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A samurai in his armour in the 1860s. Hand-colored photograph by Felice Beato. Samurai or bushi (武士, [bɯ.ɕi]) were members of the warrior class in Japan.They were originally provincial warriors who served the Kuge and imperial court in the late 12th century, although it is debated when they became a class. [1]
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For other pages from this book see the collection of Japanese heraldry images or collection of Uma-Jirushi images. Uma-jirushi (馬印, horse insignia) were massive flags used in feudal Japan to identify a daimyō or equally important military commander on the field of battle.
A man wearing Samurai armor and jinbaori (sleeveless jacket) turns around, 2019. Scholars agree that Japanese armour first appeared in the 4th century, with the discovery of the cuirass and basic helmets in graves. [1] During the Heian period (794–1185), the unique Japanese samurai armour ō-yoroi and dō-maru appeared. [2]
[1] [2] Naginata were originally used by the samurai class of feudal Japan, as well as by ashigaru (foot soldiers) and sōhei (warrior monks). [3] The naginata is the iconic weapon of the onna-musha, a type of female warrior belonging to the Japanese nobility. A common misconception is that the Naginata is a type of sword, rather than a polearm.
Antique Japanese (samurai) sangu, the three armours of the extremities, kote (armoured sleeves), suneate (shin armour), haidate (thigh armour) Sangu is the term for the three armour components that protected the extremities of the samurai class of feudal Japan.
Musha-e (武者絵) is a type a Japanese art that was developed in the late 18th century. It is a genre of the ukiyo-e woodblock printing technique, and represents images of warriors and samurai from Japanese history and mythology. [1] [2]
Tankō, worn by foot soldiers, and keikō, worn by horsemen, were both pre-samurai types of early Japanese cuirass constructed from iron plates connected by leather thongs. During the Heian period (794 to 1185), the cuirass evolved into the more familiar style of armour worn by the samurai known as the dō .
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