Exhibits

Here you will find information about selected exhibits that can be discovered in the museum. For further information, please refer to the documentation in the museum. We would be delighted to offer guided tours on request and would be happy to share our knowledge of samurai art with you.

Double-breasted red and white laced armour from the mid-Edo period (early 18th century) with helmet based on a Chinese eboshi hat. The armour is an heirloom of the Hachisuka clan, the daimyō of the Tokushima feudal domain of the Awa Province, once worn by their sixth-generation Hachisuka Munekazu (蜂須賀宗員, 1709-1735). The armour was auctioned off in October 1933 as a part of the divestitures of the family of the margrave Hachisuka in Tōkyō. Before the auction, the armour was displayed in the Edo Kinen Hakurankai (江戸記念博覧会) exhibition in 1915.

Hotoke nimai-dō gusoku with bearskin coat from the Momoyama period (1573-1615). Nihon Katchū Bugu Rekishi Kenkyū Kai appraisal from 2016. The iron plates of the , thesode, of the kusazuri, the haidate as well as the helmet, shikoro and mask are covered with bearskin. Visible kanagumawari as well as suso no ita of the ko-gusoku accentuated with gold-lacquer. White kebishi lacing. Circular maedate with engravement of the Sanskrit sign for the God Fudō-Myōō.

Armour from the mid-Edo period (1680-1780) with iron gomai-dō in sabiji- finish and gold decoration along the middle ridge. The iron toppai-kabuto features Saiga design elements and bears a khakkharamaedate of a Buddhist monk’s staff. The shikoro is gold-plated. The tare of the iron ressei-men, the sode and the kusazuri are construed and coiled in bright red. Nihon Katchū Bugu Rekishi Kenkyū Kai appraisal from 2017.

Armour from the Momoyama period (1573-1615) with iron Naban-dō in sabiji finish and with frontal lacquered decoration of a hanging wisteria. The helmet likewise has a sabiji and is decorated with devil masks on each side. The menoshita-bō is lacquered red and endowed with a three-row, likewise lacquered red tare. The bottom edge of the four-row kusazuri has a bareskin application. Nihon Katchū Bugu Rekishi Kenkyū Kai appraisal from 2017.

Mogami-dōmaru gusoku from the Edo period with iron, lacquered black and in white sugake laced cuirass. The  is signed “Myhōchin Munehisa” (明珍宗久). The helmet is signed “Ki no Myōchin Munesada saku” (紀明珍宗貞作), bears a silver maedate and is endowed with red-coloured Yak-Haar. TThe ressei-men has a three-row, leather tare. The sode and kusazuri are effected in the same manner as the Nihon Katchū Bugu Rekishi Kenkyū Kai appraisal from 2017.

Iron hoshi-kabuto in sabiji finish with three central shinodare elements and a leather-covered mabisashi. The plates of the three-row shikoro are coated with black lacquered shibogawa and laced in dark-blue sugake. On the top plate of the shikoro are two-row fukigaeshi made of slats which are laced in light blue and completed with hishinui. As wakidate gilded oak leaves are to be found out of wood.

Iron, brown lacquered kawari-kabuto of a Zikade with insect wings made of wire-strengthened, net-like tissue. The fukigaeshi features a inome crest and the six-rowed, red lacquered shikoro is laced in yellow as well as colourful sugake-odoshi and is completed with a red hishinui.

Iron hoshi-kabuto skullcap made of 32 plates from the Kamakura period (1185-1333) accentuated with copper-gold on the front and back sections. Nihon Katchū Bugu Rekishi Kenkyū Kai appraisal from 2016.

Complete with fur covered helmet from the Momoyama period (1573-1615) with a central inome-maedate and lacquered wooden antler wakidate. The four-row shikoro is laced in white. Nihon Katchū Bugu Rekishi Kenkyū Kai appraisal from 2017.

The iron 34-plate suji-kabuto in a sabiji lacquer finish and with sō-fukurin applications. Late Muromachi period (16th century). Three-row kasa-jikoro in a violet and light-brown lacing. The leather-covered fukigaeshi features a chrysanthemum crest and a prominent gilded kuwagata is found in the centre with a central suken as a maedate.

Iron menpō in a yasurime finish. Signed: “Kashū-jū Juryō Mitsushige” (加州住寿量光茂). Middle Edo period (1680-1780). There are lateral suemon applications in the form of plum blossoms on a branch. Red-lacquered inside. Detachable nose with beard. Two of the three tare rows are lacquered in black. The lowermost row is covered with leather and the lacing is a light green sugake-odoshi. It features a white uname and an orange hishinui.

 

Iron menpō in sabiji finish with detachable tengu nose with remnants of a beard application. Prominent ears and deeply embossed wrinkles. Inside red-lacquered. The four-rowed tare is black-lacquered and laced in blue sugake-odoshi, featuring a multi-colored uname and a light red hishinui.

 

Red-lacquered menpō with prominent detachable beak nose. The ears feature a six-star crest in sukashi and the inside of the mask is black-lacquered.

Edo-period (1600-1868) iron tobi-bō style sōmen in sabiji finish. Prominent eyebrows and lateral embossings of arrowroot (omodaka). The mask features a four-rowed tare in blue kebiki-odoshi. Nihon Katchū Bugu Rekishi Kenkyū Kai appraisal from 2016.

 

Handachi-koshirae from the late Edo period with textured black and red lacquered saya and preserved metal element of a peony flower. Grip binding in light blue tsumami-maki. The menuki features minogame, ancient turtles with algae on the shell. The metal fittings are of shakudōwith nanako ground, have gilded edges, and show the kiri crest. The long kojiri of the saya is identically designed, but instead of a kiri shows the kuyō crest in addition to the vines. The narrow blade is a (tokubetsu-hozonkatana signed “Nobutada” (信忠). Nobutada was a blacksmith who worked in the Kaga province in around 1650.

Katana-koshirae from the late Edo period with lacquered reddish-brown saya with kiri and flower decoration. Grip plate of shakudō with silver plated recess and decorated with an arrangement of kiri and floral patterns around it. Grip plate signed: “Tōgyokusai Kiyotsugu” (東玉斎清次). Kiyotsugu was a student of Takahashi Yoshitsugu and also worked as a preparatory artist for Tanaka Kiyotoshi. He died in 1894. The tsuba is in mokkō-gata, of shakudō, has a nanako ground, and features gilded copper plated plant decoration. The metal fittings are of shakudō with a nanako ground, and likewise feature gilded floral patterns around it. The fuchi is signed “Toshimasa” (壽昌). The narrow blade is a signed work from the province of the Kanekage line from early 17th century to the beginning of the 18th century, where three generations were active. The manner of the signature and form of the blade is telling of the 2nd active generation Kanekage from around 1660-1680.

Tachi-koshirae in lacquered black saya with dragon decoration. Grip binding in light blue tsumami-maki. The menuki are closed compartments. The metal fittings are of shakudō with nanako ground, gilded edges, and feature Genjiguruma as well as the mitsutsuta crest. The narrow blade is a katana signed ““Naminohira Yukiyasu saku” (波平行安作) and can be dated from the middle Muromachi period (end of the 15th century beginning of the 16th century).

Tachi-koshirae from the late Edo period with black lacquered saya and golden makie decoration of flowers and vines. Tsuba and metal fittings are of shakudō with nanako ground, gilded edges, and golden kiri and chrysanthemum crest decoration. The narrow blade is a signed (tokubetsu-hozontachi from Bizen Osafune Masamitsu (備前長船政光) which is dated from the first year of Meitoku (1390).

Hosodachi-koshirae with golden makie-saya with pheonix decoration in mother-of-pearl. Metal fittings with kiri and chrysanthemum crest. Lacquer saya work of the best makie master at the time, Akatsuka Jitoku (赤塚自得, 1871-1936), of his symbol 7. Generation of the traditional makie line of artists Akatsuka Heizaemon (赤塚平左衛門). The narrow blade is a tachi from Gassan Sadakazu (月山貞一, 1836-1918) which was made for the ceremonial occasion of the coronation of Taishō-tennō (Yoshihito, 1879-1926). This sword was a gift from the imperial family to German Emperor Kaiser Wilhelm II.

Jūyō katana from Koyama Munetsug, signed “Bizen no Suke Fujiwara Munetsugu” (備前介藤原宗次) and dated “Ansei shichinen nigatsu hi” (安政七年二月日, “on a day in the second Ansei month seven [1860]”). Nagasa 70.1cm, sori 1.8cm, shinogi-zukruiiori-mune, very tightly forged, to the muji leaning towards ko-itame with subtle jiniegunome-chōji hamon with subtle sunagashi and sunagashi. Koyama Munetsugu (1803-?) was one of the most outstanding shinshintō blacksmiths along with Kiyomaro (清麿). The blade has two shirasaya which are equipped with sayagaki from Tanobe Michihiro (2009) and Satō Kanzan (1975) respectively. Other than jūyō status, the blade was classified as a cultural asset of the Mie prefecture in December 1956.

Wakizashi-koshirae of the late Edo period with ribbed gold nashiji-saya with gold makie bird decoration and a black, likewise ribbed coating. Grip binding in light blue tsumami-makiTsuba as well as metal fittings of shibuichi with partly gilded bird decoration in ears of wheat. Tsuba and fuchi signed “Kōkidō Chikamitsu” (好亀堂親光). In addition, fuchi specified that the metal fittings were a commissioned work for Okano Shigemichi (岡野重道).

Chiisagatana-koshirae with textured gold lacquer saya and unwrapped same-tsuka with partly gilded menuki of a peony flower. The tsuba features a wave decoration. Fuchi and kashira are works of the Mino School and feature autumn grasses and insects. The metal fittings of the sword’s sheath, i.e. koiguchikurigataura-gawaraorigane and kojiri follow the structure of the saya. The narrow blade is signed “Bishū Osafune Sukesada” (備州長船祐定).

Maedate of a shikami with prominent gilded horns.

 

Wooden dragon maedate.

Tessen with ginzōgan inlay of a dragon. Signed: “Rakuju” (楽寿) (1817-1884). Fan paper with red hinomaru (rising sun) and two haiku poems. Nihon Katchū Bugu Rekishi Kenkyū Kai appraisal from 2017.

 

Maedate of a hōragai (conch shell), used by samurai as a signal device on the battlefield. The hōragai is also associated with the yamabushi, the ascetic warrior monks.

 

Maedate of a shikami Noh mask with its tongue sticking out, beard, and lateral hairs.

 

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Fotografie: Exhibits by Manfred-M. Sackmann / Museum by Ruben. W. Meier
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