Japanese

A Shinto Samurai Yari Pole Arm Signed Yamashiro Kami Fujiwara Norishige, Probably Yamashiro-no-Kami Fujiwara Kunishige, Early Edo Period

A beautiful Edo Period Samurai Horseman Ryo-Shinogi Yari Polearm on original haft, signed.
With original pole and iron foot mount ishizuki. Four sided double edged head. The mochi-yari, or "held spear", is a rather generic term for the shorter Japanese spear. It was especially useful to mounted Samurai. In mounted use, the spear was generally held with the right hand and the spear was pointed across the saddle to the soldiers left front corner. The warrior's saddle was often specially designed with a hinged spear rest (yari-hasami) to help steady and control the spear's motion. The mochi-yari could also easily be used on foot and is known to have been used in castle defense. The martial art of wielding the yari is called sojutsu. A yari on it's pole can range in length from one metre to upwards of six metres (3.3 to 20 feet).
The longer hafted versions were called omi no yari while shorter ones were known as mochi yari or tae yari. The longest hafted versions were carried by foot troops (ashigaru), while samurai usually carried a shorter hafted yari. Yari are believed to have been derived from Chinese spears, and while they were present in early Japan's history they did not become popular until the thirteenth century.

The original warfare of the bushi was not a thing for "commoners"; it was a ritualized combat usually between two warriors who may challenge each other via horseback archery and sword duels. However, the attempted Mongol invasions of Japan in 1274 and 1281 changed Japanese weaponry and warfare. The Mongol-employed Chinese and Korean footmen wielded long pikes, fought in tight formation, and moved in large units to stave off cavalry. Polearms (including naginata and yari) were of much greater military use than swords, due to their much greater range, their lesser weight per unit length (though overall a polearm would be fairly hefty), and their great piercing ability. Swords in a full battle situation were therefore relegated to emergency sidearm status from the Heian through the Muromachi periods.  read more

Code: 25187

A Simply Stunningly Mounted Handachi Katana Shinto Period Circa 1650. Handachi Kabutogane, Shibabiki,

Shakudo and gold fittings with a pair of top quality gold and shakudo tiger menuki under the orginal Edo period silk wrap tsukaito, over black giant rayskin, samegawa. Bulls blood ishime stone finish lacquer, sukashi mokko tsuba in the form of clan mon crests. The sword is mounted in a beautiful matching suite of original Edo period gold and shakudo handachi fittings, with kabutogane, shibabiki, and ishizuki. 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. 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 were 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.

As 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.
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 blade shows a dramatic sophisticated suguha hamon straight with a few natural age pit marks. As with all our items it comes complete with our certificate of authenticity.

Overall 39.75 inches long, blade tsuba to tip 25.65 inches long  read more

Code: 23354

A Set of Exceptionally Beautiful & Fine Antique Edo Period Complete Suite of Samurai Tanto Mounts { Koshirae } Of Exceptional Quality Fuchi-kashira, the Kashira Of Jurōjin 寿老人 The Old Man of Longevity. With a Wooden Blade

Although for many years samurai swords {all edged tanto are called swords by tradition} with such wooden blades, have often titled as a samurai Doctor's swords, as it has a wooden blade, it is actually incorrect, a suite of sword koshirae have always been revered as much as the blade, and when a blade is stored in its shirasaya storage mount, the sword is disassembled, and a wooden blade is hand carved to identically replicate its real blade, in order to correctly re-fit the mounts together, as if the real blade was present.
However, for centuries now, and especially in Europe, sword koshirae have be highly prized collector's pieces, being works of sublime art in their own right. Thus a set of fabulous antique sword mounts and fittings such this have long been collector's items, separate from the once fitted blade.

Jurōjin (寿老人 'Old Man of Longevity') is one of Japanese mythology's Seven Gods of Fortune or Shichifukujin. He is the god of longevity. Jurōjin originated from the Chinese Taoist god, the Old Man of the South Pole or Star of the Old Man. He is known as the immortal of the Northern Song dynasty (960–1127), and may have been a historical figure of the period. Jurōjin is identified as the personification of the imagined Southern Polar Star. While paintings and statues of Jurōjin are considered auspicious, he never developed a following in Japan independent of the other Seven Gods of Fortune.

For example a very rare and fine tsuba alone could today fetch up to £40,000 by a master maker. and sword mounts, the fuchi kashira and menuki can now be worth many thousands of pounds. Superb quality Edo period tanto koshirae {sword fittings} with a blade formed wooden blade and habaki tsunagi. The full suite of matching, patinated, honey coloured copper, fushi, kashira, and tsuba bear a stunning kashira that depicts a carved figure of Jurōjin, one of the Japanese seven deities, the tall headed god of happiness, wealth and long life one of the Shichi-fuku-jin (Seven Gods of Luck), particularly associated with longevity. He is supposed to have once lived on earth as a Chinese Taoist sage. He has a white beard, wears a scholar's headdress and he reads from a scroll containing the world's wisdom. The seven are drawn from various sources but have been grouped together from at least the 16th century. They are Bishamon, Daikoku, Ebisu, Fukurokuju, Jurojin, Hotei, and the only female in the group, Benten. He is sometimes confused with Fukurokuju another of the Several Gods of Fortune, who by some accounts inhabits the same body as Fukurokuju. As such, the two are often confused.
The carving of the copper is beautifully executed and the figure has an most charming and jolly smile.

All the matching fittings are in beautiful condition. Only the lacquer of the saya has areas of wear and surface cracking. Overall 59 cm, saya 44cm, tsuka, 15cm  read more

Code: 20993

A Stunning Quality Wakizashi Signed with Honorific Title Masatoshi, Lord of Etchu, Han Dachi Mounted, Gold Dragon Menuki, Mishina School Blade, Early 1600's, Wonderful Signed Tsuba and Matching Kozuka Depicting the Tiger in the Bamboo Grove

We now are delighted to show it with its fully rebound tsuka in gold silk. The tsuka has been rebound traditionally, in finest gold tsukaito by our medal winning Japanese koshirae artisan, and it looks amazing.

Mishina School, Etchu (no) Kami Masatoshi. The stunning blade shows a beautiful and complex hamon in super polish. All original Edo mounts, superb signed *tsuba and kozuka all decorated with the legendary ‘Tiger in the Bamboo Grove’ theme. The kozuka is signed, as is its kogatana blade

* Tsuba signed Taizan Mototaka of Mito/Hitachi. Mototaka, was the founder of the Sekijoken line, was a son of Taizan-Motonori, a pupil of the Yokoya school, who signed his work Sekijoken-Taizan-Mototaka. He worked during the last part of the eighteenth century and lived to a great age. He was most skillful in the style of the Nara artists, Joi, Shozui, Yasuchika, Toshinaga, etc., and a teacher of great ability, his most expert pupil was Takase-Yeiju (or Hisan- aga), who worked during the late eighteenth and early nineteenth centuries.

The artists of the Sekijoken school at first followed the style of Yokoya, but later they turned to the Nara school. Tigers were considered the strongest animals. They were often shown with bamboo to symbolize the hospitality of the weak for the strong. In Chinese art, the tiger was traditionally related to the four directions as the animal
of the West, and was often paired with the dragon, which represented the East. Kano artists frequently depicted tigers with holy men, abbots, or monks, reflecting their mystic presence and association with Zen Buddhism. A tiger is said to be the only animal capable of navigating through thick bamboo forests, and the pairing of the two symbols is said to represent a harmonious and peaceful society. The bamboo alone stands for resilience and integrity, admired virtues of noble men.

Incredible quality pure gold overlay dragon menuki, gold overlaid seppa. Fully matching suite of handachi iron fittings trimmed in gold with patterning silver overlay. The original Edo saya has superb antique *urushi lacquer with pure gold, under clear lacquer, called Byakudan nuri: Transparent lacquer of a golden yellow colour, beautifully decorated with amazingly intricate billowing flaming-feather like swirls

Kyo Go Kaji 京五鍜冶 is short for Kyoto Go Kaji 京都五鍜冶 which means five swordsmiths of Kyoto. The term was developed to describe a group of related smiths who worked prosperously in the Kyoto area during shinto times. They made good quality works with similar characteristics and each had many students for generations. They are Iga (no) Kami Kinmichi 伊賀守金道, Echigo (no) Kami Kinmichi 越後守金道, Tanba (no) Kami Yoshimichi 丹波守吉道, Etchu (no) Kami Masatoshi 越中守正俊 and Omi (no) Kami Hisamichi 近江守久道. These smiths all had Mishina 三品 as their last name. The first four were sons of Seki Kanemichi 兼道 and Hisamichi was a student of Kanemichi's grandson.

* 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 ceremonial and decorative objects for their homes and palaces.
The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!
Flowing from incisions made in the bark, the sap, or raw lacquer is a viscous greyish-white juice. The harvesting of the resin can only be done in very small quantities.
Three to five years after being harvested, the resin is treated to make an extremely resistant, honey-textured lacquer. After filtering, homogenization and dehydration, the sap becomes transparent and can be tinted in black, red, yellow, green or brown.
Once applied on an object, lacquer is dried under very precise conditions: a temperature between 25 and 30°C and a humidity level between 75 and 80%. Its harvesting and highly technical processing make urushi an expensive raw material applied in exceptionally fine successive layers, on objects such as bowls or boxes.After heating and filtering, urushi can be applied directly to a solid, usually wooden, base. Pure urushi dries into a transparent film, while the more familiar black and red colours are created by adding minerals to the material. Each layer is left to dry and polished before the next layer is added. This process can be very time-consuming and labour-intensive, which contributes to the desirability, and high costs, of traditionally made lacquer goods. The skills and techniques of Japanese lacquer have been passed down through the generations for many centuries. For four hundred years, the master artisans of Zohiko’s Kyoto workshop have provided refined lacquer articles for the imperial household

In photos 3 & 5 in the gallery we show the stunning pair of pure gold layered dragon menuki before they were mounted on the samegawa and then bound under the gold tsuka-ito.

* Notes from the Special exhibition
( 1907-1908 ) of Japanese sword guards, tsuba,
has been prepared by Mr. Okabe-Kakuya.  read more

Code: 25337

Koto Period Samurai Katana, Circa 1550 From The Muramachi Era, A Most Fine Blade with Midare and Large Waves Hamon, & Nioi & Nie Deki, a Masame & Itame Hada, in Very Good Polish, Shibuishi Dragon Fly Fuchi Kashira

Fine Edo saya in superb condition decorated under clear urushi lacquer with pine needles and entwined silver wire. Very good Edo tsuba of iron {tettsu} with mokume wood grain body and a bamboo mimi {rim} with bamboo leaves. Wonderful quality shibuishi fuchi -kashira of takebori dragonflies with a gold seal. Just returned from a interior decorators display in Grosvenor Sq. London.

Nie (沸) literally means "seethe" or "boil." In Japanese sword connoisseurship, it is the name of larger martensite crystals that appear on the polished surface of some traditionally made Japanese swords, which sometimes look like bubbles of boiling water rising to the surface. Nie mostly forms along the temperline, but on some swords is also seen on the blade's surfaces. Nie & nioi
When the crystals are so small that the naked eye cannot make them out individually, and they appear like a whitish mist, it is called nioi (匂), literally "fragrance". Nioi is present to some extent on all blades, but when no or very little nie is present, we speak of nioi-deki (匂出来). When the work shows nie throughout, we call it nie deki (沸出来) where deki means workmanship or interpretation.

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.

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!

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 ceremonial and decorative objects for their homes and palaces.
The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!
Flowing from incisions made in the bark, the sap, or raw lacquer is a viscous greyish-white juice. The harvesting of the resin can only be done in very small quantities.
Three to five years after being harvested, the resin is treated to make an extremely resistant, honey-textured lacquer. After filtering, homogenization and dehydration, the sap becomes transparent and can be tinted in black, red, yellow, green or brown.
Once applied on an object, lacquer is dried under very precise conditions: a temperature between 25 and 30°C and a humidity level between 75 and 80%. Its harvesting and highly technical processing make urushi an expensive raw material applied in exceptionally fine successive layers, on objects such as bowls or boxes.After heating and filtering, urushi can be applied directly to a solid, usually wooden, base. Pure urushi dries into a transparent film, while the more familiar black and red colours are created by adding minerals to the material. Each layer is left to dry and polished before the next layer is added. This process can be very time-consuming and labour-intensive, which contributes to the desirability, and high costs, of traditionally made lacquer goods. The skills and techniques of Japanese lacquer have been passed down through the generations for many centuries. For four hundred years, the master artisans of Zohiko’s Kyoto workshop have provided refined lacquer articles for the imperial household  read more

Code: 25334

Superb Early to Mid Edo,Museum Quality Signed Samurai War Helmet Kabuto, by Nobutada, of 21 'Helmet Skull' or 'Bowl Plates', with a Leaping Animal, Carved Wooden and Gold Maedate & Clan Mon of the Sakai Clan, & “Fierce Face” Ressai, Face Armour

A truly fabulous, original, 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, that has just returned from having the mempo's moustache expertly conserved, and it looks as good as new.

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), possibly a rabbit or deer, the Fukigaeshi small front wings shows the mon crest symbol of a plain form katabami mon {the wood sorrel flower}.

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

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 Very Good & Beautiful, Late Koto Samurai Katana, Mounted With A Full Suite of Higo Mounts

Circa 1590. All original Edo period koshirae and a leather bound tsuka over bird menuki on a giant rayskin covered hilt, ishime stone lacquer finish saya in bull's blood sang de boeuf lacquer. Very fine Higo mounts including a sayagaki. Fine blade with suguha hamon.

A great sword in very nice condition. Made and used in the time of the greatest battle in samurai history. The Battle of Sekigahara Sekigahara no Tatakai) was a decisive battle on October 21, 1600 that preceded the establishment of the Tokugawa shogunate. Initially, Tokugawa's eastern army had 75,000 men, while Ishida's western army numbered 120,000. Tokugawa had also sneaked in a supply of arquebuses. Knowing that Tokugawa was heading towards Osaka, Ishida decided to abandon his positions and marched to Sekigahara. Even though the Western forces had tremendous tactical advantages, Tokugawa had already been in contact with many daimyo in the Western Army for months, promising them land and leniency after the battle should they switch sides.

Tokugawa's forces started the battle when Fukushima Masanori, the leader of the advance guard, charged north from Tokugawa's left flank along the Fuji River against the Western Army's right centre. The ground was still muddy from the previous day's rain, so the conflict there devolved into something more primal. Tokugawa then ordered attacks from his right and his centre against the Western Army?s left in order to support Fukushima's attack.

This left the Western Army's centre unscathed, so Ishida ordered this unit under the command of Shimazu Yoshihiro to reinforce his right flank. Shimazu refused as daimyos of the day only listened to respected commanders, which Ishida was not.

Recent scholarship by Professor Yoshiji Yamasaki of Toho University has indicated that the Mori faction had reached a secret agreement with the Tokugawa two weeks earlier, pledging neutrality at the decisive battle in exchange for a guarantee of territorial preservation, and was a strategic decision on Mori Terumoto's part that later backfired.

Fukushima's attack was slowly gaining ground, but this came at the cost of exposing their flank to attack from across the Fuji River by Otani Yoshitsugu, who took advantage of this opportunity. Just past Otani's forces were those of Kobayakawa Hideaki on Mount Matsuo.

Kobayakawa was one of the daimyos that had been courted by Tokugawa. Even though he had agreed to defect to Tokugawa's side, in the actual battle he was hesitant and remained neutral. As the battle grew more intense, Tokugawa finally ordered arquebuses to fire at Kobayakawa's position on Mount Matsuo to force Kobayakawa to make his choice. At that point Kobayakawa joined the battle as a member of the Eastern Army. His forces charged ?tani's position, which did not end well for Kobayakawa. Otani's forces had dry gunpowder, so they opened fire on the turncoats, making the charge of 16,000 men mostly ineffective. However, he was already engaging forces under the command of Todo Takatora, Kyogoku Takatsugu, and Oda Yuraku when Kobayakawa charged. At this point, the buffer Otani established was outnumbered. Seeing this, Western Army generals Wakisaka Yasuharu, Ogawa Suketada, Akaza Naoyasu, and Kutsuki Mototsuna switched sides, turning the tide of battle.

Blade measured from tsuba to tip 28 inches.  read more

Code: 21331