Page 130 - Edo: Art in Japan, 1615–1868

53
petals resemble the carapace and
claws of a crab (kanibotan). This motif
was the crest of the Konoe clan, the
most ancient house of the northern
branch of the Fujiwara clan, estab-
lished in the Heian period. During
the Edo period the crest was better
known for having been adopted by
the kabuki actor Ichikawa Yaezô. VH

54
Saddle and stirrups with i 29
cosmetic brush design
Eighteenth century
Saddle of lacquer over wood
with makie
52 the name "star helmet" (hoshi kabu- Stirrups of iron, and lacquer over
Armor made for Tokugawa lemitsu to).The austere appearance of this wood with makie
armor is indicative of the uncompro- Height of saddle 38 (15)
Seventeenth century
mising spirit of military readiness Tokyo National Museum
Iron, lacquer, leather, and silk
Height of cuirass 34.2 (1372) that leyasu instilled in his succes- Illustrated page 109
sors. It was lemitsu who finalized the
Kunôzan Tóshógü Shrine, Shizuoka
isolation policy and instituted the • The basic form of the Japanese saddle
Illustrated page no system of alternate attendance for and stirrups changed little between
the daimyo. He also suppressed a the Heian and Edo periods. The saddle
• This fine suit of armor was made rebellion by masterless samurai and is composed of four pieces, the pom-
for lemitsu, grandson of the first Toku- Christians at Hará Castle on the mel, the cantle, and the two compo-
gawa shogun, who became shogun Shimabara Peninsula in 1637, the last nents that make up the seat. The pieces
himself in 1623. The type is known as battle on Japanese soil until the fall are tied together with cord, producing
tósei gusoku, literally "modern equip- of the shogunate in the nineteenth a structure that is highly resistant to
ment," which was the standard armor century. VH shock. The configuration of the saddle
used during the sixteenth century. allowed the rider to stand in the stir-
The cuirass wraps around the body rups, gripping the saddle with his legs,
and is tied closed on the right side. 53 in order to discharge arrows or wield
The cuirass, skirt, thigh guard, shoul- Saddle and stirrups with his cutting weapons. Only the highest
der pieces, throat guard, and neck and tortoiseshell pattern ranking samurai were permitted to
shoulder guard attached to the hel- Eighteenth century keep riding horses during the Edo
met are all composed of lacquered iron period, and their saddles and stirrups
Saddle of lacquer over wood
plates tied together in rows joined with takamakie were often lavishly decorated, as
with silk braid. Although lightweight, Stirrups of iron, lacquer over wood these are. The stirrups are of iron with
armor of this construction provided wooden inset bases. Both saddle and
with takamakie
considerable protection against cut- stirrups are lacquered with a design
Height of saddle 33.3 (13 Vs)
ting weapons while allowing flexibil- Sendai City Museum, Miyagi of white powder brushes. Rice powder
ity for the wearer. The helmet is com- (konuka) was the most common form
posed of sixty-four vertical plates • All surfaces of the saddle and stirrups of face powder, but for those who
with protruding rivets that inspired could afford the luxury, dried night-
are decorated with a gold takamakie
lacquer design of linked hexagonals ingale droppings were considered
representing tortoiseshell. This pat- more elegant. Gold lacquer dust was
tern signifies both longevity and the applied in various thicknesses to the
armorlike protection of the tortoise. aventurine ground to give depth to
Each hexagonal unit contains a styl- the picture. VH
ized geometrical floral motif (hana-
bishi). At the center front of the pom-
mel a peony is depicted so that its