InthelateEdoperiod,armourcraftsmensuchastheMyōchinandHaruta schoolsofkatchū-shiintroducedacertificationdocumentknownasa ‘kiwame-fuda’.Thiscertificateservedtoofferadetaileddescriptionofthe armouralongwithaspecificdate.Thisbookrepresentsa21st-century adaptationofthekiwame-fuda,leveragingmoderntechnologyto incorporatephotographsandillustrationsthatsurpassthegraphic descriptionsofthepast.Theprimarygoalofthisbookistoequiptheowner withcomprehensiveknowledge,ensuringathoroughunderstandingofeach componentinsignificantdetail.
TheKurodaclanwasaprominentsamuraiclaninfeudalJapanthatplayeda significantroleinthelateSengokuperiod(late16thcentury)andthe subsequentEdoperiod(early17thcentury).ItoriginatedintheTōhoku region,butismostwell-knownforitsactivitiesinKyushu,the southernmostofJapan'smainislands.
OneofthemostnotablefiguresfromtheKurodaclanwasKurodaKanbei (alsoknownasKurodaYoshitaka),whoservedunderToyotomiHideyoshi, oneofJapan'sleadingwarlordsduringthelateSengokuperiod.Kuroda Kanbeiwasknownforhisadministrativeandstrategicabilities,andhe playedacrucialroleinHideyoshi'sunificationofJapan.
AfterHideyoshi'sdeath,theKurodaclancontinuedtobeinfluentialduring theearlyEdoperiodwhenTokugawaIeyasuestablishedtheTokugawa shogunate.ItwasgrantedcontroloverChikuzenProvince,whichisnow partofmodern-dayFukuokaPrefecture,anditsleadersbecamethedaimyo (feudallords)oftheChikuzendomain.
TheKurodaclanisalsoassociatedwiththeconstructionofFukuokaCastle, whichplayedasignificantroleintheregion'shistory.Itcontinuedtobean importantandinfluentialsamuraiclanduringtheEdoperiod,servingthe Tokugawashogunateuntiltheendofthesamuraierainthemid-19th century.
Overall,theKurodaclanisrememberedfortheircontributionstothe unificationofJapanandtheirroleinshapingthehistoryofKyushuduring theSengokuandEdoperiods.
TheKurodaclan,specificallyKurodaYoshitaka(KurodaKanbei),playeda significantroleintheBattleofIchi-no-Tani,whichwasapivotal engagementduringtheGenpeiWarinJapan.TheGenpeiWartookplacein thelate12thcenturyandwasfoughtbetweentheMinamotoclan(also knownastheGenji)andtheTairaclan(alsoknownastheHeike).
KurodaKanbei,aprominentfigureintheKurodaclan,servedasavassal undertheMinamotoclan,specificallyunderMinamotonoYoshitsune. KurodaKanbeiwasknownforhisadministrativeandstrategicskills,andhe madeimportantcontributionsduringthisperiodofJapanesehistory.
IntheBattleofIchi-no-Tani,whichoccurredin1184,theMinamotoforces, ledbyYoshitsunewiththesupportofKurodaKanbei,launchedasuccessful attackagainsttheTairaclan'sstrongholdintheIchi-no-Taniarea.Thebattle markedasignificantturningpointintheGenpeiWarastheMinamoto forceswereabletodefeattheTairaclanandweakentheirholdonpower.
OneofthenotableaspectsofthebattlewastheduelbetweenSaito MusashiboBenkei(aretainerofYoshitsune),alegendarywarriormonk, andtheTairawarriorUshiwakamaru,whowouldlaterbecomefamousas MinamotonoYoshitsune.Thisduelhasbecomeafamousepisodein Japanesehistory.
TheBattleofIchi-no-Taniwasinstrumentalintheultimatevictoryofthe MinamotoclanintheGenpeiWarandtheestablishmentoftheKamakura Shogunate,whichmarkedthebeginningofthefeudalsamuraierainJapan. TheKurodaclan'sinvolvementinthisbattleisapartoftheirhistorical legacyandtheircontributiontotheriseoftheMinamotoclan.
EarlyrecordsoftheIwaifamilysuggesttheirlong-establishedpresencein NaraduringthelateMuromachiperiod.Subsequently,theyrelocatedto Edo,wheretheyoperatedunderthedirectpatronageoftheTokugawa Shogunate.Duringthistime,theyexpandedtheirinfluenceacrossvarious provinces,includingAki,Chikuzen,Echizen,Kaga,andOwari. Interestingly,theyalsomaintainedabranchinNara,Yamashiro,whichwas theiroriginalplaceoforigin.
TheIwaifamilygainedrenownfortheirexceptionalskillsinlacingand mountingarmour.Overtime,thenameIwaibecamesynonymouswiththe craftingofhigh-qualityleatherarmour.It'sworthnotingthatsucharmour, whilecraftedwithfinesse,isrelativelylessdurableincomparisontoother typesofJapanesearmour.Thischaracteristiccouldexplainthescarcityof IwaipiecesinWesterncollections.Anotableexceptionisthearmourgifted toKingJamesIofEnglandbyTokugawaIeyasu'ssonin1614.Thisis creditedtoIwaiYozaemon,askilledarmourmaker.Yozaemonpossessed remarkabletalents,allowinghimtoforgeaconnectionwithTokugawa Ieyasuandestablishalastingrelationshipwiththeshogunateforhisschool. Nevertheless,asubstantialportionoftheIwaifamily'scontributionsremain relativelyunnoticedinwesterncontexts.Thisoversightcanbeattributedto thecommonpracticeofattributingtheentiresuitofarmourtothemakerof itshelmet.Forinstance,ifasuitofarmourfeaturedahelmetbowlcrafted byaMyōchinmaster,itwouldbecategorisedasMyōchinarmour.This conventionhasresultedinaconsiderableblendingoftheIwaifamily's effortswiththoseofotheraccomplishedarmourmasters.
InthelatteryearsoftheEdoperiod,itappearsthattheIwaifamilybeganto perceivesomelimitationsassociatedwiththeirspecialisationincrafting leatherarmoursandlacingandmountingthecreationsofotherarmour makers.Consequently,afewmembersoftheIwaiclansoughttobroaden theirexpertisebystudyingironforgingtechniqueswiththeMyōchin masters.Asaresultofthisshift,thereisascarcityofironhelmets,masks, andarmoursproducedbytheIwaifamilyduringthelaterEdoperiod.
MentionsoftheIwaischool'sassociationwiththeshogunateofteninvolve thetitleof‘O-gusoku-ya’,whichcanbetranslatedas‘honourablearmour maker’.Thisdistinguishedtitlewasexclusivelyreservedforthemostsenior masteroftheIwaiclanservingundertheshogunate.
ThearmourfeaturedinthisbookisthesignedworkofIwaiGen-no-Jo Tsuguie,thesonofIwaiIenaga,wholivedinFukuokaintheSagaradistrict ofChikuzenprovinceduringtheearlyEdoperiod.Heservedasanarmourer intheFukuokafiefunderthepatronageoftheKurodafamily.Gen-no-Jo washisgivenname.Historicalrecords,specificallythe‘ChikuzenZokuFudoki’,indicatethatIenaga,Gen-no-JoTsuguie'sfather,wasarenowned master,suggestingasimilarreputationforGen-no-JoTsuguie.
TheIwaiarmourmakerswerearenownedgroupofcraftsmeninJapan, knownforproducinghigh-qualitysamuraiarmourduringthefeudalperiod. TheIwaifamilyandtheirworkshopwereparticularlyfamousfortheirskill incraftingsuitsofarmour(yoroi),helmets(kabuto),andotherprotective gearforsamuraiwarriors.
TheIwaiarmourmakerswereactiveduringtheEdoperiod(17thto19th centuries)andweremakingandassemblingarmourduringatimewhenthe samuraiclasswasflourishingundertheTokugawashogunate.Theywere locatedinEdo,whichisnowTokyo,andtheirworkwashighlysoughtafter bysamuraianddaimyō(feudallords)acrossJapan.
TheIwaifamily'sarmourwasrenownedforitsquality,intricatedesigns, andattentiontodetail.SamuraiwhoworearmourcraftedbytheIwaifamily couldbeconfidentinitsprotectivecapabilitiesandthecraftsmanshipthat wentintoitscreation.
It'simportanttonotethatseveralgenerationsofarmourmakersfromthe Iwaifamilywereinvolvedinthiscraft,andtheypasseddowntheir knowledgeandtechniquesthroughthegenerations.Theirworkis consideredatestamenttotheartistryandcraftsmanshipofJapanesearmourmakingduringtheEdoperiod.
Today,someexamplesofarmourcraftedbytheIwaifamilycanbefoundin museumsandprivatecollections,servingasavaluablereminderoftherich historyofsamuraicultureandcraftsmanshipinJapan.Theshowcased armourisaprimeillustrationofthis,skillfullycraftedbyartisansofJo-Jo status,atermdenotingmasteryandexcellenceduringtheearlyEdoperiod.
Thisstyleofyoroi-kata,orarmourtemplate,hadadistinctpurposetailored fortheKurodadaimyolords,withthecraftsmanproducingmultiple variationsforvariousfamilymembers.Itwascustomaryforalordto possessmultiplesetsofarmour,eachplacedatfamilyestatesatdifferent locationsthroughoutJapan.Currently,theFukuokaCityMuseumishome toanextensivecollectionoftheKurodaclan'sarmours.Amongthese,isa completesetthatbearsaremarkable98%resemblancetotheshowcased example.Thisparticulararmouroncebelongedtoayounglordcalled KurodaTakashiwhotragicallypassedawayfromanillnessatatenderage. Notably,hismotherhailedfromtheIkedafamily.ThepresenceoftheIkeda family's‘suemon’(familycrest)onboththearmouranditsstoragebox stronglyindicatesthatthisvariantwasoriginallyownedandpreservedat theestateinEdo,wheretheIkedabranchofthefamilyresided.
NerigawaKuruUrushiNuriHachiGoDanManjuJikoro
TheIchi-no-Tanikabuto,commonlyknownas‘KurodaIchi-no-Tani kabuto’,representsadistinctivestyleofsamuraihelmetassociatedwiththe influentialKurodaclaninJapan.TheKurodaclanplayedanotablerolein Japanesefeudalhistory,particularlyduringtheGenpeiWar,withtheBattle ofIchi-no-Tanitakingplaceattheeponymouslocation.Thesekabutoare characterisedbytheirbowl-shapedtopfeaturingaprominentcrestholder adornedwithdiversesymbolsanddesigns.Thecommonthreadbinding thesedesignsisthedepictionoftheclifffaceofIchi-no-Tani,where Yoshitsuneledhischargingcavalrydownthesheerprecipicetoambushthe Tairaclan.Thisshowcasesexquisiteandartisticcraftsmanshipthatnotonly reflectsthewearer'sstatusbutalsodefinestheiridentity.
Thisspecifickabuto,signedbytheIwaismithGen-no-Jo,isatestamentto themasteryofthecraft.Madeentirelyfromnerikawarawhide,thebowl exhibitsfauxsuji-tate,triangularironsegmentsrivetedtogetherwitha raisedflange.Toreplicatethiseffect,thesuji-tatehavebeenmeticulously constructedusingkokuso,alacquer-basedputty,andgildedwithfukurin. Thespacesinbetweenareadornedwithengravedhigakemadefrom shakudo,ametalalloywith10%goldand90%copper,achievinga blackenedappearancethroughchemicaltreatment.Tothefrontofthehachi areengravedshinodareelongatedprongs.Attheapexisanoutstanding tehen-no-kanamonocrown.KabutocraftedbytheIwaiandassembledfor theKurodawererecognisedforincorporatingsilver,oftenappliedaseither atexturalelementorintheformofmaki-edustsprinkling.Inthisparticular instance,suchaneffecthasbeenskillfullyappliedtoboththevisorand turn-backs,showcasingthedistinctiveuseofsilverinthecraftingofthis kabuto.
Theshikoroneckguardislikewisefashionedfromrawhideskillfully craftedtoemulateiyō-zane,ascale-likepattern.Thesescalesarecoatedin blacklacquerandarelacedusingtwodistinctstyles.Thefirst,knownas sugake-odoshi,featuresastraightforwardcross-overthread,whilethe second,calledchikiri-odoshi,involvesacross-overwithadditionalthreads thatoverlap.Thebottomlame,knownaskata-zuri-no-ita,isadornedwitha singlelineofstaggereduname-odoshiandtworowsofhishi-nui,enhancing thedecorativedetailingofthearmour.Insidethebowlisahemetlinermade fromcrepesilk.
Thehelmetfeaturestwoironprongsextendingfromthesides,designedto supportthewakidatedevicethatsymbolicallyrepresentsanabstract representationofIchi-no-Tani.
Specificallyfocusingonthefukigaeshi,thesurface showcasesakawari-gin-maki-e,anabstractsilverdust texturethatharmoniseswiththevisorofthehachi.Both thevisorandfukigaeshiareadornedwithengraved fukurincraftedfromshakudo.Notably,acoileddragon, gildedwithmercury,servesasadecorativeelement.
Inthistop-downperspective,themeticulous craftsmanshipinvestedincreatingthetehenisvividly apparent.Theshakudobase,referredtoasaoi-za,has beencarefullyshapedintoamokkodesign.The accompanyingzawashersexhibitdistinctdesigns, incorporatingablendofshakudoandgildedcopper. Theseelementsaresecurelyanchoredinplacewith theuseofalargetubeknownasatama-buchi.
Inthisclose-up,intricatedetailsofthemodelledsofukurinonthehachiandtheengravedshakudohigaki comeintoclearfocus.Additionally,observetheshitenno-byōandwaki-haraidate.Onthehachitsuke-no-ita, theupperplateoftheshikoro,gildedbyōsecuring rivetscatchtheeye,andthehelmetcordiselegantly craftedusingsilkcordcoveredinlacquereddeerskin.
Acloseupoftheshinodare,along,decorativestrip thatemergesfromunderthetehen-no-kanamonoand extendsdownthefront.
Themaskpresentsafineillustrationofaresseimenpo.Theterm‘ressei-bō’ wasemployedbyarmourmakerstocharacterisemaskswithsurface wrinklesskillfullyhammeredtoconveyanangryexpression.‘Ressei’ translatesto‘angrycheek’,andthistermisoftenpairedwith‘menoshita-bō’ 目の下頬,denotinganymaskfeaturinganose.
Incontrasttotheothercomponentsofthearmour,thefacemaskhasbeen craftedfromironbyakatchūshifromtheHarutaschool.Thisalignswith thecharacteristicapproachoftheIwai,whoservedasbotharmourmakers andassemblers.MasksofthistypewerecommonlyproducedinNaraand distributedtovariousschoolsforthemtocompleteaccordingtotheir preferences.Inthisexample,theoutersurfacehasbeenlacqueredtoachieve arussetironeffect.Whileitmightseempeculiartolacqueranironmaskto resembleiron,thispracticeiscustomary.Theunderlyingironbaseisquite thin,andlayersoflacquerareappliedtoreinforceandfortifyit. Additionally,lacquerservesthecrucialpurposeofsafeguardingthemask fromrusting.Akuchi-higemoustache,craftedfromboarhair,hasbeen skillfullyattachedwithkokuso.Insidethemouth,gildedue-bateethadda touchofrefinementanddetailcomplementingtheangryexpression.The innerislacqueredinshu-urushi-nuri,avermillionbasedred.
Thetarerevertstorawhideandfollowsthesamecraftingmethodasthe shikoroonthekabuto.Itincorporatesablendofodoshistyles,withtheonly distinctionbeingthepresenceofasinglelineofhishi-nui.Betweenthe menpoandthetareliesakomori-tsuke,skillfullycraftedfromdyeddeer hide.
Thecuirassistrulyexceptional,showcasingtheremarkablecraftsmanship synonymouswiththeIwaischool.
Craftedentirelyfromrawhide,thedōexhibitsseveralunconventionalfeatures. Notably,themethodofconnectingthewatagamishoulderarchestothemune-ita breastplatedeviatesfromthenorm.Typically,cordsfasteningthesesectionsare securedwithhorntoggles;however,inthisinstance,thecordishookedintoplace. ThisdistinctivemethodisexclusivetothearmoursmadefortheKurodadaimyō. It'sworthnotingthatthekoberiarecraftedfromnerigawalames.Thesecond distinctivefeatureisobservedinthemae-tate-agesection,wheretheupperfrontal platesarelacedupsidedown.Thisunconventionalapproachrepresentsahybrid versionofkebiki-odoshi,incorporatinghishi-nuicross-overknotsinlieuofthe commonlyusedzig-zagkedatepattern.Thirdly,thetorsoofthearmouris constructedwithhorizontallamesthatoverlapintheoppositearrangement comparedtostandardmanufacturingmethods.Thesearesecuredtogetherwitha thicksilkbraidlacedinthehishi-nuistyle.
AnotherdistinctivefeatureuniquetotheKurodaclanistheappliedtextureonthe uppercuirass.Resemblingahoneycomb,thistextureiscreatedusingkokuso,a specialputtymadefromablendofsawdust,lacquer,andriceflour.Thetextureis shapedbypressingasmallbambootoolintothewetputty,whichisthenlacquered blackaftercuring.Thisrobustlayeroffersexceptionalprotectionagainst projectiles,includingmusketballs.
Thegessanprotectiveshirthasbeenmeticulouslycraftedusingthesamemethod asthehelmet'sshikoroandthetareofthefacemask.Comprisingseventassetsin total,thewidestpendantissecurelyaffixedtothecenterofthedō.
AnothercharacteristicoftheIwaimanifestsitself,astheywouldengagein purchasingandsubcontractingthemanufacturingofcertaincomponents.This becomesapparentwhenexaminingthefukurinaroundthewatagami,mune-ita,and waki-itasectionsofthetorso,wheregildedcopperisutilisedinsteadofshakudo.
Thearmouredsleevesarecraftedintheshinostyle,featuringfivemarushinoplatesonthetesakiportionoftheforearm.Whenworn,theseplates seamlesslyformaroundedandfullyprotectiveshell.Theshinoplatesare madefromblacklacquerednerikawa,accentedwithamaki-egoldedging. Enhancingtheprotectivecapabilities,theinnerforearmincorporatesfour setsofflutedironikadasplints.Technically,thesekotecanbereferredtoas bishamon-gote,atermappliedtoarmouredsleeveswithanintegralsode shoulderguardattachedtotheupperkatasection.Inthisinstance,thesode sectioniscomposedofindividualhira-kozanacquiredrawhideplates, mirroringthearrangementfoundonthehaidate.Theupperkanmuri-no-ita sectionisdividedintothreeplatesconnectedbyhingescompletewithtwo kote-tsukesilkcordloopswithhornkohazeusedtoconnectthekotetothe watagamiofthedō.Notably,thehingesarecraftedtoresemblebutterflies, indicativeoftheHarutaschool.Thisdetailservesasareminderthatthe Iwaismithswereadeptassemblers,procuringarmourcomponentsfrom variousmanufacturers.
Thesectionsaremeticulouslysewnontoahempbackingmaterial,featuring anupperdecorativelayerofsilk.Seiro-gusarichainmailconnectsthese sectionsthroughout.Theelbowplate,hiji-gane,isencircledbyfourmatsubopineneedleplates.Additionally,thekoteincludesprotectivekote-bukuro extenders,securelyfastenedtogether.Theseextendersservetoprovidean extralayerofprotectiontothearmpitareawhenthearmsareraised. Runningdownthemiddleisananchoredsugaricord,offeringtheflexibility toadjustandtightenorloosenthesleeveasneeded.Nearthewrist,atekubi-no-oispresent,craftedfromaloopedsectionofsilkmaru-himocord, completewithhornsemé-kohazeandkohazetoggles.Thetekkosection, providingcoverageforthehand,consistsoffourarmouredcomponents craftedfromnerigawa.Notably,onthetsumi-tekkoportion,ansuemon emblemrepresentingtheIkedafamilyhasbeenmounted,usinggilded copperforanornatetouch.Thetekkoremaininplacebytwosilkbraided yubikake-no-oloopsthatpassoverthefingerandthumbofthewearer.This attentiontodetailunderscoresthefunctionalityandthoughtfuldesignofthe kote.
Thethighguardapronhasbenmadeintheiyo-zanestylewithsixrowsof hira-ko-zanescalesmadefromlacquerednerigawarawhide.These individualplatesaresewntoahempbackingmaterialandthenjoined togetherwithsilkbraidintheunameandhishi-nuistyles.Totherearof eachguardisafumi-komibandthatisfastenedtogetherbyabuttonaround thelowerthigh.
Strengtheningtheupperportionoftheapronarefourbandsofstencilled deerhide,calledchika-gawa,whichareembellishedwithdecorativejabara braidalongtheedges.Withinthehorizontalstripsliesarolledpieceof washipaper,creatingadistinctridgethatservesasabufferbetweenthe egawaandlowerplates,preventingthemfromcatchingonotherpartsofthe armour.Additionally,thissectionisequippedwithmuchi-sashi-no-anaslits, allowingthewearertoinserttheirhandtoadjustthebelt.
Itisnoteworthythatthehaidatehasundergonerepairsovertime,adetail apparentwhenexaminingtheire-jisilkmaterialontheuppersurface.The upperregion,featuringthemuchi-sashi-no-ana,displaysabluesilkcloth adornedwithdepictionsofdragons.Interestingly,therearfumi-komi employsthesamematerialfoundonthekote.Extendeduseofarmour inevitablyledtothewearandtearoffinebrocades.Asthesilkwasimported fromChina,replacingorrepairingwithanalternativewasdeemed
Theshinguardshavebeenmadeintheetchū-shinostylewhichwas inventedbyLordHosokawaSansai.Aligningwiththehighlyconservative ethosofSansai’sarmourdesigns,theetchūadaptationoftheshino-suneate styleinvolvedcraftingshinguardswithoutclothbodicebackingsortateage (kneecop),adeparturefromthenearlyubiquitousinclusionofthelatterin othershinguardstylesanddesignsfromtheedoperiod.Eachguardfeatures nineshinosplintscraftedfromlacquerednerigawa.Whileetchū-suneate typicallyincorporateironandareconnectedwithchainmail,thethicknessof theplatesposeschallengesforthekatchūshi.Consequently,theassembler optedforauniquesolution,utilisingbraidedsilkinstead.
Eachguardincludesagildedleatherkutsukomipatchdesignedtofunction asaprotectivepadforthewearer'sinnershin.Itsprimarypurposeisto preventthestrapsofahorsesaddlefromcausingabrasionduringhorse riding.Twoun-dyedhempstrapsareaffixedtotheupperandlowersections tosecuretheguardsinplace.
Giventhegreatsignificanceattributedtothearmour,andconsideringits exceptionalcraftsmanshipandhistoricalworth,ithasreceivedtheprestigious "TokubetsuJūyō"designation,whichtranslatesto"VerySpecialImportant Work."ThisaccoladehasbeenconferredbyTheKokusaiNihonKachūBugu ShinkoKyōkai,ortheInternationalJapaneseArmsandArmourPromotional Society.Thegradingprocessevaluatesanitembasedonitsrarity, craftsmanship,historicalsignificance,andprovenance.
Gradingtierisrankedhighesttolowest
•Homotsuzai Lit.NationalTreasure
•TokubetsuJūyō Lit.VerySpecialImportantWork
•Jūyō Lit.ImportantWork
•KishoTokubetsuHozon Lit.RareSpecialPreserve
•TokubetsuHozon Lit.SpecialPreserve
•Hozon Lit.WorthyofPreservation
1:Tehen-no-kanamono -Anornamentalmetalsurround,madeupofoneormorezathatis stackedontopofeachotheroverthetehenandanchoredinplacebythetama-buchi.
2:Shinodare -Along,ornamentalstripthatemergesfromunderthetehennokanamonoand extendsdownthefront,sidesorbackofahachi.
3:Waki-no-tsunomoto -Aprotrudingprongusedtoanchoradecorativedevice.
4:Fukigaeshi -Theturnbackatthefrontedgeoftheupperroworrowsofaneckguard.
5:Tsunomoto -Ahookorspikedformofcrestattachmentonahachi.
6:Niten-no-byō -Anarrangementoftwolargerivetsusedtoanchoratsukemabizashitoa hachi.(NB–Therivetthroughaharaidate-daiisnotconsideredtobeoneoftheniten-no-byō).
7:Shiten-no-byō -Fourvestigialrivetsusedasadecorativefeatureonthemidexteriorofahachi.
8:So-fukurin -Decorativemouldingsthatfitoverthesuji-tateofahachi,anchoredinplacebythe tehennokanamonoonthetopofthehelmetandbythehigakiarounditslowerrim.
9:Kasa-jirushi-no-kan -Aringatthebackofahelmet,designedtocarryasmallidentificationflag or,onlaterhelmets,anage-makibow.
10:Age-maki -Adecorativebowofsilkcordwhichwastiedinaspecialknotandhungfromrings onanarmour.
11:Higaki -Adecorativeplateattachedtothetate-hagi-no-itaonthelower,exteriorrimofahachi. Designedtoanchorthelowerso-fukurininplace(whenpresent).
12:Hachi-tsuke-no-byō -Asplitshankrivetusedtoattachashikorotothekoshi-makiofahachi.
13:Shinobi-ne-no-o -Closedloopsofcordorsolidmetalringsthatextendfrom,oraresetinto, theundersideofakoshi-makiinordertosecuretheshinobi-no-ocordinplace.Whentheshinobine-no-oismadeofcord,theendsmaybetiedintoornateknots.
14:Shikoro -Theneckguardofahelmet.
15:Uname -Ahorizontallengthoflacingfillingtheunusedholesabovethecross-knotsonthe hishi-nui-no-ita,oftenvariegatedbraid.
16:Hishi-nui -Acrossknotusedonthelowestrowofscalesofagessanorpieceofarmourand generallyofcontrastingcolour.
17:Mabizashi -Thepeakofahelmet.
18:Shinobi-no-o -Ahelmetcord.
1:Boko-no-ita -Theupperplateattherearofthedō.
2:Waki-no-ita -Platesattachedtothenaki-gawasectionofadōunderthearms.
3:Hishi-toji -Acrossknotusedonanybutthelowestrowofscales.
4:Kurijime-no-kan -Abentmetaltubeisutilisedtosafeguardthecordfromabrasionbysliding itoverakurijime-no-o-no-wana.Thisprotectivemeasureisparticularlyimportantwhenadō-jime cordisloopedaroundtheassembly,ensuringthelongevityofthecordandpreventingpremature wear.
5:Kusazuri -Pendantshangingfromthebottomofadōalsocalledgessan.
6:Shoji-no-ita -Araisedprotectiveshieldfoundonsomewatagami.Thesewerealsousedinsomecases tohelpsecuresode.
7:Kohire -Wingletsconnectedtothewatagami.
8: Aibiki -Shoulderstrapfastenings.
9:Mune-ita -Theuppermostplateonadō.
10:Chotsugai-no-ita -Aknuckledhingeplateontheleftside.Inthiscaseusedtojoinatwosectionni-maidōtogether.
11:Yurugi-ito -Asectionofclothorbraidusedtoconnectthegessantothebottomofthedō.
12:Hiki-awase -Thecordusedtotiethefrontofthedōtotheback.
1:Koshi-o -Beltandstrapsfoundonthetopofthehaidate.
2:Kozari-gawa -Asectionofdeer-hideusedtopatchoverandsecurethetwohaidatepanels.
3:Hiki-age-himo -Aloopusedtotieastrap.
4:Muchi-sashi-no-ana -SlitsintheupperhaidatepanelsallowingaccesstotheKoshi-o.
5:Chika-gawa -Panelsofleatherordeerhidereenforcedwithwashipapertoformapad.
6:Hon-iyo-zane –Sectionsoflamellararmourplatingassembledfromindividualsaneandmade intheiyo-zanestyle.Literallytranslatesas‘real’iyo-zane.
7:Chikara-gawa -Crossedstripsofleather,fastenedtotherimofahelmetabovetheliningto supporttheweight.
1:Ue-no-o -Theupperstraponasuneate.
2:Shita-no-o -Thelowerstraponasuneate.
3:Shino -Asplintmadefromrawhideoriron.
4:Kutsukomi -Apatchofleatherusedtoprotecttheire-jiontheinsideofthesuneate.
1:Hanna -Anoseonamenpo.
2:Kuchi -Openmouth.
3:Kuchi-hige -Asimulatedmoustachegenerallymadeusinganimalhair.
4:Oda-yori-ore-kugi -Apairofsturdyl-shapedpostssetintobothcheeksofamengu,used toanchortheshinobi-no-oofakabutowhentyingthehelmetinplace.
5:Komori-tsuke -Aintermediatebandofleatherusedtoconnectataretoamenpo.
6:Tare -Athroatprotector.
7:Ho -Themasksection.
8:Hineri-dome -SmallL-shapedprongsusedtoattachthenosetothemask.
9:Kake-o-no-ana -Holesneartheupperedgesofthecheeksusedtoattachabraid.
10:Shiwa -Simulatedwrinkles.
1:Bishamon-gote –Armouredsleevesthathaveasmall,integralsodecoveringtheupperarm.
2:Kanmuri-no-ita –Thecapplateofasodeorkote.
3: Hon-iyo-zane –Sectionsoflamellararmourplatingassembledfromindividualsaneandmade intheiyo-zanestyle.Literallytranslatesas‘real’iyo-zane.
4: Uname -Ahorizontallengthoflacingfillingtheunusedholesabovethecross-knotsonthe hishi-nui-no-ita,oftenvariegatedbraid.
5: Hishi-nui -Acrossknotusedonthelowestrowofscalesofagessanorpieceofarmourand generallyofcontrastingcolour.
6:Suso-no-ita –Ageneraltermforthelowermostlameofasode.
-Anextendedsectionwithsomeformofprotectionfittedtoprotectthearmpits.
7:Tsumi-tekko -Coveringplate.
8:Tsumi -Flapthatcoversthetopofthefingersonthetekko.
10:Kote-tsuke
11:Kata-ura -Therearofakote.
12:Sugari -Stringing.
13:Te-kubi-no-o
14:Tekko-ura -Therearofthetekko.
15:Yubikake-no-o -Smallloopsusedtosecurethetekkotothethumbandmiddlefinger.
16:Kusari -Chainmail.
Publishedby TheKokusaiNihonKachūBuguShinkōKyōkai