Luc T

It’s certainly no saotome., 36 is younger than me (I don’t like to admit this)

I try to understand the clan and school features of armors since decades. It truly is a fascinating world. It is important to understand that switching parts is much more harmful than one can expect at first glance. We are discussing such a series of armors for the moment on our Japanese Armor Society forum. I think our members understand the importance of a complete genuine set. Genuine matching sets become rare and expensive. You may own an armor and do with it whatever you want, you have not broken any law if you put it on fire, repaint it, whatever. But it is stupid and it stays vandalism.

dear Tidiane, you are right of course about the aesthetics, esotheric or the psychological impact of armor. That's what makes Japanese armor so interesting. About the Nio-dou, those I saw from the momoyama or early edo period were uchidashi, no moriage nor papier maché.

There is a kind of Darwinism in the evolution of armor and of course kabuto. If they did not protect as ment when they were made, they dissapeared. A big difference with edo stuff, where status was more important.

I told them several times, Christies too. No action. (Not this set)

Iyozane occured during the Nanbokucho period

Hi Chris, normally, I use a piece of flaking urushi. This is the best part i think. Or a piece of kawa kozane, but these can be older reused kozane. The lab gives an average timespan, withe a certainty of +-80%. C14 is not 100% waterproof, but is is, as I said, to confirm my thoughts. This dou is comparable withe the golden one of Maeda Toshiie. 1570-1580. I tend to date armor on their style, proven reference material, and scientific examination. Not one of these 3 is an axioma, but the 3 together give a good impression of the reality. btw, i c14 tested almost all my pre-momoyama armors. After 1640, these tests are useless due to sun fluctuations. btw, the earlier Mori Takamasa's armor differs indeed qua muna ita and waki ita. i have to come back on my words, it may be later than 1580.

I would place this ‘marudou’ rather between 1570-1580. I have one, And c14 tests confirm this.

A yukinoshita is indeed a cavalry armor, way to heavy and not very flexible

A lot of fakes are made nowadays, other armors or pieces are pimped to impress or sell for more. Sogonari is an easy target, all you need is a zunari and boarfurr. Another trick is red lacquer, red sells good. Or to add kirigane… when money is involved, anything is possible.

I see, it’s from the last magazine. I did not receive it yet due to custom troubles.

I Know Mr Otsuka for a while, he is a successful entrepreneur. I had no idea he ever made a kabuto. Apparently as a true Japanese, he did not show off with his skills. Orikasa sensei once told me it is necessary to make a kabuto one in your life to understand the construction. Small detail, he ws talking about a 62 plate suji kabuto.

It’s not that bad to be in armor Brian, on the contrary! Me and a lot of other people love their beauty every day. And that’s what it is all about.

One more, Munekane (Munechika?)

A touching testimony of your relation with your sensei. Share his skills and his values Andy.

Dear Miura san, The papers used for Christies upcoming auction are not made by your organisation in Japan??

If I count well, it has 25 koboshi per row. Thus it could be Saotome, but the mabezashi points in the direction of Haruta. Certainly edo, I guess second part 17th

Congatulations, a very Nice early kabuto. A rare find!

Mark, I have no pictures of it, sorry. There are several other katchushi who signed restored armors, or parts. Most of them however, signed with urushi.

Logan, it was a simple ni mai dou, zunari kabuto an hanpo. nothing special.

I know other Munechika armors with a Yoshimichi kabuto… coincidentally?

You have to start somewhere Logan. It looks a bit like my first set.

Koshu Tokubetsu is possibly a Jujo bunka shiryo. the mei of all generations/craftsmen in the workshop are equal. is it the work that speaks.

One more thing. Yoshimichi’ s mei is on the paper. This is important. It confirms the credibility of the mei.

Dear Gary, you bought a fine Muromachi kabuto, papered by the NKBKHK as koshu tokubetsu, This is not nothing. Takemura sensei was a member of the Shinsa team, and he is familiar with Yoshimichi’s work. I trust his opinion. Yoshimichi is one of the sasaku, one of the 3 best kabuto smiths ever. About different generations, nothing is known. There is however a difference in his work, what does me think of a production by the master himself, and a production of his workshop., but this is only an assumption. Since it is a grandmaster, you should expect a masterpiece. I saw only +-5 of there incredible masterpieces during my career. I can not judge yours on these pictures, but at first glance it is not impossible that it is made by the master himself, or first generation (according some theories.)