|
=Koin kuno di Indonesia=
[[File:MET 1998 544 238 1 18.jpeg|thumb|right|1 masa koin emas masing-masing 5 milimeter.]]
By the 10th-century, Java had the most complex economies in [[Southeast Asia]]. Despite the importance of rice farming which acts as a king of tax income for the Javanese courts, the influx of sea trade in Asia between the 10th and 13th centuries forced a more convenient currency to the Javanese economy. During the late 8th-century, a kind of ingots made of gold and silver were introduced. These are the '''Early Indonesian coins'''.{{sfn|Christie|1996|p=99}}
==Early development in Central Java==
[[en:User:Rochelimit]]
In Java, rice farming was still the main occupation of most households in the village. This continued to provide most of the tax income of the Javanese courts. Later in the period, the northern coasts of Java and Bali became the main center of an affluent export trade in local agricultural products and manufactures, as well as spices e.g. [[sandalwood]] from east of Indonesia. These trade brought shipping industry to distant markets e.g. China and India. The increasing intensity of trade called for a convenient currency in the Javanese society.{{sfn|Christie|1996|p=98}}
During the late 8th-century money took the form of ingots made of gold and silver. These are the earliest recorded coins in Indonesia. The currency in Indonesia is based on weight; the most common units were the ''[[catty|kati]]'' of {{convert|750|g|oz}}, ''[[tael|tahil]]'' of {{convert|38|g|oz}}, ''masa'' {{convert|2.4|g|oz}} and ''kupang'' {{convert|0.6|g|oz}}. These units were legal tender for tax payments. The ''kati'', ''tahil'', ''masa'' and ''kupang'' units remained in use up until the Dutch period. Several trade jargon were introduced in this period, e.g. the Javanese ''wli'', which became the modern Indonesian ''beli'' ("buy"), and the Sanskrit ''wyaya'', modern Indonesian term ''biaya'' ("expenses") appears in two inscriptions both dated 878 AD. The Javanese coins have no parallels with the style of Indian coins. Most of the Javanese coins were found within the Javanese [[Shailendra dynasty|kingdom of Shailendra]].{{sfn|Christie|1996|p=99}}
=Kanō Naonobu=
{{Use Canadian English|date=November 2015}}
{{Use dmy dates|date=November 2015}}
[[File:Sanjūrokkasen-gaku - 24 - Kanō Naonobu - Taira no Kanemori.jpg|thumb|alt=|''[[Taira no Kanemori]]'', 1648, from the ''Thirty-Six Immortals of Poetry'']]
===Gold coins===
'''Kanō Naonobu''' ({{lang|ja|狩野 尚信}}, 25 November 1607 – 7 May 1650) was a Japanese painter of the [[Kanō school]] of painting during the early [[Edo period]]. He was the younger brother of [[Kanō Tan'yū]], with whom he completed a number of prominent commissions for the [[Tokugawa shogunate]]. His style differed somewhat from Tan'yū's in his bold use of [[negative space]] and his mastery of [[ink wash painting]]. Naonobu also used the art name '''Jitekisai''' ({{lang|ja|自適斎}}).
[[File:MET 1998 544 240.jpeg|thumb|right|A gold coin of probably the highest denomination of ''ka''.]]
Most gold coins of 9th and early 10th century Java are stamped with the character ''ta'' in [[Nāgarī script|nagari script]] on one side, an abbreviation of ''tahil''. The same character remain on coins until the [[Kediri Kingdom]] period in the 12th-century.{{sfn|Christie|1996|p=99}} Gold coins were usually made in the shape of cubes, carefully crafted and very uniform and size and gold content.
==Life=Silver and careercoins===
[[File:COLLECTIE TROPENMUSEUM Prent voorstellende door Engelse particulieren voor Sumatra geslagen munten TMnr 93-4-9.jpg|thumb|left|Sandalwood decoration or quatrefoil appeared in the silver ingot on the picture below.]]
Central Javanese silver coins have very different shape compared with the gold coins. Most silver coins are round and known as "sandalwood flower" coins referring to the four-petaled flower (quatrefoil) found on the reverse. The silver coins lasted from the early 9th until the 14th century. The same flower appears on one side of older silver ingots from central Java; the other side is stamped with a flowing vase design, which is never found on coins. The observe of the sandalwood flower coins are stamped with the nagiri character ''ma'' (abbreviation of ''masa'').{{sfn|Christie|1996|p=99}}
Unlike the gold coins, the silver coins changed rapidly. In only one century, the character ''ma'' degenerated very quickly, perhaps because it is different with the Javanese [[Kawi script|Kawi letter]] for ''ma''. The shape also changed; in the early 10th-century, the shape of one masa changed from a thick and flat coin, to a thin and cup-shaped coin. The silver coins were presumably served as small change. The silver coins were probably created by smiths in the market for use in market transactions.{{sfn|Christie|1996|p=99}}
Naonobu was born in [[Kyoto]] on the 6th day of the 10th month of the 12th year of [[Keichō]] (25 November 1607). He was the second son of the [[Kanō school]] painter [[Kanō Takanobu]] and the younger brother of [[Kanō Tan'yū]], who was to continue the line and become one of the foremost painters of the school.{{sfn|Yasumura|2006|p=44}}
In Java, beginning at the end of the 10th-century and onwards, more and more Chinese copper coins were imported in greater quantities, as well as Chinese cash and local copies, known as ''pisis''. These coins began to displace the silver alloy coins as small denomination currency. By the mid-14th century, there were so many ''pisis'' in circulation, that the Javanese court recognized them as official currency for tax purposes.{{sfn|Christie|1996|p=99}}
The [[shogun]]ate invited Naonobu to the administrative capital [[Edo]] (modern Tokyo) in 1630, where he established himself at the Takekawa workshop affiliated with the Kanō school and became a {{illm|Goyō eshi|ja|御用絵師|lt=''goyō eshi''}}, an exclusive position painting for the shogunate.{{sfn|Yasumura|2006|p=44}} He studied under his brother Tan'yū{{sfn|Yamashita|2004|p=74}} and was quick to acquire his techniques. The two completed a number of prominent commissions for the shogunate.{{sfn|Yasumura|2006|p=44}}
==Sumatran coins==
Naonobu's skills differed somewhat from Tan'yū's, particularly in his delving into [[ink wash painting]] and his bold use of [[negative space]]. His work had a more Japanese feel deriving from nativist [[Yamato-e]] traditions. On gilt sliding doors and partitions he tended to suggest the form of the subject rather than delineate it.{{sfn|Yasumura|2006|p=44}} Works such as the ''Fujimi saigyō-zu byōbu'' screen show his interest in contrasts, depicted an enormous, barely-delineated [[Mount Fuji]] against a background of mostly negative space with a tiny seated figure gazing up at it.{{sfn|Yamashita|2004|p=74}}
In Sumatra, coins were first minted in the 11th-century. Similar sandalwood flower coins like those in Java were discovered in Sumatra, but more of these were made of gold, [[electrum]], and silver alloy. Several 11th-century sites in Sumatra including [[Barus]], [[Bengkulu]], and [[Muara Jambi]] were abundant of gold coins, while silver is rare. Similar coins were found also in [[South Thailand]]. The Sumatran silver alloy examples are very well made compared with the Javanese silver coins.
Curiously, no coins have been found at Palembang, said to be the center of the Sriwijayan economy. This suggests that coins may have had a limited role in the early Sriwijayan economy. International trade might have been conducted either through the mechanism known as [[tributary trade]] or in other form known as administered trade. In administered trade system, equivalencies were established between commodities through diplomatic negotiations rather than bargaining.{{sfn|Christie|1996|p=99}}
In his personal life Naonobu had the nickname Shume ({{lang|ja|主馬}}). He enjoyed trips to Kyoto and visiting the artist and aristocrat [[Kobori Masakazu]]. Naonobu went missing on the 7th day of the 4th month of the 3rd year of [[Keian]] (7 May 1650). He was said to have died of illness, though rumours circulated that he had drowned while fishing or had set off for China.{{sfn|Yasumura|2006|p=44}}
==Legacy==
<gallery caption="Folding screen paintings by Kanō Naonobu" mode="packed" heights="220px">
The gold [[piloncitos]] of the Philippines are a late offshoot of the Indonesian gold coinage, while the bean-like silver "namo" series, of the Malay isthmus was presumably an offshoot of the silver and may have evolved into the bullet (Pod-Duang) coinage of [[Sukhothai Kingdom|Sukhothai]] in [[Thailand]].<ref>http://coin.filipinonumismatist.com/2011/06/piloncitos-treasure-of-philippine.html</ref>
Kanō Naonobu (17th century) Fushimi saigyoku-zu byōbu.jpg|''Fujimi saigyō-zu byōbu'', ink on paper, 155.8 cm × 363.4 cm
Kanō Naonobu (17th century) The Four Sages of Mount Shang.jpg|One of a pair of ''[[byōbu]]'' depicting the The Four Sages of Mount Shang (商山四皓).
</gallery>
==References==
{{Reflist}}
==Works cited==
{{Refbegin|colwidth=40em}}
* {{cite book
|last = Yamashita|<!-- 監修山下裕二 -->
|first = Yūji
|script-title = ja:狩野派決定版
|title = Kanō-ha ketteiban
|language = Japanese
|series = Bessatsu Taiyō
|publisher = [[Heibonsha]]
|year = 2004
|isbn = 978-4-58292131-1
|oclc = 64782262
|ref = harv}}
* {{cite book
|last = Yasumura|<!-- 安村敏信 -->
|first = Toshinobu
|script-title = ja:もっと知りたい狩野派: 探幽と江戸狩野派
|title = Motto Shiritai Kanō-ha: Tan'yū to Edo Kanō-ha
|url = https://books.google.com/books?id=yf_VPAAACAAJ
|year = 2006
|publisher = Tokyo Bijutsu
|isbn = 978-4-8087-0815-3
|ref = harv}}
{{Refend}}
==External links==
*{{Commons-cat-inline}}
{{Portal bar|Biography|Japan|Visual arts}}
{{DEFAULTSORT:Kano, Michinobu}}
[[Category:1607 births]]
[[Category:1650 deaths]]
[[Category:Japanese painters]]
[[Category:17th-century Japanese people]]
[[Category:17th-century Japanese artists]]
[[Category:17th-century painters]]
[[Category:17th-century Japanese painters]]
[[Category:Kanō school]]
=Kanō Yasunobu=
{{Use Canadian English|date=November 2015}}
{{Use dmy dates|date=November 2015}}
[[File:KoreanEmbassy1655KanoTounYasunobu.jpg|thumb|350px|alt=|Korean Embassy to Japan, 1655]]
'''Kanō Yasunobu''' ({{lang|ja|狩野 安信}}, 10 January 1614 – 1 October 1685) was a Japanese painter of the [[Kanō school]] of painting during the [[Edo period]]. He was the third son of [[Kanō Takanobu]], who had been head of the school, and succeeded [[Kanō Sadanobu]] as head of the Kyoto branch in 1623 until he joined his brothers in . Yasunobu was the youngest brother of [[Kanō Tan'yū]], one of the most prominent painters of the Kanō school. His best remembered work is the ''Gadō Yōketsu'', a Kanō school history and training manual. He also worked under the art names '''Eishin''' and '''Bokushinsai'''.
==Life and career==
Kanō Yasunobu was born in Kyoto on the 1st day of the 12th month of the 18th year of [[Keichō]] (10 January 1614). His father was [[Kanō Takanobu]] (1571–1618){{sfn|Yasumura|2006|p=48}} whose two elder sons [[Kanō Tan'yū|Tan'yū]] and [[Kanō Naonobu|Naonobu]] moved to [[Edo]] (modern Tokyo) to become {{illm|Goyō eshi|ja|御用絵師|lt=''goyō eshi''}}, an exclusive position painting for the [[Tokugawa shogunate]]. The Kyoto line continued after Takanobu's death in 1618 under [[Kanō Mitsunobu]]'s son [[Kanō Sadanobu|Sadanobu]], who adopted Yasunobu as he had no heir. Yasunobu succeeded him as head of the Kyoto Kanō in 1623. Yasunobu thus continued the Kyoto line until he also was made ''goyō eshi'' and moved to Edo, though he maintained his claim as head of the Kyoto branch.{{sfn|Gerhart|2003|p=16}}
Yasunobu was a dedicated scholar and painter, but his skill is considered inferior to that of his brothers. His was a studied technique learned through faithful copying of masters' models. His colour work was in the idiom of Tan'yū, and his [[ink wash painting]] had a realistic vigour.{{sfn|Yasumura|2006|p=48}} His most important work was not his painting but the ''Gadō Yōketsu'' ({{lang|ja|画道要訣}},{{sfn|Yamashita|2004|p=75}} ''"The Secret Way of Painting"'',{{sfn|Addiss|Groemer|Rimer|2006|p=248}} 1680), a training manual for Kanō painters and hagiography of the school. Before this book's publication, Kanō techniques were passed down orally from master to apprentice, and there was disunity in the teaching methods of the school's branches.{{sfn|Jordan|2003|pp=22–23}}
Yasunobu died in Edo on the 4th day of the 9th month of the 2nd year of [[Jōkyō]] (1 October 1685). He also worked under the art names Eishin ({{lang|ja|永真}}) and Bokushinsai ({{lang|ja|牧心斎}}).{{sfn|Yasumura|2006|p=48}}
<gallery mode="packed" caption="Works by Kanō Yasunobu" heights="220">
Tokugawa Ietsuna.jpg
Sanjūrokkasen-gaku - 25 - Kanō Yasunobu - Chūnagon Asatada.jpg
Sanjūrokkasen-gaku - 26 - Kanō Yasunobu - Fujiwara no Takamitsu.jpg
Sanjūrokkasen-gaku - 27 - Kanō Yasunobu - Mibu no Tadamine.jpg
Sanjūrokkasen-gaku - 28 - Kanō Yasunobu - Ōnakatomi no Yoritomo Asomi.jpg
Sanjūrokkasen-gaku - 29 - Kanō Yasunobu - Minamoto no Shigeyuki.jpg
Sanjūrokkasen-gaku - 30 - Kanō Yasunobu - Saneakira Asomi.jpg
Sanjūrokkasen-gaku - 31 - Kanō Yasunobu - Minamoto no Shitagō.jpg
Sanjūrokkasen-gaku - 32 - Kanō Yasunobu - Kiyohara no Motosuke.jpg
Sanjūrokkasen-gaku - 33 - Kanō Yasunobu - Fujiwara no Motozane.jpg
Sanjūrokkasen-gaku - 36 - Kanō Yasunobu - Nakatsukasa.jpg
Sanjūrokkasen-gaku - 34 - Kanō Yasunobu - Fujiwara no Nakafumi.jpg
Sanjūrokkasen-gaku - 35 - Kanō Yasunobu - Mibu no Tadami.jpg
</gallery>
==References==
{{Reflist|colwidth=20em}}
==Works cited==
{{Refbegin|colwidth=40em}}
* {{cite book
|last1 = Addiss
|first1 = Stephen
|last2 = Groemer
|first2 = Gerald
|last3 = Rimer
|first3 = J. Thomas
|authorlink3 = J. Thomas Rimer
|title = Traditional Japanese Arts And Culture: An Illustrated Sourcebook
|url = https://books.google.com/books?id=wmDFn2YEEpAC
|year = 2006
|publisher = University of Hawaii Press
|isbn = 978-0-8248-2878-3
|ref = harv}}
* {{cite book
|last = Gerhart
|first = Karen M.
|chapter = Talent, Training, and Power: The Kano Painitng Workshop in the Seventeenth Century
|pages = 9–30
|editor1-first = Jordan
|editor1-last = Brenda G.
|editor2-first = Weston
|editor2-last = Virginia
|title = Copying the Master and Stealing His Secrets
|date = 2003
|isbn = 9780824862008
|publisher = [[University of Hawai'i Press]]
|url = https://muse.jhu.edu/books/9780824862008
|via = [[Project MUSE]]
|subscription = yes
|ref = harv}}
* {{cite book
|last = Jordan
|first = Brenda G.
|title = Copying the Master and Stealing His Secrets: Talent and Training in Japanese Painting
|url = https://books.google.com/books?id=TMCHpmDXUeIC
|year = 2003
|publisher = University of Hawaii Press
|isbn = 978-0-8248-2608-6
|ref = harv}}
* {{cite book
|last = Yamashita|<!-- 監修山下裕二 -->
|first = Yūji
|script-title = ja:狩野派決定版
|title = Kanō-ha ketteiban
|language = Japanese
|series = Bessatsu Taiyō
|publisher = [[Heibonsha]]
|year = 2004
|isbn = 978-4-58292131-1
|oclc = 64782262
|ref = harv}}
* {{cite book
|last = Yasumura|<!-- 安村敏信 -->
|first = Toshinobu
|script-title = ja:もっと知りたい狩野派: 探幽と江戸狩野派
|title = Motto Shiritai Kanō-ha: Tan'yū to Edo Kanō-ha
|url = https://books.google.com/books?id=yf_VPAAACAAJ
|year = 2006
|publisher = Tokyo Bijutsu
|isbn = 978-4-8087-0815-3
|ref = harv}}
{{Refend}}
==External links==
*{{Commons-cat-inline}}
{{Portal bar|Biography|Japan|Visual arts}}
{{DEFAULTSORT:Kano, Michinobu}}
[[Category:1614 births]]
[[Category:1685 deaths]]
[[Category:Japanese painters]]
[[Category:17th-century Japanese people]]
[[Category:17th-century Japanese artists]]
[[Category:17th-century painters]]
[[Category:17th-century Japanese painters]]
[[Category:Kanō school]]
=Kanō Takanobu=
{{Use Canadian English|date=November 2015}}
{{Use dmy dates|date=November 2015}}
[[File:Emperor Go-Yōzei2.jpg|thumb|alt=|Portrait of [[Emperor Go-Yōzei]], {{circa|1610s}}, colour on silk, 107.2 x 60.2 cm]]
'''Kanō Takanobu''' ({{lang|ja|狩野 孝信}}, 1 December 1571 – 18 October 1618) was a Japanese painter of the [[Kanō school]] of painting during the [[Azuchi–Momoyama period]] (1573–{{not a typo|1615}}<!-- in the art world, the Azuchi–Momoyama period is considered to have ended in 1615 -->). He was the father of [[Kanō Tan'yū]], one of the most prominent painters of the school.
==Life and career==
Takanobu was born in [[Kyoto]] on the 25th day of the 11th month of the 2nd year of [[Genki]].{{sfn|Yamashita|2004|p=60}} He was the youngest son{{sfn|Gerhart|2003|p=15}} of the [[Kanō school]] head painter [[Kanō Eitoku]] (1543–90) and younger brother of [[Kanō Mitsunobu]].{{sfn|Yasumura|2006|p=14}}
When [[Kanō Naganobu]] (1577–1654)—Eitoku's brother—moved at the behest of the recently ascendent [[Tokugawa shogunate]] to its new administrative capital of [[Edo]] (modern Tokyo) around 1610–15, Takanobu remained in Kyoto, where the commissions he received indicate he was a favourite of the court. At the time only Takanobu and Naganobu had sufficient skill to head branches of the school.{{sfn|Gerhart|2003|p=15}}
With financial backing from the Tokugawa shogunate, Takanobu conceived and oversaw the painting to be done for the new palace of [[Emperor Go-Mizunoo]], work which was finished in 1614 with Takanobu applying the final touches to many of the sliding panels there and in surrounding buildings.{{sfn|Lillehoj|2011|pp=88–89}} The twenty panels depicting thirty-two Chinese sages in the throne room of the ''[[Kyoto Imperial Palace#Shishin-den|shishin-den]]'' are attributed to Takanobu.{{sfn|Lillehoj|2011|p=91}} These panels are some of the few works of Takanobu to have survived, and are the oldest surviving paintings from the ''shishin-den''.{{sfn|Lillehoj|2011|p=96}}
In 1617 Naganobu's eldest son [[Kanō Tan'yū|Tan'yū]] was called to Edo and made a {{illm|Goyō eshi|ja|御用絵師|lt=''goyō eshi''}}, an exclusive position painting for the shogunate. Another son, [[Kanō Naonobu]] (1607–50), succeeded as head of the Kyoto branch upon Takanobu's death in 1618, though he too moved to Edo{{sfn|Gerhart|2003|pp=15–16}} in 1630.{{sfn|Yasumura|2006|p=44}} The line continued under Mitsunobu's son [[Kanō Sadanobu|Sadanobu]], who died without an heir in 1623 but had adopted Takanobu's youngest son [[Kanō Yasunobu|Yasunobu]], who thus continued the Kyoto line until he also was made ''goyō eshi'' and moved to Edo, though he maintained his claim as head of the Kyoto branch.{{sfn|Gerhart|2003|p=16}}
{{clear}}
<gallery caption="Works by Kanō Takanobu" mode="packed" heights="220px">
Hotei by Kano Takanobu, 1616, Metropolitan Museum of Art, 2006.115.jpg|[[Hotei]], 1616
Portrait of Murasaki Shikibu.jpg|Portrait of [[Murasaki Shikibu]]
Rakuchu rakugai zu byobu (Fukuoka City Museum).jpg|File:''Rakuchu Rakugai-zu'', ''[[byobu]]'' folding screen, [[Azuchi–Momoyama period]]
</gallery>
==References==
{{Reflist|colwidth=20em}}
==Works cited==
{{Refbegin|colwidth=40em}}
* {{cite book
|last = Gerhart
|first = Karen M.
|chapter = Talent, Training, and Power: The Kano Painitng Workshop in the Seventeenth Century
|pages = 9–30
|editor1-first = Jordan
|editor1-last = Brenda G.
|editor2-first = Weston
|editor2-last = Virginia
|title = Copying the Master and Stealing His Secrets
|date = 2003
|isbn = 9780824862008
|publisher = [[University of Hawai'i Press]]
|url = https://muse.jhu.edu/books/9780824862008
|via = [[Project MUSE]]
|subscription = yes
|ref = harv}}
* {{cite book
|last = Lillehoj
|first = Elizabeth
|title = Art and Palace Politics in Early Modern Japan, 1580s–1680s
|url = https://books.google.com/books?id=-TMVF6kpoqkC
|year = 2011
|publisher = [[Brill Publishers]]
|isbn = 90-04-20612-4
|ref = harv}}
* {{cite book
|last = Yamashita|<!-- 監修山下裕二 -->
|first = Yūji
|script-title = ja:狩野派決定版
|title = Kanō-ha ketteiban
|language = Japanese
|series = Bessatsu Taiyō
|publisher = [[Heibonsha]]
|year = 2004
|isbn = 978-4-58292131-1
|oclc = 64782262
|ref = harv}}
* {{cite book
|last = Yasumura|<!-- 安村敏信 -->
|first = Toshinobu
|script-title = ja:もっと知りたい狩野派: 探幽と江戸狩野派
|title = Motto Shiritai Kanō-ha: Tan'yū to Edo Kanō-ha
|url = https://books.google.com/books?id=yf_VPAAACAAJ
|year = 2006
|publisher = Tokyo Bijutsu
|isbn = 978-4-8087-0815-3
|ref = harv}}
{{Refend}}
==External links==
*{{Commons-cat-inline}}
{{Portal bar|Biography|Japan|Visual arts}}
{{DEFAULTSORT:Kano, Michinobu}}
[[Category:1571 births]]
[[Category:1618 deaths]]
[[Category:Japanese painters]]
[[Category:16th-century Japanese people]]
[[Category:17th-century Japanese people]]
[[Category:16th-century Japanese artists]]
[[Category:17th-century Japanese artists]]
[[Category:16th-century painters]]
[[Category:17th-century painters]]
[[Category:16th-century Japanese painters]]
[[Category:17th-century Japanese painters]]
[[Category:Kanō school]]
=Kanō Mitsunobu=
{{Japanese name|Kanō}}
'''Kanō Mitsunobu''' ({{lang|ja|狩野 光信}}, 1565–1608) was a son of [[Kanō Eitoku]] and an influential artist of the [[Kanō school]] of [[Japanese painting]].
== Biography ==
Scholars disagree on the year of Mitsunobu's birth, placing it in either 1561 or 1565. The earliest record of his involvement on any major project was in conjunction with his father's commission to paint elements of [[Oda Nobunaga]]'s [[Azuchi Castle]]. He also worked with his father on a number of other major [[Japanese castle|castles]] and palaces, including [[Osaka Castle]], [[Kyoto Gosho]], and [[Toyotomi Hideyoshi]]'s [[Jurakudai]] palace.
He received a commission from [[Toyotomi Hideyori]] to paint the ceiling of the main hall of [[Shōkoku-ji]] in Kyoto with dragons.<ref>http://zen.rinnou.net/head_temples/11shokoku.html</ref>
After his father's death in 1590, Mitsunobu became the head of the family and of the school. He took over the Kyoto Imperial Palace project, and continued to receive many illustrious commissions. However, in part due to his poor leadership skills and political ability, he lost many commissions and patrons to the rival [[Hasegawa school]] of painting.
== Style ==
[[File:Toyotomi Hideyoshi.jpg|thumb|Portrait of [[Toyotomi Hideyoshi]], by Kanō Mitsunobu]]
While a master of the fundamental Kanō school style, and that of his father, Mitsunobu expressed elements of his own preferences and skills in his paintings. His color paintings of flowers, trees and similar subjects made extensive use of gold-leaf as most Kanō paintings did, but also displayed a delicate, elegant, and gentle lightness.
==References==
{{Reflist}}
*Kaputa, Catherine (1985). "Kanō Mitsunobu." <u>Kodansha Encyclopedia of Japan</u>. Tokyo: Kodansha Ltd.
==External links==
*[http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/84980/rec/1 Momoyama, Japanese Art in the Age of Grandeur], an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Kanō Mitsunobu
*[http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/153737 Bridge of dreams: the Mary Griggs Burke collection of Japanese art], a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Kanō Mitsunobu (see index)
{{Normdaten}}
{{DEFAULTSORT:Kano, Mitsunobu}}
[[Category:1560s births]]
[[Category:1608 deaths]]
[[Category:Japanese painters]]
[[Category:16th-century Japanese people]]
[[Category:17th-century Japanese people]]
[[Category:16th-century Japanese artists]]
[[Category:17th-century Japanese artists]]
[[Category:16th-century painters]]
[[Category:17th-century painters]]
[[Category:16th-century Japanese painters]]
[[Category:17th-century Japanese painters]]
[[Category:Kanō school]]
=Golden Cock and Hen=
{{Infobox artwork
| title = Golden Cock and Hen
| image = MET_DP289323.jpg
| image_size = 240px
| other_language_1 = [[Chinese language|Chinese]]
| other_title_1 = 《金黄公鸡与母鸡》
| artist = unknown artist
| year = 19th century ([[Joseon dynasty]])
| catalogue =
| type = [[Painting|painting]]
| medium = Hanging scroll, [[ink]] and [[colour]] on [[paper]]
| subject =
| height_metric = 114.3
| width_metric = 45.7
| length_metric =
| museum = [[Metropolitan Museum of Art]]
| city = [[New York City|New York]]
| accession = 19.103.2
}}
'''Golden Cock and Hen''' ([[Chinese language|Chinese]]: ''{{lang|zh|《金黄公鸡与母鸡》}}'') is painting during [[Korea]]’s [[Joseon dynasty|Joseon dynastic]] period. The painting, which is belonging to the early 19th century, was painted by an unknown artist. The painting itself measures about 114.3 cm in height and 45.7 cm in width. With the decorative elements, the complete painting measures 200.7 cm in height and 62.9 cm in width. This painting represents a combination of two established themes of Korean painting: birds and flowers. Also it consists of ten symbols of longevity–the [[sun]], [[mountain|mountains]] [[eater]], [[rock]]s, [[cloud]]s, [[pine|pine trees]], [[turtle]]s, [[crane]]s, [[deer]]s and [[mushroom]]s. In the central scene, there is a cock and hens perched on a tree and a rock respectively. This represents fortune and future. Currently, the painting is displayed in [[Metropolitan Museum of Art]], [[New York City|New York]], [[United States]].<ref name=met>{{Cite web|url=https://www.metmuseum.org/art/collection/search/40073|accessdate=2017-11-22 |title=Golden Cock and Hen |publisher=[[Metropolitan Museum of Art]] |author= }}</ref>
==Description==
In the traditional Chinese culture, rooster had been given a significant place. Ancient Chinese people believed that the rooster was a kind of moral animal with excellent qualities. This aspect also affected the neighboring Asian coutries.<ref>{{Cite web|url=http://news.163.com/17/0119/13/CB57A3PP00014AED.html |title=“鸡文化”对古人生活的影响 |publisher=北京晚报、网易新闻 |accessdate=2017-11-22 |author=倪方六 |date=2017-01-19}}</ref> In the [[Joseon dynasty]] of [[Korean peninsula]], auspicious creatures such as the [[tiger]], [[dragon]], [[crane]] and [[deer]] were represented in a series of artworks demonstrating the importance and universality of these creatures in the Korean Art and culture. The painting, "Golden Cock and Hen" was created in the early 19th century AD, during [[Korean peninsula]]’s [[Joseon dynasty]]. The painting itself measures 114.3 cm in height and 45.7 cm in width. With the external decorative elements, the complete piece measures 200.7 cm in height and 62.9 cm in width. Due to the lack of documentation, the artist and the specific creation date of the painting cannot be predicated.<ref name=met />
In 1919, this painting was granted to the [[Metropolitan Museum of Art]], [[New York City|New York]] by Rogers Foundation. Between 1984 and 2015 the painting has been displayed seven times in [[New York]], [[New Orleans]], [[Honolulu]], [[San Francisco]], [[Tulsa]] and [[Los Angeles]].<ref name=met />
== References ==
{{reflist|1}}
== External links==
* [https://www.metmuseum.org/ Metropolitan Museum of Art website]
* [https://www.metmuseum.org/toah/ht/10/eak.html Korean Art from 19th to the 20th century] - [[Metropolitan Museum of Art]]
* [http://burkecollection.org/artworks/periods/joseon Korean Art] – Nary Griggs Berke Collection, Mary and Jackson Berke Foundation
[[Category:Korean painting]]
[[Category:Joseon dynasty]]
[[Category:Paintings of the Metropolitan Museum of Art]]
=Topi baja dengan delapan plat besi=
[[File:Helmet_of_Eight_Plates_in_the_Korean_Style_MET_DP113368.jpg|300px|thumb|right|Korean Helmet of eight plates in the Korean style, [[Metropolitan Museum of Art]], [[New York City|New York]].]]
'''Helmet of eight plates in the Korean style''' ([[Chinese language|Chinese]]: ''{{lang|zh|朝鲜式八板头盔}}'') is a helmet produced between 14th and 16th centuries in either [[Korean peninsula]] or [[Mongolia]].<ref group="note">This eight plated helmets may have come from Mongolian region. But the current theory is that they were originated in [[North Korea]]n regions.</ref> This helmet consists of eight plates made of iron.<ref>{{Cite web|url=https://www.metmuseum.org/art/collection/search/26606 |accessdate=2017-11-21 |author= |publisher=[[Metropolitan Museum of Art]] |title=Helmet of Eight Plates in the Korean Style }}</ref> It is speculated that this helmet style was spread to [[Korean peninsula]] from the[[Tibet|Tibetan]] regions. Helmets with similar structure can be seen in [[Tibet]], while both versions of the helmet are made of iron and leather. But Korean-style eight plated helmets are distinguished from those of Tibetan style by its relatively smaller size. Usually a Tibetan-style eight plated helmet measures 21–22 cm in height. But this Korean style helmet measures only 13 cm in height. Currently displayed at the [[Metropolitan Museum of Art]], [[New York City|New York]], the Korean style helmet measures 24.3 cm in length and 21 cm in width and 1065.9 g in weight.<ref name=la>{{cite book |ref=la |author=La Rocca, Donald J. |title=Recent Acquisitions of Tibetan and Mongolian Arms and Armor in the Metropolitan Museum of Art, Part 2. |year=2014 |volume=2 |pages=190-191 |location=New York |publisher=The Metropolitan Museum of Art|access-date=2017-11-21}}</ref>
== Description ==
This kind of helmets called ''Ba Ban'' has historically originated in the 8th century AD. It spanned from 8th century to the 16th century AD. Originally it was seen in [[Tibet]]an region. The reason why it is called the "Helmet of eight plates", because it consists of eight plates made of iron and leather. Surprisingly, many well-preserved eight plated helmets in the Tibetan style can be observed at several Tibetan monasteries’<ref name=tib>{{Cite web|url=http://royaloakarmoury.com/eastern_armour_gallery.php?iden=1 |title=Tibetan Lamellar Helmet |publisher=Royal Oak Armory |author= |accessdate=2017-11-21}}</ref> The [[Tibet|Tibetan]] style helmets are similar to Korean helmets in structure. But [[Tibet]]an ones are quite larger than that of Korean. Usually, a Tibetan style helmet measures 21–22 cm in height and the Korean example at the [[Metropolitan Museum of Art]] in [[New York]] measures only 13 cm in height.<ref name=la /> Since, no enough evidence has been found from the research process, it is controversial whether a chin trap with the helmet was used or not. But neither Korean nor Tibetan eight plated helmets were found themselves with a chin strap.<ref name=tib />
== Notes==
<references group="note" />
==References ==
{{reflist|1}}
== Further reading==
{{refbegin}}
* {{cite book |ref=la |author=La Rocca, Donald J. |title=Warriors of the Himalayas: Rediscovering the Arms and Armor of Tibet |year=2006 |volume=17 |pages=82|location=New York |publisher=The Metropolitan Museum of Art|access-date=2017-11-21}}
{{refend}}
== External links==
* [https://www.metmuseum.org/ Metropolitan Museum of Art website]
[[Category:Helmets]]
[[Category:History of Korea]]
[[Category:Korean Art]]
=Ike Gyokuran=
{{Japanese name|Ike}}
{{Infobox person
| name = Ike Gyokuran
| image =牡丹に竹図-Peony and Bamboo by a Rock MET DP-12232-195.jpg
| caption = 牡丹に竹図 - Peony and Bamboo by a Rock, [[Metropolitan Museum of Art]]
| birth_date = 1727
| birth_name = Machi (町)
| death_date = 1784
| spouse = {{marriage|[[Ike no Taiga]]|1746|1776|end=died}}
| occupation = Painter, calligrapher, and poet
| years_active =
| known_for =
| notable_works =
| residence = [[Gion]]
| other_names = Tokuyama Gyokuran
| native_name = 池玉瀾
| native_name_lang = ja
}}
{{Nihongo|'''Ike Gyokuran'''|池玉瀾||1727–1784}} was a Japanese [[Bunjinga]] painter, calligrapher, and poet.<ref name=":0">{{Cite web|url=http://www.philamuseum.org/exhibitions/108.html|title=Philadelphia Museum of Art – Exhibitions – Ike Taiga and Tokuyama Gyokuran: Japanese Masters of the Brush|author=Philadelphia Museum of Art|website=www.philamuseum.org|access-date=2016-03-05}}</ref> She was famous in [[Kyoto]], Japan, during her lifetime, and she remains a celebrated artist in Japan. <ref name=":1">{{Cite news|url=https://www.nytimes.com/2007/05/18/arts/design/18nang.html|title=Ike Taiga and Tokuyama Gyokuran: Japanese Masters of the Brush – Art – Review|last=Smith|first=Roberta|date=2007-05-18|newspaper=The New York Times|issn=0362-4331|access-date=2016-03-05}}</ref><ref name=":2">{{Cite book|title=Ike Taiga and Tokuyama Gyokuran: Japanese Masters of the Brush|last=Fischer|first=Felice|publisher=Philadelphia Museum of Art|year=2007|isbn=978-0-87633-198-9|location=Philadelphia, PA|pages=33}}</ref>
Her parents gave her the birth name {{Nihongo|Machi|町}}. As a child, she was given the [[art-name]] Gyokuran, most likely by her painting teacher Yanagisawa Kien (1707–1758).<ref name=":3">{{Cite book|title=Japanese Women Artists, 1600–1900|last=Fister|first=Patricia|publisher=Spencer Museum of Art|year=1988|isbn=0-913689-25-4|location=University of Kansas: Lawrence, Kansas|pages=74}}</ref> Gyokuran married fellow artist [[Ike no Taiga]], and she is best known by her married name Ike Gyokuran. Her surname before marriage was Tokuyama, and she is also known as Tokuyama Gyokuran.<ref name=":2" />
== Early life and education ==
Gyokuran began to learn to paint at an early age under famous [[Literati painting|literati]] painter [[Yanagisa Kien]], who was a regular at her mother's teahouse<ref name=":4"></ref>. It is likely that he was the one to introduce her to Ike no Taiga, who was almost among his students.
Gyokuran's husband Taiga taught her the painting style of the ''[[nanga (Japanese painting)|nanga]]'' (Southern painting) movement,<ref name=":4">{{Cite web|url=http://artdaily.com/news/20080/Ike-Taiga-and-Tokuyama-Gyokuran#.Vts9txhViRs|title=Ike Taiga and Tokuyama Gyokuran|last=Villarreal|first=Ignacio|website=artdaily.com|access-date=2016-03-05}}</ref> a Japanese version of a Chinese style. Gyokuran, in turn, taught her husband poetry in the Japanese ''[[waka (poetry)|waka]]'' style, in which she was proficient.<ref name=":3" />
[[File:Two Autumn Poems, second half 18th century Ike Gyokuran.png|thumb|Two Autumn Poems, second half 18th century]]
The couple were renowned for their eccentricity. They created art together, mutually influencing each other, and were also known to play music together for leisure, as equals. This was highly unusual in a country where women were still widely considered inferior to men. It is noted that Gyokuran did not [[Hikimayu|shave her eyebrows, as was customary]] for married women at the time.<ref name=":5">{{Cite book|title=Flowering in the Shadows: Women in the History of Chinese and Japanese Painting|last=Fister|first=Patricia|publisher=University of Hawaii Press|year=1990|isbn=0-8248-1149-6|location=United States|pages=261}}</ref>
== Career and impact ==
[[File:MET DP277565.jpg|thumb| Ike Gyokuran, Fan mounted as a hanging scroll; ink and color on paper. [[Metropolitan Museum of Art]]. ]]
Gyokuran painted folding screens and sliding doors, handheld scrolls, hanging scrolls, and fan paintings.<ref name=":0" /> "It was exceptionally rare for women in 18th century Japan to be painters," according to Anne d’Harnoncourt, director of the Philadelphia Museum of Art.<ref name=":4" /> Gyokuran and her husband Taiga dedicated themselves to making art, living on little money, and sometimes collaborating on art pieces.<ref name=":1" /> She lived with Taiga in a small studio next to the [[Yasaka Shrine|Gion shrine]] in Kyoto. Gyokuran created folding screens, handheld scrolls, hanging scrolls, and fan paintings.<ref name=":0" /> She also often painted small scenes, on which she inscribed her poems in calligraphy.
In 1910, her verses were printed alongside a woodblock print of the Matsuya teahouse at the [[Yasaka Shrine|Gion Shrine]] in the ''Gion sanjo kashū'' (Poem Collection of the Three Women of Gion).
To this day, during Kyoto's yearly [[Jidai Matsuri]] (Festival of the Ages), young women dress up as prominent female figures of Kyoto history, including Gyokuran.
== Awards and honors ==
Some of Gyokuran's works are designated Japanese National Treasures and Important Cultural Properties.<ref name=":0" />
== References ==
{{Reflist}}
== External links ==
* [http://www.philamuseum.org/exhibitions/108.html?page=3 "The Nanga Movement," Philadelphia Museum of Art]
{{Authority control}}
{{DEFAULTSORT:Ike Gyokuran}}
[[Category:1727 births]]
[[Category:1784 deaths]]
[[Category:Japanese painters]]
[[Category:Japanese poets]]
[[Category:Japanese calligraphers]]
[[Category:Japanese women artists]]
[[Category:18th-century Japanese poets]]
[[Category:Japanese women poets]]
[[Category:Women calligraphers]]
[[Category:18th-century Japanese women]]
=Ogata Korin=
{{Infobox artist
|name = Ogata Kōrin<br />尾形光琳
|image =
|caption =
|alt =
|birth_date = {{Birth-date|1658}}
|birth_place = [[Kyoto]], [[Japan]]
|death_date = {{Death date|1716|06|2|df=yes}}
|death_place = [[Kyoto]], [[Japan]]
|nationality = Japanese
|field = {{plainlist|
* [[Painting]]
* [[Japanese lacquerware|Lacquerware]]
* [[Design]]}}
|training =
|movement = [[Rinpa school]]
|works = {{plainlist|
* ''[[Irises screen|Irises]]'' <small>([[List of National Treasures of Japan (paintings)|National Treasure]])</small>
* ''[[Red and White Plum Blossoms]]'' <small>([[List of National Treasures of Japan (paintings)|National Treasure]])</small>
* ''Wind God and Thunder God'' <small>([[Important Cultural Property (Japan)|Important Cultural Property]])</small>
* ''Writing Box with Eight Bridges'' <small>([[List of National Treasures of Japan (crafts: others)|National Treasure]])</small>}}
}}
'''Ogata Kōrin''' ({{lang-ja|尾形光琳}}; 1658 – June 2, 1716) was a [[Japanese people|Japanese]] [[Painting|painter]], [[Japanese lacquerware|lacquerer]] and [[designer]] <ref>''Irises and Red and White Plum Blossoms. Secret of Korin's Designs''. (2015) p. vii.</ref> of the [[Rinpa school]].<ref>Nussbaum, Louis-Frédéric. (2005). "Kōrin" in {{Google books|p2QnPijAEmEC|''Japan Encyclopedia'', p. 561|page=561}}.</ref>
Kōrin is best known for his ''[[byōbu]]'' folding screens, such as ''[[Irises screen|Irises]]'' <ref>{{cite web |url=http://www.columbia.edu/itc/ealac/schirokauer/iris/ |title=Irises |author=<!--Not stated--> |date= |website= |publisher=Columbia University |access-date=2017-09-16 |quote=}}</ref> and ''[[Red and White Plum Blossoms]]'' {{sfn|Hayakawa|Shirono|Miura|Matsushima|2007|p=57}} (both registered [[List of National Treasures of Japan (paintings)|National Treasures]]), and his paintings on ceramics and lacquerware <ref>''Irises and Red and White Plum Blossoms. Secret of Korin's Designs''. (2015) p. vii.</ref> produced by his brother [[Ogata Kenzan]] (1663–1743). Also a prolific designer, he worked with a variety of decorative and practical objects, such as [[Hand fan#East Asia|round fans]], ''makie'' writing boxes or ''inrō'' medicine cases.
He is also credited <ref>''Bridge of Dreams: the Mary Griggs Burke collection of Japanese art''. (2000) p. 189.</ref> with reviving and consolidating the [[Rinpa school]] of Japanese painting, fifty years after its foundation by [[Honami Kōetsu|Hon'ami Kōetsu]] (1558–1637) and [[Tawaraya Sōtatsu]] (c. 1570 – c. 1640). In fact the term "Rinpa", coined in the [[Meiji period]], means "school of [Kō]rin".<ref>''Bridge of Dreams: the Mary Griggs Burke collection of Japanese art''. (2000) p. 310.</ref> In particular he had a lasting influence on [[Sakai Hōitsu]] (1761–1828), who replicated many of his paintings and popularized his work, organizing the first exhibition of Kōrin's paintings at the hundredth anniversary of his death.<ref>Carpenter, John T. (2012). ''Designing Nature: The Rinpa Aesthetic in Japanese Art.'' p. 26.</ref>
== Biography ==
Kōrin was born in [[Kyoto]] into the wealthy Ogata merchant family, dedicated to the design and sale of fine textiles.<ref>''Irises and Red and White Plum Blossoms. Secret of Korin's Designs''. (2015) p. v.</ref> The family business, named ''Karigane-ya'', catered the aristocratic women of the city.<ref>{{cite web |url=http://www.kaikodo.com/index.php/exhibition/detail/magnificent_obsessions/175 |title=33. Ogata Korin (1658–1716) 尾形光琳 |author=<!--Not stated--> |date= |website= |publisher=kaikodo |access-date=2017-09-21 |quote=}}</ref> His father, Ogata Sōken (1621–1687), who was a noted calligrapher in the style of Kōetsu and patron of [[Noh|Noh theater]],<ref>{{cite web |url=http://www.kaikodo.com/index.php/exhibition/detail/magnificent_obsessions/175 |title=33. Ogata Korin (1658-1716) 尾形光琳 |author=<!--Not stated--> |date= |website= |publisher=kaikodo |access-date=2017-09-21 |quote=}}</ref> introduced his sons to the arts.<ref>Fairbrother Strange, Edward. (19115). "[[wikisource:1911 Encyclopædia Britannica/Kōrin, Ogata|Kōrin, Ogata]]" in [[Encyclopædia Britannica Eleventh Edition|Encyclopædia Britannica]] (11th ed.). Cambridge University Press.</ref> Kōrin was the second son of Sōken. His younger brother [[Ogata Kenzan]] was a celebrated [[pottery|potter]] and [[Painting|painter]] in his own right, with whom he collaborated frequently.<ref>''Irises and Red and White Plum Blossoms. Secret of Korin's Designs''. (2015) p. vii.</ref> Kōrin studied under Yamamoto Soken (active ca. 1683–1706) of the [[Kanō school]],<ref>Nussbaum, Louis-Frédéric. (2005). "Kōrin" in {{Google books|p2QnPijAEmEC|''Japan Encyclopedia'', p. 561|page=561}}.</ref> Kano Tsunenobu (1636–1713) and Sumiyoshi Gukei (1631–1705), but his biggest influences were his predecessors [[Hon'ami Kōetsu]] and [[Tawaraya Sōtatsu]].<ref>Fairbrother Strange, Edward. (19115). "[[wikisource:1911 Encyclopædia Britannica/Kōrin, Ogata|Kōrin, Ogata]]" in [[Encyclopædia Britannica Eleventh Edition|Encyclopædia Britannica]] (11th ed.). Cambridge University Press.</ref>
Sōken died in 1687,<ref>{{cite web |url=http://www.kaikodo.com/index.php/exhibition/detail/magnificent_obsessions/175 |title=33. Ogata Korin (1658–1716) 尾形光琳 |author=<!--Not stated--> |date= |website= |publisher=kaikodo |access-date=2017-09-21 |quote=}}</ref> and the elder brother took over the family business, leaving Kōrin and Kenzan free to enjoy a considerable inheritance. After this, Kōrin led a very active social life, but his spendings run him into financial difficulties the following years, partly due to loans made to feudal lords.<ref>Pekarik, Andrew. (1980). ''Japanese Lacquer, 1600-1900.'' p. 57 .</ref> This forced him to pawn some of his treasured possessions. A letter sent by him to a pawnbroker in 1694 regarding "one writing box with deer by Kōetsu" and "one Shigaraki ware water jar with lacquer lid" survives.<ref>Pekarik, Andrew. (1980). ''Japanese Lacquer, 1600-1900.'' p. 57-59 .</ref>
Kōrin established himself as an artist only late in life.<ref>''Irises and Red and White Plum Blossoms. Secret of Korin's Designs''. (2015) p. iv.</ref> In 1701 he was awarded the honorific title of ''hokkyō''<ref>Pekarik, Andrew. (1980). ''Japanese Lacquer, 1600-1900.'' p. 59 .</ref> ("Bridge of the Dharma"), the third highest rank awarded to Buddhist artists, and in 1704 he moved to Edo,<ref>Carpenter, John T. (2012). ''Designing Nature: The Rinpa Aesthetic in Japanese Art.'' p. 25-26.</ref><ref>''Bridge of Dreams: the Mary Griggs Burke collection of Japanese art''. (2000) p. 312.</ref> where lucrative commissions were more readily available. His early masterpieces, such as his ''[[Irises screen|Irises]]'' are generally dated to this period.<ref>{{cite web |url=http://www.columbia.edu/itc/ealac/schirokauer/iris/ |title=Irises |author=<!--Not stated--> |date= |website= |publisher=Columbia University |access-date=2017-09-16 |quote=}}</ref> During this time he also had the opportunity to study the ink paintings of medieval monk painters [[Sesshū Tōyō]] (1420-1506) and [[Sesson Shukei]] (c. 1504 - c. 1589).<ref>Carpenter, John T. (2012). ''Designing Nature: The Rinpa Aesthetic in Japanese Art.'' p. 25-26.</ref> These are seen as important influences in his work from that period, the ''Rough Waves'' painting for example.<ref>Carpenter, John T. (2012). ''Designing Nature: The Rinpa Aesthetic in Japanese Art.'' p. 25-26.</ref>
In 1709 he moved back to [[Kyoto]].<ref>Carpenter, John T. (2012). ''Designing Nature: The Rinpa Aesthetic in Japanese Art.'' p. 25-26.</ref><ref>''Bridge of Dreams: the Mary Griggs Burke collection of Japanese art''. (2000) p. 312.</ref> He built a house with an atelier in Shinmachi street in 1712 and lived there the last five years of his life.<ref>{{cite web |url=http://www.moaart.or.jp/en/facility/korinyashiki/ |title=Korin’s Residence (reconstructed) |author=<!--Not stated--> |date= |website= |publisher=MOA Museum of Art |access-date=2017-09-20 |quote=}}</ref><ref>Pekarik, Andrew. (1980). ''Japanese Lacquer, 1600-1900.'' p. 59 .</ref> His masterpieces from that last period, such as the ''[[Red and White Plum Blossoms]]'' screens, are though to have been painted there.<ref>{{cite web |url=http://www.moaart.or.jp/en/facility/korinyashiki/ |title=Korin’s Residence (reconstructed) |author=<!--Not stated--> |date= |website= |publisher=MOA Museum of Art |access-date=2017-09-20 |quote=}}</ref>
Kōrin died, famous but impoverished<ref>Pekarik, Andrew. (1980). ''Japanese Lacquer, 1600-1900.'' p. 59 .</ref> on 2 June 1716, at the age of 59. His grave is located at the Myōken-ji temple in [[Kyoto]].<ref>{{cite web |url=http://www.kyohaku.go.jp/eng/special/koremade/20151010_rinpa.html |title=RINPA: The Aesthetics of the Capital |author=<!--Not stated--> |date= |website= |publisher=Kyoto National Museum |access-date=2017-09-17 |quote=}}</ref> His chief pupils were Kagei Tatebayashi, Shiko Watanabe<ref>Fairbrother Strange, Edward. (19115). "[[wikisource:1911 Encyclopædia Britannica/Kōrin, Ogata|Kōrin, Ogata]]" in Encyclopædia Britannica (11th ed.). Cambridge University Press.</ref> and Roshu Fukae,<ref>Nussbaum, Louis-Frédéric. (2005). "Kōrin" in {{Google books|p2QnPijAEmEC|''Japan Encyclopedia'', p. 561|page=561}}.</ref> but the present knowledge and appreciation of his work are largely due to the early efforts of his brother Kenzan<ref>Carpenter, John T. (2012). ''Designing Nature: The Rinpa Aesthetic in Japanese Art.'' p. 23.</ref> and later [[Sakai Hōitsu]], who brought about a revival of Kōrin's style.<ref>Fairbrother Strange, Edward. (19115). "[[wikisource:1911 Encyclopædia Britannica/Kōrin, Ogata|Kōrin, Ogata]]" in [[Encyclopædia Britannica Eleventh Edition|Encyclopædia Britannica]] (11th ed.). Cambridge University Press.</ref>
==Works==
{{nihongo|'''[[Irises screen|Irises]]'''|紙本金地著色燕子花図}} is a pair of six-panel ''[[byōbu]]'' [[folding screen]]s made circa 1701–05,{{sfn|Daugherty|2003|p=42}}<ref>{{cite web |url=http://www.columbia.edu/itc/ealac/schirokauer/iris/ |title=Irises |author=<!--Not stated--> |date= |website= |publisher=Columbia University |access-date=2017-09-16 |quote=}}</ref> using ink and color on gold-foiled paper.<ref>{{cite web |url=http://www.nezu-muse.or.jp/en/collection/detail.php?id=10301 |title=Irises |author=<!--Not stated--> |date= |website= |publisher=[[Nezu Museum]] |access-date=2017-09-16 |quote=}}</ref> The screens are among the first works of Kōrin as a ''hokkyō''. It depicts abstracted blue Japanese irises in bloom, and their green foliage, creating a rhythmically repeating but varying pattern across the panels. The similarities of some blooms indicate that a stencil was used.<ref>{{cite web |url=http://www.columbia.edu/itc/ealac/schirokauer/iris/ |title=Irises |author=<!--Not stated--> |date= |website= |publisher=Columbia University |access-date=2017-09-16 |quote=}}</ref> The work shows influence of Tawaraya Sōtatsu, and it is representative of the Rinpa school. It is inspired by an episode in the Heian period text [[The Tales of Ise]].
<gallery class="center" caption="''[[Irises screen|Irises]]''" mode="packed" heights="180px">
KORIN-Irises-L.jpg|
KORIN-Irises-R.jpg|
</gallery>
Each screen measures 150.9 by 338.8 centimetres (59.4 in × 133.4 in). They were probably made for the Nijō family, and were presented to the [[Nishi Honganji]] Buddhist temple in [[Kyoto]], where they were held for over 200 years. They were sold by the temple in 1913, and are now held by the [[Nezu Museum]],<ref>{{cite web |url=http://www.nezu-muse.or.jp/en/collection/detail.php?id=10301 |title=Irises |author=<!--Not stated--> |date= |website= |publisher=Nezu Museum |access-date=2017-09-16 |quote=}}</ref> where they are exhibited occasionally (last time, from April 12 to May 14, 2017<ref>{{cite web |url=http://www.nezu-muse.or.jp/en/exhibition/past2017_n03.html |title=Special Exhibition: Irises and Mountain Stream in Summer and Autumn|author=<!--Not stated--> |date= |website= |publisher=[[Nezu Museum]] |access-date=2017-09-17 |quote=}}</ref>). They are a [[List of National Treasures of Japan (paintings)|National Treasure of Japan]].
Kōrin made a similar work about 5<ref>{{cite web |url=http://www.metmuseum.org/art/collection/search/39664 |title=Irises at Yatsuhashi (Eight Bridges) |author=<!--Not stated--> |date= |website= |publisher=Metropolitan Museum of Art |access-date=2017-09-20 |quote=}}</ref> to 12<ref>{{cite web |url=http://www.nezu-muse.or.jp/popup_e2.html |title=National Treasure Irises of the Nezu Museum and Eight-Bridge of the Metropolitan Museum of Art |author=<!--Not stated--> |date= |website= |publisher=Nezu Museum |access-date=2017-09-20 |quote=}}</ref> years later, another pair of six-panel screens, known as {{nihongo|'''[[Irises screen#Irises at Yatsuhashi|Irises at Yatsuhashi]]'''|八橋図屏風}}. It is a more explicit reference to the ''Yatsuhashi (Eight Bridges)'' episodes from The Tales of Ise, including the depiction of an angular bridge that sweeps diagonally across both screens.<ref>{{cite web |url=http://www.metmuseum.org/art/collection/search/39664 |title=Irises at Yatsuhashi (Eight Bridges) |author=<!--Not stated--> |date= |website= |publisher=Metropolitan Museum of Art |access-date=2017-09-20 |quote=}}</ref>
{{multiple image
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| width=320
| image_style = border:none;
| footer_background = #fff
| header ="[[Irises screen#Irises at Yatsuhashi|Irises at Yatsuhashi]]"
| image1=Irises at Yatsuhashi (left).jpg
| image2=Irises at Yatsuhashi (right).jpg
}}
The screens were made using ink and color on gold-foiled paper and measure 163.7 by 352.4 centimetres (64.4 in × 138.7 in in) each. They have been held by the [[Metropolitan Museum of Art]] in [[New York City]] since 1953, and were last displayed in 2013.<ref>{{cite web |url=http://www.nezu-muse.or.jp/popup_e2.html |title=National Treasure Irises of the Nezu Museum and Eight-Bridge of the Metropolitan Museum of Art |author=<!--Not stated--> |date= |website= |publisher=Nezu Museum |access-date=2017-09-20 |quote=}}</ref>
Both Irises screens were displayed together for the first time in almost a century<ref>{{cite web |url=http://www.nezu-muse.or.jp/popup_e2.html |title=National Treasure Irises of the Nezu Museum and Eight-Bridge of the Metropolitan Museum of Art |author=<!--Not stated--> |date= |website= |publisher=Nezu Museum |access-date=2017-09-20 |quote=}}</ref> in 2012 at the ''"Korin: National Treasure Irises of the Nezu Museum and Eight-Bridge of The Metropolitan Museum of Art"'' exhibition at the [[Nezu Museum]].<ref>{{cite web |url=http://www.metmuseum.org/art/collection/search/39664 |title=Irises at Yatsuhashi (Eight Bridges) |author=<!--Not stated--> |date= |website= |publisher=Metropolitan Museum of Art |access-date=2017-09-20 |quote=}}</ref>
{{nihongo|'''Wind God and Thunder God'''|紙本金地著色風神雷神図}} is a pair of two-folded screens<ref>{{cite web |url=http://www.tnm.jp/modules/r_collection/index.php?controller=dtl&colid=A11189.1&t=search |title=Wind God and Thunder God |author=<!--Not stated--> |date= |website= |publisher=Tokyo National Museum |access-date=2017-09-17 |quote=}}</ref> made using ink and color on gold-foiled paper.<ref>{{cite web |url=http://www.emuseum.jp/detail/100321/001?word=Wind+god+and+Thunder+God&d_lang=en&s_lang=en&class=&title=&c_e=®ion=&era=&cptype=&owner=&pos=1&num=1&mode=simple¢ury= |title=Wind God and Thunder God |author=<!--Not stated--> |date= |website= |publisher=National Institutes for Cultural Heritage |access-date=2017-09-17 |quote=}}</ref> It is a replica of an original work by [[Tawaraya Sōtatsu]] which depicts [[Raijin]], the god of lightning, thunder and storms in the Shinto religion and in Japanese mythology, and [[Fūjin]], the god of wind. Later [[Sakai Hōitsu]], another prominent member of the Rinpa school, painted his own version of the work. All three versions of the work were displayed together for the first time in seventy-five years in 2015, at the [[Kyoto National Museum]] exhibition ''"Rinpa: The Aesthetics of the Capital"''.<ref>{{cite web |url=http://www.kyohaku.go.jp/eng/special/koremade/20151010_rinpa.html |title=RINPA: The Aesthetics of the Capital |author=<!--Not stated--> |date= |website= |publisher=Kyoto National Museum |access-date=2017-09-17 |quote=}}</ref>
<gallery class="center" caption="''Wind God and Thunder God''" mode="packed" heights="200px">
Korin Fujin Raijin.jpg|Kōrin's version
Fujinraijin-tawaraya.jpg|Sōtatsu's original
</gallery>
The screens measure 421.6 by 464.8 centimetres (166 in × 183 in) each.<ref>{{cite web |url=http://www.tnm.jp/modules/r_collection/index.php?controller=dtl&colid=A11189.1&t=search |title=Wind God and Thunder God |author=<!--Not stated--> |date= |website= |publisher=[[Tokyo National Museum]] |access-date=2017-09-17 |quote=}}</ref> At some point [[Sakai Hōitsu|Hōitsu]] owned them, and in fact he painted one of his most famous works in the back of these screens. The monumental two-sided ''byōbu'' screens became a symbol of the Rinpa tradition, but both sides of the screens have since been separated to protect them from damage.<ref>{{cite web |url=http://www.emuseum.jp/detail/100321/001?word=Wind+god+and+Thunder+God&d_lang=en&s_lang=en&class=&title=&c_e=®ion=&era=&cptype=&owner=&pos=1&num=1&mode=simple¢ury= |title=Wind God and Thunder God |author=<!--Not stated--> |date= |website= |publisher=National Institutes for Cultural Heritage |access-date=2017-09-17 |quote=}}</ref> They are now part of the collection of the [[Tokyo National Museum]], where they are exhibited occasionally. They are an [[Important Cultural Property (Japan)|Important Cultural Property]].<ref>{{cite web |url=http://www.tnm.jp/modules/r_collection/index.php?controller=dtl&colid=A11189.1&t=search |title=Wind God and Thunder God |author=<!--Not stated--> |date= |website= |publisher=[[Tokyo National Museum]] |access-date=2017-09-17 |quote=}}</ref>
{{nihongo|'''Red and White Plum Blossoms'''|紙本金地著色紅白梅図}} is a pair of two-panel ''[[byōbu]]'' [[folding screen]]s painted by Kōrin using ink and color on gold-foiled paper.<ref>''Irises and Red and White Plum Blossoms. Secret of Korin's Designs''. (2015) p. iv.</ref> A late masterpiece, completed probably circa 1712–16 in his atelier in [[Kyoto]],<ref>{{cite web |url=http://www.moaart.or.jp/en/facility/korinyashiki/ |title=Korin’s Residence (reconstructed) |author=<!--Not stated--> |date= |website= |publisher=MOA Museum of Art |access-date=2017-09-20 |quote=}}</ref> it is considered his crowning achievement.<ref>{{cite web |url=http://www.moaart.or.jp/en/collections/053/ |title=Red and White Plum Blossoms |author=<!--Not stated--> |date= |website= |publisher=MOA Museum of Art |access-date=2017-09-27 |quote=}}</ref> The simple, stylized composition of the work<ref>Carpenter, John T. (2012). ''Designing Nature: The Rinpa Aesthetic in Japanese Art.'' p. 146.</ref> depicts a patterned flowing river with a [[Prunus mume|white plum tree]] on the left and a red plum tree on the right.{{sfn|Hayakawa|Shirono|Miura|Matsushima|2007|p=58}} The plum blossoms indicate the scene occurs in spring.{{sfn|Nikoru|1997|p=291}}
No documentation exists from before the 20th century on the commission or [[provenance]] of the screens.{{sfn|Daugherty|2003|p=39}} They receive mention in no [[Edo period|Edo-period]] publications on Kōrin's works and were not copied by his followers, which suggests they were not well known. A journal article in 1907{{efn|「尾形光琳筆 梅花図屏風に就て」 ''"Ogata Kōrin hitsu Baika Zu Byōbu ni tsuite"'', in ''Kokka'' (『國華』), issue 201, p. 569 (1907)}} is the first known publication about them, and their first public display came in a 200th-anniversary exhibition of Kōrin's work in 1915.{{sfn|Daugherty|2003|p=43}}
In addition to the use ''[[tarashikomi]]'', the work is notable for its plum flowers depicted using pigment only, without any outline, now a popular technique known as ''Kōrin Plum Flowers''.<ref>{{cite web |url=http://www.moaart.or.jp/en/collections/053/ |title=Red and White Plum Blossoms |author=<!--Not stated--> |date= |website= |publisher=MOA Museum of Art |access-date=2017-09-27 |quote=}}</ref>
<gallery class="center" caption="''[[Red and White Plum Blossoms]]''" mode="packed" heights="300px">
Red and White Plum Blossoms.jpg|
</gallery>
Each screen measures 156.5 × 172.5 centimetres (61.6 × 67.9 in). ''Red and White Plum Blossoms'' belonged for a long time to the [[Tsugaru clan]], but were pursached by [[Mokichi Okada]] in the mid 50s.{{sfn|Daugherty|2003|p=39}} Along with the rest of Okada's collection,{{sfn|Daugherty|2003|pp=39–40}} it is now owned by the [[MOA Museum of Art]] in [[Atami]], where they are displayed a month per year in late winter, the season when the plum blossoms bloom. It is a [[List of National Treasures of Japan (paintings)|National Treasure of Japan]].
==Gallery==
<br />
<center>'''[[Byōbu]] [[folding screen]]s'''</center>
<center><gallery>
File:Cranes, Pines, and Bamboo I.jpg|Cranes, Pines, and Bamboo
File:Autumn Grasses.jpg|Autumn Grasses
File:Black Pines and Maple Tree.jpg|Black Pines and Maple Tree <small>([[Important Cultural Property (Japan)|Important Cultural Property]])</small>
File:The Poet Bo Juyi.jpg|The Poet Bo Juyi
File:Waves at Matsushima.jpg|Waves at Matsushima
File:Cranes (left).png|Cranes
File:Cranes (right).png|Cranes
</gallery></center>
<center><gallery>
File:Cranes, Pines, and Bamboo II.jpg|Cranes, Pines, and Bamboo
File:Tai Gong Wang by Ogata Korin (Kyoto National Museum).jpg|[[Tai Gong Wang]] <small>([[Important Cultural Property (Japan)|Important Cultural Property]])</small>
File:雪松群禽図屏風.png|Ducks and Snow-Covered Pine Trees
File:The Thirty-Six Immortal Poets.png|The Thirty-Six Immortal Poets <small>(Important Art Object)</small>
File:Rough Waves by Ogata Kōrin.jpg|Rough Waves
File:Bamboo and plum tree.png|Bamboo and plum tree <small>([[Important Cultural Property (Japan)|Important Cultural Property]])</small>
File:Flowering Plants in Autumn.jpg|Flowering Plants in Autumn
</gallery></center>
<br />
<center>'''[[Hanging scroll]]s'''</center>
<center><gallery>
File:Nakamura Kuranosuke by Ogata Korin (Yamato Bunkakan).jpg|Portrait of Nakamura Kuranosuke <small>([[Important Cultural Property (Japan)|Important Cultural Property]])</small>
File:The Empress Akikonomu.jpg|The Empress Akikonomu
File:The Tales of Ise, Yatsuhashi.jpg|The Tales of Ise, ''Yatsuhashi''
File:The Immortal Qin Qao.jpg|The Immortal Qin Qao
File:Cormorant Fishing by Ogata Kōrin.jpg|Cormorant Fishing
File:Tiger and Bamboo.jpg|Tiger and Bamboo
File:Hotei by Ogata Kōrin.jpg|Hotei
</gallery></center>
<center>'''[[Crafts]]'''</center>
<center><gallery>
File:WritingBox EightBridges OgataKorin.JPG|Writing Box with Eight Bridges <small>([[List of National Treasures of Japan (crafts: others)|National Treasure]])</small>
File:Writing Box with Sumi bay design.png|Writing Box with Sumi bay design <small>([[Important Cultural Property (Japan)|Important Cultural Property]])</small>
File:Kosode with autumn flower-plants pattern on twill weave fabric by Ogata Kōrin.png|''Kosode'' with autumn flower-plants pattern <small>([[Important Cultural Property (Japan)|Important Cultural Property]])</small>
File:Square dish. Design of poet watching wild geese in underglaze iron brown (front).jpg|Square dish, design of poet watching wild geese <small>([[Important Cultural Property (Japan)|Important Cultural Property]])</small>
File:Square Dish with Courtier Gazing at a Waterfall Design.jpg|Square dish with courtier gazing at a waterfall
File:Three-case inrô with gourd-vine design.jpg|Three-case inrô with gourd-vine design
</gallery></center>
==Notes==
{{reflist|group=lower-alpha}}
{{reflist}}
==References==
{{Portal|Japan|Arts|Visual arts|History}}
*{{EB1911|wstitle=Kōrin, Ogata|author=Edward Fairbrother Strange}}
* Randall, Doanda. (1960). ''Kōrin.'' New York: Crown. [http://www.worldcat.org/title/korin/oclc/001487440 OCLC 1487440]
* Pekarik, Andrew. (1980). ''Japanese Lacquer, 1600-1900.'' The Metropolitan Museum of Art.
* {{cite book
|last = Nikoru
|first = C. W.
|title = Japan: The Cycle of Life
|url = https://books.google.com/books?id=u1OMoSSSEkQC
|year = 1997
|publisher = [[Kodansha International]]
|isbn = 978-4-7700-2088-8
|ref = harv}}
* [http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/153737 ''Bridge of Dreams: the Mary Griggs Burke collection of Japanese art'']. (2000) The Metropolitan Museum of Art Libraries. <small>(fully available online as PDF)</small>
* Nussbaum, Louis-Frédéric and Käthe Roth. (2005). [https://books.google.com/books?id=p2QnPijAEmEC&client=firefox-a ''Japan encyclopedia.''] Cambridge: [[Harvard University Press]]. {{ISBN|978-0-674-01753-5}}; [http://www.worldcat.org/oclc/58053128?referer=di&ht=edition OCLC 58053128]
* {{cite journal
|last = Daugherty
|first = Cynthia
|title = Historiography and Iconography in Ogata Korin's Iris and Plum Screens
|publisher = Kyushu Institute of Technology
|journal = Ningen Kagaku Hen
|issue = 16
|date = March 2003
|pages = 39–91
|url = https://ds.lib.kyutech.ac.jp/dspace/retrieve/2431/Daugherty16.pdf
|ref = harv}}
* {{cite journal
|last1 = Hayakawa
|first1 = Yasuhiro
|last2 = Shirono
|first2 = Seiji
|last3 = Miura
|first3 = Sadatoshi
|last4 = Matsushima
|first4 = Tomohide
|last5 = Uchida
|first5 = Tokugo
|title = Non-Destructive Analysis of a Painting, National Treasure in Japan
|journal = Advances in X-ray Analysis
|volume = 50
|pages = 57–63
|publisher = JCPDS-International Centre for Diffraction Data
|year = 2007
|issn = 1097-0002
|url = http://www.icdd.com/resources/axa/VOL50/V50_07.pdf
|format = PDF
|ref = harv}}
* ''Irises and Red and White Plum Blossoms. Secret of Korin's Designs''. (2015). Nezu Museum.
==External links==
* {{Commonscat-inline|Ogata Korin}}
{{Authority control}}
{{DEFAULTSORT:Ogata, Korin}}
[[Category:1658 births]]
[[Category:1716 deaths]]
[[Category:17th-century Japanese artists]]
[[Category:18th-century Japanese artists]]
[[Category:17th-century painters]]
[[Category:18th-century painters]]
[[Category:17th-century Japanese painters]]
[[Category:18th-century Japanese painters]]
[[Category:Japanese painters]]
[[Category:Japanese lacquerware artists]]
[[Category:People from Kyoto]]
[[Category:17th-century Japanese people]]
[[Category:18th-century Japanese people]]
[[Category:Rinpa school]]
=Kanō Tan'yū=
{{Infobox artist
| image = Kanou Tanyu.jpg
| caption = Portrait of the artist, attributed to pupil [[Momoda Ryûei]].
| birth_date = 4 March 1602
| death_date = 4 November 1674
| nationality = Japanese
| movement = [[Kano school]]
}}[[File:Sanjūrokkasen-gaku - 3 - Kanō Tan’yū - Ōshikōchi no Mitsune.jpg|thumb|Sanjūrokkasen-gaku (Thirty-six Poetry Immortals framed picture) #3: Ōshikōchi no Mitsune]]
{{Use dmy dates|date=April 2012}}
[[Image:Shunkeizu.jpg|right|thumb|upright|A 1672 work by Tan'yū, from the [[Freer Gallery of Art]].]]
{{Japanese name|Kanō}}
{{nihongo|'''Kanō Tan'yū'''|狩野 探幽|extra=4 March 1602 – 4 November 1674}} was one of the foremost Japanese painters of the [[Kanō school]]. His original given name was Morinobu; he was the eldest son of [[Kanō Takanobu]] and grandson of [[Kanō Eitoku]]. Many of the most famous and widely known Kanō works today are by Tan'yū.
In 1617, Tan'yū was appointed by the [[Tokugawa shogunate]] to become the shogunate's first official painter.<ref>{{Cite web|url=http://www.emuseum.jp/detail/100954|title=Portrait of Kanô Tan'yû|last=|first=|date=|website=e-museum: National Treasures and Important Cultural Properties of National Museums, Japan|archive-url=|archive-date=|dead-url=|access-date=2017-02-11}}</ref> Over the following years, he was given many highly prestigious commissions. Over the 1620s and 1630s, he created a number of large-scale works for [[Edo Castle]], [[Nijō Castle]], [[Osaka Castle]], [[Nagoya Castle]], and [[Nikkō Tōshō-gū]].
Prolific in a variety of painting styles, Tan'yū's most famous works are probably those he produced for these large-scale commissions. They are screens and panels, prime examples of the [[Art of the Momoyama period|Momoyama style]], depicting natural subjects such as tigers, birds and plants, in bright colors and with extensive use of gold leaf. The gold, often used to represent clouds, water, or other background elements, would reflect what little light was available indoors, brightening a castle's dark rooms.
Tan'yū was also accomplished, however, in [[Ink and wash painting|monochrome ink painting]] based on the prototypical style of the [[Muromachi period]], ''[[yamato-e]]'' compositions in a style similar to that of the [[Tosa school]], and Chinese style scrolls. His most famous ''yamato-e'' work is a narrative handscroll depicting the life of [[Tokugawa Ieyasu]], the first Tokugawa shogun and major figure in Japanese history. It was after this commission, in 1640, that the artist first took on the "artist name" of Tan'yū.
In addition to being a highly honored and respected painter in his own right, Tan'yū was known as a collector and connoisseur of Chinese paintings. He made sketches and kept records of many of the paintings that passed through his studio, brought to him for authentication.
==See also==
{{commonscat|Early Indonesian coins}}
*[[Kusumi Morikage]]
*[[Piloncito]]
==ReferencesReference==
{{Reflist}}
*Kaputa, Catherine (1985). "Kanō Tan'yū." ''Kodansha Encyclopedia of Japan,'' Tokyo: Kodansha Ltd.
==External links==
*[http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/153737 Bridge of dreams: the Mary Griggs Burke collection of Japanese art], a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on this artist (see index)
*[http://www.metmuseum.org/art/collection/search#!/search?artist=Kano%20Tan%27y%C5%AB$Kano%20Tan%27y%C5%AB Works in the collection of the Metropolitan Museum of Art].
{{commons category|Kanō_Tannyū}}
{{Authority control}}
{{DEFAULTSORT:Kano, Tanyu}}
[[Category:1602 births]]
[[Category:1674 deaths]]
[[Category:Japanese painters]]
[[Category:17th-century Japanese people]]
[[Category:17th-century Japanese artists]]
[[Category:17th-century painters]]
[[Category:17th-century Japanese painters]]
[[Category:Kanō school]]
=Pichangatti=
[[File:Dagger (Pichangatti) with Sheath MET 31.58ab 002june2014.jpg|thumb|right|Pisau belati (''pichangatti'') dengan sarungnya dari abad ke-19.]]
'''Pichangatti''' adalah pisau bermata lebar yang ditemukan di bangsa Kodava di [[Karnataka]], [[India]]. Karakteristik pichangatti adalah gagang peraknya dengan pommel berbentuk bola berbentuk kepala burung nuri.{{sfn|Gahir|Spencer|2006|p=193}} Pichangatti merupakan bagian dari pakaian tradisional pria orang Kodava.
==Asal-usul==
[[File:Coorgi Trditional Dress.jpg|thumb|left|Orang kodava dengan pichangatti yang diselipkan didepan sabuk.]]
Nama ''pichangatti'' adalah bahasa Tamil untuk "pisau tangan". Pichangatti adalah pisau tradisional bangsa Kodava. Ayudha katti adalah pedang tradisional bangsa Kodava. Orang-orang Kodava (Kodava, Kannada) tinggal di wilayah Kodagu, di India barat daya yang sekarang terletak di [[Karnataka]]. Bangsa Kodava sudah tinggal di wilayah tersebut selama lebih dari dua ribu tahun. Perkembangan senjata ayudha katti dimulai disekitar abad ke-17. Ayudha katti pertama kali dikembangkan sebagai alat untuk memotong semak belukar.{{sfn|Gahir|Spencer|2006|p=129}} Bentuk ayudha katti mirip dengan senjata ''yatagan'' di Turki dan ''sosun pattah'' di India Utara.{{sfn|Gahir|Spencer|2006|p=129}}
Selama masa kolonial, Inggris menyebut wilayah tersebut Coorg, korupsi dari "Kodagu". Kata ''kodagu'' berarti "berbukit" atau "curam", nama yang mengacu pada kondisi geografis wilayah tersebut.{{sfn|Atkinson|2016}}
Kodavas dikenal sebagai pejuang yang tidak kenal takut. Untuk melindungi kemerdekaan wilayah mereka, Kodavas melakukan beberapa peperangan dengan tetangga mereka, termasuk dengan Inggris pada tahun 1834. Sebagai tanggapan atas sebuah kerusuhan yang terjadi di dekat Malappuram pada tahun 1884, Inggris menghukum wilayah Kodagu dengan menyita sebagian besar senjata mereka, termasuk ayudha katti. Tercatat 17.295 senjata, 7503 senjata diantaranya adalah senapan, disita oleh pemerintah kolonial. Sebagian besar senjata ini dibuang ke laut, sementara beberapa senjata yang berkualitas tinggi masih bisa dilihat di [[Madras Museum]].{{sfn|Atkinson|2016}}
==Bentuk==
Pichangatti memiliki bentuk yang lebar, berat, dan bermata tunggal. Panjang pichangatti sekitar {{convert|7|inch|cm}}, dengan gagang yang polos dan berakhir dengan pangkal yang bulat. sarung pichangatti dihiasi dengan lempengan kuningan, perak, atau emas. Sebuah rantai melekat pada sarung tersebut, rantai ini membawa bermacam perangkat seperti pinset, pembersih kuku, pembersih telinga, dan sebagainya. Pisau pichangarri selalu dibawa di sisi depan sabuk yang mengusung [[ayudha katti]]. Ciri khas pichangatti lain adalah pangkal gagangnya yang dibentuk seperti kepala burung nuri. Sering kali mata burung nuri tersebut dihiasi dengan [[rubi]] yang tidak dipotong. Gagang pichangatti bertatahkan perak. Terkadang gagang pichangatti terbuat dari gading.{{sfn|Egerton|2002|p=82}}
Sarung pichangatti terbuat dari kayu (atau gading) dan dihiasi dengan logam mulia seperti perak atau kuningan. Sebuah rantai yang terbuat dari perak atau kuningan menghubungkan sarung pichangatti dengan berbagai implement yang digunakan sebagai: tusuk gigi, pinset, pembersih telinga, penusuk, dan artikel untuk membersihkan kuku. Pichangatti hampir sama seperti pisau kantong zaman modern.{{sfn|Stone|2013|p=497}}
==Lihat juga==
{{commonscat|Pichangatti}}
*[[Ayudha katti]]
==Referensi==
{{reflist|30em}}
==Bibliografi==
{{refbegin}}
*{{cite book |last=Egerton |first=Earl Wilbraham Egerton |date=2002 |title=Indian and Oriental Arms and Armour |url=https://books.google.co.id/books?id=chVfUm2Hz3MC |location=Dover |publisher=Courier Corporation |isbn=9780486422299|ref=harv}}
*{{cite book |editor1-last=Gahir |editor1-first=Sunita |editor2-last=Spencer |editor2-first=Sharon |date=2006 |title=Weapon - A Visual History of Arms and Armor |url= |location=New York City |publisher=DK Publishing |isbn=9780756622107 |ref={{sfnref|Gahir|Spencer|2006}} }}
*{{cite book |last=Stone |first=George Cameron |date=2013 |title=A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times |url=https://books.google.co.id/books?id=chVfUm2Hz3MC |location=Dover |publisher=Courier Corporation |isbn=9780486131290|ref=harv}}
{{refend}}
[[Kategori:Pedang]]
[[Kategori:India]]
=Toradar=
[[File:Matchlock Gun MET DP166283.jpg|thumb|480px|right|Toradar ini mungkin digunakan untuk berburu. Dekorasi di gagang matchlock ini menunjukkan figur-figur hewan di hutan seperti kerbau, macan tutul, dan sebagainya.]]
'''Toradar''' adalah sebuah [[matchlock]] yang diciptakan di [[India]] pada abad ke-16. Toradar adalah senjata api yang dipilih oleh India, bahkan hingga abad ke-19, dikarenakan desainnya yang mudah dibuat.
==Sejarah==
Ketika bangsa [[Portugis]] tiba di India pada tahun 1498, mereka membawa dengan mereka senjata api, di antaranya adalah senapan matchlock. Pada saat itu, sudah banyak ahli pembuat senjata di India, dan langsung dimulai dari kedatangan bangsa Portugus ini, pengrajin-pengrajin lokal mulai meniru bentuk matchlock portugis dan mengadopsinya untuk penggunaan lokal. Sebagian besar pengrajin ini mulai menerapkan langgam hiasan yang biasa diaplikasikan pada senjata tradisional India. Dalam kurun waktu yang cepat, sebuah gaya lokal yang khas berevolusi pada matchlock Portugis sampai akhirnya sebuah senjata bernama toradar diproduksi di India.{{sfn|Gahir|Spencer|p=156}}
Toradar tetap menjadi pilihan senjata api yang disukai orang India bahkan hingga sekitar tahun 1830. Alasan mengapa matchlock toradar tetap lebih populer di India dibandingkan dengan senjata-senjata api lebih modern seperti ''wheellock'' dan ''flintlock'' adalah karena lebih mudahnya produksi toradar dan juga lebih murahnya bahan baku yang digunakan untuk produksi toradar.{{sfn|Gahir|Spencer|p=260}}
==Deskripsi==
Sebuah toradar pada dasarnya adalah sebuah matchlock India. Toradar kebanyakan ditemukan di India Utara dan India Tengah yang lebih banyak dipengaruhi oleh [[Kesultanan Mughal]]. Ada dua tipe toradar di India: jenis pertama memiliki bentuk yang sangat tipis dan memiliki panjang dari {{convert|3|ft|cm}} sampai {{convert|6|ft|cm}}. Toradar jenis ini memiliki gagang yang potongannya berbentuk seperti segi lima, dan memilikilaras yang ringan. Jenis kedua memiliki panjang antara {{convert|5|ft|cm}} hingga {{convert|6|ft|cm}}, memiliki gagang yang sedikit melengkung dan potongannya berbentuk seperti intan, dan memiliki laras yang sangat berat, dan membesar di ujungnya. Kedua tipe toradar tersebut memiliki tipe kunci dengan bentuk khas India, yang ditutup dengan pan penutup yang biasanya berayun pada pinnya. Plat besi disamping badan toradar ini memperkuat setiap sisi gagang toradar, dan plat besi ini meluas sampai jarak tertentu di setiap sisi kuncinya.{{sfn|Stone|2013|pp=623-4}}
Laras toradar biasanya diikatkan pada gagang toradar dengan menggunakan gelang kawat atau tali yang terbuat dari kulit, yang sering kali melewati sadel perak di atas laras. Tempat mengamati target di sisi belakang toradar pada tipe pertama memiliki bentuk seperti huruf V, sementara itu pada tipe kedua, tempat mengamati target di sisi belakang toradar memiliki ukuran yang jauh lebih besar dibandingkan dengan tipe pertama. Kedua tipe toradar ini memiliki moncong senapan yang diikat dengan cincin cetakan. Tempat mengamati target di sisi depan toradar ini dibuat tinggi sekali. Tempat mengamati target sisi depan ini sering kali dibentuk menjadi bentuk-bentuk figuratif, misalnya hidung manusia atau kepala harimau.{{sfn|Blair|1979}} Beberapa toradar memiliki laras berbentuk persegi, bahkan dengan lubang senapan berbentuk persegi. Kedua jenis umumnya memiliki clevis untuk tali pengikat dan beberapa memiliki dua tali pengikat.{{sfn|Stone|2013|pp=623-4}}
Dibandingkan dengan matchlock Eropa, pegangan toradar India memiliki bentuk yang jauh lebih sederhana, tidak seperti matchlock Eropa yang memiliki gagang berbentuk seperti ekor ikan. Pegangan ini juga terlalu kecil untuk bisa ditempatkan di bahu. Toradar India biasanya dipegang dibawah lengan.{{sfn|Stone|2013|pp=623-4}}
Sebuah toradar yang digunakan untuk senapan olahraga memiliki lukisan tokoh berburu, misalnya burung, binatang lain, dan lanskap.{{sfn|Stone|2013|pp=623-4}}
==Dekorasi artistik==
[[File:Matchlock Gun MET DP216838.jpg|thumb|left|A Rajasthani Toradar with paintings of flowers.]]
Dekorasi toradar mencerminkan budaya lokal tempat torador dibuat. Untuk matchlock toradar, perajin menghasilkan beberapa seni hiasan yang sangat rumit dari tulang gading atau tatahan logam mulia pada laras dan pada gagang senapan. Sebuah lukisan Kaisar Mughal abad ke-17 [[Shah Jahan]] menggambarkan dirinya memegang sebuah toradar dengan hiasan bunga.{{cite web |url=https://www.metmuseum.org/art/collection/search/32138 |title=Matchlock Gun |author=<!--Not stated--> |date=2017 |website=The Metropolitan Museum of Art |publisher=The Metropolitan Museum of Art |access-date=November 15, 2017 |quote= |ref=harv}} Sebuah toradar dari [[Mysore]] abad ke-18, di negara bagian [[Karnataka]] di [[India]] selatan dihiasi dengan bunga dan dedaunan yang ditorehkan pada seluruh permukaan toradar. Dekorasi ini sepenuhnya disepuh dengan emas. Plat sisi samping yang dipahat dengan ukiran-ukiran komples ini terbuat dari besi. Figur-figur binatang terus dimunculkan didalam torador; sementara itu pemegang gagang toradar memiliki bentuk seperti ular naga. Figur kepala harimau juga dimunculkan di pemicu toradar tersebut. Toradar lain dari Narwar abad ke-19 memiliki kepala harimau di ujung larasnya.{{sfn|Gahir|Spencer|p=157}}
==Referensi==
{{reflist|30em}}
==Bibliografi==
{{refbegin}}
*{{cite book|title=Enciclopedia ragionata delle armi |last=Blair |first=Claude |year=1979|publisher=Arnoldo Mondadori Editore|location=Milano |ref=harv}}</ref>
*{{cite book |editor1-last=Gahir |editor1-first=Sunita |editor2-last=Spencer |editor2-first=Sharon |date=2006 |title=Weapon - A Visual History of Arms and Armor |url= |location=New York City |publisher=DK Publishing |isbn=9780756622107 |ref={{sfnref|Gahir|Spencer|2006}} }}
*{{cite book |last=Stone |first=George Cameron |date=2013 |title=A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times |url=https://books.google.co.id/books?id=chVfUm2Hz3MC |location=Dover |publisher=Courier Corporation |isbn=9780486131290|ref=harv}}
{{refend}}
[[Kategori:Senjata api]]
[[Kategori:Kesultanan Mughal]]
[[Kategori:India]]
=Piha kaetta=
[[File:Knife (Piha Kaetta) with Sheath MET 20.138.2ab 003may2014.jpg|thumb|right|Piha kaetta, salah satu tradisional Sri Lanka. Piha kaetta ini memiliki gagang yang terbuat dari perak.]]
'''Piha kaetta''' adalah sebuah pisau yang berasal dari pulau [[Sri Lanka]]. Piha kaetta memiliki pisau yang punggungnya lurus dan sisi tajamnya melengkung. Piha kaetta diasosiasikan dengan bangsawan Sri Lanka. Pada zaman dahulu, kebanyakan ''piha kaetta'' diproduksi di bengkel-bengkel milik kerajaan. Pisau piha kaetta sering kali ditoreh dengan tatahan perak dan memiliki sarung pedang yagn terbuat dari gading.
==Pisau belati di Asia Selatan==
Selama masa keemasan [[Kekaisaran Mughal]] di India antara abad-16 sampai awal abad ke-18, pedang-pedang untuk alat perang mulai diproduksi secara meluas. Belati ini dikenal dengan kualitasnya yang tinggi, hiasannya yang halus dan rumit, dan bentuknya yang elegan. Bentuk-bentuk elegan pada senjata perang Kekaisaran Mughal ditemukan pada banyak belati dan pisau selama periode tersebut. Bentuk-bentuk ini menunjukkan pengaruh dari dunia Islam yang kuat. Banyak dari belati-belati ini bersifat royal dan hanya dipakai oleh para pangeran atau bangsawan untuk membela diri, untuk berburu, atau untuk sekedar dipamerkan. Dalam pertempuran, mereka adalah senjata penting di pertempuran jarak dekat, dan mampu menusuk baju besi prajurit India.{{sfn|Gahir|Spencer|2006|p=134}}
Antara akhir abad ke-17 sampai abad ke-18, Sri Lanka mulai memproduksi piha kaetta secara lokal. Piha kaetta adalah semacam pisau dengan tepi yang anggun yang didesain serupa dengan desain pisau-pisau lain yang ditemukan di anak benua [[India]]. Berbeda dengan pisau yang ditemukan di India yang dipengaruhi oleh kebudayaan Mughal dan sering kali digunakan dalam pertempuran, pisau piha kaetta milik Sri Lanka lebih sering digunakan untuk pekerjaan sehari-hari seperti pekerjaan pertanian atau di hutan belantara. Piha kaetta dengan desain terbaik dibuat di "empat lokakarya" (''pattal-hatara''), sejenis pabrik kerajaan untuk kelompok pengrajin-pengrajin terpilih yang dipekerjaan khusus untuk istana kerajaan, atau untuk orang lain yang diberikan izin oleh raja. Nama "empat lokakarya" mengacu pada masing-masing lokakarya "permata", "mahkota", "pedang emas", dan "tahta". Di Sri Lanka, seni bangunan, seni lukis, seni ukiran gading, seni perhiasan, dan lain sebagainya berada di tangan sebuah persekutuan pengrajin atau kasta pengrajin yang secara turun menurun selalu menempati posisi yang terhormat.{{sfn|Wright|1907|pp=181-2}}
==Bentuk==
[[File:Dagger (Piha Kaetta) with Stylus and Sheath MET 32.75.251a-c 005june2014.jpg|thumb|left|Piha kaetta ini memiliki stylus yang dibawa didalam sarung pisaunya.]]
Piha kaetta memiliki pisau berat dengan tebal sekitar {{convert|0.5|inch|cm}} sampai {{convert|2|inch|cm}} dan panjang sekitar {{convert|5|inch|cm}} sampai {{convert|8|inch|cm}}. Piha kaetta memiliki panel yang bertatahkan logam mulia di bagian belakang pisanya, dan ujung lurus yang melengkung begitu mendekati tip nya. Nama ''Kaetta'' yang berarti "paruh burung", mungkin mengacu pada ujung melengkungnya.{{sfn|Stone|2013|p=498}}
Piha kaetta yang paling sederhana biasanya terbuat dari baja dengan gagang yang terbuat dari kayu atau tanduk. Piha kaetta berkualitas tinggi selalu memiliki hiasan ornamen yang halus, biasanya di bagian belakang pisau dimana pada bagian tersebut pisau kaetta diukir dengan campuran panel hias perak dan kuningan; atau diukir dengan sangat dalam dan ditutupi dengan daun perak tipis yang tertempel didalam cekungan ukiran. Pegangan piha kaetta berkualitas tinggi biasanya terbuat dari kombinasi bermacam-macam bahan baku seperti logam mulia (emas, perak, kuningan, tembaga, batu kristal, gading, tanduk, baja atau kayu. Gagang ini dibentuk dengan bentuk-bentuk yang sangat khas, terkadang dibentuk seperti kepala sebuah makhluk dari mitologi atau dibentuk seperti ular naga.<ref name="alj">{{cite web |url=http://www.aljantiques.com/inventory/country-of-origin/ceylon/a-fine-sinhalese-knife-pihiya-with-sheath-sri-lanka-late-17th-early-18th-century.html |title=A Fine Sinhalese Knife Piha-Kaetta (Pihiya) with Sheath, Sri Lanka, Late 17th early 18th Century |author=<!--Not stated--> |date=2015 |website=ALJ Antiques |publisher=ALJ Antiques |access-date=November 13, 2017 |quote=}}</ref>{{sfn|Stone|2013|p=498}}
Seringkali terdapat stylus bertatahkan perak dibawa didalam sarung pisau piha kaetta.{{sfn|Stone|2013|p=498}}
==Lihat juga==
{{commonscat|Piha Kaetta}}
==Referensi==
{{reflist|30em}}
==Bibliografi==
{{refbegin}}
*{{cite book |editor1-last=Gahir |editor1-first=Sunita |editor2-last=Spencer |editor2-first=Sharon |date=2006 |title=Weapon - A Visual History of Arms and Armor |url= |location=New York City |publisher=DK Publishing |isbn=9780756622107 |ref={{sfnref|Gahir|Spencer|2006}} }}
*{{cite book |last=Stone |first=George Cameron |date=2013 |title=A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times |url=https://books.google.co.id/books?id=chVfUm2Hz3MC |location=Dover |publisher=Courier Corporation |isbn=9780486131290|ref=harv}}
*{{cite book |last=Wright |first=Arnold|date=1907 |title=Twentieth Century Impressions of Ceylon: Its History, People, Commerce, Industries, and Resources |url=https://books.google.co.id/books?id=eUF_rS8FEoIC |location=|publisher=Asian Educational Services |isbn=9788120613355|ref=harv}}
{{refend}}
[[Kategori:Pisau]]
[[Kategori:Sri Lanka]]
=Topi baja turban=
[[File:Turban Helmet MET DP219400.jpg|thumb|right|Late 15th-century turban helmet in the style of Turkmen armor.]]
Topi baja turban adalah sebuah tipe topi baja dari [[Turki]] yang berukuran besar dan dikenal dengan bentuknya yang seperti bawang dan lekukan nya yang seperti kain. Nama topi baha turban diambil dari cara pemakaiannya yang biasa dipakai di atas turban. Topi baja turban biasa ditemukan di daerah dimana Kekaisaran Ottoman pernah berkuasa.{{sfn|Gahir|Spencer|2006|p=23}}
==Bentuk dan evolusi==
Topi baja Turki paling awal berbentuk kerucut dengan plat, rantai atau bantalan pelindung leher. Sejak pertengahan abad ke-14 hingga kira-kira awal abad ke-16 ukuran topi baja Turki menjadi semakin besar dan sering kali dihiasi dengan ukiran-ukiran kompleks.{{sfn|Alexander|2015|p=70}} Topi baja [[Kesultanan Utsmaniyah]] ini dikenakan oleh prajurit yang mengenakan kain turban di kepalanya, dan oleh karena itu topi baja ini diberi nama topi baja turban. Topi baja turban dikenal dengan bentuk lengkungannya yang berukuran besar. Beberapa contoh topi baja turban memiliki lekukan yang berbentuk spiral dan melandai kebawah, kemungkinan meniru lipatan-lipatan turban. Bentuk khas ini dihasilkan dengan cara menempat piringan besi atau baja tunggal langsung. Finial pada ujung atas topi baja turban dikerjakan secara terpisah. Tepi topi baja turban dipahat membentuk lekukan di atas mata. Selanjutnya pelindung elher yang terbuat dari logam dipasangkan ke bagian tepi topi turban yang kemudian diikat dengan menggunakan tali.{{sfn|Alexander|2015|p=70}} Elemen ''aventail'' topi baja turban, yaitu sebuah jala terbuat dari logam yang fleksibel, menutupi bagian wajah dan leher. Aventail biasanya dipasang dengan segel timbal yang diberi cap simbol yang biasa digunakan di keprajuritan Kekaisaran Utsmaniyah.<ref>{{cite web |url=https://www.metmuseum.org/toah/works-of-art/50.87/ |title=Helmet with Aventail |author=<!--Not stated--> |date=2017 |website=Heilbrunn Timeline of Art History |publisher=The Metropolitan Museum of Art |access-date=November 13, 2017 |quote=}}</ref> Pada bagian depan topi baja turban terdapat batangan besi pelindung hidung yang bisa diatur posisinya. Batangan pelindung hidung ini dipasang ke topi baha turban dengan menggunakan sebuah braket logam yang dipasang di sisi depan topi baja, diantara bukaan untuk mata.{{sfn|Alexander|2015|p=69}}
==Dekorasi==
[[File:Turban Helmet MET DP147136.jpg|thumb|left|Topi baja turban dari akhir abad ke-15 yang bertahtakan perak dan emas.]]
Di Turki Utsmani, kelompok [[Dervish|darwis]] tertentu mengenakan turban yang dilipat dengan jumlah yang mengikuti sebuah peraturan, setiap lipatan mewakili sebuah angka mistis dalam dunia Persufian Islam. Kemungkinan lekukan-lekukan pada topi baja turban dimaksudkan untuk menjadi simbol bahwa perang yang dilakukan oleh prajurit Turki Utsmani tersebut adalah berhubungan dengan misi relijius. Simbolisme agama yang ada pada topi baja turban menunjukkan bahwa pemakainya adalah seorang pejuang dalam sebuah [[Perang Suci]]. Topi baja turban yang berukuran berat ini, bersama dengan baju zirah pengenanya, dimaksudkan untuk dikenakan oleh kavaleri berat.<ref name="holy">{{cite web |url=https://www.metmuseum.org/art/collection/search/21978 |title=Turban Helmet |date=2017 |website=The Metropolitan Museum of Art |publisher=The Metropolitan Museum of Art |access-date=November 13, 2017 |quote=}}</ref>
Karena sifat religius dari helm turban, mereka sering kali topi baja turban tersebut memiliki tulisan kaligrafi Arab yang melambangkan kata-kata Allah yang diambil dari Quran. Tulisan-tulisan tersebut sering kali memuliakan penguasa yang diikuti oleh prajurit tersebut. Kata-kata atau doa-doa yang disadur dari Quram dipercaya dapat memberikan kekuatan tambahan kepada pemakainya atau meminta perlindungan kepada Allah. Tulisan-tulisan ini terkadang bertatahkan emas atau perak, dan dihiasi dengan motif-motif arabesque disekelilingnya. Tambahan tatahn logam mulia biasa dilakukan di kemudian hari ketika topi baja tersebut tidak digunakan dan menjadi semacam barang dekorasi yang dipamerkan. Beberapa topi baja turban berisi tulisan-tulisan yang mengajarkna kebajikan.<ref name="holy"/>
==Lihat juga==
{{commonscat|Turban helmets|Topi baja turban}}
==References==
{{reflist|30em}}
==Cited works==
{{refbegin}}
*{{cite book |last=AlexanderChristie |first=David G.Jan |date=20151996 |title=IslamicAncient Arms and Armor inHistory |chapter=The MetropolitanEarly MuseumIndonesian ofEconomy Art|editor-last=Miksic |urleditor-first=https://books.google.co.id/books?idJohn |url=QS-pCwAAQBAJ |location=New York CitySingapore |publisher=MetropolitanDidier Museum of ArtMillet |isbn=97815883957029813018267 |author-link= |ref=harv }}
*{{cite book |editor1-last=Gahir |editor1-first=Sunita |editor2-last=Spencer |editor2-first=Sharon |date=2006 |title=Weapon - A Visual History of Arms and Armor |url= |location=New York City |publisher=DK Publishing |isbn=9780756622107 |ref={{sfnref|Gahir|Spencer|2006}} }}
*{{cite book |last=Stone |first=George Cameron |date=2013 |title=A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times |url=https://books.google.co.id/books?id=chVfUm2Hz3MC |location=Dover |publisher=Courier Corporation |isbn=9780486131290|ref=harv}}
{{refend}}
{{Helmets}}
[[Kategori:Turki]]
[[Kategori:Topi]]
[[Category:Ancient currencies]]
=Rudus=
[[Category:Medieval currencies]]
{{Infobox weapon
[[Category:Modern obsolete currencies]]
|name= Rudus
| image= Sword (Rudus) and Scabbard MET DP701267.jpg
| image_size = 350
|caption= A rudus with a style distinctive to the region of northern Sumatra inhabited by the [[Acehnese people|Aceh]] and [[Pakpak people]].
|origin= [[Malay]] of [[Sumatra]]
|type= [[Sword]]
<!-- Type selection -->
|is_bladed= Yes
<!-- Service history -->
|service=
|used_by= [[Malay people]]
|wars=
<!-- Production history -->
|designer=
|design_date=
|manufacturer=
|unit_cost=
|production_date=
|number=
|variants=
<!-- General specifications -->
|spec_label=
|weight=
|length=
|part_length=
|width=
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<!-- Bladed weapon specifications -->
|blade_type=
|hilt_type= Wood
|sheath_type= Wood
|head_type=
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}}
A '''Rudus''' is a sword or cutlass associated with the [[Malay people|Malay culture of Sumatra]]. Together with the ''pemandap'', the rudus is among the largest swords of Malay people. Rudus is also a symbol of certain Malay state in the Island, e.g. the Province of [[Bengkulu]] in [[Sumatra]], [[Indonesia]].{{sfn|Newbold|1839|p=212}}
=Batu Goa=
Rudus adalah senjata pedang atau golok yang diasosiasikan dengan kebudayaan [[Melayu]] di Sumatera. Bersama dengan pemandap, rudus termasuk kedalam senjata berukuran terbesar bangsa melayu.
[[File:Goa Stone and Gold Case MET DP116021.jpg|thumb|[https://www.metmuseum.org/art/collection/search/454738 Goa Stone and container], probably from Goa, India, late 17th–early 18th century.]]
A '''Goa stone''' is a man-made [[Bezoar|bezoar]] that is considered to have medicinal and [[Talisman (disambiguation)|talismanic]] properties.<ref>{{cite web|title=Goa Stone with Gold Case|url=https://www.metmuseum.org/art/collection/search/454738|website=The Metropolitan Museum of Art|publisher=The Metropolitan Museum of Art|accessdate=19 November 2017}}</ref> Goa stones were manufactured by [[Jesuits]] in the late [[Seventeenth century|seventeenth century]] in [[Goa]], [[India]], because naturally occurring bezoars were scarce.<ref>{{cite web|last1=Bailly|first1=Muriel|title=Foolish Remedies: Goa Stone|url=https://wellcomecollection.org/articles/foolish-remedies-goa-stone|website=Wellcome Collection|publisher=Wellcome Collection|accessdate=19 November 2017}}</ref> Their inventor was the Florentine lay brother Gaspar Antonio, and a Jesuit monopoly was confirmed by the Portuguese on March 6, 1691.<ref>{{Cite book|url=https://books.google.com/books?id=-aA5AQAAIAAJ&pg=PA317|title=An Historical and Archæological Sketch of the City of Goa: Preceded by a Short Statistical Account of the Territory of Goa|last=Fonseca|first=José Nicolau da|date=1878|publisher=Thacker & Company, limited|year=|isbn=|location=|pages=317|language=en}}</ref> They were created by combining organic and inorganic materials including hair, shells, tusks, resin, and crushed gems, then shaping the materials into a ball and gilting it. Like [[bezoar]] stones, Goa stones were thought to prevent [[disease]] and cure [[poisoning]].<ref>{{cite web|title=Bezoar Stone with Case and Stand|url=https://www.metmuseum.org/art/collection/search/452963|website=The Metropolitan Museum of Art|publisher=The Metropolitan Museum of Art|accessdate=19 November 2017}}</ref> They could be administered by shaving off small pieces into a drinkable beverage like [[water]], [[tea]], or [[wine]].
Goa stones were kept in ornate, solid [[gold]] or gilded cases that were believed to enhance the medicinal properties of the stones.<ref>{{cite web|last1=Grundhauser|first1=Eric|title=The Man-Made Gut Stones Once Used to Thwart Assassination Attempts|url=https://www.atlasobscura.com/articles/the-manmade-gut-stones-once-used-to-thwart-assassination-attempts|website=Atlas Obscura|publisher=Atlas Obscura|accessdate=19 November 2017}}</ref> The cases usually featured a busy network of [[filagree]], occasionally adorned with ornaments of animals, including [[monkeys]], [[unicorns]], [[dogs]], and [[parrots]].<ref>{{cite web|last1=Ekhtiar|first1=Maryam|title=Paradox|url=https://www.youtube.com/watch?v=4I_5H5EetEE|website=YouTube|publisher=The Metropolitan Museum of Art|accessdate=19 November 2017}}</ref>
==Description==
The rudus is associated with the Islamic [[Malay culture]]. It is found to be more common in Sumatra than in the Malay peninsula. Together with the pemandap, the rudus is considered to be a symbol of the Sumatran Malay culture. The [[Acehnese people]] and the Malay of [[Bengkulu]] are recorded to have the rudus as their cultural identity. Rudus is also found in the Malay [[Banjar people]] of [[South Kalimantan]], where it was an official traditional weapon of the province of South Kalimantan, together with the [[kuduk]].{{sfn|Newbold|1839|p=212}}
== References ==
Rudus diasosiasikan dengan kebudayaan melayu. Rudus lebih umum ditemukan di Sumatera daripada di tanjung melayu. Bersama dengan pemandap, rudus adalah simbol bangsa Melayu di Sumatera. Orang Aceh dan orang Melayu di Propinsi Bengkulu memasukkan rudus sebagai bagian dari identitas kebudayaannya. Rudus juga merupakan senjata tradisional orang-orang Banjar di Kalimantan Selatan, bersama dengan senjata kuduk.
<!-- Inline citations added to your article will automatically display here. See https://en.wiki-indonesia.club/wiki/WP:REFB for instructions on how to add citations. -->
{{reflist}}
In the Islamic period of Indonesia, the island of Sumatra was divided into multiple small sultanates that were at war with each other. The province of [[Bengkulu]] in South Sumatra alone had many sultanates, among the sultanates were the Sultanate of Sungai Serut, Selebar, Pat Petulai, Balai Buntar, Sungai Lemau, Sekiris, Gedung Agung and Marau Riang. These warring sultanate states would equip their warriors with weapons e.g. the [[badik]], rambai ayam and rudus. Rudus was also used in the ceremony of the election of the datuk, the chief of the [[adat]].<ref name="beng"/>
Selama masa periode Islam di Indonesia, pulau Sumatera terbagi atas kerajaan-kerajaan kecil yang saling berpernag satu sama lain. Masing-masong kerajaan ini memiliki prajuritnya masing-masing dan mengembangkan berbagai macam senjata perang seperti badik, rambai ayam, dan rudus. Selain sebagai senjata perang, rudus juga digunakan dalam upacara pengangkatan datuk.
During the colonial period, rudus was used by the natives as a form of resistance toward the colonial government. Because of this romanticized patriotic notion of using the rudus to rise against the oppressor, the rudus is featured in the seal of the [[Bengkulu]] province to symbolize heroism.<ref name="beng">{{cite web |url=http://www.kamerabudaya.com/2017/05/inilah-5-senjata-tradisional-dari-bengkulu.html |title=5 Senjata Tradisional Bengkulu |trans-title=Five Traditional Weapon of Bengkulu |language=Indonesian |publisher=Kamera Budaya |website=Kamera Budaya |ref=harv |date=2017}}</ref>
Selama masa kolonial, rudus digunakan oleh penduduk asli sebagai bentuk perlawanan terhadap pemerintah kolonial. Karena gagasan patriotik yang romantis ini dengan menggunakan rudus untuk bangkit melawan penindas, rudus ditampilkan di meterai provinsi Bengkulu untuk melambangkan kepahlawanan.
==Form==
[[File:Bengkulu_coa.png|thumb|120px|left|The seal of the province of [[Bengkulu]] features two rudus.]]
Rudus terdiri dari mata (secara harfiah "mata", mata pisau), ulu ("gagang"), dan sarung ("sarung"). [2]
Rudus sering ditulis dengan tulisan Jawi di bagian pedang, mis. pada pisau atau di gagangnya Skrip Jawi adalah sejenis alfabet Perso-Arab yang digunakan untuk menulis bahasa Melayu, terutama oleh orang Aceh, orang Banjar, dan Minangkabau. Pembuat pedang rudus akan mengukir tanggal selesainya pedang, serta namanya dan desa asalnya. Namun, dalam beberapa kasus, prasasti itu menunjukkan tanggal hiasan ulang pisau itu. Sebuah rudus yang disimpan di Metropolitan Museum of Art di New York City memiliki prasasti yang mengidentifikasi bahwa seniman tersebut berasal dari sebuah desa di Semenanjung Malaysia, namun bentuk hiasannya tidak endemik di Semenanjung Malaysia, namun lebih ke wilayah Sumatera utara yang dihuni oleh orang Aceh dan Batak Pakpak. Ini menunjukkan bahwa rudus dibuat di Sumatera dan kemudian didekorasi di negara tetangga Malaysia. [3]
Prasasti bisa ditulis di atas pisau atau di gagangnya. Contoh Museum Metropolitan Art memiliki prasasti bertatahkan emas. Beberapa memilih untuk mengukirnya di gagang kayu. [3]
Rudus dibawa tersandang di samping.
The rudus consists of the ''mata'' (literally "eyes", the blade), the ''ulu'' ("hilt"), and the ''sarung'' ("sheath").<ref name="beng"/>
The rudus is often inscribed with [[Jawi alphabet|Jawi script]] at parts of the sword, e.g. at the blade or at the hilt. The Jawi script is a kind of Perso-Arabic alphabet that was used for writing the Malay language, especially by the [[Aceh people|Acehnese]], [[Banjar people|Banjarese]], and [[Minangkabau people|Minangkabau]]. The maker of the rudus sword would carve the date of the completion of the sword, as well as his name and his village of origin. In some cases however, the inscription indicated the date of the re-decoration of the blade. A rudus kept in the [[Metropolitan Museum of Art]] in [[New York City]] has inscription which identifies that the artist came from a village in Peninsular Malaysia, however the shape of the decoration is not endemic to the Peninsular Malaysia, but more to the northern Sumatran region which is inhabited by the [[Aceh people|Aceh]] and [[Pakpak people|the Batak Pakpak people]]. This indicates that the rudus was made in Sumatra and then decorated in neighboring Malaysia.<ref name="met"/>
Inscriptions can be written on the blade or on the hilt. The Metropolitan Museum of Art example has the inscriptions inlaid with gold. Some chose to carve it on its wooden hilt.<ref name="met">{{cite web |url=https://www.metmuseum.org/art/collection/search/662961 |title=Sword (Rudus) and Scabbard |language=Indonesian |ref=harv |publisher= The Metropolitan Museum of Art |website= The Metropolitan Museum of Art|date=2017}}</ref>
The rudus is carried slung at the side.
==References==
{{reflist|30em}}
==Cited works==
{{refbegin}}
*{{cite book |last=Newbold |first=T.J. |date=1839 |title=Political and Statistical Account of the British Settlements in the Straits of Malacca |url=https://books.google.co.id/books?id=RMcNAAAAQAAJ |location= |publisher=Oxford University |page= |ref=harv}}
{{refend}}
{{Indonesian Weapons}}
[[Category:Swords]]
[[Category:Blade weapons]]
[[Category:Weapons of Indonesia]]
=Kulah khud=
[[File:Helmet MET DP152944.jpg|thumb|right|A style of helmet known as top in India. This top came from the Deccan region.]]
A '''kulah khud''' (known in India as '''top''') is a type of helmet worn by warriors across much of Indo-Persian world from late medieval times onward. Characteristic features are the mail aventail veil, the spike holder on top, and two to three plume holders.{{sfn|Gahir|Spencer|2006|p=23}}
Kulah khud (dikenal di India dengan nama top) adalah sebuah tipe topi baja yang digunakan oleh prajurit-prajurit di daerah Indo-Persia dimulai dRi Abad Pertengahan. Ciri-ciri kulah khud adalah pelindung rantai yang terpasang di bagian bawah helm, duri di atas, dan dua tempat bulu di sisi kiri dan kanan.
==Form and origin==
Kulah khud mungkin berasal dari Asia Tengah. [2] Mereka dicatat untuk dipakai sebagian besar orang Indo-Persia di wilayah ini, mis. orang Arab, Persia, Turki dan India. Mereka biasanya terbuat dari baja. Kulah khud berbentuk mangkuk, baik rendah maupun datar, atau tinggi dan runcing. Ini mungkin berisi soket spike di bagian atas helm, yang menyerupai ujung tombak dengan bagian seperti salib. Dua (atau tiga) pemegang plume dilekatkan pada kedua sisi tengkorak, digunakan untuk memasang bulu seperti egret. [3] [4]
Fitur kulah khud yang paling mencolok adalah aventail surat besi dan kuningan atau kuningan dan tembaga yang tergantung di dasar helm untuk melindungi leher, bahu, dan bait pada wajah. Terkadang, surat aventail meluas ke bawah untuk menutupi mata dan bahkan hidungnya. Ujung bawah aventail surat sering bekerja dalam bentuk lonjakan segitiga, sehingga bisa tetap terbungkus relatif di sisi depan dan belakang bahu pejuang. [4]
Batang hidung geser yang terbuat dari besi atau baja menempel pada bagian depan helm dengan braket dan dapat disesuaikan pada posisinya. Bila tidak digunakan, bar hidung bisa diikat dengan kaitan dan kait, atau kadang dengan sekrup set. Dua ujung bar hidung diperluas menjadi piring, membentuk semacam finial. Di beberapa helm India, ujung bawah batang hidung sangat membesar dalam bentuk bulan sabit sehingga menutupi sebagian besar wajah di bawah mata. Ada versi langka dari kulah khud dimana ada tiga besi hidung untuk melindungi hidung dan pipi. [4]
The kulah khud probably originated in Central Asia.{{sfn|Gahir|Spencer|2006|p=170}} They were recorded to be worn by most Indo-Persians of the region, e.g. the [[Arabs]], [[Persian]]s, [[Turkish people|Turkish]] and [[Indian people|Indian]]. They were usually made of steel. Kulah khud is bowl-shaped, either low and flat, or high and pointed. it may contain a spike socket at the top of the helmet, which resembles a spearhead with its cross-like section. Two (or three) plume holders are attached on either side of the skull, used to mount feathers such as the [[egret]].{{sfn|Gahir|Spencer|2006|p=268}}{{sfn|Stone|2013|p=51}}
The kulah khud's most striking feature is the iron-and-brass or brass-and-copper mail aventail that hung at the base of the helmet to protect the neck, shoulders, and the temple of the face. Sometimes, the mail aventail extends down to cover the eyes and even the nose. The low end of the mail aventail is often worked in a form of triangular spikes, so that they could stay relatively affixed on the front- and back-side of the warrior's shoulder.{{sfn|Stone|2013|p=51}}
A sliding nasal bar made of iron or steel is attached to the front of the helmet with a bracket and can be adjusted in position. When not in use, the nasal bar could be fastened up by a link and hook, or sometimes by a set screw. The two ends of the nasal bar expanded into plates, forming a kind of finial. In some of the Indian helmets, the lower end of the nasal bar is enormously enlarged in a crescent form so that it cover most of face below the eyes. There is a rare version of the kulah khud where there are three nasal irons to protect the nose and the cheeks.{{sfn|Stone|2013|p=51}}
==Decoration==
[[File:Helmet, Arm Guard, and Shield MET 36.25.64 006mar2015.jpg|thumb|left|A highly ornate top from 18th-century Mughal warrior.]]
The kulah khud has a relatively similar identifiable form, but their decoration greatly varies. Parts of the kulah khud, especially the skull and the nasal bar, were heavily decorated with patterned motifs of inlaid brass, silver or gold; or decorated with figural images. A Mughal top helmet features calligraphic inscriptions from [[Quran]], supposedly to protect the wearer from harm or to gain a speedy victory. A top discovered in [[Gwalior]], India, features a skull-and-crossed-bones motif, a sign of European influence. The upper and lower finial of the nasal bar is also the focus of artistic decoration in the kulah khud. One example is an image of the elephant-headed Hindu god [[Ganesha]] carved on the upper finial of the nasal bar of a Sikh top.{{sfn|Gahir|Spencer|2006|p=268}}
Kulah khud memiliki bentuk pengenal yang relatif sama, namun dekorasi mereka sangat beragam. Bagian dari kulah khud, terutama tengkorak dan nasal bar, dihiasi dengan motif bermotif kuningan, perak atau emas bertatah; atau dihiasi dengan gambar figural. Helm top Mughal menampilkan prasasti kaligrafi dari Quran, yang seharusnya melindungi pemakainya dari bahaya atau untuk mendapatkan kemenangan yang cepat. Bagian atas yang ditemukan di Gwalior, India, menampilkan motif tengkorak dan lintang tulang, tanda pengaruh Eropa. Bagian atas dan bawah nasal bar juga merupakan fokus hiasan artistik di kulah khud. Salah satu contohnya adalah gambar dewa Hindu berkepala gajah Ganesha yang diukir di ujung atas batang hidung bagian atas Sikh.
==Revival==
Despite modernization of Iran’s military in the nineteenth century, traditional armor continued to be manufactured. They are often served only for military parades, as costume for religious or historic plays, or as souvernirs. <ref>{{cite web |url=https://www.metmuseum.org/art/collection/search/25031 |title=Helmet (Khula Khud) |author=<!--Not stated--> |date= |website= |publisher= |access-date= |quote=}}</ref>
Meskipun modernisasi militer Iran di abad kesembilan belas, armor tradisional terus diproduksi. Mereka sering dilayani hanya untuk parade militer, sebagai kostum untuk drama religius atau sejarah, atau sebagai souvernir.
==Lihat juga==
{{commonscat|Kulah khud}}
==Referensi==
{{reflist|30em}}
==Bibliografi==
{{refbegin}}
*{{cite book |editor1-last=Gahir |editor1-first=Sunita |editor2-last=Spencer |editor2-first=Sharon |date=2006 |title=Weapon - A Visual History of Arms and Armor |url= |location=New York City |publisher=DK Publishing |isbn=9780756622107 |ref={{sfnref|Gahir|Spencer|2006}} }}
*{{cite book |last=Stone |first=George Cameron |date=2013 |title=A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times |url=https://books.google.co.id/books?id=chVfUm2Hz3MC |location=Dover |publisher=Courier Corporation |isbn=9780486131290|ref=harv}}
{{refend}}
[[Kategori:Perang]]
=Dao=
{{Infobox weapon
|name= Dao
| image= Sword (Dao) with Scabbard and Baldric MET 36.25.1630a b 001 Mar2017.jpg
| image_size = 300px
|caption= Assamese Dao with scabbard, 19th-century
|origin= [[India]], [[Assam]] and [[Nagaland]]
|type= Sword
<!-- Type selection -->
|is_bladed= Yes
<!-- Service history -->
|service=
|used_by= [[Naga people]]
|wars=
<!-- Production history -->
|designer=
|design_date=
|manufacturer=
|unit_cost=
|production_date=
|number=
|variants=
<!-- General specifications -->
|spec_label=
|weight={{convert|266.5|g|oz}}
|length= {{convert|45|cm|inch}}-{{convert|65|cm|inch}}
|part_length=
|width={{convert|5.1|cm|inch}}
|height=
|diameter=
|crew=
<!-- Bladed weapon specifications -->
|blade_type= Single edge
|hilt_type= wood, cane
|sheath_type= wood, cane
|head_type=steel
|haft_type=
}}
'''Dao''' is the national sword of the [[Naga people]] of [[Assam]] and [[Nagaland]], [[India]]. The sword, with its wooden hilt, and unique square form is used for digging as well as for killing.{{sfn|Burton|1987}}
Dao adalah senjata nasional dari orang Naga di [[Assam]] dan [[Nagaland]] di India. Dao memiliki fungsi yang beragam, mulai dari untuk berburu atau untuk memggali.
==Form==
Golok dao ditemukan di Assam dan Nagaland di timur laut India dimana orang-orang Naga tinggal. Dao memliki bentuk yang tebal dan berat, dengan panjabg bervariasi atara 45 hingga 65 centimeter. Bentuk dao unik karena ujungnya pedangnya melebar diujung dan mengecil di pangkal, sehingga bentuknya seperti kotak. Bentuk ini juga ditemukandi pedang dha, yang kemungkinan merupakan evolusi dari bentuk dha melalui kebudayaan Kachin di Burma.
Pedang dao berbentuk hampir lurus dengan lengkungan yang sangat tipis yang hanya dapat terlihat jika diobservasi lebih teliti. Pedang dao memiliki pinggir seperti dipahat. Bentuk uniknya adalah pedangnya menipis di pangkal dan melebar di ujung.
Pegangan dari dao terbuat dari kayu dan memiliki bentuk yang sangat sederhana, tanpa pelindung atau pangkal yang membesar. Akar bambu dianggap sebagai bahan baku paling baik untuk sebuah dao. Pegangan dao dililit dengan semacam anyaman untuk meyediakan pegangan yang kuat. Terkadang tutup perunggu ditempatkan dipangkal pegangan dao. Beberapa pegangan dao terbuat dari gading.
The dao broadsword can be found in the northeastern region of [[Assam]] and [[Nagaland]] in [[India]] where the [[Naga people]] lives. The dao has a thick and heavy form, with length varies between {{convert|45|cm|inch}} to {{convert|65|cm|inch}}. The unique design of this long backsword is that instead of a point, the tip of the sword is a bevel, creating an appearance of a squarish shape. This form is also found in the Burmese [[dha (sword)|dha]] whose form is derived from the dao. The form of the dao was first adopted by the [[Kachin people]] who live along the Assam-Burma border and to the east, in the most mountainous regions of [[Upper Burma]]. From here the form would evolve to the more elongated dha.{{sfn|Greaves|Bowditch|Winston|2005}}
The blade of the Dao is almost straight, with a very minimal curve that can only be discerned upon close examination. The blade is heavy and chisel-edged. It has a unique form that it is narrowest at the hilt and the gradually broaden to the endpoint.{{sfn|Stone|2013|p=203}}
The wooden hilt has a very simple shape, without a guard or without a distinguished pommel. Bamboo root is considered to be the best material for the hilt. The grip of the handle is sometimes wrapped with basketry. Sometimes the hilt is decorated with a bronze cap at the bottom.{{sfn|Greaves|Bowditch|Winston|2005}} The hilt may also be made of ivory, and occasionally can be well-carved.{{sfn|Stone|2013|p=203}}
Dao is usually carried in an open-sided wooden scabbard which is fastened to a [[rattan]] belt hoop.{{sfn|Stone|2013|p=203}} The scabbard is centrally hollowed out on one face.{{sfn|Greaves|Bowditch|Winston|2005}}
==Multi-function==
Dao mungkin merupakan satu-satu ya alat yang dipakai oleh orang Naga. Dao digunakan untuk bermacam-macam hal misalnya untuk membangun rumah, untuk menebang pohon, untuk menggali, untuk membuat anyaman, dwn untuk membuat perabot kayu. Dao juga digunakan sebagai senjata.
The dao is almost the only tool that was used by the Naga people. It is used for many purposes e.g. for building houses, to clear the forest, to dig the earth, to make the women's weaving tools, and to create any kind of wooden objects. The dao is also used as a weapon.{{sfn|Stone|2013|p=203}}
==References==
{{reflist|30em}}
==Cited works==
{{refbegin}}
*{{cite book |title=The Book Of The Sword |last=Burton |first=Richard F. |publisher=Dover |year=1987 |location=London |isbn=0-486-25434-8 |ref=harv}}
*{{cite web |url=http://www.arscives.com/historysteel/continentalsea.article.htm |title=THE SWORDS OF CONTINENTAL SOUTHEAST ASIA |last1=Greaves |first1=Ian A. |last2=Bowditch |first2=Mark I. |last3=Winston |first3=Andrew Y. |date=2005 |website=Ars Cives Creativity |publisher=Ars Cives Creativity |access-date=November 15, 2017 |quote= |ref=harv}}
*{{cite web |url=http://www.vikingsword.com/ethsword/nagadao/index.html |title=Sword-daos of the Hill Tribes of Assam and Nagaland (northeastern India) and of the Kachin Peoples (northern Burma (Myanmar)) |last=Jones |first=Lee A. |date=1999 |website=Viking Sword |publisher=Viking Sword |access-date=November 15, 2017 |quote= |ref=harv}}
*{{cite book |last=Stone |first=George Cameron |date=2013 |title=A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times |url=https://books.google.co.id/books?id=chVfUm2Hz3MC |location=Dover |publisher=Courier Corporation |isbn=9780486131290|ref=harv}}
*{{cite book |last=van Zonneveld |first=Albert G. |date=2001 |title=Traditional Weapons of the Indonesian Archipelago |url=https://books.google.co.id/books?id=DMneAAAAMAAJ |location=|publisher=C. Zwartenkot Art Books |isbn=9789054500049|ref=harv}}
{{refend}}
{{Swords by region}}
[[Category:SoutheastHistory Asianof swordsmedicine in India]]
[[Category:BladeColonial weaponsGoa]]
[[Category:Jesuit Asia missions]]
[[Category:Containers]]
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