For the final project, I went to the Samurai Museum in Dallas and analyzed five pieces of Samurai armor and weaponry. Observing Samurai artifacts in real life for the first time was an astonishing experience. I first analyzed a full set of armors from the late Momoyama period. Next, I examined a sword of immaculate beauty and craftsmanship, which was created during the late Edo period. The final three pieces of my analysis are helmets, one created during the Momoyama period, the final two created during the Edo period. Each of the three helmets was unique, and serves a different purpose for the samurai. During my observations, I analyzed the physical details of the pieces, noted the date and origin of each artifact, and gathered information about the historic context and artistic significance of them. The armors, sword, and helmets from the Samurai Museum embody the significance of craftsmanship, durability, strength, beauty, tradition, history and spirituality.
The first piece I chose to analyze was a full suit of armor. Titled “Nimaidō tosei gusoku armor of Okudaira Nombumasa”. The suit of armor consists of eight different components: helmet (kabuto), mask (mengu), chest armor (dō), shoulder guards (sode), sleeves (kote), skirt panels (kusazuri), underskirt (haidate), and shin guards (suneate). The armor is made from a combination of material, including wood, lacquer, leather, iron, gold, velvet, horn, silk, and hair. The armor is beautifully crafted, and is composed of an array of soft colors and designs. This set of armors is from the 16th century, during the late Momoyama period. The box in which the armor was found is inscribed with the name Okudaira Nobumasa (1555-1615), providing the information that the armor had once belonged to him. Nobumasa was a pivotal figure as a warrior during the sengoku jidai, or Warring States period, which lasted from 1467 to 1610. Notably, this set of armors was worn by Nobumasa during the battle of Sekigahara in October of 1600. His efforts in this battle, along with other, greatly contributed towards the unification of Japan. The artist created the armor to be both protective and functional, providing a quality of aesthetic beauty and craftsmanship as well. The armor was created to be protective by using the technique of scaling. In the technique of scaling, the artist laces together iron scales, colorful silk, and leather cords. Scaling makes the armor durable, protective, and lighter. Rather than using solid plates, scaling makes the armor lighter and comparably protective to solid plate armor. The technique of scaling displays artistic ingenuity.
Next I analyzed a sword titled “Tachi”, which is a direct translation of the word sword. This piece was created during the 19th century, in the late Edo period. This sword is created from both iron and enamel. The sword’s handle and the sheath (protective cover) are created out of enamel. Enamel is a material that is produced by mixing glass with metallic oxides. The technique of using enamel is one that was developed in the Asian mainland and was adopted by the Japanese in the 1600s. The artistic technique of creating enamel involves mixing glass with metallic oxides, applying it to a surface as a paste and firing it in a kiln. The sheath and handle of the sword have a cohesive design consisting of the traditional Japanese images of chrysanthemum and cherry blossom flowers. In the Japanese culture the chrysanthemum and cherry blossom are “a symbol that represents longevity and rejuvenation” (Kusuyama.jp). The images of flowers on the sword create a juxtaposition between the beauty of the sword and its actual use, a theme from The Chrysanthemum and the Sword, by Ruth Benedict. The blade of the sword is made from thin and light iron, yet it is mighty. This is possible through the process of hammering out the impurities in the blade, eliminating the weak spots.
The third piece of armor that I analyzed was an elaborate helmet titled “Zunari Kabuto”, that was created in the Momoyama Period (1573-1615). The Momoyama period in Japan marks an era in which “art, architecture, fashion, and thought, originality was prize”, and this helmet displays the exotic elements that artists incorporated into the new styles of Kawari Kabuto (Japan Society, 29). Zunari Kabuto is a style of helmet made to be shaped like a head. This armor was created during a time of peace in Japan; the armor is a costume rather than protective and functional armor “The armorer took upon himself more and more the functions of a court costumer” (Grancsay, 300). The elaborate helmet was crafted from the combination of iron, gold, lacquer, washi paper, and lacing. The helmet has a massive urhirodate (rear attachment) that is created from gold plates. This portion of the helmet is called a gohei, which is an object that is correlated with Shinto rituals. The gohei holds spiritual elements and gave strength to the Samurai who wore it “originally presented as offerings to the gods, are used to give blessings and purify worshipers” (The Samurai Collection).
The fourth piece of armor that I observed was a helmet from the Late Edo Period (19th century) titled “Kawari Kabuto”, which translates to extraordinary helmet. As seen in its intricate design, the helmet embodies this translation completely. The mask of the helmet is crafted to look like a demonic face, above the mask is a curved gold plate, would strike fear in the heart of the enemy. The helmet was made from various materials, which include iron, gold, lacquer, silk lacing, and leather papier-mache. The face of the mask is otherworldly, and displays demonic energy that provokes an emotion of fear “more mask than hat, it is a disguise to transform the wearer into a personage of otherworldly ferocity”, especially for somebody battling the samurai wearing this helmet (Japan Society, 13). Above the face of the helmet, is a gold, wave-like plate. This gold plate serves the purpose of commemorating the battle of Ichinotani, and “is a symbol of these cliffs and the courage required to succeed in battle” (The Samurai Collection). The cliffs of Ichinotani are treacherous, and only the bravest soldiers could conquer it. The brave men that conquered this battle “decided to try the impossible and take Ichi-no-Tani by surprise by climbing with only 100 to 150 men down the steep cliffs from the north and take Ichi-no-Tani by surprise by daybreak… When the Yoshitsune troop was near enough, they set the wooden construction of the Taira houses on fire using their bows and arrows. The enemy was caught by complete surprise” (Wanczura, artelino.com).
Last, I chose to analyze a mask that was made for a horse. The piece is titled “Bamen (horse mask)”, and was created in the Edo period (1615-1868). The mask is crafted from leather, lacquer, gold, hair, metal, brocade, hemp, and papie-mache. Although the mask is designed to look like a dragon, and makes the horse appear more menacing and ferocious, “the dragon is a symbol is Japanese culture that represents wisdom, strength, and a force of good” (ancient-symbols.com). This mask was worn apart from a period of war, and was to be worn during parades and processions. Its overall purpose was to present the horse as the mythical symbol of the dragon.
Throughout the course of my paper, I analyzed armors, sword, and helmets from the Samurai Museum and noted the significance of craftsmanship, durability, strength, beauty, history, tradition, and spirituality that they hold. “Nimaidō tosei gusoku armor of Okudaira Nombumasa” was an artifact that embodied the factors of craftsmanship, durability, strength, beauty, and history. The history behind the armors, and the Samurai who wore, corresponds with the idea of the unification of a china that is shown in the film Hero. The “Tachi” piece represents a juxtaposition between aesthetic beauty and the purpose of the sword. This piece is a literal embodiment of the behind the idea of The Chrysanthemum and the Sword, by Ruth Benedict. The blade of sword as well as the handle and case are true representations of artistic craftsmanship and beauty, yet the sword is utilized for combat and violence. Both “Zunari Kabuto” and “Bamen (horse mask)” were pieces created during a time of peace, where Samurai were a class with no wars to fight. These two pieces stray away from the protection factor of armor, and focus more on the qualities of craftsmanship and beauty. “Kawari Kabuto” is a piece that glows with craftsmanship and strength, and has a great historical background. The historical background of the piece is reminiscent of 47 Ronin, in the sense that the Samurai who wore the helmet plotted a surprise attack on their enemy. My experience with the Samurai Museum in Dallas was greatly enlightening and gave me a magnanimous amount of insight of the history and art of Samurai armor.