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Samurai Art

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Fudo Myō-ō Mae-dō Armour Front Plate
Myōchin Uchidashi

During the final years of the Edo period, also known as the Age of Peace, the demand for armour significantly declined. As a result, armourers (katchūshi) had to adapt by using their skills to craft alternative items to survive. However, with Japan opening its doors to foreign trade, the demand for armour experienced a resurgence, and many older suits were refurbished for export.

The famous Daté clan of Sendai favoured the Yukinoshita-dō type of armour. This cuirass was constructed of five sections joined together by hinges, resulting in a robust and bulletproof design primarily used by mounted warriors. Despite its plain appearance, the dō was made from thick iron, offering substantial protection.

The Myōchin school, renowned for its uchidashi (embossing) expertise, was known to modify yukinoshita-dō with elaborate repoussé (embellishments). An example of this craftsmanship is seen in a particular armour, where the front section has been repurposed, with its original black urushi lacquer removed and detailed artwork added. This specific piece features an intricate depiction of the deity Fudō Myō-ō.

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Description

Age: Edo period 18th century
Japan: Iron, copper, lacquer
School: Myōchin
Provenance: Private collection in Japan
Exhibition: LAPADA Fair London 2024
Authenticity: Certificate of Provenance issued by The International Society for the Promotion of Japanese Armour
国際日本甲冑武具振興協会  Kokusai Nihon Katchū Bugu Shinko Kyōkai.
Similar: Yukinoshita mae-do featuring a standing Fudo Myō-ō attributed to Myōchin Muneie. The Waters Art Museum Maryland  USA
Height

Status: SOLD

This heavy russet iron plate, weighing just under 2 kg, was taken from a type of cuirass known as Yukinoshita. It has two upper sets of abiki-no-ana holes used to attach silk suspension cords. Each set is capped with copper-gilt eyelets. The plate also includes two sets of riveted chotsugai (hinges). Additionally, there is a set of nipple rings, or no-kan, used for suspending a tenugui (head towel) and a saihai (commander’s baton).

Two large holes at the bottom of the plate were used for renjaku, allowing a length of hemp rope to be tied internally. This design helped distribute the weight of the armour from the hips to the shoulders, making it more manageable for the wearer. A further number of holes at the bottom of the piece were used to secure the armoured skirt.

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