![A Medieval Gunjin-Gura [Campaign Saddle] with Chrysanthemum Motif](https://www.christies.com/img/LotImages/2015/CKS/2015_CKS_11671_0004_001(a_medieval_gunjin-gura_campaign_saddle_with_chrysanthemum_motif_kamaku110145).jpg?w=1)
![A Medieval Gunjin-Gura [Campaign Saddle] with Chrysanthemum Motif](https://www.christies.com/img/LotImages/2015/CKS/2015_CKS_11671_0004_000(a_medieval_gunjin-gura_campaign_saddle_with_chrysanthemum_motif_kamaku095408).jpg?w=1)
Lot Essay
This is a campaign or battlefield saddle of typical structure, composed of pommel, cantle, and the two side pieces forming the seat which are tied together with cord. The distinction between the campaign saddle (gunjin-gura) and the riding saddle (suikan-gura) was defined in the Edo period publication ‘Anto Meishoki’ by Kurihara Nobumitsu. Essentially the riding saddle had to be wider so that it would fit over an aori [saddle flap].
The form of both pommel and cantle of this saddle is robust, both components being wide, and the cantle swelling out broadly to the rear. The so-called umi, the curved ledge forming the thick body of both pommel and cantle is boldly sculpted, and the tegata [hand shapes], the two indentions on the sides of the pommel are placed in a high position. This shape defines saddles of the Kamakura period, whereas later saddles are of somewhat gentler form. The seat is decorated with closely scattered pieces of mother-of-pearl set into black lacquer and lacquered over. The pommel and cantle are similarly decorated with a regular lattice of rhomboids within which are set identical chrysanthemum leaves and blossoms.
Such shell inlay, or raden was used in Japan since the Nara period (645 - 794) introduced from T’ang China. It was very fashionable during the Heian (794 - 1185) and Kamakura (1185 - 1333) periods, and then again found favour when it was re-discovered in the 16th century in the Kingdom of Ryukyu, South of Japan. Although made some centuries before the word Nanban was coined in Japan, such work is indicative of the admiration felt in Japan for overseas technology, and this piece might be said to typify the manner in which it was improved on in Japan.
The form of both pommel and cantle of this saddle is robust, both components being wide, and the cantle swelling out broadly to the rear. The so-called umi, the curved ledge forming the thick body of both pommel and cantle is boldly sculpted, and the tegata [hand shapes], the two indentions on the sides of the pommel are placed in a high position. This shape defines saddles of the Kamakura period, whereas later saddles are of somewhat gentler form. The seat is decorated with closely scattered pieces of mother-of-pearl set into black lacquer and lacquered over. The pommel and cantle are similarly decorated with a regular lattice of rhomboids within which are set identical chrysanthemum leaves and blossoms.
Such shell inlay, or raden was used in Japan since the Nara period (645 - 794) introduced from T’ang China. It was very fashionable during the Heian (794 - 1185) and Kamakura (1185 - 1333) periods, and then again found favour when it was re-discovered in the 16th century in the Kingdom of Ryukyu, South of Japan. Although made some centuries before the word Nanban was coined in Japan, such work is indicative of the admiration felt in Japan for overseas technology, and this piece might be said to typify the manner in which it was improved on in Japan.