Daimyo Culture in Peacetime, August 17, 2018
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Daimyo Culture in Peacetime, August 17, 2018 Between the 1100s and the 1800s, most of Japan’s provinces were controlled by daimyo, feudal lords who emerged from among the warrior bands. Led by a shogun, the daimyo held political, military, and economic power in their localities and frequently contended for power amongst each other. In 1615, the warrior Tokugawa Ieyasu (1543–1616) won a great victory and was conferred the title of shogun. The Tokugawa family ruled for almost 250 years, during a period known as the Great Peace. Instead of waging battles, daimyo pursued cultural activities and cultivated an image of privilege and power. During this peace, suits of armor, swords, and other military accessories became emblems of family legacies and power. Like the bridal palanquin, elaborately decorated to emphasize a union between warrior and aristocrat, these military items known as omote-dogu (official objects) were designed to highlight the pedigrees of their owners. As avid pursuers of civilian arts and culture, the daimyo also amassed vast collections of oku-dogu (private objects) that complemented their official displays. Many patronized the Nō theater, traditionally associated with the imperial court, commissioning richly ornamented robes and accessories. Some of the theatrical robes in the RISD Museum collection belonged to important daimyo families. Wai Yee Chiong Assistant Curator, Asian Art with Danning Niu, RISD BFA / Brown BA 2020, INTAR and East Asian Studies CHECKLIST OF THE EXHIBITION Japanese War Hat (Jingasa), late 1800s Lacquered wood with gold Gift in Memory of Mrs. Henry W. Wilkinson 16.610 Lighter than iron helmets, military hats known as jingasa were typically worn by warriors when traveling or in camp, as they offered the wearer some protection. Constructed of lacquered wood and embellished with gold designs of autumn leaves and blades of grass, jingasa this is purely ornamental. Japanese Sword of the Katana Type with Scabbard, late 1800s–early 1900s Steel blade with lacquer, bronze, and silk mounting Gift of Mrs. George S. Squibb 51.269 By the 17th century, swords, like armor, had become symbolic objects. This sword—detailed with metal outfittings and adorned with the Sakai family crest of an encircled wood-sorrel blossom— would have been worn for ceremonial occasions and displayed prominently to mark the prestige of its owner. Mounted in the tachi style, the sword is suspended by prominent appendages on the scabbard, or handle. This example also features a four-lobed guard (tsuba) with a crucifix design that is reminiscent of Christian designs brought in by missionaries during the 16th century. Japanese; Edo Armor, 1624 - 1868 Silk, wool, cotton, asa (bast fiber), metal, lacquer; plain weave, twill weave, compound weave, kumihimo (braiding), hishi-nui (decorative cross-knotting), kikko style (hexagon plate) embroidery Gift of Mrs. Leonard Colt 43.033ak This suit of armor was modeled after 16th-century prototypes known as tōsei-gusoku, characterized by their durability and flexibility as well as lightness. The breastplate and back plate are hinged together on one side and fastened on the other. From them, a five-tiered protective skirt (kusazuri) is suspended with dark blue silk lacing. Under the skirt, a protective apron (haidate) made of lacquered iron plates and chain mail enhances the armor’s formidable appearance. The simple helmet complements the suit’s elegance and austerity, its neck guard (shikoro) extending downwards in tiers of horizontal strips. An iron mask juts out beneath the helmet, its fierce expression challenging any would-be attacker. Despite its sturdy construction, this armor was never intended for battle. It probably made a handsome display for its owner, highlighting the family’s rank and status. Japanese Nō Theater Costume (Nuihaku), 1750-1800 Plain-weave silk with gold leaf, hand-painting, and embroidery Gift of Miss Lucy T. Aldrich 35.470 Only the shoulder and hem of this theater costume are decorated. The waist was left blank and long-tailed birds were embroidered onto diamonds stenciled in gold leaf. Designs like this one often communicated prosperity. This nuihaku was probably worn by a male actor playing a female role in a Nō play. Made in the second half of the 18th century, it is an exquisite rendering of a style from the Momoyama period (1568– 1600) and once belonged to the Ikeda family of Bishū. A daimyo family during the Edo period (1615–1858), the Ikeda were great patrons of the Nō theater for generations. (on view August – December 2019) Japanese Garment Rack (Ikō), 1800s Lacquered wood with gold, metal fittings INV2019.1 Garments were hung flat or draped over clothing racks like this one decorated in designs of free-flowing floral vines. Japanese Nō Theater Costume (Atsuita), 1800-1850 Silk and gilt paper Gift of Miss Lucy T. Aldrich 35.477 Heavy-weave box-sleeved garments known as atsuita are worn under cloaks by actors playing male roles in Nō theater. Featuring Buddhist wheels (rinbō) and arrows inside standing screens, this bold design is enhanced by gold triangle (uroko) patterns on a ground of alternating green and orange blocks. The robe’s military theme, signaled by the arrows, suggests it may have been commissioned by a feudal lord known as a daimyo. This work represented the owner’s social status and wealth, and the synergy of military traditions and aesthetic refinement that characterized the daimyo culture. Garments were hung flat or draped over clothing racks like this one decorated in designs of free-flowing floral vines. (on view January – April 2020) Japanese Campaign Coat (Jinbaori), 1800s Wool, silk, and metallic-wrapped yarn Gift of Mrs. John R. Bartlett 07.204 This campaign coat is majestic in its use of luxuriant colors and patterns. Many of the motifs employed, such as the hexagons and the wheels, may bear talismanic meanings. The bold geometric Shinto designs decorating the back bleed into the front, adding to the garment’s drama. High-ranking warriors wore jinbaori over their armor for extra protection. By the 1800s, as daimyos assumed more administrative roles and placed more emphasis on arts and culture, these coats became symbols of status and power, as well as statements of personal aesthetics. .