Page 345 - JAPAN THE SHAPING OFDAIMYO CULTURE 1185-1868

264 Dobuku 266 Jinbaori
stencil dyeing on silk kirihame and appliqué on wool
1.87.0(341/4) 1. 77.0 (30)
W. 141.O (55 l /2) w. 104.0 (40 Vz)
Edo period, iyth century Momoyama period, i6th century
Agency for Cultural Affairs, Tokyo Tokyo National Museum
This ddbuku, shaped like a jinbaori, is said Made of wool dyed bright red with cochi-
to have been used by Inagaki Nagashige neal, this boldly decorated jinbaori is said
(1539-1603) or his son Shigetsuna. Eight to have been owned by the daimyo Koba-
later consecutive generations of the In- yakawa Hideaki (1577-1602), a nephew of
agaki ruled as daimyo of the domain of Toyotomi Hideyoshi and commander in
Toba (in present-day Mie Prefecture), start- the 1597 invasion of Korea and supporter
ing in 1725 when Inagaki Akikata (1698- of Tokugawa leyasu at the Battle of Seki-
1752) transferred to Toba and lasting until gahara. On the back are represented a pair
the Meiji Restoration, during the reign of of large crossed sickles. The blade of each
Inagaki Nagahiro (1854-1920). Until re- is made in the kirihame technique, fitting
cently, the ddbuku remained in the posses- black and white wool pieces into holes cut
sion of the Inagaki family. Although out of the garment and sewing them se-
generally similar in form to ddbuku deco- curely into place; the handles are appli-
rated with small-pattern komon designs quéd on top of the red wool. Woolen
dating from the beginning of the early fabrics were brought to Japan in the Mo-
modern era, this example is reversible. moyama period by the Portugese, as re-
The composition of the intricate design is flected by the Japanese word for such
unusual in early komon textiles, suggesting material, rasha, derived from the Portu-
an early Edo-period date. The back of the gese raxa, meaning woolen cloth. The
dobuku is decorated with the large mon, or curved hem of this jinbaori, uncharacteris-
family crest, of the Inagaki, depicting fac- tic of traditional Japanese clothing, shows
ing sprouts of the mydga plant. KS instead the impact of the sartorial style of
the Portugese and Spanish who came to
Japan in the Momoyama period. KS
265 Jinbaori
kirihame and embroidery on wool 267 Kosode
1. 90.0 (35) embroidery and kanoko shibori
l
w. 126.0 (49 /s) dyeing on figured satin
Momoyama period, ryth century 1.142.5(551/2)
Sendai City Museum, W. 124.0 (48 3/8)
Miyagi Prefecture Edo period, i7th century
Nomura Collection,
This striking jinbaori is said to have been National Museum of Japanese
owned by Date Masamune (1567-1636), History,
daimyo of Sendai. Originally the jinbaori's Chiba Prefecture
purpose was functional; it was worn over
armor for protection against cold and rain. The kosode was the principal Japanese
Gradually the element of design assumed outer robe from the sixteenth century on,
greater importance, and styles were cre- having previously served as outer garment
ated that reflected the personal tastes of for the lower classes and as undergarment
the military elite. Horizontally centered on for the upper classes. From the kosode
the back of this jacket of thin wool is the evolved the modern kimono. Kosode liter-
bamboo and sparrow crest (mon) of the ally means "small sleeves," a reference not
Date family embroidered in gold. Using to the length or width of the sleeves them-
the kirihame technique, the prominent selves but to the size of the wrist openings.
and variously sized circles of white, yellow, This kosode is a representative example of
red, green, and blue wool are fitted into the Kanbun style of kosode decoration that
holes cut out of the garment and trimmed was particularly popular during the Kan-
with different colors. KS bun era (1661-1673) of the Edo period. In

332