Japanese

A Powerful Long & Formidable Samurai Antique Shinto Period Katana Signed Blade, of Shumada Kami Taira Yoshisuka, With an Incredible Yadome no Jutsu, Arrow Defensive Blocking Mark & Matsushiro Sinano School Koshirae

All original Edo period mounts and black lacquer saya, and a very good mokko shaped tsuba engraved with leaves and flowers with lines of silver inlay. Menuki of dragons. Fully matching suite of mounts to the tsuka and saya, Matsushiro Sinano school, Signed blade, Shumada Kami Taira Yoshisuka.
The hada is very nicely visible in the excellent polish and around one inch from the habaki the obverse blade face has deflected a blow from an enemy arrow, and created a tiny circular impact point surrounded with incredible hada grain rippling. Please note that unique phenomena, in the photograph, where a the fast travelling projectile has been deflected by the blade from its samurai target and the instant pressure wave incurred in micro seconds has created a miniature tsunami of steel sent out from the impact point for just a few millimetres and created an oval misshaped hada grain all of its own, within the natural hada grain of the blade. A visual record of the samurai’s extraordinary skill and ability to intercept an arrow in mid flight, and something even a nihonto {samurai sword} specialist might only see once in a lifetime. Below the photograph of impact, we show, in the same photo, an antique Japanese woodblock print of the very same action being performed by a samurai, the ‘Yadome no Jutsu’ blocking himself from the impact of arrows, with his sword blade, while being consumed by a hail of enemy yadome {arrows} in flight, while his faithful steed is being impaled by the deadly hail.

This is an amazing thing to see, in that the arrow impact was remarkably deflected, and otherwise the arrow would without doubt have penetrated the body of its samurai, and likely it would have been a fatal wound. Impacts to blades such as this are much revered and honoured, and if possible not removed in later blade polishing.

There is a move in samurai sword combat that is designed to deflect an incoming arrow, which must have been incredibly difficult to execute. The technique is called 'yadome' or 'yadome no jutsu' - the art of cutting or blocking arrows. There are stories of it in Sengoku Japan (and older), it must have required very impressive skill. In the Heike Monogatari (Tale of the Heike), one of the most famous examples of arrow cutting is described:

"Then Gochi-in Tajima, throwing away the sheath of his long naginata, strode forth alone on to the bridge, whereupon the Heike straightaway shot at him fast and furious. Tajima, not at all perturbed, ducking to avoid the higher ones and leaping up over those that flew low, cut through those that flew straight with his whirring naginata, so that even the enemy looked on in admiration. Thus it was that he was dubbed Tajima the arrow-cutter. Some katana can be light and finely balanced to reflect the stature of the samurai who wielded it in combat, others, such as this one, was most certainly for a mighty samurai, either to use on foot in full armour, or in armour on horseback. This is the stature of a sword that could be used against a foe, similarly adorned in full armour, and its power would easily be perfectly suitable against armour in the melee of battle.

Samurai have been describes as "the most strictly trained human instruments of war to have existed." They were expected to be proficient in the martial arts of aikido and kendo as well as swordsmanship and archery---the traditional methods of samurai warfare---which were viewed not so much as skills but as art forms that flowed from natural forces that harmonized with nature.
An individual didn't become a full-fledged samurai until he wandered around the countryside as begging pilgrim for a couple of years to learn humility. When this was completed they achieved samurai status and receives a salary from his daimyo paid from taxes (usually rice) raised from the local populace. Swords in Japan have long been symbols of power and honour and seen as works of art. Often times swordsmiths were more famous than the people who used them. The rise in popularity of katana by samurai is believed to have been due to the changing nature of close-combat warfare. The quicker draw of the sword was well suited to combat where victory depended heavily on fast response times. The katana further facilitated this by being worn thrust through a belt-like sash (obi) with the sharpened edge facing up. Ideally, samurai could draw the sword and strike the enemy in a single motion. Previously, the curved tachi had been worn with the edge of the blade facing down and suspended from a belt.

As with all our items it comes complete with our certificate of authenticity. 28.25 inch long blade from the tsuba to tip.  read more

Code: 23061

A Most Beautiful Koto Era Sengoku Period Katana Circa 1480 Signed Norimitsu , All Original Edo Period Mountings

In super condition for its great age, with all it's original Edo period mounts and saya.

Shakudo and pure gold decorated fuchi kashira decorated with takebori shishi mythical lion dogs with a gold dragon entwined around its neck on a nanako and rattan pattern crosshatching. The kashira has geometric patterns and copper curlicues. The tsuka is wrapped in black silk binding over golden sinchu rabbits with flowers. The tsuba is a superb geometrically pierced sukashi, a Koto period piece, on a circular iron plate. The blade is signed Norimitsu but not unusually the signature region is faded through age so it is difficult to read although highligted in white powder on the tang. The blade has a very good and clear hamon, and a very elegant funbari graduating curvature and it has been polished several times over 500 years so it shows a little completely understandable light surface thinning to one small area see blade photos.

It has a silvered engraved habaki blade collar.
Original black Edo period ishime black stone lacquer around 200 years old to the saya and in very nice condition, slight wear marks but super overall.

The Sengoku period Sengoku Jidai, "Warring States period") is a period in Japanese history of near-constant civil war, social upheaval, and intrigue from 1467 to 1615.

The Sengoku period was initiated by the Ōnin War in 1467 which collapsed the feudal system of Japan under the Ashikaga Shogunate. Various samurai warlords and clans fought for control over Japan in the power vacuum, while the Ikkō-ikki emerged to fight against samurai rule. The arrival of Europeans in 1543 introduced the arquebus into Japanese warfare, and Japan ended its status as a tributary state of China in 1549. Oda Nobunaga dissolved the Ashikaga Shogunate in 1573 and launched a war of political unification by force, including the Ishiyama Hongan-ji War, until his death in the Honnō-ji Incident in 1582. Nobunaga's successor Toyotomi Hideyoshi completed his campaign to unify Japan and consolidated his rule with numerous influential reforms. Hideyoshi launched the Japanese invasions of Korea in 1592, but their eventual failure damaged his prestige before his death in 1598. Tokugawa Ieyasu displaced Hideyoshi's young son and successor Toyotomi Hideyori at the Battle of Sekigahara in 1600 and re-established the feudal system under the Tokugawa Shogunate. The Sengoku period ended when Toyotomi loyalists were defeated at the siege of Osaka in 1615.

The Sengoku period was named by Japanese historians after the similar but otherwise unrelated Warring States period of China. Overall 35.25 inches long, blade 25.5 inches long  read more

Code: 23948

A Very Fine Ancient Koto Period ‘Plum Blossom’ Tanto Of the 1400's, Signed Blade

Around 600 plus years old. Likely used by one of the great Japanese clans that used the Ume [plum blossom] symbol as their kamon [crest]. With simply fabulous original Edo mounts of a copper ground with silver and gold decor of takebori deep relief plum blossom and berries. A fine copper tsuba stamped with rows of plum blossom kamon. The original edo saya is stunning, and inlaid with almost microscopic inlays of white shell. The saya pocket holds a superb kozuka with a complimenting copper hilt decorated with a takebori gold and shakudo goose in flight, showing with half a pure gold full moon. It is signed on the reverse side. The blade is very good with typical early, koto narrow straight hamon. The tang is signed but due to its great age is very difficult to translate. There are a super pair of matching takebori plum blossom menuki under the gold silk binding. 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. 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. Plum blossoms, symbolic of the arrival of spring, were a favored subject among scholar-gentleman painters in China, but when Chinese ink paintings of plums arrived in Japan their imagery became widespread within Zen circles. This composition of a gnarled plum tree framed by a circle of ink wash may reflect the use of the circle in Zen painting and calligraphy as a visual representation of words from the text of the Heart Sutra, “form is void and void is form,” and as a symbol of enlightenment.

Motsurin, a Zen artist-monk, might also have chosen plum blossoms because they were beloved of his mentor Ikkyū Sōjun (1394–1481), an abbot of Daitokuji temple in Kyoto known for his poetry, calligraphy, and flagrantly unorthodox behavior. Motsurin’s inscribed text claims that even elegant peonies and sweet jasmine cannot match the plum as a representation of the spring season. Originally brought in from China during the early Heian period (794-1185), plum trees became popular as ornamental garden fixtures because of their delicate beauty. Over the years, many varieties have been cultivated and now you see ume blossoms in a myriad of colours.

Ume blossoms are the first flower of spring and the original inspiration for flower-viewing hanami parties that were so well-loved by the rich aristocrats from the past. 21.5 inches long overall, blade 11 inches long  read more

Code: 23658

A Stunning Museum Piece & An Exquiste Original Edo Period Shibayama Japanese Carved Abilone Mother o'Pearl Butterfly Tanto. Mounted With an Ancient, 500 Year old Mino Blade, Circa 1500

Just returned from traditional polishing and it looks absolutely incredible, showing a deep and amazing midareba hamon. Especially considering the blade is around 500 years old.

The true epitome of a breathtaking Japanese samurai 'art sword'. Not only a stunning piece of unique Japanese object d'art, it was a usable and functional piece of samurai weaponry. The Japanese have always regarded the Japanese sword as a medium of functional beauty. It is said to be the iron of art. It stands not only as an outstanding weapon, but is also beautiful. And, this beauty has always been pursued by the Japanese.

It has an extraordinary full koshirae sword mounting of decorated shibayama, of the finest quality and beauty, of carving in the deep relief takebori form, of absolutely beautiful, three dimensional hand carved relief butterflies in carved abilone mother o’pearl and bone throughout, and the saya is stunningly decorated with a multilayered, differing shades of a gold and brown translucent lacquered finish, with simulated crackling designed to represent tree bark, that the butterflies are inlaid within, that is fantastically simulated to appear like real slightly coarse tree bark, the natural background that butterflies inhabit in nature.

This extraordinarily complex form of lacquer work would likely taken a year to accomplish by the artisan alone, then the butterflies, once carved, would have been inlaid within the lacquer-work. The overall effect of a natural gathering of over a dozen species of lepidoptera is absolutely amazing. Simply breathtaking work of the highest order, created by an artisan of unparalleled skill.


‘Shibayama is The Pinnacle of Japanese Decorative Art.’
Shibayama refers to the intricate carving and minute encrustation of various materials on to a background material. The inlay typically consists of mother-of-pearl, bone, tortoiseshell or coral, the combination creating a delightful contrast of colours and textures. Set in high relief above a wood, lacquer and sometimes an organic base, the inlay depicts figures, flora and fauna with a highly appealing three-dimensional effect. Probably some of the most complex artwork an artist could ever attempt.
Shibayama as an art form was founded by the late Edo period craftsman Ōnoki Senzō, who named this technique after his hometown Shibayama in present-day Chiba prefecture. Senzō soon became so celebrated for his invention that he then decided to adopt Shibayama as his surname. Following its introduction at the 1867 Paris World Expo, shibayama treasures were to enjoy great fascination and appreciation from Western collectors, and facilitated by the opening up of Meiji Japan, many Shibayama pieces were exported to Europe.

The tanto has a beautiful kozuka utility knife of pure gold butterflies on a shakudo nanako ground

Fine pieces of even the smallest examples of shibayama can approach many tens of thousands of pounds in the world art market.

A similar quality set of Shibayama tanto koshirae just simply the fittings alone, also inlaid with butterfly and insects, just as this one, possibly by the same artisan, but without any blade at all still present, but with its small kozuka utility knif. It sold at Zacke's Auction in Vienna in 2020, lot 256, for almost £8,000  read more

Code: 24032

A Huge Ancient 600 Year Old Han Dachi {Odachi} Katana, Great Sword, With A Very Rare, Mount Fuji With Waves, Hamon Blade

Circa 1400. The hamon is truly wondrous, with a profile of the most iconic and significant natural geological feature in Japan, the volcano, Mount Fuji, bordered by crashing waves. Another iconic feature of this scene Mount Fuji and crashing waves was created by one of the worlds most famous artists, Hokusai in Hokusai's The Great Wave. This is probably the earliest Mount Fuji hamon we have seen, most early examples were from 1670's, such as Yamato no Kami Yoshimichi of the Osaka Shinto school, but in the later eras they became even more popular and better defined, even with versions that had birds flying towards and over Mount Fuji, in the late, Showa period

This is a truly spectacular sword, the essence of a true statement piece!. It has a 301/2 inch long blade, bearing the very rare form of Mount Fuji hamon, with a total length 44 3/4 inches long, a sword of incredible stature and presence. Fully mounted han-dachi style with a full suite of original Edo period iron koshirae, and a Shinto, signed, mokko form iron tsuba inlaid with tetsu vines and inlaid silver lines to represent an openwork trellis holding the vines

The breathtaking composition of his 1831 woodblock print, said to have inspired Debussy’s La Mer (The Sea) and Rilke’s Der Berg (The Mountain), ensures its reputation as an icon of world art. Hokusai cleverly played with perspective to make Japan’s grandest mountain appear as a small triangular mound within the hollow of the cresting wave. The artist became famous for his landscapes created using a palette of indigo and imported Prussian blue.

Previously a tachi slung sword or odachi. From the Heian to the Muromachi Period, the primary battlefield sword was the tachi. Its long blade and sharp edge made it ideal for use on horseback. In the Nanboku-cho period in the 14th century, huge Japanese swords such as odachi became popular. The reason for this is thought to be that the conditions for making a practical large-sized sword were established due to the nationwide spread of strong and sharp swords of the Soshu school. In the case of odachi whose blade was 150 cm long, it was impossible to draw a sword from the scabbard on the waist, so people carried it on their back or had their servants carry it. Large naginata and kanabo were also popular in this period. However, as infantry were often equipped with yari and naginata, this fashion died out in a short period of time. Furthermore, from the Sengoku period in the latter part of the Muromachi period to the Azuchi-Momoyama period, as tactics shifted to fighting with yaris and guns by a large group of infantry, ōdachi became even more obsolete. As ōdachi became less effective, it was often reduced in size from below the hilt and thus changed its function and used as a tachi or katana.

Odachi was used as a weapon, but because of its magnificent appearance, it was often used as an offering to kami, a Shinto shrine. For example, Oyamazumi Shrine, which is said to be a treasure house of Japanese swords and armour, is dedicated to the national treasure Odachi, which was dedicated by Emperor Go-Murakami, and ōdachi, which was dedicated by Omari Naoharu and killed Kusunoki Masashige.

In the peaceful Edo period, ōdachi was no longer regarded as a practical weapon and came to be recognized only as an offering to the kami of Shinto shrines. During the fifteenth century, the uchigatana came into use, and during the Muromachi Period (1336 to 1573) use of the uchigatana became widespread.

The word uchigatana can be found in literary works as early as the Kamakura Period, with uchi meaning "to strike" and gatana (katana) meaning "sword", so that uchigatana means "sword to strike with". The uchigatana was originally used only by individuals of low status or rank, such as the ashigaru.

Most uchigatana made during the early Kamakura Period were not always of the highest standard, and because they were considered relatively disposable, virtually no examples from these early times exist today. It was not until the Muromachi Period, when samurai began to use uchigatana to supplement the longer tachi, that more uchigatana of higher quality were made. During the Momoyama period, their use in combat was very fast and effective. Unlike the tachi, with which the acts of drawing and striking with the sword were two separate actions, unsheathing the uchigatana and cutting the enemy down with it became one smooth, lightning-fast action. This technique was developed in the arts of battojutsu, iaijutsu, and iaido.

The curvature of the uchigatana blade differs from the tachi in that the blade has curvature near the sword's point (sakizori), as opposed to curvature near the sword's hilt (koshizori) like the tachi. Because the sword is being drawn from below, the act of unsheathing became the act of striking. For a soldier on horseback, the sakizori curve of the uchigatana was essential in such a blade, since it allows the sword to come out of its sheath (saya) at the most convenient angle for executing an immediate cut. Han-dachi originally appeared during the Muromachi period when there was a transition taking place from Tachi to katana. The sword was being worn more and more edge up when on foot, but edge down on horseback as it had always been. The handachi is a response to the need to be worn in either style. 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 exanding into bushido (the way of life of the warrior) and bun (the artistic, intellectual and spiritual side of the samurai). Originally conceived as away of dignifying raw military power, the two concepts were synthesized in feudal Japan and later became a key feature of Japanese culture and morality. The quintessential samurai was Miyamoto Musashi, a legendary early Edo-period swordsman who reportedly killed 60 men before his 30th birthday and was also a painting master.

Overall the sword is in incredible condition for its great age, and the koshirae have been completely untouched for several hundred years, including the Edo linen tsuka-ito. In its working life the blade has been shortened from the tang end by the official Shogun's edict of 1670, forbidding the wearing of swords over a certain length. In Kwambun X (1670), Tokugawa Iyetsuna issued a regulation making the maximum length of samurai and daimyo tachi to be reduced to 2'8"-9", and o-wakizashi 1'8", and anyone carrying a longer sword was liable to punishment.

The blade, just on the cutting edge, at the base of the blade at the top of the habaki, there are tiny traces of an honourable hand to hand combat blocking nick. This is part of its ancient history, honour and provenance and ideally should never be removed

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: 24901

A Fabulous, Signed, Antique, Samurai O-Tanto, Late Shinto Period. All Original Edo Fittings Goto School.

A wonderful samurai sword, circa 1760. A large tanto almost wakazashi size. With hard organic bound tsuka. Shinto hinto period, signed blade and signed fittings. The signature is in a most unusual form and it's translation, as yet, still eludes us. The fittings are all bronze and hammered with with fine gold and probably by the much sought after Goto school. Superb kozuka with gold foil and carved copper, and a signed blade. Leather covered saya with iron and gold Kojiri. Gold rimmed bronze tsuba with nanako ground and Shishi.

Nanako Ji: "fish roe ground" A surface decoration produced by forming very small raised bosses by a sharply struck punch or burin called 'nanako tagane'. Shakudo is the metal most often used, but copper and gold are quite often employed. The harder metals, shibuichi, silver and iron are rarely decorated in this way. The size of the dots vary from 0.04" to 0.008" (25 to 125 and inch) and the regularity of the work is marvelous as the dots must be spaced entirely by touch. The dots are usually arranged in straight lines or in lines parallel to the edge of the piece being decorated, but sometimes in more elaborate patterns. Used on guards since the Momoyama period although the technique existed since much earlier periods. Usually done by specialist 'nanako-shi', but sometimes done by the maker of the guard himself.

The Gotō School of sword-fittings makers was founded in the fifteenth century by Gotō Yūjō, who is said to have been patronized by the shogun Ashikaga Yoshimasa (1435–1490). The work of the Gotō masters is characterized by painterly designs carved in high relief on a ground of shakudō (an alloy of copper and gold chemically treated to turn a rich blue-black), finished in nanako (tiny circles punched regularly over the surface to give it a granular appearance) with colorful accents in gold and silver. The succeeding generations of Gotō masters continued to work in these soft metals and concentrated on the smaller sword fittings, such as kozuka (the handle of the small utility knife fitted into a slot on the back of a sword scabbard), kōgai (a skewer-like hairdressing tool carried in the front of the scabbard), and menuki (a pair of grip ornaments secured by the handle wrappings). The production of the stouter sword guards, or tsuba, was left to other masters. While earlier generations had not signed their work, the Gotō masters in about 1600 began to authenticate the work of their predecessors; the attributions usually were engraved on the backs of the pieces themselves. These attributions bear testimony to the keen interest in early sword fittings as status symbols for high-ranking samurai.
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. Shishi (or Jishi) is translated as lion but it can also refer to a deer or dog with magical properties and the power to repel evil spirits. A pair of shishi traditionally stand guard outside the gates of Japanese Shinto shrines and Buddhist temples, although temples are more often guarded by two Nio protectors. The Shishi (like the Nio) are traditionally depicted in pairs, one with mouth open and one with mouth shut.). Others say the open mouth is to scare off demons, and the closed mouth to shelter and keep in the good spirits. The circular object often shown beneath their feet is the Tama, or sacred Buddhist jewel, a symbol of Buddhist wisdom that brings light to darkness and holds the power to grant wishes. Overall 26.5 inches long, blade 13.75 inches long  read more

Code: 21366

A Superbly Beautiful Ancient, Early Nagamitsu, Signed Katana Around 700 years Old. With Rare, Red Kairagi Polished Samegawa Saya

Nagamitsu is one of the most famous names in the history of Japanese swords. There have been various swordsmiths named Nagamitsu who worked from the mid 1200's through the 1940's. The most famous of them worked in Bizen, although swordsmiths by this name are recorded as having worked in Satsuma, Yamato, Yamashiro and other locations. This is by one of the Nagamitsu in the 1300’s. To place this beautiful ancient sword in its historical context, when this sword was made, and being used by, maybe it’s third or even fourth samurai owner in Japan, in Europe, Edward, The Black Prince, was fighting the French at Poitiers under the command of his father, King Edward IIIrd. And there is likely not a single European medieval sword blade, in all the state collections in Europe, of the same age, in as good a condition as this sword’s blade, even the few surviving swords of kings. This visually demonstrates, in the simplest way, just how wondrous surviving ancient samurai swords are.

All original Edo period mounts, a suite of matching tsuba, fuchi and kashira in shakudo and gold depicting a seated takebori sage on a lotus with prunus blossom, the tsuba is iron and gold takebori also of matching prunus blossom branches, the original Edo saya is polished two tone red kairagi coloured giant rayskin. "Kairagi" means "Ume Blossom Skin".
When you polish the skin, Ume Blossom patterns will appear. Kairagi-same is very rare, but red ground kairagi especially so.

The tsuka hilt has all its original antique Edo period tsuka-Ito binding over the samegawa giant rayskin with a pair of delightful silver, botanical themed menuki the hilt’s grip ornaments within the binding. The beautiful ancient blade is a typical of the Koto period, with the usual style of the era, including a relatively narrow, undulating hamon running parallel and down to the edge towards and at the kissaki curved tip, with a most charming funbari graduated curvature. The tang bears the two kanji signature of the smith, Nagamitsu, that despite its great age is still nicely visible. It is a beautiful blade of very light and elegant balance, perfect for two handed sword combat.

The great samurai warrior Musashi, who was a famous exponant of two handed sword fighting and used two swords just as this one. 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. Throughout much of the Kamakura period, the shogunate was controlled by the Hojo clan, whose members held the title of shikken (regent for the shogun), and passed it on within the clan. The Emperor was little more than a figurehead, holding no real administrative power.

In 1331, Emperor Go-Daigo plotted to seize power and overthrow the shogunate in Kamakura. However, he was betrayed by a trusted adviser Fujiwara Sadafusa. The Emperor fled Kyoto with the Sacred Treasures and sought refuge in a secluded monastery overlooking the Kizu River, called Kasagi. The monastery was attacked by Bakufu troops in the Siege of Kasagi. The emperor managed to escape, but only temporarily, and was subsequently banished to the Oki Islands. The shogunate then enthroned Emperor Kgon.

The Emperor's son Prince Morinaga continued to fight, leading his father's supporters alongside Kusunoki Masashige.

Emperor Go-Daigo escaped Oki in the spring of 1333, two years after his exile, with the help of Nawa Nagatoshi and his family, raising an army at Funagami Mountain in Hoki Province

Meanwhile, Ashikaga Takauji, the chief general of the Hojo family, turned against the Hojo and fought for the Emperor in the hopes of being named shogun. Takauji entered Kyoto on 19 June and Go-Daigo entered the Palace at the end of July 1333. Simultaneously, Nitta Yoshisada led his army on a campaign through Kozuke and Musashi provinces culminating in the siege of Kamakura, setting fire to the city, and destroying the Kamakura shogunate.
The saya looks absolutely beautiful and is covered in probably the most expensive, super hardened leather in existence, called same pronounced sar-may. The highly hand smoothed and polished kairagi rayskin saya, is hundreds of years old and has several areas of very small, and very good old, contemporary surface restoration, due to its great age.
The blade is still absolutely beautiful for its age, with all the natural age surface wear etc. as to be expected. Blade length 24.75 inches long tsuba to tip, overall in the saya 33.85 inches long  read more

Code: 24273

A Spectacular & Beautiful Museum Grade Cloisonne Enamel Samurai's Suzaku Pheonix Tachi With a 500 Year old Blade By Bizen Kuniyoshi Bearing the Shogun Tokugawa Mon

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 Carl Faberge himself.

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 tokugawa mon of the Shogun Tokugawa. 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 good Edo polish with just a few surface scratch marks, easily forgiveable due to its great 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. One can see just how remarkable it can be, by comparing the condition of this fine sword’s blade 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. The size of this tachi is around the size, overall, of a chisa katana, or o wakazashi. The Tokugawa mon is engraved on its former, deer hide mount round disc fittings, for the vermillion silk hanging cord, that no longer affixed to the tachi hanging mounts {ashi} due to great age perishing. This early vermillion, silk multi-wovan cord, and deer hide mount, is likely several hundred years old, but will still accompany the sword for its next owner, as, although it's well past its use as a hanging mount, it ought to be preserved as part of the swords history.  read more

Code: 23683

A Wonderful Ancient Nambokochu Katana Blade Signed Kuniyoshi Circa 1380 to 1400 Over 600 Years Old. Goto Shakudo Nanako & Gold Floral Fuchigashira and Menuki Sword Fitting

This wonderful ancient blade, was made in Japan, in the European timeframe, before the battle of Agincourt in 1415,

It has a very slight curvature to the blade, and it is still retaining its original signature by Kuniyoshi. It is almost a single edged version of the ancient 'ken' based straight sword. The 'ken' style of straight double edged swords were the earliest form of all samurai swords, used by the earliest Japanese samurai in the 900's. Then they developed into single edged straight blades, then the curvature was added by the 1100 to 1200's

The superb blade is still its original last Edo period polish around 90% and the hamon is stunning and incredibly active. The Nanboku-cho period (Northern and Southern Courts period) Spanning from 1336 to 1392, it was a period that occurred during the formative years of the Muromachi
bakufu of Japan's history.
The Imperial seats during the Nanboku-cho period were in relatively close proximity, but
geographically distinct. They were conventionally identified as:
Northern capital : Kyoto
Southern capital : Yoshino.
During this period, there existed a Northern Imperial Court, established by Ashikaga Takauji in Kyoto, and a Southern Imperial Court, established by Emperor Go-Daigo in Yoshino.
Ideologically, the two courts fought for fifty years, with the South giving up to the North in 1392.
However, in reality the Northern line was under the power of the Ashikaga shoguns and had little real independence. This sword would very likely have been used in the Onin War (1467-1477) which led to serious political fragmentation and obliteration of domains: a great struggle for land and power ensued among bushi chieftains and lasted until the mid-sixteenth century. Peasants rose against their landlords and samurai against their overlords, as central control virtually disappeared.

The katana has fabulous Goto scholl mounts, with shakudo nanako, and gold peony decorated fuchi kashira, and shakudo and gold menuki of grape vines with vine leaves and grapes, possibly by Kazutada. The fittings show the technique of Uttori. The gold on these pieces are not plated, but rather have gold foil applied in such a very difficult manner, that only the finest craftsmen have the ability to attain skill required for the technique

Shakudo, which 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. The fittings are set within their two bespoke wooden display cases. Antique Japanese koshirae Japanese samurai sword mounts and fittings are considered as fine object d'art in their own right, and have been collectable as individual items or sets, since the Edo period. They were often removed from swords, mounted in small cases such as these, and respectfully admired for display as items of the highest quality workmanship, and symbols of the noble samurai, in their own right.

Tetsu Mokko Katana Edo period tsuba With Chiselled Willow Tree

The swords tsuka and saya hilt and scabbard will be fitted by our conservator to the sword, with all the fittings. The blade and fittings and tsuba are photographed here separate, unfitted to the sword, at present. It will then be re-photographed in December once it is all remounted together.

Blade overall including nakago 35 inches long.  read more

Code: 23963

Museum Grade Koto Era Samurai Wakizashi Sword By Master Tadamitsu With Rare Gakumei, Circa 1440-1460 Mino Goto Koshirae, With Deep Red Ishime Lacquer Saya & Black Silk Binding

With rare gakumei where the mei (signature) was removed from the original tang and inserted into the shortened tang in order to preserve the important master smith’s signature upon his museum grade blade. With its spectacular suite of beautiful original Edo Mino Goto fittings with tsuba, in shakudo, and pure gold decor of flowers, cricket, catydid and praying mantis. Deep red ishime stone finish lacquer saya, with carved buffalo horn fittings and Mino Goto throat mount. Superb black silk tsuka-ito over fine pure gold decorated menuki. A wonderful Muromachi era blade almost 600 years old, with a superb hamon, in around 95% polish, with gold foil habaki and blade smith shortened tang with its original preserved ‘folded over’ signature inlaid and inserted within the tang. The hamon forms a delightful gunome pattern, mixing with clove (Choji) outline which is slanted generally. The founder of the sword maker school, Tadamitsu in Bizen, is referred in the Shouou period (1288-93) and the oldest existent Tanto by him has the date year, Teiji 3,1364) during the Nanbokucho period, then later generations shows the records of Ouei to Bunmei era (1394-1486) in Muromachi period. The preserved 'folded over' system, that can be seen beautifully done on this blade, in order to preserve the blade smith's signature, was only reserved for the best and most highly revered blades, often of historical significance to the samurai's family. The ancient province of Kibi (of which Bizen was the easternmost region; now Okayama prefecture) possessed excellent ironmaking technology, which helped make Kibi into a powerful state. The region is blessed with all the vital ingredients needed for Japanese sword making: iron sand, water, and charcoal of Japanese red pine, which has excellent thermal efficiency. Research on Japanese swords since the Meiji period has revealed five different features or styles based on the regions in which they were made: Yamashiro (Kyoto prefecture), Yamato (Nara prefecture), Bizen (Okayama prefecture), Sagami (Kanagawa prefecture), and Mino (Gifu prefecture. The characteristic styles of these five regions were passed down from master to disciple and from one region to the next. These are collectively known as Gokaden (five traditions of swordmaking). The province of Bizen was located far from Japan's political center throughout its history, allowing it to prosper regardless of the political state of sovereignty of the day. The most typical Bizen blade has a steel surface grain called itamehada (wooden board grained) with a unique pattern called chōji (clove-shaped) on the blade. This pattern is a feature of Bizen swords and it is what makes Bizen swords special. The Gotō School of sword-fittings makers was founded in the fifteenth century by Gotō Yūjō, who is said to have been patronized by the shogun Ashikaga Yoshimasa (1435–1490). The work of the Gotō masters is characterized by painterly designs carved in high relief on a ground of shakudō (an alloy of copper and gold chemically treated to turn a rich blue-black), finished in nanako (tiny circles punched regularly over the surface to give it a granular appearance) with colorful accents in gold and silver. The succeeding generations of Gotō masters continued to work in these soft metals and concentrated on the smaller sword fittings, such as kozuka (the handle of the small utility knife fitted into a slot on the back of a sword scabbard), kōgai (a skewer-like hairdressing tool carried in the front of the scabbard), and menuki (a pair of grip ornaments secured by the handle wrappings). The production of the stouter sword guards, or tsuba, was left to other masters. While earlier generations had not signed their work, the Gotō masters in about 1600 began to authenticate the work of their predecessors; the attributions usually were engraved on the backs of the pieces themselves. These attributions bear testimony to the keen interest in early sword fittings as status symbols for high-ranking samurai. Overall blade length from base of habaki to tip 21.5 inches long  read more

Code: 23519