Traditional Mounting

Although Japanese Armor can be mounted on a standing mannequin, the traditional mounting used in Japan is in a sitting position, hands on knees.

In order to effect a traditional mounting of your armor, please follow these steps:

1) Carefully unpack your armor.

2) Replace the top on the empty Yoroi Bitsu (antique armor box), and position the box where you want your armor displayed.

3) Place the armor stand in the center of the box top.

4) Place two small pieces of bubble wrap or other padding material on the front corners of the box. You may wish to affix the top of a strip of padding to each front corner of the base of the stand so that the strip trails down over the box corners. These padding strips will protect the Haidate lining from being ripped or abraded by the box corners.

5) Locate the Haidate (split armor skirt that protects the thighs) and place it against the box front, with the top of the armored section level of the top of the box. Tie the Haidate waist band around the back of the armor stand to suspend the Haidate in position. Experiment with arranging the Haidate at a height and position that is pleasing. Remember that the top of the skirt will be covered by the Kusazuri, and that the bottom should be far enough off the ground to leave space for the Suneate.

6) If the Do has been separated into its component sections for shipping, reassemble it by placing the enclosed pins in the hinge like elements at the left side of the do, and at the back of the shoulders to attach the shoulder straps if necessary. After assembling the Do, ask another person to stand by to assist you. Carefully lift the entire Do by the ridge on the plate that covers the

nape of the neck, and slide it around the armor stand using the opening in the right side. Position the shoulder straps on either side of the “neck” of the armor stand and, while you hold the Do in place, ask your assistant to fasten the Watagami (shoulder cords) around the toggles at the top of the front plate. You can now release the weight of the Do onto the stand, close the right side using the loop and cord present on either side of the opening, and carefully arrange the Kusazuri (tassets) and Tata-age (Brigantine collar and shoulder pads), if present. Adjust the Do so that it sits forward and “fills out” rather than falling in. If the armor stand does not feature a horizontal post that presses out of chest of the Do, you may wish to fashion one from wood or metal. If you do so, be sure to pad the post where it will be in contact with the lining of the Do.

7) Locate the Kote (armored sleeves) and identify the two loops or toggles on the upper plate of each. These will connect with corresponding loops or toggles located on the underside of each shoulder strap of the Do. You may need to lift up the Tata-Age shoulder flaps to connect these.

8) Locate the Sode (Shoulder Panels). These will either attach to cords on the top of the shoulder strap of the Do or, if there are no tying cords present on the Do, the Sode should be held atop the shoulders with two cords or threads passed through the loops on the top plate of each, and connected to the “neck” of the armor stand.

9) Locate the Suneate (shin guards). Make two calf-sized tubes of bubble wrap, fabric or other material and roll each Suneate around it. Wrap the two tying cords around and tie them with a stout bow in front. Stand the Suneate next to each other, leaning against the front of the Yoroi Bitsu (armor box).

10) Locate the Mempo (mask). If the nose piece of the mempo has been detached from the chin for shipping, reattach it using the two small “L” shaped studs at the corners of the mouth. Usually one of these studs will be loose and rotate, allowing you to toggle the nose on. If not, you may have to squeeze slightly in on the ears of the mask which dropping the nose piece over the studs. Place the Mempo tying cord over the wooden hemisphere at the top of the armor stand (the “head”) and secure it with a thumb tack. If the armor stand features a chin or nose level post to thrust the menpo out into correct position, drop the mempo over this post. If the armor stand does not feature a horizontal post that presses the Mempo out, you may wish to fashion one from wood or metal. If you do so, be sure to pad the post where it will be in contact with the interior of the Mempo. The Yodarakake (Gorget) which hangs from the bottom of the mempo, should lay over the chest outside the Do.

11) Locate the Kabuto (Helmet). Carefully lift the Kabuto (a good way is by inserting your finger in the Tehen – the hole at the top – and slightly bending your finger at the first joint, and then lifting) and place it on the wooden hemisphere at the top of the armor stand (the “head”). Let the Shikoro (neck guard) fall behind. Adjust the helmet and mask for the best appearance – traditionally, with the helmet canted slightly forward so that the edge of the brim is level with, and about 1 inch in front of, the bridge of the nose of the mask. The helmet tying cords can then be looped around the chin of the mask and the neck. Samurai used many different, personalized methods of tying the helmet cords around the mask, passing under the chin, around the “L” shaped studs on the cheeks, and even under the nose! Experiment to find what looks best to you.

12) If the armor includes a Maedate (forecrest) or Wakidate (Side Crests), fit these gently over the appropriate shanks on the helmet.

Preservation

Japanese armor is constructed of iron and/or hardened ox-hide plates, covered by lacquer and laced together with silk braid. While it was constructed to be strong and durable, it is important to display it in a proper environment in order to maintain its beauty and value.

As with most antiques, the most damaging agent is ultraviolet light (sun light). Lacquer will start to degrade within a few hours of exposure to strong UV light. This degradation takes the form of a network of microscopic cracks that develop in the lacquer surface. These cracks will cause the lacquer to dull, then discolor, and finally to separate from the substrate and come off. Of course, textile elements of the armor will also fade in color with exposure to UV light. The best way to protect your armor is to display it in an area where there is no direct sunlight. If there are windows that admit indirect sunlight, consider applying a transparent UV blocking film to them. This film is removable, invisible, and can be applied by professional installers, or is quite easy to apply with kits. Protecting all of your valued art objects and antiquities from UV exposure is the most important step you can take to maintain their beauty and value.

The second most important factor in the preservation of your armor, as well as many other antiques, is the maintenance of an appropriate climactic environment. The ideal is an environment in which temperature and humidity fluctuation is kept to a minimum and remains in a mid range. You should strive for a consistent temperature between 50-80 degrees farenheit, and RH (relative humidity) around 50%. If the environment is too dry, lacquer and other organic surfaces will dehydrate and crack over time – if too moist, the iron can corrode and cause the lacquer above it to separate from the plate. You can purchase an inexpensive temperature/RH meter at your local hardware store that will keep you informed of the conditions in your display location. You will of course wish to avoid displaying your armor in the vicinity of a radiator or heating duct. You may wish to use a humidifier in the room if it is too dry – we like the Venta Air Washer.

Conservation

It is a good idea to dust your armor from time to time, using a soft artist’s brush or feather duster. Do not use any waxes, soaps or solvents on your armor – they can damage the surface irreparably. If it is necessary to repair a chipped piece of lacquer, we suggest that you use the adhesive B-72, which is a reversible, museum grade acryloid that can be dissolved in acetone or tuelene and applied with a brush or syringe.

If you need advice or assistance with mounting, display, conservation or repair issues, please do not hesitate to contact us.