Introduction

by Anthony J. Bryant

 

 

      It was originally my intention to produce an issue of the Compleat Anachronist pamphlet series which would enable an armourer with fairly average skills to produce a good Japanese armour. The idea has grown to the point where it’s probably too unweildy for such a publication. Also, using the Web to present the information allows me to use color photographs and color illustrations to clarify things that are simply not well presented in a black-and-white printed document. There was another problem, though: specifically, the issue of what constitutes “proper” Japanese armour for use in the Society for Creative Anachronism. Unfortunately, many aspects of Japanese armour fly in the face of thirty-odd years of SCA-style combat. What this means is that, in many instances, a decision will have to be made — namely, are you making armour for combat or for dress?

        I will present dress armour primarily, as I am a firm believer in authenticity of appearance. Where concessions for SCA combat must be made, I will explain the necessary diversions and provide explanations on how to finish the armour in either functional or authentic form.

        I do not lay claim to being a master armourer. Rather, my skills are only average. I do, however, have an extensive experience with Japanese armour. My major field of study was Japanese medieval history, and when I lived in Japan from 1986–92, I was a member of the Nihon Katchû Bugu Kenkyû Hozon Kai (Japanese Arms and Armour Research and Preservation Society). Several of the members of the Kenkyû Kai were armourers, and some were from families who had been in the armouring business for centuries. I was fortunate enough to fall in with people who had studied under the Myôchin, one of the most illustrious families in armouring in Japan. I also spent inordinate amounts of free time at Yoroi no Kôzan-dô, a shop in Tôkyô which makes and sells replica armours. If you saw Kagemusha, Ran, Shôgun, or any of a hundred other films or TV series, you’ve seen Kôzan-dô armour on your screen.

        Thanks to their patient explanation and long friendship, I was able to learn how to make Japanese armour from the real masters of the craft.

        Obviously, neither one narrow pamphlet nor a lone website can contain all the information I learned, but I will endeavor to present as much as possible. If there are any questions on the material herein or on related matters, I am ready to answer them as best I can.

        One thing that needs to be addressed first is probably my biggest button: Japanese armour was never made of wood or bamboo. It was either leather, steel, or a combination of the two. Don’t even ask me.

        I will use Japanese terms wherever possible herein, as it is easier to refer to something by its proper name than keep coming up with English euphemisms. Have no fear, though, as it won’t take long to get used to the terminology. I provide several illustrations with the terms pointing out the part refered to, as well as a detailed glossary page.

      The patterns that are provided herein are not inline. Rather, they are separate PDF files that will open in a different window or are downloadable. I did this deliberately to allow for patterns to be printed in the actual size, or at a specific percentage of the actual size. I never trust inline images to come out actual size when copied and pasted somewhere. You will obviously have to have a PDF reader (such as Adobe Acrobat®) to be able to see these files. The patterns are all indicated by a pale blue button on the right side of your browser screen. I would like to apologize in advance for the length of time it will take some of these pages to load. I have tried to walk a fine line between keeping the graphics files as small as I can and maintaining the integrity of them as illustrative to the text. I have tried to present as many chances as possible to see some of the details of and variations on armour, and I beg your kind forbearance.

      Finally, a note of dedication:

      This work is dedicated to all those in the SCA who strive to study and present Japanese culture in the best way they can; and it is also dedicated to the teachers of armouring and related matters — both here and in Japan — with whom I have studied; and especially among them to the memory of Suzuki Keizô (1913–1993), who taught my teachers.

 

Anthony J. Bryant
January, 2001


 

Addendum

by Joshua L. Badgley

 

      We are proud to be able to continue Tony's work and to keep it alive for others to continue to access. We strive to keep his work as it was and has been for many, but we are also looking to fill in the gaps. Over its long history, this manual has gone through revisions and disaster, and some of the original files and patterns were lost. Tony had been trying to reconstruct these patterns, and to that end we will continue his work.

      Small revisions have also been made in regards to spelling, or updating links to external sites that may have no longer be valid. Through the generous support of volunteers, we will do our best to keep the information up to date and correct to the best of our abilities. Every page has been attributed, and if there are any updates that significantly change the substance of a page, the additional author(s) will also be credited.

      In case there is any question of the changes that have been made, we are maintaining an archive of the original site as it was.

      Tony was a friend and a mentor, and it is an honor to be able to keep his work alive for future generations.

 

Joshua L. Badgley
January, 2015

 

 

 

 

 

  This page was last modified on: 1/23/2015

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