The armor is comprised of a round helmet with a neck protector and a crescent-moon shaped ornament; a mask with fake mustache; an upper-body protector with sleeves from waist down and paulownia crest in the middle; a thigh cover; two metal leg protectors; two arm and hand protectors. The suit is stored in a black lacquered box with the gold crest.
The helmet is made of red-painted metal lined with indigo-died cotton fabric and deer skin leather trim, which is attached to the metal helmet. The cotton is quilted with indigo-dyed cotton threads. There are two loops on side and one loop in the back, to hold a code for tying below the wearer’s chin. The code is indigo-dyed and then plaited; there are some fading areas. On the outside of helmet, the paulownia crest is on side flaps (to protect ears). There is a hole in the middle of the helmet for a head ornament. The metal leaves are interlaced with cotton strings. Ceremonial knots of yellow code on the back. It weights about 10 pounds.
The helmet ornament is in crescent moon shape and made of lacquered wood in gold color. There is a slot on the back to place the ornament in the helmet. The slot is nailed to the wood; it looks like a later creation.
The mask covers below the wearer’s eyes, ears, nose and mouth, and down to front neck. The upper part is made of metal; the neck is in metal pieces and cotton codes. The mustache is made of animal hair. The mouth has fake teeth painted with gold.
The arm and hand protectors are made of red-painted metal shell and silk fabric with small flower motifs lined with deerskin and indigo-dyed cotton fabric. The shell is consisted of small metal panels connected with chains. The hand protectors have three different crests. The protectors are tied with indigo dyed cotton codes on back.
The leg protectors are also made of red-painted metal with silk fabric lining. On the metal surface of each piece, there are the artist’s signature and seal.
The body is consisted of metal panels, lacquered with gold in design of peonies and vines. The family crest appears in the middle. Metal knots are in chrysanthemum design. Inside is lined with leather printed with lions and peonies. The shoulder pads are made of cotton quilt in tortoise shell design.
The apron for thighs is made of silk fabric quilt and metal panels. The metal panels protect thighs. The apron belt is made of cotton kasuri; the back is lined with indigo dyed cotton.
The thick belt for the body is made of padded silk fabric.
Elaborate suit of armors were produced since the mid-Heian period (794 - 1185) throughout the Edo period (1615 - 1868) in Japan. Battle field was a place to show one's wealth and lineage, as well as heroism; armors thus embodied sophisticated taste and high craftsmanship. Often times flamboyance was emphasized more than practicality. The large crescent-moon ornament on the helmet here is a good example. The family crests such as this paulownia crest are often decorated on the armor since they indicate the lineage of the samurai. The household of this armor's original owner may have been a retainer of Toyotomi Hideyoshi, a military ruler of Momoyama period (1583-1615).
A nude monk on the top left sits before a Jina at top right. Three Hindu gods, Harihara, Garuda, and Nandi venerate the Jina in the bottom registers.
A book like this would have been comissioned by a lay devotee to illustrate canonical Jain texts as well as demonstrate peity. Texts like these would have been used for meditation and monastic education.
The upper portion of this print depicts an ornate round frame inside of which is a three quarter portrait of a man from the waist up with his left hand held to his head. The lower portion of the print depicts the base on which the frame rests decorated with a classical scene of figures in a landscape. A collection of objects including books, a mask, a crown, a tambourine and sheet music rest atop the base.
An image of a mirror with the reflection of a kabuki actor dressed as a geisha with his hands clasped. The mirror is rimmed in black with gold designs with pieces of decorated cloth hanging near the top and bottom of the mirror. The actor depicted wears a kimono of dark blue with white geometric designs. The inner layers of the kimono are red with white star bursts and white with black designs. His hair is pulled back with red and blue material and he wears a gold head piece.
Above the image if a small amount of writing.
A reflected image of the kabuki actor Sawamura Tanosuke III dressed as the geisha Shinzo Nakoso from the play "Hanano no tsuki uto hitofushi." Above the image is a poem written by the actor.
Here, the kabuki actor is depicted in the guise of a geisha. Emphasizing the actor's reflection in a mirror, this print creats an interesting conflation of the viewer and the actor being portrayed.
The richly dressed sculpture in the central niche is Shri Nathaji, an alternative name for Krishna, and the principal deity of the Vallabha Sampraday sect, to which the Kotah ruling family belonged. A priest is shown performing the lamp-waving ceremony before Shri Nathaji. At right is a small costumed sculpture of Krishna playing the flute.
This painting was once part of a large set documenting liturgical practices at the Kotah royal palace in Rajasthan.
The Kotah royal house developed a detailed calendar of rituals to be performed in the presence of Shri Nathaji, who would be dressed in different costumes depending on the season and occasion. At least two sets of paintings were commissioned to document these rituals.