Photo of a Samurai from the Meiji Period (1868- 1912)
Japan was in a state of turmoil, struggling in the tension between the traditional Tokugawa samurai and the Emporer. Samurai fought against the new regime's muskets and Gatling guns with their hand-crafted armor, swords, horseback archery, and their courage. But as samurai were soon to become banned from the empire, the craftsmen who were the sources of their armor and weaponry were watching as their art died alongside their patrons on the battlefield.
Portrait of Tomoe Gozen
Tomoe Gozen (1161?–1184?) was one of the few examples of a true female samurai in all of Japanese history. Her main weapon of choice was the Naginata.
This picture was drawn by Kikuchi Yosai (1781-1878). As the son of a samurai, he was adopted by the Tokugawa Clan and became an advocate for legendary warriors through his art. Through historically accurate portraits, he showcased the true spirit of the Japanese samurai in all their fearsome glory. Often requested by families, his style was independent and unique amongst all the scroll painters and ink brush landscapes, since he worked mostly in monochromatic block prints or drawings.
Naginata blade by Minamoto Lemichi
Naginatas were often used by foot soldiers to create space on the battlefield. They have several situational advantages over a sword. Their reach was longer, allowing the wielder to keep out of reach of his opponent. The long shaft offered it more leverage in comparison to the hilt of the katana, enabling the naginata to cut more efficiently. The weight of the weapon gave power to strikes and cuts, even though the weight of the weapon is usually thought of as a disadvantage. The weight at the end of the shaft and the shaft itself can be used both offensively and defensively.
19th century
Tsuba (Sword Guard) with the Zen Monk Bukan
By Tsuchiya Yasuchika.
Kurokawa Institute for Ancient Cultures, Hyōgo Prefecture.
Bukan, who lived in China during the Tang dynasty, is said to have traveled on the back of a tiger he had tamed, the animal's ferocity having yielded to the monk's virtue. The artist who made the piece, Yasuchika (1670–1744), is esteemed for his depictions of people and landscapes that are simultaneously realistic and lyrical, and avoid an excessive display of technique. The patrons requesting his peices would have given the sword as a whole a higher reverence when united with the imagery of the honorable monk.
Edo period, 17th century.
Brass; 3 1/8 x 2 7/8 in. (7.8 x 7.2 cm)
Eboshi-Shaped Kabuto (Helmet) with Maedate (Crest) in the Form of a Mantis
This helmet was commission as a family heirloom to represent their power as samurai. Its large form is crafted from an iron base, with paper-mache covered in gold, laquered, then sprinkled with more gold dust. The huge crest resembles the shape of a mantis with its wings spread out in a battle-ready stance. Although the helmet would never have been worn in a real battle situation, it gave the family honor to keep this symbol of valor and strength pristine.
Edo period, 17th century.
Iron, lacquer, cord, silk, wood, gold, and papiermache.
Haramaki with Multicolored Lacing, Ridged Helmet, and Large Shoulder Guards.
This particular peice of armour was influenced by not only comabtive requirements, but religion as well. The stylized antlers would normally embody an animalistic spirit, but these resemble kaji leaves, revered since ancient times and often used as offerings to Shinto dieties. This artistic fusion of the discipline of the gods and of combat was common in peices of armor and weaponry, as both were vital peices to the Japanese.
Sata-jinja Shrine, Shimane Prefecture
Muromachi period, 15th century.
Iron, leather, gilt copper, lacquer, braid, and cord
Helmet (Suji Kabuto)
The bowl of the helmet, constructed of fifty-two ridged plates, is inscribed with the character Kami, used by the Haruta school of armorers in Nara. The badge on the turnbacks of the neck guard is that of the Sanada family, daimyo of Ueda. This is physical evidence that prominent families were the patrons of the schools of arms and armor during the reign of shoguns. The assiduousness of the creator and the uniqueness of each warrior led to beautifully crafted pieces, shifting them from mere cumbersome armor from the Kofun period to elegant pieces of art.
Tokyo National Museum
Muromachi period, 15th century.
Lacquered iron, silk, stenciled leather, gilt copper.
Early Mounted Short Sword
by the artist Rai Kunitoshi.
The golden age of swords in Japan is commonly considered to be the Kamakura period. During this time there were many great smiths in the schools of Yamato, Bizen, and Yamashiro that were the common grounds of many infamous samurai, shoguns, and daimyos who came to request arms and armor from the prestigious schools.
Rai Kunitoshi, who worked in Tokyo, was among the most famous swordsmiths of the late thirteenth to the early fourteenth century. His dagger and sword blades were virtually unbreakable and visually unique to his style.
Traveling exhibition Lethal Beauty: Samurai Weapons and Armor
Kamakura period, late 13th century
Blade for a Tantō (Dagger)
A Tanto is a handheld dagger used most commonly by women and peasants, in fact the only weapon a woman was allowed to posses during this period. However, the most well-crafted of them went to the samurai as secondary weapons to thier swords.
This work evolved from the heavily curved blade to the straight tempering pattern, the speciality of the artist Kunimitsu. The progression shows how knowledge was passed down from master to student, then expanded upon by craftsmen.
Tokyo National Museum
Kamakura period, 14th century.
Steel; L. 10 3/8 in. (26.2 cm)
Blade for a Tachi (Slung Sword), known as "Dai Hannya Nagamitsu"
By the artist Nagamitsu.
"Esteemed as being meibutsu, or a "famous piece," it was given by Ashikaga Yoshiteru (r. 1545–65) to Miyoshi Nagayoshi, a powerful daimyo. Later Oda Nobunaga gave it to Tokugawa Ieyasu to honor his success at the Battle of Anegawa (July 30, 1570). Ieyasu then gave it to Okudaira Nobumasa as a reward for his services in the Battle of Nagashino (June 29, 1575), and he in turn passed it to his son Matsudaira Masaaki, in whose family it was ultimately passed down. The sword is thus especially valuable as a well-documented example of a blade being exchanged among military houses as an expression of gratitude. "
Tokyo National Museum.
Kamakura period, 13th century.
Steel; L. 29 in. (73.6 cm)