carved black buffalo horn fittings and a kozuka pocket holding a shakudo kozuka with a deep takebori gold dragon on a nanako ground. The blade has an old, aged polish, showing a fine suguha hamon and near flawless without any trace of combat damage, with a double copper double interlocking habaki {always a nice indicative sign of quality}.

Yet, is it not a wonderful thing to say one owns a Masamune wakazashi, without any of the incredible expense and heaviest of burdens, of having to pay an insurance premium, of around £500,000 a year, for the priveledge of owning an original and real Masamune.

The complete Kyoho Meibutsu Cho (including the two addendum books) list 61 authenticated Masamune being in existence in the 1700s. Surely some unauthenticated swords by him exist/existed, but it can only be hopeful conjecture. It is now believed less than 20 of his masterworks are likely to still exist.

The USA has two (potentially). One in the Truman Library, presented to President Truman by Gen. Walter Krueger, who was in turn gifted the sword by a Japanese noble (likely to gain favour). The Truman Masamune is possibly the "Mori Masamune" wakizashi, just by looking at the dimensions and photographs. The other (if it still exists) is the legendary Honjo Masamune, which was voluntarily surrendered from a private collection to the Japanese police by a member of the Tokugawa family (who chose to give them up instead of register them). It was then handed off to US occupation forces by the Japanese police and it's whereabouts are unknown currently.

Another exists in Austria, which was gifted to Albrecht von Roretz as part of a lot of swords for working to establish modern hospitals in Japan during the late 1800s.

These are the only ‘recorded’ Masamune blades to leave Japan, and none were battlefield trophies.

The British Museum list that they have a sword signed Masamune in their collection, however it is not photographed, so it is felt it is not an original, and thus, like ours that also isnt.

Another is in the Victoria and Albert Museum, acquired in 1912, it is photographed and also bears an attribution by the Ho’nami family of sword appraisers as being by Masamune, however although it is reasonably believed by many to be ‘the’ Masamune, it may be just of the period.

At a friendly chat we had with Chris Fox and Victor Harris {of the British Museum} in our gallery some years ago, in regards to how much an original would achieve if it appeared on the open market, and importantly, was agreed throughout to be genuine, the theoretical sum of 100 million pounds plus was considered as realistic.

https://www.trumanlibrary.gov/photograph-records/64-131

https://www.militaria.co.za/nmb/topic/36521-truman-library-sword/

Victoria and Albert collection, sword accession number M.20:1 to 4-1912. Although not on display.  read more

Code: 26342

A Most Attractive Koto Wakizashi Attributed to Kanemune of Etchu, 1532 WIth Japanese Attribution Papers

Uda school blade with bo hi to both sides. Fine sugaha hamon with mokume hada. Edo period Goto school mounts in shakudo patinated copper and gold depicting carved shi shi lion dogs. Menuki of shakudo and gold dragons. Iron Edo tsuba of fan formed windows, with Amidayasuri. NTHK certificated in 2003 as attributed to Kanemune of Etchu by a previous owner. The founder of the Uda School is considered to have been Kunimitsu. He was originally from the Uda district of Yamato Province. He worked around the Bunpo Era or 1317 at the end of the Kamakura Era. All of the succeeding smiths of this school used the kanji character â"Kuni", in their signatures. At some point he moved to Etchu Province so even though the Uda School had its foundation in the Yamato tradition, it is considered to be one of the wakimono schools from this region together with such schools as he Fujishima and Chiyozuru. Together these three schools are often referred to as the kita kuni mono.


Since remaining works by Kunimitsu are non-existent, his students, Kunifusa and Kunimune, are generally thought to be the true founders of this school. Both of these smiths studied under Norishige of the Etchu Province and they were active around the Koan Era (1361). The works of these early Uda smiths followed the style of the Yamato Den particularly in the areas of sugata and hamon. We rarely have swords with papers for our swords mostly came to England in the 1870's long before 'papers' were invented, and they have never returned to Japan for inspection and papers to be issued. However, on occasion we acquire swords from latter day collectors that have had swords papered in the past 30 years or so. this is one of those. 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. One can see just how remarkable it can be, by comparing the condition of this fine sword that was made around the same time as the early Tudor period of King Henry the VIIIth to any equivalent aged, surviving, early Tudor period sword, from any country outside of Japan, and that comparison will show just how fine any Japanese sword’s state of preservation, from the same era, truly can be.

28 inches long overall in saya, 21.5 inch long blade tip to tsuba.  read more

Code: 23596

A Most Beautiful Original Edo Period Shinto Samurai Wakizashi by Echizen ju Kozuke no Kami Fujiwara Kanesada, A Sword Maker Deemed Saijō Ō Wazamono (Supreme Grade), Ō Wazamono (Excellent), Yoki (Ryō) Wazamono (Very Good)

Signed over both sides of the nakago, Echizen ju Kozuke no Kami Fujiwara Kanesada 1680.

If you only had a single Japanese samurai short sword in your collection you would have to go a very long way to find a better example than this beauty. Bearing in mind it's beautifully signed, of stunning quality, in amazing condition, and, its almost 350 years old.

A good and rated sword smith. A swordsmith, Kozuke no Kami Fujiwara Kanesada is listed as one of just 65 Swordmakers that produced a swords of three of the high grades of quality blades, ōwazamono, ryōwazamono, or wazamono. Excellent, very good and good. 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. 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).

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. Add up the number of sword smiths in each edition: Saijo Ō Wazamono 15, Ō Wazamono 21, Yoki Wazamono 58, Wazamono 93, and 3 grades mixed 65. The list of swordsmiths described below is the swordsmiths described in the first edition of Kaiho Kenjaku. The blade of shinogi-zukuri form, slightly undulating suguba of nioi with pronounced nie, indistinct tight mokumehada, the ubu nakago with kiri yasurime and one mekugi-ana, signed Echizen no ju Kozuke no kami Fujiwara Kanesada; koshira-e: the saya (scabbard) of roiro lacquer; ovoid iron stuba , shakudo fuchigashira with geese and reeds in gilt metal relief. The blade is in very good polish, the lacquer on the saya also very good and the original. Superb condition tsukaito silk hilt wrap .
Blade 48.5cm (19 1/8in) from tsuba to tip .  read more

Code: 23481

A Majestic Edo Period, 425 Year Old, Samurai Wakazashi Of Museum Quality. With a Pure Layered Gold Habaki of the Ryojin, The "Dragon King," & Fuchigashira With His Pure Gold Servants The Sea Turtles

A most splendid samurai sword, the secondary sword of likely a daimyo, clan lord, around 425 years old. The blade bears a wonderous hamon of incredible activity with the Shinto Osaka school designs of gunome midare ba, with crab claws. it has just been expertly cleaned and conserved and looks spectacular.

The saya is one of the most beautiful we have seen with all its original urushi lacquer of a black base ground decorated with crushed abilone, over lacquered with clear urushi nad then takebori symbols of open ended infinity throughout. It has its all original Edo period shakudo and gold mounts of superlative beauty of the turtles. According to traditional Japanese beliefs, the turtle is a haven for immortals and the world mountain, and symbolizes longevity, good luck, and support. It is the symbol of Kumpira, the god of seafaring people especially. He is said to have lived tens of thousands of years.
Ryujin or Ryojin "dragon god", which in some traditions is equivalent to Owatatsumi, was the tutelary deity of the sea in Japanese mythology. This Japanese dragon symbolized the power of the ocean, had a large mouth, and was able to transform into a human shape. Ryujin lived in Ryugu-jo, his palace under the sea built out of red and white coral, from where he controlled the tides with magical tide jewels. Sea turtles, fish and jellyfish are often depicted as Ryujin's servants.

The tsuba is an absolute gem in shakudo with hammered pure gold onlaid paulownia leaves set in half surface decorated hand carved takebori open fretwork of tendrils. Paulownia is a symbol of good fortune, royalty, and the imperial family in Japan. It's depicted in the seal of the Prime Minister and used in various government emblems. The menuki are birds of paradise and shakudo and gold flying in clouds and match the very same design on the kodzuka, a bird of paradise, of gold and shakudo, utility knife, stored in the traditional kozuka saya pocket.

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, in certain circumstances, apparently didn't become a full-fledged samurai until, some say, he wandered around the countryside as begging pilgrim for a couple of years to learn humility. Again this may be part of the myth. However, when all his training was completed a samurai trainee that achieved samurai status and received a salary from his daimyo, paid from taxes (usually rice) raised from the local populace, he truly became the very best at his art in the world of sword combat

Swords in Japan have long been symbols of power and honour and seen as works of art, which is exactly what they are.

In Japan the term samurai evolved over several centuries

In Japanese, they are usually referred to as bushi (武士,) or buke (武家). According to translator William Scott Wilson: "In Chinese, the character 侍 was originally a verb meaning 'to wait upon', 'accompany persons' in the upper ranks of society, and this is also true of the original term in Japanese, saburau. In both countries the terms were nominalized to mean 'those who serve in close attendance to the nobility', the Japanese term saburai being the nominal form of the verb." According to Wilson, an early reference to the word samurai appears in the Kokin Wakashū (905–914), the first imperial anthology of poems, completed in the first part of the 10th century.

Originally, the word samurai referred to anyone who served the emperor, the imperial family, or the imperial court nobility, even in a non-military capacity.It was not until the 17th century that the term gradually became a title for military servants of warrior families, so that, according to Michael Wert, "a warrior of elite stature in pre-seventeenth-century Japan would have been insulted to be called a 'samurai'".

In modern usage, bushi is often used as a synonym for samurai

Every item is accompanied with our unique, Certificate of Authenticity. Of course any certificate of authenticity, given by even the very best and highly esteemed specialist dealers, in any field, all around the world, is simply a piece of paper,…however, ours is backed up with the fact we are the largest dealers of our kind in the world, with over 100 years and four generation’s of professional trading behind us. The current two partners alone, combined together, have over 96 years of professional experience within the trade.

Overall the condition is excellent for age, with just a few small marks withing the lacquered saya urushi,  read more

Code: 25752

A Wonderful Late Koto to Early Shinto Period Samurai Katana In Superb Condition Circa 450 Years Old. Superb Original Full Suite of Original Edo Koshirae, Including Gold and Shakudo Goto School Mounts & Signed Tsuba

The blade is absolutely stunning in very fine polish, and showing a beautiful billowing, very deep hamon of extraordinary fine quality. Goto gold and shakudo fuchi kashira of deep takebori chrysanthemums and tendrils. Gold menuki of hawks, and a complimentary signed mokko form iron plate tsuba with a hawk in flight with gold highlights. Original Edo tsuka-ito and blade polish, and original Edo saya with fabulous original ishime pattern urushi lacquer of top quality, with minor age bruising and a saya jiri mount of pierced openwork.

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 samurai were roughly the equivalent of feudal knights. Employed by the shogun or daimyo, they were members of hereditary warrior class that followed a strict "code" that defined their clothes, armour and behaviour on the battlefield. But unlike most medieval knights, samurai warriors could read and they were well versed in Japanese art, literature and poetry.
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 to stop the spear expanding 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.

It has been said that part of their military training, 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, it has been said, that if they tossed and turned at night were cured of the habit by having two knives placed on either side of their pillow.

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.

Long 29 inch blade, overall in saya 40.3 inches long

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  read more

Code: 24998

A Beautiful Edo Period Akasaka School O Sukashi Tsuba Decorated in Cut Silhouette With Clouds, Stars and Moon.

Early in the 17th century, tradition says, a dealer of Kiōto, named Kariganeya Hikobei, practised the designing of openwork iron guards in a new and refined style and had them made by a group of skilled craftsmen. From among these men he selected one Shōgunal capital, and settled with him at Kurokawa-dani in the Akasaka Japanese text district. Shōzayemon took the name of Tadamasa and continued his work on Kariganeya’s designs, dying in 1657. His son (or younger brother) Shōyemon, who succeeded him, calling himself Tadamasa II and adopting Akasaka as a surname, died in 1677 and was in turn succeeded by his son Masatora (d. 1707), by Masatora’s son Tadamune, and thence by four generations all called Tadatoki, the last living on into the middle of the 19th century. The first Tadatoki seems to have removed to Kiōto with his father’s pupil Tadashige and there to have founded a western branch of the school. Besides these a number of pupils, all called Tada-…, are recorded.

The earlier Akasaka guards closely resemble the pierced work of the Heianjō and Owari workers (Group III). Later productions display a number of striking features, such as clean-cut fret-piercing in positive silhouette of designs leaving little of the iron in reserve, the addition of a slight engraving finish, a rounded or rather tapered edge to the guard, and, in some of the more recent specimens, the semi-circular enlargement of each end of the tang-hole, as if to take a plug (not supplied) of abnormal size. Enrichments of other metals are entirely absent.  read more

Code: 25445

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

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: 22989

Fabulous 800 Year Old Ancient Ancestral, Museum Quality, Sword, Chokutō (直刀, 'Straight Sword', 10th Century Kofun Style, Mounted In WW2 Officer's Katana Fittings A Wonderful & Rare Historical Rarity From The The Mongol Invasions & The Kamikazi Typhoon

Possibly this swords ancestral blade was used in combat during the time of the great Khan, {Kublai Khan} and his attempted two Mongol invasions of Japan, in 1274 and 1281.

During WW2, which for Japan started in 1936, families of great standing or with samurai backgrounds and ancestry were permitted to allow their son's to wear military mounted swords, but, containing ancient ancestral blades, usually of great significance to the family's history. This is one of those swords. This swords officer's ancestry clearly went back almost a thousand years, thus he must have had great status within Japanese society. It was once estimated only 1 in 100 had such historical swords to carry in combat, while serving their divine emperor Hirohito in WW2, but an original 13th century chokuto sword would have been likely to have been used by fewer than one in a hundred thousand officer's.

A 13th Century original Koto samurai sword blade in the ancient 1300 year old ancient samurai sword style. Ancestral Japanese officers sword, an early Koto period bladed katana, with a stunning and rare blade form, of a near straight blade in the ancient chokuto style.
A straight, single-edged Japanese sword used from the Kofun era through the middle of the Heian period (around 794 to the 10th century) before curved swords like the tachi became standard.

The chokuto (直刀, "straight sword") is a straight, one-edged Japanese sword that was produced prior to the 10th century. Its basic style is likely derived from similar swords of ancient China. Chokuto were used on foot for stabbing or slashing and were worn hung from the waist. Until the Heian period such swords were called tachi (大刀), which should not be confused with tachi written as 太刀 referring to curved swords.

The chokutō in various styles including these styles declined around the end of the Asuka period (593－710), and only the style called the hōtō-tachi (方頭大刀), in which the decoration on the tip of the handle was rectangular parallelepiped, survived from the Nara period (710－794)

Chokutō typically come in hira-zukuri and kiriha-zukuri tsukurikomi (blade styles) which make them very distinct from later tachi and katana which rarely use these forms. Swords of this period are classified as jōkotō and are often referred to in distinction from Japanese swords.

Chokutō as a weapon died out by the middle of the Heian period, in the 10th century. And as a weapon, it was completely replaced by the Japanese sword, which is known today for its deep and graceful curves. The first sword with this curve was called Kenukigata-tachi (ja:毛抜形太刀), which was made by improving Warabitetō (ja:蕨手刀) used by Emishi in Tohoku region. And Kenukigata-tachi evolved into tachi, which became the mainstream of Japanese swords for a long time.

However on rare occasions the Chokuto style was made in later centuries to represent for its samurai owner the truly ancient style of Japanese samurai's sword, possibly for a samurai whose ancestors had been as such in the 10th century, and he wished to emulate and demonstrate his connection to his earliest samurai ancestor.

The wars and conflicts this sword could potentially seen service are;
Kennin Rebellion (1301 / 1401? listed as 1301 or 1201): A brief regional uprising against the Kamakura shogunate's authority.

Hatakeyama Shigetada Rebellion (1205): A localized purge and battle as the ruling Hōjō clan eliminated powerful rival samurai houses within the shogunate.

Wada Rebellion (1213): A fierce internal conflict in Kamakura led by the Wada clan against the dominant Hōjō regency.

Jōkyū War (1221): A decisive civil war where the Imperial Court under retired Emperor Go-Toba tried to overthrow the Kamakura shogunate; the shogunate won, cementing samurai supremacy over imperial governance.

Miura Rebellion (1247): A violent purge that destroyed the powerful Miura clan, further concentrating power in the hands of the Hōjō family.

Mongol Invasions (1274 & 1281): Kublai Khan's Yuan dynasty attempted to conquer Japan twice, attacking Kyushu. Samurai forces repelled the landings in the Battle of Bun'ei and the second invasion, aided heavily by coastal defenses and the famous kamikaze typhoons.

The Mongol invasions of Japan were two failed military campaigns launched by Kublai Khan of the Yuan Dynasty in 1274 and 1281 CE to conquer the Japanese islands.

The First Invasion (1274)
Kublai Khan sent a fleet of roughly 900 ships and nearly 30,000 troops from Korea.
The fleet attacked the islands of Tsushima and Iki before landing at Hakata Bay on Kyushu.
Japanese samurai fought fiercely, but the Mongols had better group tactics and primitive explosives. However, a massive nighttime storm destroyed much of the Mongol fleet and forced a retreat back to Korea.

The Second Invasion (1281) After conquering the Southern Song Dynasty, Kublai Khan launched a much larger armada of around 4,400 ships and 140,000 soldiers.

The Japanese built stone coastal walls around Hakata Bay, which blocked the invaders from landing easily. Weeks of messy beach and ship battles followed.
A powerful typhoon struck the coast on August 15, 1281, and smashed the Mongol fleet against the rocks
The typhoons that saved Japan were called kamikaze or "divine winds". The high cost of defending the country drained the Kamakura Shogunate's money and led to political weakness.

Overall condition;
The ancient 800 year old blade is in superb condition for age showing a superb hamon, and hada grain, with just some areas of light surface thinning that is far less that one should expect for a blade so ancient. The WW2 officers mounts are very good, with its leather combat covered metal saya , and its tsuka is very good, with just some age wear to its ito and the samegawa beneath. The tsuba is the early pre war pierced sukashi type, with some small, old, field repairs to one side.

In the MET, The Metropolitan Museum in New York, there is an incredibly similar blade, Title: Blade for a Straight Single-Edged Sword (Chokutō)

Date: 7th century or earlier exhibit number 06.310.6, We show our 13th century chokuto blade next to the 7th century samurai chokuto blade in the MET in New York, as photo 10 in the gallery.  read more

Code: 26343

A Very Fine & Beautiful Handachi Katana Dated 1539 signed Bizen Kuni Osafune ju Tsuguiye

Just under 500 years old, and a delight to observe the wonderful curvature to the blade. It possesses a very long signature by the smith on the nakago. It has all original Edo period mounts fittings and saya, with original saya intricately patterned urushi lacquer. Typical Edo handachi mounts with a beautiful iron tsuba with gold onlay of prunus and grasses. It has a very active hamon on the stunning blade and it’s all original Edo tsukaito binding to the hilt, now somewhat pleasingly colour faded in part and usual signs of combat use age appropriate wear as to be expected.

The samurai were roughly the equivalent of feudal knights. Employed by the shogun or daimyo, they were members of hereditary warrior class that followed a strict "code" that defined their clothes, armour and behaviour on the battlefield. But unlike most medieval knights, samurai warriors could read and they were well versed in Japanese art, literature and poetry.
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 expanding 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.

it has been said that part of their military training, 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.

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.

Japanese lacquer, or urushi, is a transformative and highly prized material that has been refined for over 7000 years.

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 decorated samurai sword saya and also ceremonial and decorative objects for their homes and palaces.

27.25 inch blade tsuba to tip.

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: 24332