JAPANESE ARMOUR – by Clive Sinclaire

Between the 5^th and 8^th centuries AD, Japan imported many things from the Asian mainland. This included the Buddhist religion, the Chinese form of writing, horses, swordmaking technology and armour. In the Japanese way, these things were adopted into the culture, improved upon and made peculiarly Japanese.

The earliest forms of armour are seen on the terracotta burial figures called haniwa and are known as keiko. The do (cuirass) is of a laminated nature and the helmet has a pronounced central ridge. The flexible style was particularly suited for warfare on horseback and over the next two to three hundred years, the armour was to develop into the distinctive Japanese armour, in two main styles.

The first of these, known as do-maru (lit. round the body) was a lightweight armour suitable for foot soldiers or infantry, generally from a lower social class than the mounted warrior. When fastened at the side it was known as hara-maki (stomach wrap). The o-yoroi (great armour) was altogether a heavier, more ornate and richer armour worn by the higher class mounted warrior. Both of these were constructed of leather or iron lamellae, which were laced together with bright coloured silk lacing. The o-yoroi also featured large shoulder guards known as o-sode and a four sided box like skirt arrangement known as kusazuri, for  protection of the lower body. Shin guards called suneate were worn and bear skin shoes enclosed the feet.

Helmets or kabuto of the o-yoroi are of a relatively simple, usually eight plate iron bowl, construction. Attached to this bowl or hachi, was a large neck defence or shikoro, which was laced in a similar way to the do and would have two large “ears”, known as fukigaeashi. The hachi would often have large rivets which stood proud of the surface and added extra protection at the cost of little extra weight and large crest would be attached to the front peak of the bowl. On the top of the helmet a ventilation hole known as the tehen (heavenly hole) through which the silk cap of the wearer protruded, may be found. It was mainly necessary, at this time, for an armour to offer protection from arrows, the bow being a primary weapon.

Armour such as these served well throughout the Heian (794-1185) and Kamakura (1185-1333) periods and were severely tested by the Mongol invasions of the late 13^th century.  Throughout this and the following period of Imperial succession disputes, known as the Nambokucho period (1333-1392) the do-maru retained its simple construction and even began to be favoured more by the higher ranking samurai, who may have found the bulky o-yoroi unsuitable for the mountainous warfare of the time. The advantage of the do-maru was that the weight was mainly taken on the hips and this was more suitable for fighting on foot whilst the weight taken on the shoulders lent itself to mounted warfare. As the more elevated samurai adopted the do-maru they brought the o-sode and more substantial kabuto from the o-yoroi. Several of these hybrid armours are extant today preserved in Japanese museum collections.

As the so-called Sengoku-Jidai, (the period of the country at war) of the Muromachi period (1392-1573) progressed, hundreds of thousands of peasant soldiers were pressed into the armies of the warring factions. Huge quantities of armour and swords were needed and made on a munitions basis. The ashiguru (lightfoot infantry) wore armours of very simple construction. The do were of two sections only and the simple

Haramaki

kabuto were of three or five piece construction, with close fitting shikoro and small fukigaeashi. The close fit of the shikoro (neck defence) was to help accommodate the sashimono or banner carried on the back to identify different units. Messengers and couriers were similarly equipped with long feather like banners to distinguish them. Such kabuto were known as Hineno-zunari, were named after the original designer Hineno Hironari and his brother Yajiuemon, both high ranking samurai from Mino province. The large number of helmets made at this time for the common foot soldier, were nick-named hiyaku-hane-mono or “things for a hundred heads” indicating they were mass-produced. A different design also used by the ashiguru and named the tatami-do, was made of small individual plates of thin iron which were held together by chain-mail and the whole thing was fully collapsible!

The better quality armour of the higher ranks now had chain-mail arm defences as well as an apron to provide extra protection to the thighs, know as a haidate. Additionally, iron face masks, known as mempo began to make an appearance. These often had ferocious expressions on their features, sometimes including teeth and moustaches of real hair, all presumably to frighten and intimidate an enemy. The reflected red lacquer on the interior of the mask would further emphasise this. Another feature of the mempo is the small hole under the chin called the asa-nagashi-no-ana, literally translated as a “sweat running hole” the function of which is self explanatory. Below the chin the yodarekake or neck defence was located and was laced in harmony with the rest of the armour.

Although the mempo may have provided some facial protection, it is considered that the main function was to provide a base for tying off the helmet strings, small protrusions on the cheeks and chin were to facilitate this.  Interestingly, when securing a kabuto tightly in this manner, it is very difficult to open one’s mouth to speak or shout and so it must have been quite difficult give orders out in the heat of battle. Usually the mempo had a detachable nose and covered most of the lower half of the face. Occasionally a full faced version known as a so-men is encountered and these are considered as especially collectable today.

Blue laced Domaru with 62 plate helmet bowl

Towards the end of the Sengoku Jidai, the introduction of firearms encouraged drastic changes to armour construction. Until the middle of the 16^th century, the do and kabuto on better quality armours had remained fully laced. This had caused many problems in the long campaigns of the time, as they became saturated with water which made them very heavy and difficult to clean and dry. It has also been suggested that the lacing could rot and that a spear or other weapon could easily become entangled in the lacing and the many holes necessary to accommodate the lacing, must have weakened the entire structure. Worst of all they could become infested with all sorts of unmentionable creatures, which could easily have adverse effects on the wearer’s health. However, the use of firearms meant that stronger do of solid plate construction became the favoured armour. This was given additional impetuous by exposure to western armours, especially Spanish and Portuguese, which became the fashion of the day. The were called Nambam Gusoku the name Nambam meaning literally “barbarians from the south”, the appendage given to foreigners at this time! Such armour styles survived the turmoil and chaos of the Sengoku-jidai and remained popular right through into the following Tokugawa or Edo period (1600-1868).

Blue laced gosoku swith 62 plate helmet

Nambam  gusoku

Certain artisans fulfilled the demand for functional kabuto and it was in the early 15^th century that makers began to sign their work. Helmets were usually signed on the inside of the back plate. The first to do so were members of the Iwai and Haruta families, closely followed by Nobuie and Yoshimichi (working 1521-31) from two branches of the famous Miochin family. These latter two made kabuto which had up to 62 overlapping plates with raised flanges (suji). The bowl was usually left in a natural russet iron in colour, which is greatly admired to the present day. The descendants of the Miochin produced fine armour, kabuto and mempo throughout the next four hundred years even through to the 20^th century (an armour reproducing an o-yoroi and made by Miochin Muneyoshi (1852-1940) together with his son, Miochin Muneyuki (1917-1940) was presented to the puppet emperor of Manchukuo just before the advent of World War 2 – its whereabouts is currently unknown!)

As we entered the late Muromachi and Momoyama period (second half of the 16^th century) a period of relative piece and flamboyant artistic expression, the phenomenon of kawari-kabuto (decorative helmets) is encountered. These helmets were highly ostentatious and they displayed a wide range of designs, including subjects from nature and mythology, but the most popular were Buddhist or Shinto motifs providing religious protection in battle, or offering a prayer for those that the wearer may have killed. Long eared rabbits represented virility and longevity whilst realistically portrayed lobsters and crabs appeared to wear invincible armour and at the same time, bears and bulls represented ferocious fighters, all necessary attributes to the survival and honour of the successful warlord.

Style of armour worn by the Kuroda family from Kyushu.

Ornate kuwari-kabuto based on a simple 6-plate helmet bowl.

It cannot be denied that the wearer of kawari-kabuto could easily be recognised by either friend or foe on the battlefield and that they made some kind of personal statement by the wearer. It is considered that such kabuto also demonstrate the character of the time which was the late 16^th and early 17^th centuries. They were often built on a base of a simple helmet such as a Hineno-kabuto. The shashihoko or mythical dolphin on the illustrated example has been built up in moulded leather that has been lacquered black and highlighted in red, silver and gold. Dating from 1600-1650 it is based on a simple six plate helmet.

Such kabuto were only worn by the highest of social classes. A story is told that Tokugawa Ieyasu, on hearing that Hideyoshi had referred to him as “the cow of the Kanto- the eastern provinces” immediately commissioned a kabuto with huge horns protruding from the sides and all the plates were covered in cow hide on which the hair was left on. Later this was adopted by the Kuroda family in Kyushu. Honda Tadakatsu, one of Ieyasu’s most talented generals, was immediately identifiable by the deer’s antlers sprouting from his kabuto. Kuroda Nagamasa fought many battles in a kabuto that represented the steep cliff face that the 12^th century hero, Yoshitsune, had descended at the pivotal battle of Ichi-no-tani, presumably in an attempt to emulate Yoshitsune’s heroic deeds. Finally, Kato Kiyomasa is often depicted killing a tiger in Korea with his spear and wearing silver coloured naga-eboshi (large court cap) with a red sun disc on either side.

It was important to be recognised when performing brave deeds in battle as future stipends and fiefdoms might depend on it. The Ii family of warlords went one better than just wearing kuwarai-kabuto. For them it was deemed necessary to have the complete armour in a bright red lacquer and not only was this worn by the leader, but a similarly coloured armour of simpler form, was issued to the entire army, who were known as the Red Devils. There were some 9 daimyo generations of this powerful Tokugawa supporting clan and their individual red armours are still preserved at their home castle, the beautiful Hikone-jo on the shores of lake Biwa. We were also fortunate enough to have the armour of the first daimyo loaned to the Royal Armouries in Leeds a couple of years ago, as part of their exhibition on the life of Tokugawa Ieyasu.

It might be thought that, as the Tokugawa era was a period of some 250 years of peace, albeit under a dictatorial police state, the manufacture of armour was no longer needed. This was certainly not the case as the individual warlords were charged with being constantly ready to supply the shogunate with armed and armoured retainers in the event of rebellion or invasion. Further, with the sankin kotai laws demanding regular attendance at the shogun’s court in Edo (present day Tokyo) the daimyo were constantly on the move in great processions. Such processions included armoured samurai and it was one of the few occasions in which they could show off their martial attributes, including their armour. The armour made during this time often incorporated pieces from more ancient examples and the Miochin and Saotome families continued to produce fine work alongside the Unkai, Iwai, Haruta and Hori.

There was an important exhibition at Tokyo National Museum last year, which I was fortunate to visit, entitled “Legacy of the Tokugawa”. In this there were no fewer than five Nambam Gusoku (foreign influenced solid do) owned by Tokugawa Ieyasu, the first shogun. This included one whose front plate had been successfully tested by musket fire and all the kabuto were modelled on Spanish morions. In addition there were several of his armours of the fully laced variety, including at least one in the style of o-yoroi. This illustrates that, in spite of the peaceful times, the quality,

The armour (tosei gusoku) of the Ii family at Hikone castle (about 1800)

Edo period armourer at work

style and functionality of armours was maintained. In my own collection I have a do which was made in 1799 and is constructed of 8 horizontal plates known as a Mogami-do, all of which show evidence of successful testing with a musket. Such armours provide evidence that the samurai of the day valued his armour and was concerned that it was totally to be relied on, should he be called to action. However, generally speaking, the laced armour styles of the earlier period were revived and appearance was very important. Arguably the most important makers in the Tokugawa period were Miochin Kunimichi (working dates 1624-43) and his son, the 24^th master, Munesuke (1688-1735).

Kunimichi is credited with compiling a somewhat dubious genealogy of his family whilst Munesuke invented the uichidashi-do or do with an embossed design. Such a do had never been used in battle.  The uichidashi-do was at the height of its popularity in the 18^th century but it was thought by conservatives to reflect a decline in the spirit of bushido and that there was a perceived danger of weapons becoming entangled in the complicated raised designs. This reaction to the decadence of the late 18^th and early 19^th century, mirrored the same situation in the Japanese sword world, as emphasised by the great revivalist Suishinshi Masahide. However, by the middle of the 19^th century, the daimyo had to worry more about foreigners testing the shogun’s isolation policy, than impressing each other at court. It was at this time that the penultimate shogun, Iyemochi, presented a fine copy of an ancient o-yoroi, made by the then current Miochin master, Muneharu, to our Queen Victoria in 1860. This may be viewed at the Victoria and Albert Museum in London. So it was that armours made for noble warriors to use on the battlefield, had now become diplomatic gifts.  Another collection is preserved at Snoweshill Manor in Oxfordshire. Here, although the armours are only of average quality, they are assembled on a tableau surrounding a camp fire. Although they are there every night, this is the night before the battle as the ghostly warriors gather together but their fate is that they will never actually fight!

Snowshill Manor display

there are few armour restorers in Japan and most of them are employed by the large museums such as Tokyo National in Ueno. Here Mr Ogawa is charged with maintaining the collection which includes armour owned by Tokugawa Ieyasu and other famous historical figures. His work is never-ending and of the highest standard and a pleasure to watch. There are a number of good collections in Japanese museums, including the aforementioned Tokyo National. Probably the best is to be found on an island just off the coast of Hiroshima in western Japan, named Omijima. Here there are many fine armours, some preserved since the 13^th century and it is the home of several “national treasures”.. Also many shrines and castles have collections of varying quality. In some it is quite surprising that the condition is so poor and dirty and they do not appear to be very well cared for. From a modern collector’s point of view, Japanese armour is not the easiest thing to keep, as much of the lacing and lacquer is now rather delicate. Unlike with swords, there are few armour restorers in Japan and most of them are employed by the large museums such as Tokyo National in Ueno. Here Mr Ogawa is charged with maintaining the collection which includes armour owned by Tokugawa Ieyasu and other famous historical figures. His work is never-ending and of the highest standard and a pleasure to watch. There are a number of good collections in Japanese museums, including the aforementioned Tokyo National. Probably the best is to be found on an island just off the coast of Hiroshima in western Japan, named Omijima. Here there are many fine armours, some preserved since the 13^th century and it is the home of several “national treasures”.. Also many shrines and castles have collections of varying quality. In some it is quite surprising that the condition is so poor and dirty and they do not appear to be very well cared for.

This magnificent 19^th century copy of the old style o-yoroi was given by the shogun to Queen Victoria and is now part of the V&A Museum collection

The fall of the shogunate and the Meiji restoration of 1868 heralded the end of the distinctive Japanese armour, as the country adopted Western technology and cast aside many of the traditional martial ways. The last reaction to this and the last time traditional armour was worn in battle, was the Satsuma Rebellion of 1877. Then predictably, the modern repeating rifle decimated the sword waving samurai clad in feudal style armour.

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