Japanese

A Beautiful Unokubi Zukuri Blade Samurai Armour Piercing Tanto. Ise-ebi or Kamakuraebi Sayajiri 鞘尻, & Matching Matsushiro Sinano School Kozuka and Kogai. 16th To 17th Century Blade, Original Edo Koshirae, Of Nagano Province

A wonderful earliest Shinto bladed armour piercing tanto, with its unique original Edo period “Matsushiro” koshirae made in Matsuro-han in Shinano (Nagano) province, with a Matsuhiro kamakuraebi lobster tail mount on the end of the deep red urushi lacquer saya, that is overdecorated with black speckling and dragonflies.

Sometimes called "the old man of the sea" because of its bent back, the Japanese lobster (ise-ebi or kamakuraebi) is a symbol of longevity. Here it appears on the saya as a sayajiri but it can also appear in many ways, such as the back of a vest worn for theatrical performances. Kyōgen is a comic form of Japanese theatre performed together with the more serious Noh. Boldly patterned overvests (kataginu) were worn for important kyōgen roles, such as Tarōkaja, the comical servant.

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 with a short wide hi. It has a copper, habaki, with original Edo period lacquered saya large with lobster form Sayajiri 鞘尻 & a fully matching suite of sinchu and contrasting silver line mounts to the kozuka and kogai of the fine Matsushiro Sinano school, including the tsuba and fuchi kashira. Carved buffalo horn fittings and kurikata. the original Edo urushi lacquer is over decorated with speckles and black dragonflies in flight. The tsuka is also bound in rare, original Edo period micro thin tsuka-ito. Over a fine pair of shakudo menuki of butterflies and a bird combined.

Japan was once known as the “Land of the Dragonfly”, as the Emperor Jimmu is said to have once climbed a mountain in Nara, and looking out over the land, claimed that his country was shaped like two Akitsu, the ancient name for the winged insects, mating.

Dragonflies appeared in great numbers in 1274 and again in 1281, when Kublai Khan sent his Mongol forces to conquer Japan. Both times the samurai repelled the attackers, with the aid of huge typhoons, later titled Kamikaze (the Divine Winds), that welled up, destroying the Mongol ships, saving Japan from invasion. For that reason, dragonflies were seen as bringers of divine victory.

Dragonflies never retreat, they will stop, but will always advance, which was seen as an ideal of the samurai. Further, although the modern Japanese word for dragonfly is Tombo, the old (Pre Meiji era) word for dragonfly was Katchimushi. “Katchi” means “To win”, hence dragonflies were seen as auspicious by the samurai.


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.
The blade has an amazingly vibrant and active hamon.

It has spent two full weeks in our workshop being conserved and cleaned by hand by our artisans for around 65 hours, returning it to near exactly how it looked 150 years ago. Of course there are slight signs of natural wear and aging on the exterior etc., but it was important to leave this as intact as possible to complete a museum grade conservation.

Every item is accompanied with our unique, Certificate of Authenticity. Of course any certificate of authenticity, given by even the best 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 experience behind us  read more

Code: 25483

A Most Fine & Beautiful Koto Period Katana Signed Sukesada of Bizen Dated 1560. With Original & Exceptionally Rare Original Dutch Black-ship 1540’s Imported Leather Bound Tsuka. With Original Japanese Insect Pattern Embossing

Signed Bizen kuni ju Osafune Sukesada. One of the Sukesada, Bizen smiths. A very nice Koto blade, that has seen battle, with fine mounts and, most unusually, a very interestingly, embossed Dutch leather, called goudleer, bound tsuka, with cloisonne enamel menuki. Embossed Dutch leather goudleer was imported to Japan by the Dutch and Portuguese in the 16th century and was highly prized as screens and other decorative works of art. We have also seen, although most rarely, other items decorated with this distinctive Dutch leatherwork such as samurai purses and saya coverings. The embossing on the leather are various insects, highly popular in samurai fittings decor. The fushi tsuka mount is very fine, signed by the maker, and decorated with flowers and gold buds.

Insects in general have been celebrated in Japanese culture for centuries. The Lady Who Loved Insects is a classic story of a caterpillar-collecting lady of the 12th century court; the Tamamushi, or Jewel Beetle Shrine, is a seventh century miniature temple, once shingled with 9,000 iridescent beetle forewings. In old Japanese literature, poems upon insects are to be found by thousands, Daisaburo Okumoto is director of the Fabre Insect Museum. An avid insect collector and a scholar of French literature, he has translated many of Fabre's works. He ascribes the popularity of insects in Japan to national character. It seems like Japanese eyes are like macro lenses and Western eyes are wide-angle, he says. A garden in Versailles, it's very wide and symmetrical. But Japanese gardens are continuous from the room and also very small. We feel calm when we look at small things. The medieval Japanese monk Yoshida Kenko put it this way: “If man were never to fade away like the dews of Adashino, never to vanish like the smoke over Toribeyama, how things would lose their power to move us”

Harima, Mimasaka and Bizen provinces were prospering under the protection of the Akamatsu family. Above all, Bizen province turned out a great many talented swordsmiths. A large number of swords were made there in the late Muromachi period not only supplying the demand of the Age of Provincial Wars in Japan but also as an important exporting item to the Ming dynasty in China. At the onset of the decline of the Ashikaga shogunate in 1565 ad., and Yoshiteru's assassination the shogunate of Yoshiteru was filled by his two-year old son, Yoshiaki. Yoshiteru's brother was the abbot of a Buddhist monastery. He resigned this position and attempted to assume the shogunate. These efforts ultimately failed. The demand for swords began an accent to unimaginable levels. The national unrest and violent civil war did not cease until the successful takeover of the shogunate by Tokugawa Iyeyasu. The "Osafune - Kozori" group was the major supplier of blades for these events. 29 inch blade Tsuba to tip. On just one side of the blade there are combat stress hagire marks near the top section. This blade has certainly seen combat, and is simply ideal for the historical collector of beautiful samurai weaponry of battle, rather than those seeking blade condition perfection. 40 inches long approx overall in saya  read more

Code: 22916

A Most Handsome & Original Fine Chisa Katana Samurai Sword Signed Bishu Osafune Kiyomitsu. (備州長船清光）Koto Period – Muromachi Era. Around 475 years Old

With original Edo period Higo school fuchi kashira an iron plate mon-sukashi tsuba, with good hand made suaka sekigane within the nakago-ana {inserted soft metal copper fillets} and a stunning urushi bright lacquer ribbed and ishime two stage Edo saya, with polished buffalo horn kurigata and sayajiri, and fine blue silk tsuka-ito. The fine blade has a beautiful active notare hamon.

Likely late Muromachi period (1558-1570: Eiroku Era)

Based on the signature on this blade, we believe it was possibly forged by the second-gen Kiyomitsu, who was the son of Goro Zaemon Kiyomitsu. The second-gen Kiyomitsu was active in sword-forging during the Eiroku era(1558-1570: Late Muromachi period). While a few swordsmiths signed as Kiyomitsu during the mid-late Muromachi period, the second-gen Kiyomitsu is one of the most famous ones. Kiyomitsu belonged to Bizen Osafune school.

Those who forged swords in the Bizen province(Okayama prefecture) at the end of the Muromachi Period(1492-1569 A.D) are called Matsu Bizen (Matsu means the end). Kiyomitsu school was one of the most famous schools.

It flourished for generations among Osafune schools(The head branch) under the auspice of the Akamatsu clan. There were various styles forged by the generations of Kiyomitsu during this period.

Bizen is the birthplace of Bizen Den, one of the most famous Japanese sword traditions, along with Yamashiro Den, Soshu Den, Mino Den, and Yamato Den.

The swordsmiths in Bizen produced many swords for feudal lords during the Muromachi period as it was in the middle of the Sengoku period(Warring state period). The demand for blades increased among strong feudal lords. It would be nice to have a piece forged in the warring state period when there was so much rivalry between warlords.

This blade comes with beautiful sword mountings, including the usual tsuba, menuki, and fuchi kashira.

The Muromachi period or Muromachi era (室町時代, Muromachi jidai), also known as the Ashikaga period or Ashikaga era (足利時代, Ashikaga jidai), is a division of Japanese history running from approximately 1336 to 1573. The period marks the governance of the Muromachi or Ashikaga shogunate (Muromachi bakufu or Ashikaga bakufu), which was officially established in 1338 by the first Muromachi shōgun, Ashikaga Takauji, two years after the brief Kenmu Restoration (1333–1336) of imperial rule was brought to a close. The period ended in 1573 when the 15th and last shogun of this line, Ashikaga Yoshiaki, was driven out of the capital in Kyoto by Oda Nobunaga.

From a cultural perspective, the period can be divided into the Kitayama and Higashiyama cultures (later 15th – early 16th centuries).

The early years from 1336 to 1392 of the Muromachi period are known as the Nanboku-chō or Northern and Southern Court period. This period is marked by the continued resistance of the supporters of Emperor Go-Daigo, the emperor behind the Kenmu Restoration. The Sengoku period or Warring States period, which begins in 1465, largely overlaps with the Muromachi period.

The chisa katana was also the shorter long sword of choice for the art of twin sword combat, using two at once in unison, a chisa katana and wakazashi, one in each hand, a form used by the great and legendary samurai Miyamoto Musashi who reportedly killed 60 men before his 30th birthday.
Miyamoto Musashi 1584 – June 13, 1645), also known as Shinmen Takezo, Miyamoto Bennosuke or, by his Buddhist name, Niten Doraku, was an expert Japanese swordsman and ronin. Musashi, as he was often simply known, became renowned through stories of his excellent, and unique double bladed swordsmanship and undefeated record in his 60 duels. He was the founder of the Hyoho Niten Ichi-ryu or Niten-ryu style of swordsmanship and in his final years authored the The Book of Five Rings, a book on strategy, tactics, and philosophy that is still studied today.  read more

Code: 25458

A Very Impressive, Attractive, & Massive, Sukashi, Japanese Yanone {Arrow} Yanagi-Ba (Willow Leaf) With Long Tang. With Pierced Boar's Eye and Flower Head Clan Mon Likely a Presentation Piece

A beautiful very large arrow head {Ya} in nice polish, showing just a few tiny age marks. We can see it was re-polished some years ago. Likely Edo era.

Yanagi-Ba (Willow Leaf)
Yanone are very elaborate with saw-cut patterns like Sakura (cherry blossom), Inome (heart shape or boars eye), Mon patterns (family crests), dragons ad other geometrical patterns. These arrowheads are usually signed on the blade below the piercing and above the shoulder. Normally there are characters on both sides of the blade but in many cases the signature (mei) has been almost polished away.

This style of arrowhead appeared during the Momoyama period (1573-1615) and continued through the relatively peaceful Edo Period

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.

One of the photos in the gallery shows how arrow heads are often displayed in Japanese museums.

Weight 201 grams, 25 inches long overall, head 5.5 inches long, 2.3 inches wide  read more

Code: 25461

A Fine Signed Shinto O-Tanto Signed Yamoto Daijo Kanehiro.

Signed Shinto Tanto, by a master smith bearing the honorific title Assistant Lord of Yamoto.
A Samurai's personal dagger signed Yamoto Daijo Kanehiro. A Smith who had a very high ranking title A very nice signed Tanto, in full polish, with an early, Koto, Kamakuribori Style Iron Tsuba. The tsuba is probably Muromachi period around 1450, carved in low relief to one side. 6.5cm. Plain early iron Koshira. The blade in nice polish, itami grain and a medium wide sugaha hamon signed with his high ranking official title Yamoto Daijo Kanehiro [Kane Hiro, Assistant Lord of Yamoto Province] circa 1660. He lived in Saga province. Superb original Edo period ribbed lacquer saya.the saya has a usual side pocket to fit a kozuka utility knife. These knives were always a separate non matching and disconnected part of the dagger. Black silk binding over silver feather menuki. The samurai were bound by a code of honour, discipline and morality known as Bushido or ?The Way of the Warrior.? If a samurai violated this code of honour (or was captured in battle), a gruesome ritual suicide was the chosen method of punishment and atonement. The ritual suicide of a samurai or Seppuku can be either a voluntary act or a punishment, undertakan usually with his tanto or wakazashi. The ritual suicide of a samurai was generally seen as an extremely honourable way to die, after death in combat.  read more

Code: 20930

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

Koto Tanto By Masaiye With A Full Matching Suite of Edo Mounts, & a Fabulous Oni Demon Mount on The Saya

Around 500 years old. A stunning tanto with carved steel mounts decorated with geometric Ha-kenkoroitsu pattern, a version of the Hachisuka clan mon, it also has a matching kozuka with gold inlay to match the gold inlay workmanship on the tsuba. Cockeral menuki and a super oni demon mount on the two tone banded lacquer saya. Signed koshirae and blade by Masaiye circa 1530. Although called the manji in Japan symbolising 10,000 years and infinity, and usually used as a Buddhist symbol for temples, this version though is the Ha-kenkoroitsu (from the German word Hakenkreuz, or crooked cross) and it describes it as the 45-degree clockwise manji used by the Nazi party.

Its first recorded occurrence of the swastika named from a sanskirt word dates all the way back the the 6th to 5th millennium BC when it was used in the Vinca script of Neolithic Europe. After that it has been used by primitive society consitently from China to the Americas passing by Greece and Africa. The crooked cross is a historical sacred symbol in all Indian religions. It is used in Hinduism, Buddhism and Jainism. It rose
to importance in Buddhism during the Mauryan
Empire and in Hinduism with the decline of Buddhism in India during the Gupta Empire. It followed the silk road with Buddhism to reach Tibet and China. The symbol was also introduced
to Bali with Hinduism by Hindu kings. The use of the swastika by the Bon faith of Tibet, as well as later religions like Cao Dai of Vietnam and Falun Gong of China, can also be traced to Buddhist influence. The oni is the demon of Japanese folklore. It takes on many other names, sometimes referred to as a devil. Unlike most western cultures, the oni is not necessarily seen as an evil being. It is said to be of a dual nature, meaning it's powers can be good or evil, depending on if it likes the subject it attaches itself too. Oni are credited with bringing good health, safety, peace and avoiding disaster. A typical oni mask has horns, bulging eyes, a sinister looking smile and sharp teeth.

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: 21724

A Beautiful & Impressive Shinto Period Long Samurai Tanto Circa 1650

In all original Edo period fittings, including a pair of dragon menuki underneath original Edo two colour striped tsuka-ito, a flying goose in iron Higo fuchi complimented with a carved buffalo horn kashira, a super tsuba in iron with a takebori dragon around half of the edge to match the menuki. Original Edo lacquer saya in black ishime [stone finish] inset with an original Edo Kogatana utility knife, of a fine Oni demon tokebori kozuka on a nakago ground of patinated copper, the demon has a pure gold decorated sash onlaid. The habaki [blade collar] is finely and deeply chiselled at the botom half with a plain contrasting top half. The hira-zukuri blade is beautifully polished with a very clear and well defined deep notare hamon. The whole tanto is very attractive indeed, and all of the fittings, wrap tsuka and saya have been likely completely untouched or restored in around 150 years. The tanto is commonly referred to as a samurai's knife or dagger. The blade can be single or double edged [this one is single edged] with a length between 15 and 30 cm (6-12 inches, in Japanese 1 shaku). The tanto was designed primarily as a stabbing weapon, but the edge can be used for slashing as well. Tanto are generally forged in hira-zukuri style (without ridgeline), meaning that their sides have no ridge line and are nearly flat, unlike the shinogi-zukuri structure of a katana. Some tanto have particularly thick cross-sections for armour-piercing duty, and are called yoroi toshi. The tanto was invented partway through the Heian period. With the beginning of the Kamakura period, tanto were forged to be more aesthetically pleasing, and hira and uchi-sori tanto becoming the most popular styles. Near the middle of the Kamakura period, more tanto artisans were seen, increasing the abundance of the weapon, and the kanmuri-otoshi style became prevalent in the cities of Kyoto and Yamato. Because of the style introduced by the tachi in the late Kamakura period, tanto began to be forged longer and wider. The introduction of the Hachiman faith became visible in the carvings in the hilts around this time. The hamon (line of temper) is similar to that of the tachi, except for the absence of choji-midare, which is nioi and utsuri. Gunomi-midare and suguha are found to have taken its place.

During the era of the Northern and Southern Courts, the tanto were forged to be up to forty centimetres as opposed to the normal one shaku (about thirty centimetres) length. The blades became thinner between the uri and the omote, and wider between the ha and mune. At this point in time, two styles of hamon were prevalent: the older style, which was subtle and artistic, and the newer, more popular style. With the beginning of the Muromachi period, constant fighting caused the greater production of blades. Blades that were custom-forged still were of exceptional quality. As the end of the period neared, the average blade narrowed and the curvature shallowed Overall 21.25 inches long, blade 12 inches [1 shaku] long tsuba to tip.  read more

Code: 23041

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
.
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 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