SAMURAI

ARMOR OF THE WARRIOR 11/08/11 – 01/29/12

Est Mezzanine

Curator: Gabriel Barbier-Mueller, collector and connoisseur

For the first time in Europe, the musée du quai Branly presents the exceptional collection of samurai armor from The Ann and Gabriel Barbier-Mueller Museum, Dallas, Texas. The exhibition aims to show the public the culture, lifestyle and art of the samurai warrior in Japanese society over almost nine centuries. With over 140 objects – full suits of armor, helmets, weapons and horse armor – the exhibition shows the evolution of the external appearance and equipment of the samurai warrior from the twelfth to nineteenth century, a period that saw the rise and expansion of the fascinating samurai culture.

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Summary * Editorial by Stéphane Martin, president of the musée du quai Branly 3

* Foreword by Gabriel Barbier-Mueller 4

* Tour of the exhibition 6

* Part 1 : The Mori ensemble 6 The Mori Set: A Baron and a Reverend 6 The Bushido code: The Way of the Warrior 7

* Part 2 : Early armor (1185 – 1603) 7 Kamakura (1185 – 1333) and Nanbokucho (1333-1392) periods 8 The Muromachi period (1392 – 1573) 8 The Momoyama period (1573-1603) 9

* Part 3 : The Edo period – Era of the Tokugawa (1603-1868) 10 Components of an Armor and Accessories 11 Types of Armor 12 The Samurai Family 13 Spirituality of Japan and the Warrior 14 Sea Creatures 15 Imposing Nature 16 Nanban Armors, Foreign Influence 17 Masks 18 Schools and Artisans 19

* Part 4 : Weaponry 19 Archery 20

* Part 5 : The Samurai and the Horse 20

* Part 6 : Daimyo 21

* Part 7 : The World of the Samurai on Film 22

* Curatorship of the exhibition 22

* Japan in the musée du quai Branly collection 22

* Around the exhibition 23

* Exhibition Catalog 23

* Exhibition Special Issue 23

* Exhibition guided tour 23

* Children activities 24

* BEFORE Samurai 24

* Practical information 26

* Patron of the exhibition 26

* Exhibition Partners 27

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* Editorial by Stéphane Martin Président of the musée du quai Branly

Beyond the grandeur of pomp, there is something dreamlike, rhythmic and unique about this spectacular samurai armour which seems to be inhabited by legendary spirits and gods alongside water animals and plants. It also portrays the foreignness of an art of war which, in Japan, corresponds to the continual confrontation with death that Mishima called the “samurai ethic”. As Yamamoto Jocho wrote in Book 1 of Hagakure: “If you have to choose between life and death, choose death at once. Nothing is simpler. Pluck up your courage and act.” Gabriel Barbier-Mueller is gifted with remarkable acuity and has focused on the art of Japan and more specifically on the armour of the samurai, a warrior of timeless majesty. He saw his first suit of armour at the age of fourteen and his fascination has remained unchanged ever since.

With the help of his wife, Ann, he has been able to collect over several hundreds of objects on the theme: armour, weapons, helmets, masks, horse accoutrements, all of them masterpieces from the 12th to the 19th century, judiciously arranged according to their shape and function and shown for the first time in the context of an exhibition. Gabriel inherited his sense of taste and shared beauty from his parents, Monique and Jean Paul Barbier-Mueller. Rare indeed are the collectors who have been able to develop a relationship of exchange and who, instead of jealously guarding their treasures, have put demanding works from every continent on view. This is true of the Barbier-Mueller family, who are spurred on by unfailing passion. Four generations of forward-thinking collectors, three museums throughout the world and many more items included in each Harwood International development speak volumes not only about their insatiable curiosity, but more especially about the exceptional generosity of this dynasty of collectors. I would like to warmly thank Ann and Gabriel, as well as their children Alexis, Marie-Gabrielle and Oliver Barbier-Mueller for offering this impressive collection of disquieting phantoms housed forever more in their armoury.

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* Foreword by Gabriel Barbier-Mueller

People ask me all the time, why do you and Ann (my wife) collect Japanese armor? My journey as an art collector started at a young age, in Paris, in fact. I was fortunate to grow up surrounded by works of art from the previous generations’ collections of the Barbier-Mueller family and as a child, my parents took me along to a French dealer’s gallery on the Rue de Seine in Paris. While they were examining artifacts, I sat down near a samurai suit of armor. It looked down at me with its characteristically fierce menpo (half-mask), and in that moment, a seed was planted. The suit was dark blue with powerful rows of rivets on the helmet. It did not scare me, but rather I was captivated with its presence, construction, complexity, and the array of materials: stenciled doeskin, lacquer, and metalwork. I was immediately drawn to it. The memory of that suit always stuck with me - I wanted it and dreamt of it. It was then that I knew I would follow suit with my family’s history of art collecting.

My grandfather, Josef Mueller, who acquired his first painting at age twenty-one and would enter as a profession in his hotel check-in form, “collector,” pursued a lifelong passion for art and literature. The enduring devotion of my parents, Jean Paul and Monique, to collecting art was highly inspirational, as well. They live surrounded by a plethora of dynamic artifacts and, in this environment, I developed a curiosity for and understanding of aesthetically and geographically diverse cultures. These formative memories eventually moved with me to Dallas, Texas where I met my wife, Ann. She is a real Texas rancher’s daughter who also loves art and history. Ann shared the same strong desire to introduce our three wonderful children, who are now grown, to art of the world. So, in the early 1980s, we began to collect various forms of art from antiquities to modern paintings, continuing the family tradition. Eventually, I found myself once again in Paris wanting to celebrate a successful transaction and with the means to fulfill the long-standing wish of obtaining a samurai suit of armor. In preceding months, I had seen three samurai suits on display in a dealer’s gallery in the Louvre des Antiquaires just behind the Musée du Louvre. I went straight there and proceeded to make my first acquisition. At the time, I did not know that this would evolve into somewhat of an obsession, which started with me and spread to Ann. Presently, my daughter Marie-Gabrielle and our curator Jessica Beasley oversee the cataloging and conservation of several hundred objects of samurai art. Throughout the years, my children and the collection grew together. Most of the works were acquired in Europe and came from old European collections that were assembled in the late nineteenth century, or even earlier with the early sailors who traveled to Japan in trade expeditions. When our home became too full, we started displaying samurai objects, including several mounted samurai cavalcades (with other Asian and European armor mixed in), in galleries created within the lobbies of our building developments in Dallas. They were received with great enthusiasm and after several years, this response helped encourage us to open The Ann and Gabriel Barbier-Mueller Museum: The Samurai Collection. It is, to my knowledge, the only museum dedicated solely to samurai armor, including helmets of multiple forms, masks, suits of armor, weapons, and horse armor. The earliest objects date from the eleventh century and the majority from the seventeenth. Today, we are greatly excited to present a portion of the Museum’s objects to an even wider audience further afield by collaborating with the musée du quai Branly in Paris to present SAMOURAI, Armure du Guerrier (SAMURAI, Armor of the Warrior), the first large-scale traveling exhibition of the collection.

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The display at the musée du quai Branly will provide an elegant, powerful presentation of over 140 pieces that will showcase these works of art for the public’s enjoyment. We hope through this exhibition visitors will learn more about the artistry and history behind each piece. For instance, when studying a striking kawari kabuto, an exceptional helmet formed in the shape of a rhinoceros horn, it is possible to see the incredible amount of creativity of the artist who designed this dynamic shape and learn about the evolution of Japanese helmets that led up to this particular creation with its well balanced sculptural form. In organizing the exhibition, we intend to use examples from the collection to illustrate and convey the story of the Samurai and examine their rich tradition of artistic objects of armor. Throughout the exhibition, the audience will note the use of a wide array of materials assembled to produce these complex objects: gold, silver, leather, lacquer, iron, papier-mâché and fur, to name a few. Just as numerous are the apparent sources of inspiration that manifest in a multitude of motifs, designs, and elaborate forms. Fierce predatory animals are especially evocative, and Samurai assumed the powerful traits associated with those creatures by adopting their features in armor design. Birds of prey, gifted with preternatural hunting abilities, were prized for their boldly patterned feathers, which were used for arrow fletching. Other inspiration is drawn from styles introduced by foreign visitors, elements of Japanese landscape, and religious symbols. These pieces intertwine and tell the story of the samurai warrior behind the armor, known for leading a lifestyle of value and discipline. Paris has always been important to our family of collectors. My grandfather moved to Paris from Switzerland’s Solothurn at a young age and acquired one of his first paintings, Cézanne’s Le jardinier Vallier, in 1911. Then, my mother grew up in Paris, where she still spends a considerable amount of time. In addition, my father has organized many showings of his art collection in the city. So, it is not surprising that the first samurai piece of our collection would be acquired in Paris and that the first showing would be the fruit of the long love story between the Barbier-Mueller family and the City of Light. For many of the objects, this will be their first time on public display. It is a rare and wonderful opportunity and an extremely significant moment in the collection’s history. Furthermore, this exhibition marks the culmination of a long-standing friendship between our family and Stéphane Martin, President of the musée du quai Branly. We thank Stéphane and his team from the museum for the opportunity to showcase these wonderful works of art in the same building with amazing objects from other world cultures. I would like to paraphrase my grandfather, the ultimate collector, with hopes of inspiring the reader’s inner collector, “I have finally discovered the aim of my life, the object towards which all my thought, my efforts, my feelings will be directed. And that star which shines before my eyes, in the night of an agitated, changing world, that solitary star, far away and tranquil, is Art.” Contemplating these works of armor brings me a sense of peace and contentment in an increasingly fast-paced world. Ann and I hope to provide the visitors to SAMOURAI: Armure du Guerrier an opportunity to slow down and use time to reflect on the beauty and purpose of the armor within the collection.

Gabriel Barbier-Mueller Collector and connoisseur

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Nuinobedo Tosei Gusoku (Armor), Late Momoyama period, c. 1600 (chest armor, helmet bowl, shoulder guards); remounted mid Edo period, mid 18th century, iron, lacquer, gold,

bronze, silver, leather, horsehair, brocade

* Tour of the exhibition Samurai ruled Japan for nearly a millennium, playing an important role in shaping the course of the country’s history. Their armor was both protection and a source of pride. The full suits of armor, helmets, masks, weapons and horse armor provide a glimpse not only into the origins of Japanese armor, but also the world and ways of the samurai warrior in Japanese culture. The power of samurai armor is found in its details: as protection, the smallest component had its function, and as works of art, the refinement of form and intricacy of decoration deserves close observation. From 1185 to 1603, centuries of battle, daimyo, powerful landowners and military elite, relied on their armor for survival. From the Edo period (1603-1868) on, they were revered as symbols of wealth and supremacy.

Chronology

Kamakura period - 1185 – 1333 Nanbokucho period - 1333 – 1392 Muromachi period - 1392 – 1573 Momoyama period - 1573 – 1603

The Tokugawa – Edo period - 1603 – 1868

Two horses in full armor mounted by warriors also dressed in armor dating from the Momoyama period (1573 – 1603) to Edo period (1603 – 1868) greet visitors at the entrance of the museum.

* Part 1 : The Mori ensemble A Samurai’s omote dogu consists of his armor and accoutrements. More than just outerwear, however, omote dogu refers to the public presentation of the Samurai in his capacity as a warrior, member of an elite class, and man of honor. The ensemble presented here was property of the Yoshiki branch of the Mori clan, an important family dating back to the 12th century. The kiri mon (paulownia crest), the family emblem, is found on many of the items. The presence of a secondary tomoe mon (swirl crest) on the armor verifies the family’s identification.

The Mori Set: A Baron and a Reverend It is reported that the set of armor was a gift from the great daimyo Toyotomi Hideyoshi (1536-1598) to Kobayakawa Takakage (1532-1596), part of a branch from the Mori Motonori lineage, for his efforts in the war with Korea. The helmet and chest armor from the 16th century were remounted in the mid 18th century. The exceptional Mori set, possibly the only of its type outside of Japan, offers a uniquely comprehensive view of the numerous and detailed components that went into equipping a Samurai. This section presents a portion of the ensemble.

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In June 1910, The Reverend William A. Richards arrived in Tokyo with The Society for the Propagation of the Gospel, an Anglican missionary group. In 1922, after the Society could no longer fund Richards’ missionary work, he moved to Yamaguchi to teach English at a boys’ school. In 1923, Baron Chuzo Mori, the last Japanese owner of the Mori set, passed away and the magnificent set of military items was purchased by the Reverend, who sent it to England in 1928. It was displayed at the Birmingham City Museum until the start of World War II when it was put into storage, to be retrieved by Rev. Richards in 1949. It was on loan to the Manchester University Museum from 1969 until 1979, at which time it was sold by Richards’ family upon his death. The new owner held the set until the mid-1990s, when it entered the present collection.

The Bushido Code: The Way of the Warrior

The concept of bushido has origins dating back to the first century AD. For nine centuries, Samurai, also known as Bushi warriors, followed a code of honor called Bushido (bu: martial, shi: warrior, do: ways). There are seven virtues essential to the code: gi (honesty), yu (courage), jin (benevolence), rei (respect), makoto (sincerity), meiyo (honor), and chugai (loyalty). Principles from Zen Buddhism and Shinto influenced the code’s development. A key component is overcoming the fear of death; this is the strength of the Samurai. A warrior had the right to choose between death, by committing seppuku (suicide by disembowelment), and dishonour. Seppuku is synonymous with hara-kiri. More formal, seppuku, is typically used in writing, while harakiri is used in speech. Seppuku being reserved for men, women could commit jïgaï (cutting of the jugular vein) using a kwaiken (small knife), hidden in the sleeve of her kimono.

* Part 2 : Early Armor (1185-1603) The most ancient suits of armor, dating from the Yayoi period (c. 300 BCE – c. 250 CE), were made of iron bands either laced or riveted together or formed of many small plates. Multi-plated armor, likely introduced from Korea, evolved to become the predominant Japanese style. These armors were used until the ninth century.

A system of military inscription was established during the Heian period (794-1185). When this ended, the army was replaced by provincial chieftains, marking the formation of the samurai class. Armor evolved into the elegant form known as oyoroi.

This section begins with objects from the Kamakura (1185-1333) and Nanbokucho (1333-1392) periods. Samurai rule became more formal, with establishment of the shogunate, a military government, and armor evolved, adapting to the needs of foot soldiers who supported higher ranking Samurai.

The Muromachi (1392-1573) and Momoyama (1573-1603) periods were times of continued conflict amongst the clans. Civil war consumed the country for many years and power shifted between

Kaji kabuto (fireman’s helmet) Early Edo period, 17th century Leather, iron, lacquer, silver,

shakudo, Dutch cloth

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Daienzan sujibachi kabuto (hemispherical-shaped helmet), Nanbokucho period, ca. 1380

Iron, gold, bronze, leather, lacquer

Suji-bachi kabuto (multi-plate helmet), Signed: Myochin Nobuie (kao), Muromachi period, 1539, iron, silver, copper, leather

daimyo. During this time, the first Westerners arrived in Japan. By necessity, armor design transformed to protect from new forms of weapons introduced by foreigners.

Kamakura (1185-1333) and Nanbokucho (1333-1392) periods The first military government was established during the Kamakura period by the Minamoto clan following the Genpei Wars. The oyoroi armor was at its height during this period, when battles were mostly fought by mounted archers. Suits of armors were large and imposing. Helmets had round bowls constructed with riveted plates. The Nanbokucho Period (1333-1392) was a time marked by war, with two imperial courts fighting for power. Two new types of chest armor were introduced: the haramaki and the domaru. Both wrap around the torso, however the first laces in the back while the other closes along the right side. Both were made with woven strips of leather or individual iron scales.

The Muromachi period (1392-1573) Japan was united under the Ashikaga shogunate in Kyoto at the start of this period. However, civil war soon broke out. The country entered a period known as Warring States (Sengoku jidai) that lasted over a century (1467-1603). Foot soldiers continued to favor domaru armor. The akodanari style helmet, with a bulbous form resembling a melon, had developed and was commonly used. In 1543, Portuguese sailors arrived in southern Japan, bringing with them matchlock guns. Japanese smiths began to create a similar weapon, the teppo. Armorers developed chest armor comprised of thicker solid metal plates in order to withstand the power of gunfire.

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Nuinobedo tosei gusoku (armor), Late Momoyama and Edo period: 2nd half of 16th century (armor), 17th-18th century (mask), iron, gold, lacquer, lacing

The Momoyama Period (1573-1603) In 1582, daimyo Toyotomi Hideyoshi created his headquarters in Momoyama Castle (Kyoto). Hideyoshi organized two (unsuccessful) invasions of Korea, which required a great number of Japanese soldiers and heightened the demand for armor. Armorers thus looked for ways to simplify its construction. Scale assembly was replaced by solid plate construction cut in a pattern resembling individual scales thus removing a long and onerous fabrication technique. At the same time, a taste developed for more lavishly embellished armor. Helmets, known as kawari kabuto, were elaborately modified to take on a multitude of forms. With the arrival of the first Westerners and their firearms, the fabrication of chest armor was adapted to protect against gunfire. The nanban (foreign influence) impact continued to contribute to modifications in armor design, and did so up to the end of the Edo period (1603-1868). Fire arms played an important role in the great battle of Sekigahara (1600) when Tokugawa Ieyasu victory signified a turning point in Japanese history leading to the unification of the country.

Domaru tosei gusoku armor

Iron, shakudo, lacquer, copper, brocade, gold, doeskin

Early Muromachi to late Momoyama periods: helmet, ca. 1550; armor, early 17th

century

This unique domaru armor is laced in leather and comprised of independent scales, a form of construction called honkozane. The helmet is made of twenty-six plates and embellished with shakudo (dark blue gold and copper alloy) arrow-shaped decorations. The helmet and the rest of the armor bear the crest of the Mizuno family.

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Mogamido tosei gusoku (armor) Signed: Hoai Kunichika (helmet),

Myochin Muneaki (mask) Muromachi period, c. 1530 (helmet); Edo period,

17th–18th century (suit of armor), iron, lacquer,

shakudo, gold, silver, copper

* Part 3 : The Edo period – Era of the Tokugawa (1603-1868) Tokugawa Ieyasu became the first Tokugawa shogun in 1603, establishing his court in Edo, present day Tokyo. In 1615, Osaka fell and the consolidation of the shogunate was complete. Japan remained unified under Tokugawa rule for nearly three centuries. During this time of relative peace, armor took on an increasingly ceremonial significance and craftsmanship was elevated to a higher level. A system known as Sakin Kotai was implemented, requiring daimyo to keep a residence in Edo, which they had to occupy during alternate years. Large ceremonial processions took place when the daimyo traveled to and from Edo, providing an opportunity to showcase their armor as a display of wealth. During this period, the influence of Portuguese Christian missionaries became too persistent for the Japanese government. In 1635, the borders of Japan were closed and practice of the religion banned. With no war and no new foreign influence, the smiths revived older styles. The oyoroi and domaru styles were again favored.

Ichimai kabuto (single-plate helmet) Late Momoyama period, early 17th century, iron

Sujibachi kabuto (multi-plate helmet) and mempo (half mask), signed: Echizen no kuni Toyohara ju Bamen Sadao (Sadao of Bamen school, living in Toyohara, Echizen province),

Late Muromachi period (helmet); and Momoyama period (mask), late 16th century

Russet iron, copper, shakudo, gold, wood, lacing

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Suneate (shin guards), signed: Ichiguchi Munemoto, Mid-Edo period, 18th century

In 1853, the American Commodore Matthew Perry arrived in Edo Bay seeking to establish trade relations between Japan and the United States. This eventually led to the reopening of Japan’s borders and the influence of Japonisme in the West. In 1868, the Meiji Restoration occurred and Japan once again came under control of the emperor. A law passed in 1876 preventing the wearing of a sword marked the end of the samurai era.

Components of an Armor and Accessories A samurai suit of armor is composed of eight essential elements. They are:

• Helmet- kabuto

• Mask - mengu (facial protection) • Chest armor – do

• Shoulder guards - sode • Sleeves - kote

• Skirt panels – kusazuri • Underskirt – haidate

• Shin guards - suneate Generally made of plates connected with colored lacing, the elements above fasten to each other with toggles and

cords. An entire assembled suit of armor is called gusoku. It was common practice to incorporate older components of armor into a gusoku. It is thus somewhat rare to find an armor assembled with all its original elements.

Hitatare and hakama (armor jacket and pants) Late Edo period, 19th century, silk

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Nimaitachido tosei gusoku (armor)

Attributed: Myochin Yoshimichi (helmet

bowl), Myochin Munenori (armor)

Muromachi period, c.1400 (helmet bowl); Mid Edo

period, 18th century (armor)

Iron, shakudo, silver, wood, gold,

brocade, fur

Yokohagido tosei gusoku (armor with horizontal chest plates) Signed: helmet, Josho no jo Saotome Iyuenari (Saotome Iyuenari living in the Hitachi province) and; mask, Ichiguchi Yoshikata First half of the Edo period: helmet bowl, 17th century; mask and armor, 18th century, iron, leather, gold, wood, lacing, fur, hemp)

Types of Armor Armor came in a range of varieties. Simply constructed armor was lighter, with fewer plates and was preferred for day-to-day use. It was easier to wear and keep clean, which was important to maintain the lacing. As with any attire, formal suits of armor were more elaborate and incorporated a plethora of decorative elements. These principles also applied to kabuto (helmets). The needs of the owner were met according to their preference and, of course, the cost of production could vary greatly. Older helmets were constructed of multiple plates. New styles developed, some simple using, at times, a single plate. Others took a dramatically enhanced form, like the kawari kabuto (elaborately shaped helmets).

Mogamid0 tosei gusoku (armor) Signed: Horai Kunichika (helmet), Myochin Muneaki (mask)

Muromachi period, c. 1530 (helmet); Edo period, 17th–18th century (suit of armor)

Iron, lacquer, shakudo, gold, silver, copper

Armor Materials

A variety of materials came together to create Japanese armor. The major components used to produce armor were iron, lacquer, leather, fabric, and precious and semi-precious metals. A suit of armor represents a collective effort by various craftsmen who specialized in a specific medium. Blacksmiths forged all of the metal elements. Lacquer was used ubiquitously for its ability to fortify iron and leather while protecting them from the elements. Leather workers created components that shielded vulnerable portions of a suit of armor. Weavers created garments worn close to the body and embroidered ornamentation on the sleeves and underskirt. Metal, often gold or copper, was used decoratively and could appear on any component of the armor. Flourishes, such as feathers or hair, were often added to personalize armor.

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The Samurai Family Women were vital in running and defending the household, but also led as empresses and engaged in battle. Some women were very famous. When the Samurai were away, women protected the home using a bow, spear, or a naginata (pole weapon). Additionally, raising children was an essential part of a woman’s duty. Daughters of samurai families were taught to read and write and encouraged to become accomplished wives and mothers.

Naginata (pole weapon), Mid-Edo period, 18th century, iron, lacquer, wood, silver, gold

Boys were taken from their homes at an early age to begin their training as warriors. Around age 12 or 13, they participated in Genpuku, a coming-of-age ceremony where they received their first sword and, sometimes, a suit of armor. In another boys’ festival, Tango no Sekku, samurai families decorated a shrine with warrior figures to remind boys of their heritage and status in samurai culture.

Kaji shozoku (fire cape), Mid Edo period, late 18th century, cotton, silk, washi

(handmade Japanese paper)

Warabe tosei gusoku (boy’s armor) Late Edo period, 19th century,

iron, gold, bronze, lacquer, wood, leather, lacing, brocade

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Spirituality of Japan and the Warrior Religion perpetuated the concept that the mind must be strong and disciplined. Elements of armor often incorporated symbolism or imagery derived from religious practices. Philosophies from various disciplines merged and adapted to create a complex and unique religious culture. Until the 4th century AD, Japanese religion had been based on myths related to creation and nature. From this, Shinto evolved to become the indigenous religion, establishing a pantheon of deities who personified natural forces. Buddhism was introduced from Korea and presented a more centralized system, where the main focus of worship was the Buddha. Zen Buddhism, adapted from China in the 12th century, became the main doctrine followed by the Samurai. During the mid 16th century, Christian missionaries arrived in the country. This foreign religion posed threat to the shogunate and missionary activity was banned in the 1630s. The practice of Christian religion was banned in 1638, following the massacre of over 40,000 Christians during the Shimabara rebellion at Hara castle. The presence of Christianity was never completely eradicated, however, and the number of Japanese Christians slowly increased after the Meiji restoration of 1868.

Tengu

Tengu are spirits from Japanese folklore with origins linked to Shinto and Buddhism. The creatures are half human, half avian. Their most prominent feature is their beak-like nose, which, in some representations, evolved into an elongated humanoid nose. Although tengu are thought to be mischievous pranksters that often trick humans, they may also act as protective forces. In addition, the forest-dwelling spirits are master swordsmen, establishing their connection to the warrior.

The helmet of this suit of armor represents a tengu wearing a type of cap worn by mountain-dwelling Yamabushi warrior-monks. As part of their lore, tengu were able to shift forms and would sometimes take the appearance of these monks and are often depicted wearing their distinct clothing.

Tengu tosei gusoku Signed: Kaei koin aki kaigen Ansei Kiyotoshi kitaeru (forged by Kiyotoshi during the autumn of the koin year of the Kaei period (1854) at the beginning of the Ansei era) on the helmet top; Munekiyo kitaeru (forged by Munekiyo) and Ryusuiken saku (made by Ryusuiken) on the helmet side Late Edo period, 1854

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Buddhism

This helmet has maedate (frontal crest) representing the Buddhist diety Fudo Myoo, one with a small figure and the other displaying the Sanskrit character of his name. The Samurai identified with Fudo Myoo, the patron of swordsmen. The flames that flare behind him symbolize the consumption of evil. The somen depicts another Buddhist figure, Agyo, or Ah, one of the two protective figures found at the entrance to Buddhist temples.

Sea Creatures Japan has always had strong connections to the sea and the creatures that inhabit it. The country’s creation myth is a watery tale. The story tells that the god Izanagi plunged a coral spear into the ocean and from the tip a droplet fell that transformed into the first land of Japan. Because the insular nation has a strong connection to the ocean, sea creatures play an important role in Japanese art and armor design. For instance, crabs symbolize warrior-like qualities that allude to the Heikegani legend detailing the defeat and drowning of Taira clan warriors in 1185. According to the legend, the warriors were reincarnated as crabs. Fish have positive symbolic traits. In Buddhist symbolism, they are identified with happiness, freedom, and prosperity. The sea is an intricate part of Japanese culture and serves as inspiration for many pieces of armor.

Somen (full-face mask) Signed: Hoei shichi kanoe tora reki hachigatsu

kichinichi Buko ni oite Myochin Munenaga nijuhachisai kore saku (made by Myochin Ki

no Munenaga at the age of twenty eight on an auspicious day of the eighth month of Hoei (1710) in Bushu province while traveling to

Edo), Edo period, 1710, iron

Hoshi sujibachi kabuto (riveted helmet), signed: Myochin Yoshiiye, Late Muromachi to early Edo period, late 16th to early 17th century, russet iron,

brocade, leather, wood, lacing

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Oitaragainari kawari kabuto (elaborate shell-shaped helmet)

Early Edo period, 17th century Iron, lacing, papier-mâché

This helmet is made of an iron bowl with a papier-mâché structure representing a giant scallop. As one moves around the helmet, however, the form shifts: what previously appeared to be the hinge of the scallop now looks like the fins of a fish, while the body of the scallop resembles a tail flipping forcefully through water.

Imposing Nature Fierce and predatory animals are especially evocative for the Samurai, who often either incorporated animal materials into their armor design, or depicted the powerful traits symbolically. Birds of prey, gifted with hunting abilities, were often represented. Antlers, both real and replicated were also a popular addition, augmenting the imposing appearance of a helmet. With its armored hide and horn, the rhinoceros, which is not native to Japan but known from illustrated books, serves as powerful inspiration for a helmet.

Kawari kabuto (elaborately shaped helmet) in the form of rhinoceros horns Late Momoyama to early Edo period, early 17th century

Hineno type kabuto (helmet) with falcon

feather Early to mid Edo period,

17th – 18th century Iron, lacquer, leather,

lacing, wood

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Maedate (frontal crest)

Mid Edo period, 18th century Lacquer, gold, horsehair This remarkable maedate was created in the form of a mythical animal’s head. Modeled entirely using the dry lacquer technique, layers of lacquer are built up to create the shape. Each side of the maedate is fitted with scaly gold lacquered wings and the head, which resembles both a fish and a ferocious bird, is crowned with white horsehair.

Nanban Armors, Foreign Influence In 1541, a violent typhoon caused a shipwreck off of Japan’s eastern coast. The survivors of the Portuguese wreck became the first Westerners to set foot in Japan. Two years later, Portuguese sailors landed on the island of Tanegashima. The Japanese called them nanban, meaning ‘barbarians of the south’ in reference to the direction from which they arrived on the island. They introduced firearms to Japan. Objects created under the influence of foreign styles are termed nanban. The round, wide brimmed war hat presented here is modeled after headgear worn by Korean envoys. The Japanese began to incorporate elements of European design into their armor, including the use of chain mail. Tokugawa Ieyasu had an armor made from a Western helmet, throat guard and chest plate

Nanban kabuto (foreign-influenced helmet) with Buddhist motifs

Late Momoyama to early Edo period, early 17th century, iron, gold, silver, leather, lacing

Jingasa (military hat) Mid Edo period, 18th century Iron, brocade, gold, bronze, shakudo

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Somen (full-face mask) and Menpo (half mask)

Masks Masks were an important component of a Samurai suit of armor. They supplied face and throat protection and were also a showcase for artistic creativity. Masks often bear the maker’s signature. Three subsets of masks are grouped according to the coverage provided: Somen: full face Menpo: half face covering from the bridge of the nose down Hoate: covering the chin and cheeks

Each type can support a throat guard, known as yodarekake

Nanban Menpo (foreign-influenced half-mask)

Late Momoyama period (1573-1603) Iron, horsehair, lacquer The form of this mask mimics the relatively elongated nose of Westerners. The surface, covered in incised lines, is representative of the embellished quality prized in art of this period. The black-lacquered interior is a feature unique to the Momoyama period.

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Schools and Artisans History and genealogy of major schools of armor production emerged during the Muromachi period in the mid 16th century. During the Edo period (1603-1868), members of the ruling military elite purchased armor from one of nine major schools of armorers. Like European guilds, the schools trained generations of artisans whose trades were often passed down from their fathers. The Myochin school, well represented in the collection, still exists and has remained in family hands for nearly four hundred years. Artisans took pride in their craft, often signing their work to guarantee its quality. The signature served another function; because skills were so specialized, a single piece was often created by multiple craftsmen and signatures allowed artisans to claim their work. The inscriptions could explain that the metal forgery was done by a certain artist and the decorative elements were crafted by another

Hoju no tama kaen kabuto (helmet representing the flaming jewel)

Signed: Unkai Mitsuhisa kore o tsukuru (made by Unkai Mitsuhisa) Early Edo period, ca. 1630 Russet iron, lacquer, lacing This famous example by Unkai Mitsuhisa demonstrates the artist’s innovation of form and mastery of iron work. The shape of this helmet represents the flaming jewel, symbolizing the Buddhist doctrine. Each suji (flange) is cut into the shape of small flames that join at the top of the helmet as one larger flame.

* Part 4 : Weaponry In early Japanese warfare, the yumi (bow) was the dominant weapon, usually carried by mounted archers. They also used a variety of other weapons, including the tachi (a large/long sword) of high quality craftsmanship, and the nagamaki (lance). In the Muromachi period (1392-1573), large numbers of ashigaru (infantry soldiers) made use of yari (long spears with a small iron head) along with the yumi. The nihonto (sword) was designed to be drawn quickly for attack in hand to hand combat. During the Momoyama period (1573-1603), battle tactics and weapon design transformed due to the introduction of firearms. The musket was incorporated into battle and Japanese gunsmiths created their version of the matchlock, the teppo. However, the Samurai continued to use and value their traditional swords. The country was largely at peace throughout the Edo period (1660-1868) but weapons were still a vital part of the culture. They remained important symbols of wealth and power and were incorporated in various forms of martial arts. It became a granted privilege to wear swords and it remained so until 1876 when, after the Meiji restoration, a law was passed preventing the wearing of a sword, marking the end of the samurai era.

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Archery The yumi (bow), originated during the Yayoi period (ca. 4th c. BC – 3rd c. AD). It is a symbol of power: the first Japanese emperor is always represented with one in hand. The earliest examples were very long and, because of their length, were efficient for use on horseback. The bow and arrow reached a high point in their popularity during the 12th century Genpei war when they were the predominant weapon used. The introduction of the firearm in the 16th century led to a decline in the use of the bow. However, the weapon was still revered and archery became a martial arts discipline. Yumi were constructed with bamboo and the bowstring was either gut or hemp. The arrows have bamboo shafts and iron tips, often artfully carved.

* Part 5 : The Samurai and the Horse

During the Kofun period (250-538 AD), horses from the Asian mainland were imported to Japan. Haniwa, terra cotta models of armored men and their horses, have been unearthed from burial mounds dated to this period. From the Kamakura (1185-1333) through the Muromachi period (1392-1573), many battles took place between mounted archers. The horse thus played an important role in military strategy. According to ancient paintings, it seems that the horses did not wear armor but instead sported thick reigns and fringe panels on the chest and rump. There is evidence that full horse armor may have been used in significant battles around 1600. By the start of the Edo period (1603-1868), horse armor was being manufactured using lacquered rawhide scales. The design of their equipment and armor became lavish and elaborate, for use in ceremonial processions.

Arrow box, Late Edo period, 19th century, wood, lacquer, gold,

bamboo, feathers, iron

Yumi dai (bow holder), Mid Edo period, 18th century, Leather, iron, bamboo, feathers

Bamen (horse mask), Late Edo period, 19th century, leather, metal, lacquer

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Oboshi sujibachi kabuto (ridged helmet with large rivets) Signed: Masuda Myochin Osumi no kami Ki no Munemasa

(active 1688-1749), Mid Edo period, ca. 1730

Iron, gold, silver, bronze, shakudo, leather

* Part 6 : Daimyo

Daimyo: The Great Name Dai: great, Myo: name

During the tenth century, bands of warriors began to form in the provinces. As centralized power waned the court came to rely on these groups for protection. Leaders of these factions gradually built up landholdings and military power - they came to be known as daimyo. Throughout the centuries, daimyo represented the wealthiest members of Japanese society and commissioned the most elaborate and costly suits of armor. Each family, or clan, branded their armor with their family crest, known as mon. Engaged in constant struggle for land and military prowess, battles between powerful daimyo were frequent. Later, during the Edo period, the Tokugawa family united the clans and demanded their allegiance. The daimyo were reclassified based on their annual

income which was measured from 10,000 to 1,000,000 koku (a measure of rice enough to sustain one person for one year, one koku being the equivalent to 180 liters).

Abumi (stirrups) with monkeys, Mid Edo period, 18th century, iron, wood, copper

Bagu (horse tack) with kura (saddle) and abumi (stirrups), Signed:

Kakihan, Early Edo period, 1678 Iron, gold, wood, leather

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Doll© musée du quai Branly

photo Sylvain Leurent

* Part 7 : The World of the Samurai on Film A video projection space set up as part of the exhibition circuit enables visitors to view film extracts illustrating the world of the samurai: The 47 ronins Kenji Mizoguchi, 1941 Ugetsu Kenji Mizoguchi, 1953 The Taira Clan Kenji Mizoguchi, 1955

Seven Samurai Akira Kurosawa, 1955 The Hidden Fortress Akira Kurosawa, 1958

* Curatorship of the exhibition Gabriel Barbier-Mueller Collector, Gabriel Barbier-Mueller has studied and collected samurai armor for over twenty years. Mr. Barbier-Mueller serves as Board President of the Association of the Friends of the Barbier-Mueller Museum, is a member of the International Council of the Museum of Modern Art in New York, and serves on the Board of Trustees of the Dallas Museum of Art.

Alexandra Plat and Christelle Lecoeur, scenography of the exhibition Alexandra Plat founded her agency in 2004. She produces exhibition sets and museum sets, amongst others for the new hanging of the permanent collection of the Luxembourg City History Museum in association with the architect Philippe Simon. She is also working on space management and housing, and made the plans for a detached house in Limoges, which was nominated in the First Works category of the Moniteur Prize in 2008.

An architect as well as an architectural and scenographic consultant, Christelle Lecoeur worked as exhibition project director or as part of the curatorial and scenographic design teams at institutions such as the Pavillon de l’Arsenal, Archilab and the Cité de l’Architecture et du Patrimoine. Since 2006, she has been teaching at the Ecole Nationale d’Architecture de Paris Malaquais.

* Japan in the musée du quai Branly collection The Asian collections at the musée du quai Branly are precious testimonies of the late 19th century and the 20th century in particular. Today they contain around 3,000 objects including 300 textile items and tools and all come from the Musée de l’Homme. The idea driving the museographic programme is to offer a new way of viewing the popular arts and civilizations of the region from a contemporary ethnographic perspective following on from the Musée Guimet and the Musée du Louvre where the ancient civilizations of the continent are represented.

The oldest collections, which were inventoried in the late 19th century, contain a rich collection of figurines representing scenes of daily life in olden-day Japan which were brought to Europe by Hugues Krafft for the 1889 World Fair. Missions undertaken by Paul Labbé in 1889 and Georges Montandon in 1919 among the Ainu on Hokkaido island and Sakhalin made it possible to put together a collection of around 250 items

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Stencil © musée du quai Branly, photo Thierry Ollivier, Michel Urtado

including elm-bark fibre garments of very high quality and objects used for rituals and everyday life. In the collections inventoried in the early twentieth century, there are around ten suits of samurai armour, items of weaponry (swords, daggers, lances), a rich collection of dolls for the festivals on Girls’ Day and Boys’ Day and a collection of Noh theatre masks. Between 1937 and 1939, André Leroi-Gourhan’s school collected more than 1000 items perfectly representing the traditional arts and crafts of Japanese civilization, including 200 ex-votos, prints, inro and netsuke. The museum also has rich technological series focusing on the art of lacquering (objects of precious wood which are lacquered and decorated with gold leaf), doll making, paper making and fabric dyeing using stencils.

Japanese textile art is well represented at the musée du quai Branly with around 60 kimonos collected in the 1930s, some of which were shown at the 1937 World Fair (Japanese Pavilion), complete fireman’s uniforms and a large collection of 400 stencils, many of which came from the collection donated to the Musée de l’Homme by the Rodier fashion house in 1962. The most recent collections, inventoried in the late 20th century, are mainly focused on contemporary everyday items relating to meals, the tea ceremony and children’s games (toys, kites, etc.). Finally, mention should be made of the rich collections of prints and drawings containing around 250 items ranging from coloured prints representing actors or showing people’s lives or landscapes, which were very fashionable in the Edo and early Meiji periods, to modern pieces which entered the collections in the 1990s. From the 30th of September 2008 to the 11th of January 2009, the musée du quai Branly presented the exhibition MINGEI SPIRIT IN JAPAN, From folk craft to design.

* Around the exhibition * Exhibition Catalog ARMURE DU GUERRIER - Armures Samouraï de la Collection Ann et Gabriel Barbier-Mueller Coédition The Ann and Gabriel Barbier-Mueller Museum, Dallas, Texas / musée du quai Branly - 360 pages - 48 €

* Exhibition Special Issue On the occasion of the exhibition, Beaux Arts magazine monthly is publishing a special 44 page publication, 9 € * Exhibition guided Tour On Sunday 11/20, 11/27/2011 12/11, 12/18/2011 01/08, 01/15, 01/22, 01/29/2012 At 03:15 p.m.

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* Children activities

Discovery Booklet For children between 7 and 12 years old, the games booklet “Quel Samourai es-tu?” offers an itinerary lined with challenges for apprentice samurai. After completing their hazardous journey, the children can discover which samurai they might have been.

Samurai Story Tours Children can discover the armour and stories connected with them through story tours organized in the exhibition space. 11/20, 12/18/2011 01/08, 01/22, 01/29/2012 at 11:30 a.m. For children with their parents. Japanese Katagami Stencil Workshop For children between 6 and 8 years old, with or without their parents according to the date 11/16/2011 at 2:30 p.m. (Families) 12/03, 12/17, 12/27/2011 at 2.30 p.m. 01/01, 01/29/2012 at 2:30 p.m. (Families) Duration : 1.30 Hour. 6€ Following a brief presentation of Japan, its history and the world of the samurai, children will be invited to explore the exhibition and discover Mon, the heraldic symbols which appear on the armour. Back in the workshop, the children will be able to create their own emblem using katagami, the Japanese art of paper stencil printing.

* BEFORE Samourai 11/25/2011 The museum invites you to explore a new world and really get the weekend started! BEFORE is the first part of the festive evening mixing performance, demonstration and workshops to discover the numerous cultures represented at the museum. From 7 p.m. to 11 p.m. (last entrance at 9 p.m.) Before 8.30 p.m., visitors can enjoy an exclusive viewing of the exhibition to discover the secrets of the armour of Japanese warriors accompanied by the museum’s lecturers then stay on and experience the world of the samurai reinterpreted by contemporary artists in original performances and activities. With BEFORE Samurai, the museum presents a new side to the vibrant Japanese music scene. From bushido to prints of Yoshiwara (Tokyo’s former red light district), the samurai are an infinite source of inspiration for literature, music and cinema alike. The invited artists reinterpret these icons of eternal Japan in their own ways and create images of a new, fluctuating world.

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Doravideo Born in Yamaguchi, Doravideo, aka Yoshimistu Ichiraku has played with Acid Mothers Temple, Chris Cutler, Eugene Chadbourne and Keiji Haino as well as Yoshihide Otomo and Sachiko M as part of the I.S.O. trio. He developed his solo project Doravideo (“drum + video”, a play on Doraemon) which won him an Ars Electronica prize in 2005. His drum kit linked to a computer by electronic receivers enables him to use his drumsticks to control a constant stream of images and mix icons of popular culture with television shows.

Yudaya Jazz Yudaya Jazz, aka Soma Dai, is a must on the Tokyo indie scene. Both DJ and VJ he mixes films and music videos seamlessly. With two DVD decks and a camera which allows him to shoot and remix other elements in real time, he launches into audiovisual improvisation led by his inspiration and the accidental meanings he creates. As the first viewer of his sensory divagations, Yudaya Jazz faces the screen and aims firstly to surprise himself.

hamaYôko Born in Yokohama, hamaYôko, aka Yoko Higashi, has lived in Lyon for around ten years. Once a photographic model for Romain Slocombe and Martin Holtkamp, she immersed herself in butoh dance before returning to her first loves: music and singing. In her solo project hamaYôko, she creates a world of haggard electronic pop centred on her deep voice which at times recalls Nico in her Marble Index period. Situated somewhere between experimental popular song and concrete noise, hamaYôko draws us into a shifting world between funereal beauty and shafts of light from hell.

Dr. Sketchy’s Anti-Art School As their name suggests, Dr. Sketchy Anti-Art School’s ephemeral design workshops favour the opposite to classical methods. They encourage everybody to come and sketch models (un)dressed in spectacular costumes at an unusual site, accompanied by good music. For BEFORE Samurai, the emphasis will be on kimonos and katanas. BEFORE Samurai is produced in collaboration with Agence Jaapan.

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* Pratical information :

Images for the press: http://ymago.quaibranly.fr. Monthly press password available upon request.

Photo Credits: Page 13 Naginata et Kaji Sh Zoku: © The Ann and Gabriel Barbier-Mueller Museum: The Samurai Collection, Dallas, Texas, Studio Ferrazzini Bouchet Photographies, Genève

For all other pictures from the Tour of exhibition: © The Ann and Gabriel Barbier-Mueller Museum: The Samurai collection, Dallas, Texas, photos by Brad Flowers

All works shown in this exhibition are from The Ann and Gabriel Barbier-Mueller Museum: The Samurai Collection, Dallas, Texas. The exhibition SAMURAI, Armor of the Warrior will be presented in the Musée de la Civilisation, Quebec, starting on April 4, 2012.

* Patron of the exhibition

With the sponsorship of

Present in France and abroad, Crédit Agricole CIB has managed to find a true echo in the musée du quai Branly, "where cultures meet in dialogue". Strongly anchored in Asia and its roots, Crédit Agricole CIB wants to encourage the spread of foreign art works through targeted patronage actions, carrying on from the role of Crédit Agricole Group in financing the real economy.

Media contact: musée du quai Branly contacts:

PIERRE LAPORTE COMMUNICATION NATHALIE MERCIER MAGALIE VERNET Ph: 33 (0)1 45 23 14 14 Communications Director Manager of medias relations info@pierre-laporte.com Ph: 33 (0)1 56 61 70 20 Ph: 33 (0)1 56 61 52 87 nathalie.mercier@quaibranly.fr magalie.vernet@quaibranly.fr

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* Exhibition Partners

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