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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Samurai Weaponry
Description
An account of the resource
Although armor is what boasts the courage of the samurai, the sword is subtly and irrevocably interlinked with the culture and art aesthetic of the age. The sword as a weapon itself is a high crafted piece of technology. As a measure of Japanese history and advancement in technologies, each sword represents its age and artists with little details such as the curve of the blade and the style of the hilt.
The Japanese were also very spiritual; each part of their daily regimen was filled with discipline for the spirit and the mind. The Japanese sword could also be considered as a holy object, in its own right, due to the daily devotion to learning the morals behind it and the physical technique to perfect its motions. As an art object, it is the only kind of steel that posses an intrinsic beauty, a commitment, and a radiating energy of its own. Through swordplay and daily adherence to the code of the samurai, the sword became an object of enlightenment for the samurai.
National Geographic: Making the Samurai Sword
http://www.asianart.org/blog/index.php/2009/05/01/making-a-samurai-sword/
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Blade for a Tachi (Slung Sword), known as "Ō-Kanehira" (Great Kanehira)�
Description
An account of the resource
By the artist Kanehira.
Kanehira was one of the smiths of the oldest province of Bizen, the most productive site of sword production from the Heian through the Muromachi period. The steel is layered so many times the blade developes visible steel crystals, the silver edge. This peice is famous for being the longest sword that Kanehira produced, naming it "Ō-Kanehira" (Great Kanehira). It was a treasured possession of Ikeda Terumasa, lord of Okayama Castle, and was long the most important sword in his family's collection.
Source
A related resource from which the described resource is derived
Tokyo National Museum.
Date
A point or period of time associated with an event in the lifecycle of the resource
Heian period, 12th century
Format
The file format, physical medium, or dimensions of the resource
Steel; L. 35 1/8 in. (89.2 cm)�
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Narrative Handscrolls
Description
An account of the resource
Both secular and non-secular divisions of artists capitalized on the communicative functionality of narrative hand-scrolls (emaki). Illustrating legendary or historical narratives these emaki have the unique characteristic of compiling all the text either at the beginning or the end of the scroll, forming a continuous narrative; instead of the of usual intermittent format dividing up the visual narrative.
For the non secular hand-scrolls, Buddhist art was central to court life as the focus for prayers and rituals and with this support from the court, the Buddhist monks developed grand narratives depicting legends specific to their temples. The emaki scenes had universal accessibility and were easily read by laymen and nobles alike. The monks themselves are the artists of the emaki and adopted the popular hand scroll style utilized among court painters.
For the secular hand-scrolls a popular technique used by the artist was employing the freedom of artistic licensee to emphasizes the narrative combining stylistic techniques such as otoko-e and tsukuri-e, utilized in the court.
It is important to keep in mind that the images of these emaki scenes depicted in this collection are supposed to be view not as a singular still frame, but as a continuous narrative unrolling upwards of 30 meters.
Buddhist art was central to court life as the focus for prayers and rituals and with this support from the court, the Buddhist monks developed grand narratives depicting legends specific to their temples. The emaki scenes had universal accessibility and were easily read by laymen and nobles alike. The monks themselves are the artists of the emaki and adopted the popular hand scroll style utilized among court painters.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Religious Handscroll: The Flying Storehouse
Subject
The topic of the resource
The Flying Storehouse. Section of the hand-scroll <span style="font-style:italic;">Shigisan Engi Emaki;<span style="font-style:normal;"> ink and slight color on paper, </span></span>Late 12th century
Description
An account of the resource
<div>
<div>
<div><em> Shigisan engi</em> <em>emaki</em> (<em>Legends of Mt. Shigi</em> scroll) shows the respect for monks, myth, and magic depicting the famous story of the miraculous alms bowl that attached itself to the frugal farmer's grain house and brought it back to the monastery.</div>
<div> With the high elevated view and attention to detail, this <span style="font-style:italic;">emaki <span style="font-style:normal;">is a prime example of Heian court painting 'yamato-e,' a classical Japanese technique, which </span></span>exhibits the link between court patronage and Buddhist temples.</div>
</div>
</div>
<div> </div>
handscroll
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Narrative Handscrolls
Description
An account of the resource
Both secular and non-secular divisions of artists capitalized on the communicative functionality of narrative hand-scrolls (emaki). Illustrating legendary or historical narratives these emaki have the unique characteristic of compiling all the text either at the beginning or the end of the scroll, forming a continuous narrative; instead of the of usual intermittent format dividing up the visual narrative.
For the non secular hand-scrolls, Buddhist art was central to court life as the focus for prayers and rituals and with this support from the court, the Buddhist monks developed grand narratives depicting legends specific to their temples. The emaki scenes had universal accessibility and were easily read by laymen and nobles alike. The monks themselves are the artists of the emaki and adopted the popular hand scroll style utilized among court painters.
For the secular hand-scrolls a popular technique used by the artist was employing the freedom of artistic licensee to emphasizes the narrative combining stylistic techniques such as otoko-e and tsukuri-e, utilized in the court.
It is important to keep in mind that the images of these emaki scenes depicted in this collection are supposed to be view not as a singular still frame, but as a continuous narrative unrolling upwards of 30 meters.
Buddhist art was central to court life as the focus for prayers and rituals and with this support from the court, the Buddhist monks developed grand narratives depicting legends specific to their temples. The emaki scenes had universal accessibility and were easily read by laymen and nobles alike. The monks themselves are the artists of the emaki and adopted the popular hand scroll style utilized among court painters.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Secular Handscroll: Ban Dainagon Ekotoba
Subject
The topic of the resource
Ban Dainagon Ekotoba. Section of the 1st handscroll; ink and color on paper. Late 12th century. Tokyo National Museum. Attributed to Tokiwa Mitsunaga.
Description
An account of the resource
In response to the large fire in 866 at Kyoto, historically known as the Ōtenmon conspiracy, the retired Emperor Go-Shirakawa commissioned a set of emaki in 1177 to please the angry spirit of Tomo no Yoshio, the great counselor of the state, who is believed to have set fire to the Gates.
A brilliant display of artistry is employed to make the narrative effective to viewer and justly satisfy Tomo no Yoshio; stylistically the lithe calligraphic lines define the characters form and the application of the thick bright spots of color relate it to the technique original developed and utilized in the Tale of Genji scrolls.
handscroll
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Omeka Image File
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Architecture
Description
An account of the resource
Throughout Japan's history, architecture has played an essential religious and cultural role for its people. Here are some examples of the types of architecture found in the rural and urban centers across the country.
Prince Shotoku (574-622 C.E.) was the first Japanese regent to establish Buddhism as the state religion and was a major figure in Japan's visual culture as a patron of religious art. After receiving much opposition from the supporters of Japan's native religion, Shintoism, Shotoku introduced Buddhist teachings and culture into the country. In an effort to demonstrate to the people his profound acceptance of the new religion, Shotoku oversaw the construction of numerous Buddhist temples and thematic sculpture. What we see in many of these temples is a transition from the provincial, rural style that defined traditional Japanese architecture into a more elegant and refined style which borrows from both Chinese Buddhist and Indian Buddhist traditions. One of the earliest temples constructed during Shotoku's time is the Horyu-ji temple from the late seventh century. The Shitennoji temple from the late-sixth century is one similarly one of the oldest standing structures in Japan.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Hōryū-ji
Subject
The topic of the resource
Temple complex of Hōryū-ji in Nara, Japan.
Description
An account of the resource
Horyu-ji is a Buddhist temple complex in Japan and contains some of the oldest wooden structures in the world. Located in Ikaruga, Horyu-ji was first built around 607 C.E. but most of the existing buildings come from around 670 C.E. The individual buildings of Horyu-ji show an influence of Chinese architecture, from the use of the multi-tiered pagoda form, stepped eaves, tile roofs, and elaborate, bracketed internal support structure.
The "kondo," or golden hall, aligns with the four cardinal points - a feature that is commonly seen in Buddhist temples from India and China - and holds various sacred objects and wall paintings. The pagoda, likewise, is a foreign form that was introduced into Japan. Based upon the shape of the Indian stupa (a rounded mound), the pagoda is stands as a symbolic Buddhist monument and is often used to house sacred relics and writings. The pagoda form became popular in Japan once rulers like prince Shotoku set out to spread Buddhist relics and ideas throughout the land.
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Architecture
Description
An account of the resource
Throughout Japan's history, architecture has played an essential religious and cultural role for its people. Here are some examples of the types of architecture found in the rural and urban centers across the country.
Prince Shotoku (574-622 C.E.) was the first Japanese regent to establish Buddhism as the state religion and was a major figure in Japan's visual culture as a patron of religious art. After receiving much opposition from the supporters of Japan's native religion, Shintoism, Shotoku introduced Buddhist teachings and culture into the country. In an effort to demonstrate to the people his profound acceptance of the new religion, Shotoku oversaw the construction of numerous Buddhist temples and thematic sculpture. What we see in many of these temples is a transition from the provincial, rural style that defined traditional Japanese architecture into a more elegant and refined style which borrows from both Chinese Buddhist and Indian Buddhist traditions. One of the earliest temples constructed during Shotoku's time is the Horyu-ji temple from the late seventh century. The Shitennoji temple from the late-sixth century is one similarly one of the oldest standing structures in Japan.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Building
Physical Dimensions
The actual physical size of the original image.
Front width is about 33.1m, depth is about 9.3m, 1st floor height is about 2.5m.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Shōsōin
Description
An account of the resource
During the reign of Emperor Shomu (701-756 C.E), Japan endured a period of great cultural output brought about by state patronage. Throughout his life, Shomu devoted large sums of money for the creation of elaborate Buddhist temples and artifacts throughout the country. Having proclaimed himself a "servant of the Three Treasures" (the Buddha, the Buddhist law, and the monastic community), the emperor was responsible for turning Japan into one of the largest producers of Buddhist art and architecture in the East. One of the first temples founded is Shōsōin in Tōdai-ji, Nara from around 756 C.E.
Constructed in the "azekura" log-cabin style, Shōsōin features a raised floor and is the oldest surviving building of this type. It serves as a treasure house of over 600 objects spanning several centuries.
architecture
Nara
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Tale of Genji Emaki
Description
An account of the resource
Secular hand-scrolls (emaki) play an important role in the tradition of Japanese story telling. Since the twelfth century, imperial patrons commissioned narrative hand-scrolls for their own leisure; among the most popular narratives was the Tale of Genji.
Some of the examples in this collection are the earliest known paintings of the Tale of Genji. As some scholar suggest, the Fujiwara clan was among the first to commission the story in scrolls of text and painted illustrations. Through the imperial court in Kyoto the Tale of Geji scrolls reached their height of popularity in the late Heian period employing the common lyrical style of yamato-e. This technique is predominately seen in the work attributed to Takayoshi.
The Tale of Genji was a novel written by Lady Murasaki centered around the high court life of the aristocracy at Kyoto, especially the Emperor's Son, Hikaru Genji. The narrative goes beyond that of previous writing, developing the psychological complexity of the characters and detailing the exquisite finery experienced by the Heian court.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
painting on paper
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Picture Scroll of the Tale of Genji - Scene from the Chapter of Hashihime and Yadorigi II, 12th Century
Description
An account of the resource
A characteristic of the Late Heian style is the close attention to detail and can be seen in the delicately gold crafted Japanese screens in the middle ground of the image, and also in the sumptuous fabrics of the aristocrats.
With the patronage from the court, artists were able to experiment and broaden technique styles utilizing sumptuous colors such as purple, red, orange, deep blues, yellows, and traditional black ink. Among other materials used under the courtly influence were cut-gold patterning and sprinkled gold.
Source
A related resource from which the described resource is derived
http://www.tokugawa-art-museum.jp/english/index.html
handscroll
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Tale of Genji Emaki
Description
An account of the resource
Secular hand-scrolls (emaki) play an important role in the tradition of Japanese story telling. Since the twelfth century, imperial patrons commissioned narrative hand-scrolls for their own leisure; among the most popular narratives was the Tale of Genji.
Some of the examples in this collection are the earliest known paintings of the Tale of Genji. As some scholar suggest, the Fujiwara clan was among the first to commission the story in scrolls of text and painted illustrations. Through the imperial court in Kyoto the Tale of Geji scrolls reached their height of popularity in the late Heian period employing the common lyrical style of yamato-e. This technique is predominately seen in the work attributed to Takayoshi.
The Tale of Genji was a novel written by Lady Murasaki centered around the high court life of the aristocracy at Kyoto, especially the Emperor's Son, Hikaru Genji. The narrative goes beyond that of previous writing, developing the psychological complexity of the characters and detailing the exquisite finery experienced by the Heian court.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Illustrated Tale of Genji - The 49th quire Yadorigi, 12th Century
Description
An account of the resource
Yamato-e is traditionally conceived as a Tang-Dynasty stylistic device, but through the popularization of hand-scroll narratives within the imperial court, Japanese painters were able to refine this decorative technique into something stylistically their own. The tree depicted in the bottom right hand corner is reflective of this Japanese style attention to detail depicting every branch as a graceful extension from its base, showing the beauty of nature.
emaki
Heian
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
238
Width
520
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Tale of Genji Emaki
Description
An account of the resource
Secular hand-scrolls (emaki) play an important role in the tradition of Japanese story telling. Since the twelfth century, imperial patrons commissioned narrative hand-scrolls for their own leisure; among the most popular narratives was the Tale of Genji.
Some of the examples in this collection are the earliest known paintings of the Tale of Genji. As some scholar suggest, the Fujiwara clan was among the first to commission the story in scrolls of text and painted illustrations. Through the imperial court in Kyoto the Tale of Geji scrolls reached their height of popularity in the late Heian period employing the common lyrical style of yamato-e. This technique is predominately seen in the work attributed to Takayoshi.
The Tale of Genji was a novel written by Lady Murasaki centered around the high court life of the aristocracy at Kyoto, especially the Emperor's Son, Hikaru Genji. The narrative goes beyond that of previous writing, developing the psychological complexity of the characters and detailing the exquisite finery experienced by the Heian court.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
painting on paper
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Illustrated Tale of Genji - The 44th quire Takekawa, 12th Century
Description
An account of the resource
The aerial view depicted in the 44th chapter is a great compositional device rarely seen in China but greatly utilized by Japanese artists.
Source
A related resource from which the described resource is derived
http://www.tokugawa-art-museum.jp/english/index.html
Language
A language of the resource
Japanese
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Height
442
Width
366
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Samurai Armor
Description
An account of the resource
The armor of the Japanese represents more than just the ideas of war and protection; it engenders the spirit of the warrior in the traditional Japanese culture. The swords and armor reveal the thought and care the Japanese would put into their craft.
The shogunal government established at Edo in 1603 was the foundation for the Tokugawa clan and other samurai families to become lords who would rule autonomously over their domains of Japenese land. Over generations of bloodshed and grueling war, the daimyos, or lords, showed their fiercesome dedication to their warrior lifestyle and their true skill at military force. Even in times of peace their strict loyalty to the code of the samurai kept their roots close to their spiritual inheritance and their warrior’s training.
Swords and armor were either handed down patrilineally or commissioned from the great craftsmen who spent decades of their lives devoted to learning the art of weaponry and armor design. Their suits of armor were unlike any ever seen before, unsurpassed in beauty and refinement. They were valued items of presentation with the terrifying, yet fantastic design of helmets and body armor. Through thier use of bold shape and infusion of color and symbolism, they testify to the symbolic as well as utilitarian roles of arms and armor in the time of the samurai.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Yoroi Armor with Red-Leather Lacing
Description
An account of the resource
The rise of the samurai in the late Heian period gave way to a new era of military devoted class that would drastically change art and the way craftsmen would evolve their skills. The martial skills and daily life of the samurai, their governing lords, the daimyo, and the ruling shoguns would also be evoked through the stylized armor and weaponry that would be produced until the samurai were abolished in 1868.
This particular early work is made from a tanned deerskin, dyed red to symbolize the intensity of the passion behind a warriors devotion to combat. All of the materials are closely related to nature and the spirit of the individual warrior.
Armor was normally preserved in temples to honor the deceased warriors who died honorably in battle, but some, such as this one, were passed down through a samurai's family as a token of their ancestors courage.
Source
A related resource from which the described resource is derived
Metropolitan Museum of Art
Date
A point or period of time associated with an event in the lifecycle of the resource
Heian period, 12th century
armor
Heian
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7a223677f8150c462b319d2f0a0ef8ce
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Height
518
Width
428
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Samurai Armor
Description
An account of the resource
The armor of the Japanese represents more than just the ideas of war and protection; it engenders the spirit of the warrior in the traditional Japanese culture. The swords and armor reveal the thought and care the Japanese would put into their craft.
The shogunal government established at Edo in 1603 was the foundation for the Tokugawa clan and other samurai families to become lords who would rule autonomously over their domains of Japenese land. Over generations of bloodshed and grueling war, the daimyos, or lords, showed their fiercesome dedication to their warrior lifestyle and their true skill at military force. Even in times of peace their strict loyalty to the code of the samurai kept their roots close to their spiritual inheritance and their warrior’s training.
Swords and armor were either handed down patrilineally or commissioned from the great craftsmen who spent decades of their lives devoted to learning the art of weaponry and armor design. Their suits of armor were unlike any ever seen before, unsurpassed in beauty and refinement. They were valued items of presentation with the terrifying, yet fantastic design of helmets and body armor. Through thier use of bold shape and infusion of color and symbolism, they testify to the symbolic as well as utilitarian roles of arms and armor in the time of the samurai.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Yoroi Armor
Description
An account of the resource
From the beginning of their rule, the shogunate promoted a culture that combined aspects of samurai culture and the arts of the imperial court, with the balance between the two shifting in accordance with the interests of the individual shogunate and their advisers.
This armor was laced in white silk and had diagonal bands of multicolored lacing at the edges os the skirt and the now missing sode (shoulder guards). The colored lacings symbolized the rainbow, a token of good fortune and fleeting beauty. The breastplate is stenciled leather that bears an ornate depiction of teh powerful Buddhist deity Fudo Myo-o, whose fierce appearance and attributes of calmness and inner strength were highly prized and sought to be emulated by samurai.
Date
A point or period of time associated with an event in the lifecycle of the resource
Late kamakura period (1185-1333), early 14th century.
Format
The file format, physical medium, or dimensions of the resource
Lacquered iron and leather, silk, stenciled leather, copper-gilt.
armor
Kamakura