Shogun8

Hi Piers, When I first bought this karabitsu, I thought it could have been pre-Edo, but I have shown pictures of it to a few of our senior society members in Japan and they all seem to think that it's Edo. Eric is indeed missed...

Thought I'd revive this thread by sharing this negoro karabitsu from the Edo period: On a related note, does anyone know if there are any books published on antique Japanese boxes?

Hi Michael, Well, every library should certainly have a copy of Ian's Arms and Armour of the Samurai which provides a great overview of the subject. If you're looking for scientific analysis or an academic approach to the study of armour that is more technical and specific, from the list of books presented at the link, then I would recommend Robert Burawoy's Armuriers du Japon: Etudes de Meiko Zukan (if you speak French of course). Trevor Absolon's Samurai Armour: The Japanese Cuirass is a hefty tome that goes into great technical (and at times, historical) detail about the dō. The first three yearbooks of the JAS have presented some very in-depth (and frankly, cutting edge - pun intended) articles on subjects as varied as toppai, momonari and Joshu kabuto, the Japanese matchlock, and the Nobuie controversy, presented by the most senior experts of the society in Japan, as well as Western scholars such as Robert Burawoy. As well, membership in the JAS provides partial translations of the society meetings, some of which have presented very serious discussion on varied topics relating to katchu. Hope this helps!

From the photographs, I think it's Yamasiwa.

Whether it's a breastplate or a back plate or for male or females, the proportions just look off...

Something about this piece gives me the heebie jeebies...

Chris, I agree with Uwe. The mask you posted is from the Myochin and I think a Nara-type like the first one Uwe posted would suit best. However, it's always a matter of personal taste. Also, if you can, try to match the tare/yodare kake of the mask with the shikoro of the kabuto as closely as possible, with the same plate style and odoshi colour and pattern (hishi nui, mimi ito, etc.). I this particular instance, the plates of your shikoro seem to be covered in sabi nuri (urushi imitating russet iron) and the odoshi is quite simple - sugake (wide-spaced) in dark blue with no accent colours (hishi nui or mimi ito in different colours).

I remember reading somewhere that Haruta Tokimune was one of the few makers to sign his momonari.

Further to Luc's and Piers' comments, it's my understanding that when it comes to the tentsuki worn by the Ii family, those that were worn as wakidate were for senior/higher-ranking members, whilst the lower ranking retainers would wear the tentsuki as maedate, such as the ones below: I should also mention that the taller the tentsuki, the higher the rank.

I suspected as much, Uwe. So often it seems that many of these books only state the obvious and don't really delve into the history and minutiae of objects.

I've always considered maedate/maetate to be one of the most underappreciated areas of Japanese armour and it seems that scholarship on the subject is few and far between. A few years ago, a book on maedate was released and it highlighted 100 maedate designs. I wonder how much relevant background information was contained within regarding the kinds of questions raised by Ken and Ian. Would be good to get it translated.

Hi All, We have just returned from a fabulous few days with about 40 of our fellow members and a few non-members from 4 continents at our 4th symposium: Japanese Legacy IV, held at the Metropolitan Museum of Art on Friday, September 13th. I thought that I'd share a few images of the day's events: Welcome by JAS President, Luc Taelman and Senior NKBKHK Board Member, Haruo Ueda: Ueda-san: Welcome by Pierre Terjanian, Chief Curator, Department of Arms and Armor, Metropolitan Museum of Art: Our first speaker, John Byck, Assistant Curator, Arms and Armor, Metropolitan Museum of Art, who spoke about the museum's rich history in collecting Japanese armor and specifically, the role of Bashford Dean in spearheading the collection: Kanno-san, who spoke about the importance of the harness in samurai armor and most importantly (and one of the highlights of the symposium for me), gave pointers on how to identify if a dō is from the Momoyama vs. Edo periods: JAS member and Visiting Researcher, Japanese Arms and Armor, Metropolitan Museum of Art, Markus Sesko, giving an interesting lecture and show-and-tell on the work of Myochin Muneakira:

With our symposium just around the corner, we do have a few extra spots for non-members to join. If you're interested in attending, fire me a PM and I can send you the info. John

One of the major initiatives of the Japanese Armor Society is to hold regular symposiums geared towards the study, scholarship and appreciation of Japanese armor. Next month marks the occasion of Japanese Legacy IV, the fourth symposium planned for our members, but also open for non-members to attend. Please find below our full member programme for the weekend which gives a sense of the events and experiences planned. Afterward, some of our members continue on to Dallas, where we will be hosted by Gabriel Barbier-Muller at his esteemed Samurai Collection museum. Friday, September 13 9:45AM Meet at the Metropolitan Museum 10:00AM-10:15AM Welcome and Introduction 10:15AM-11:00AM The Armor Collection of the Met: From Bashford Dean to Present 11:00AM-11:20AM Transition of Japanese Armor and Japanese Harness 11:20AM-12:20PM Myochin Muneakira: Master of Embossment 12:20PM-1:30PM Lunch on own 1:30PM-2:00PM Katchushi: Questions of Restorations and Armor-Making 2:00PM-2:30PM The Nanbokucho Armors of the Metropolitan Museum and the Museum Five Continents, Munich 2:30PM-2:45PM Closing Remarks 2:45PM-3:45PM Viewing of the Met's Nanbokucho Armor as part of the exhibition, Kyoto: Capital of Artistic Imagination 3:45PM-6:30PM Visit of the Metropolitan collection at leisure 7:00PM Group dinner at TBA 9:00PM Opening reception for the Tetsuya Noguchi exhibition at Arsham/Fieg Gallery in KITH NY Saturday, September 14 Full Day at Leisure Sunday, September 15 11:00AM Meet in the lobby for group transfer to New Jersey 12:00PM Approximate arrival time at private collection of JAS member - one of the oldest and best collections in the West 12:00PM-1:00PM BBQ Luncheon 1:00PM-3:00PM Viewing of the collection in smaller groups 3:00PM Depart 4:30PM Approximate return to the hotel 8:00PM Group dinner at Shun Lee Monday, September 16 For participants in the Dallas tour, check-out and depart for LaGuardia Airport on your own End of New York programme

Here's a small bronze rabbit maedate that I have:

Hi Steve, Check the photographer's online store: sylwiamakris.com/shop There are two editions available.

Steve, I may be mistaken but the catalogue that Ian mentions has not yet been published. The book that is available is the photography book with some of the armours being worn, an example of which is the photograph of Martyna (the Samurai Museum curator) shown in post #5.

Kelly's a good guy. I wouldn't hesitate to recommend his services.

You're right, Luc - I went back to look at some other examples and the strange shinodare and the igaki are indeed part of their style.

Of course - but that's why I said that the conclusion was mine only - arrived at with the information I had available to me and other pieces that I have seen that share the same characteristics. I'm always open to being proved wrong. The most important thing is to learn as much as possible about the item.

There was no question in my mind, Uwe!

Nick, I think this kabuto is definitely from the Edo period, but whether it's early Edo or not is another matter. Neither the Shin Katchushi Meikan or the Chappelear lists a Masanori as belonging to the Ichiguchi Myochin, but as we all know, there are many unrecorded smiths. If you look closely, this kabuto shares many characteristics of that beautiful koboshi Ichiguchi Myochin that you recently had.

I agree, Ian. I think we need to consider this kabuto without the kanamono because they do not seem to fit with this piece. The shape of the hachi, especially at the top and the mabezashi/haraidate details say Ichiguchi Myochin to me, since their style is quite distinctive.

Nick, Based on the shape of the mabezashi, the haraidate dai and the sanko no byo, I believe this kabuto may be from the Ichiguchi Myochin.

Hi Simon, Do you have pictures of the menpo itself? I rather thought that Munekata was from the mid-Edo as per the Chappelear, but the Shin Katchushi Meikan lists him as late Edo. Menpo by Munekata are quite unique, sharing a very distinctive expression. There's a beautiful somen by this master at the Met, often displayed with the examples by Muneakira.