A VARIEGATED LACING DAIMYO YOROI (ARMOR)
A VARIEGATED LACING DAIMYO YOROI (ARMOR)
A VARIEGATED LACING DAIMYO YOROI (ARMOR)
15 More
A VARIEGATED LACING DAIMYO YOROI (ARMOR)
18 More
A VARIEGATED LACING DAIMYO YOROI (ARMOR)

EDO PERIOD (CIRCA 1810)

Details
A VARIEGATED LACING DAIMYO YOROI (ARMOR)
EDO PERIOD (CIRCA 1810)
Helmet [kabuto]:
The twenty-two-iron-plate hoshi-bachi ("star bowl," alluding to the protruding rivets) of rounded form with an outward-sloping koshimaki no ita, and a large tehen no ana in Heian- and Kamakura- period style, a gilt shinodare (four sets of pendant arrow shaped decorative pieces), to the rear an agemaki-no-kan (ring to hold a decorative bow), with kuwagata-dai (fixture for two gilt horns) of gilt incised with arabesque design and support for the maedate (fore-crest) of minogame (an auspicious turtle trailing seaweed) of gilt lacquer
Neck guard [shikoro]:
The wide and gently curving kasa-jikoro ("straw hat," or "umbrella"-shape neck guard) of purple, white, green, brown and orange lacing with orange hishi-nui (decorative cross-knots) around the lower of three tiers of honkozane (small individual scales laced together), the large fukigaeshi with gilt kajinoha-mon (family crest of paper mulberry)
Face mask [menpo]:
The black lacquered hanbo (lower face mask), the nodowa (neck guard) of three tiers of honkozane
Cuirass [do]:
The haramaki-do (cuirass) of honkozane (small individual scales laced together), the munaita (breast portion) and waki-ita (under-arm portions) of stenciled leather with gilt edging, seven tasset kusazuri (skirt), matching se-ita (cover for the vertical joint in the center of the back) and gyoyo (breast pendants) of leather-clad and with gilt kajinoha-mon (family crest of paper mulberry), manchira (mantle - shoulder covering)
Sleeves and shoulder guards [kote and sode]:
The russet iron roppon shino-gote (sleeves) with kajinoha-mon (family crest of paper mulberry) on upper plate of each, hiro-sode (wide shoulder guards) matching the cuirass and applied with gilt-fittings decorated with kajinoha-mon
Thigh protector and lower leg guards [haidate and sune-ate]:
The kozane haidate with black-lacquered plates, the russet iron shino sune-ate (lower leg guards)
Accessories:
The long jinbaori (armor surcoat) with kajinoha-mon on back side and another shorter jinbaori of brown imported European fabric with hyotan (double gourd) decoration on back side, pair of leather gloves, paper signal baton, leather sword scabbard support with braids cords, silk hat and wooded armor storage box
Documents:
Various documents relating to the ownership by the daimyo Matsuura Hiromu (1791-1867) and the purchase of the armor in 1933
Provenance
Matsuura Hiromu (1791-1867), the tenth generation daimyo of Hirado Clan
Count Matsuura Family, Nagasaki Prefecture
Iino Motohide, purchased from above on 19 Jan. 1933

Brought to you by

Takaaki_Murakami
Takaaki Murakami Vice President, Specialist and Head of Department | Korean Art

Lot Essay

The classic style armor, O-yoroi was developed for use in mounted combat during the Heian period (AD794-1185) when the bow was a leading weapon. The large tehen no ana (aperture at the crown of the helmet), although arising from the method of construction using riveted plates, was originally used to fix the helmet on the head by means of the topknot. The large fukigaeshi and hiro-sode could be presented to the opponent as shields against his arrows, which service was also provided by the two pendant breast pieces. All early armors were composed of rows of hon-kozane (individual scales) laced together with silk braid, and some armors had double layers of such. Several hundred small scales would be used on the cuirass alone, either of hardened leather, iron, or alternating those materials. They were lacquered over in rows, and linked vertically by silk braid.
The custom of making armors in classic style for both ceremonial and ritual use dates from the late Muromachi period (1392 - 1604), but was universal among the daimyo (provincial lords) during the Edo period (1604 - 1868). Such ritual armors were very expensive and worn only on certain occasions like the annual passage in and out of the capital city, Edo, but often displayed on festive occasions or dates in respect of ancestors. The custom continued even after the end of the Edo period when armor no longer fulfilled a practical function.
The accompanied document states Matsuura Hiromu ordered Nagamura Seisai (1767-1820) and Funakoshi Sadakuni to make this armor in 1810.

More from Japanese and Korean Art Including the Collection of David and Nayda Utterberg

View All
View All