@article{oai:tobunken.repo.nii.ac.jp:00006657,
 author = {神谷, 榮子 and Kamiya, Eiko},
 issue = {242},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Mar},
 note = {In this report are included the two Dobuku already described (Report No. 1-Bijutsu Kenkyu Nos. 216, 219, Report No. 2-Bijutsu Kenkyu No. 228), that is, (1) the Dobuku in patchwork of gold brocade, silver brocade and other cloths, and (8) the Kosode type Dobuku of “bamboo-and-spar- rows” medallion design in twill damask weave silk, and six more which make up the set of eight Dobuku used by Uesugi Kenshin.
     Until recent years, extant specimens of the Dobuku of the Muromachi and Momoyama Periods were, rare, and a study of such articles of clothing at first hand was extremely difficult. However, in 1955, a collection of costumes handed down in the Uesugi family came to light, and among these were the eight Dobuku described in this report. Since then, two more Dobuku were discovered from different sources, so that at present, there are over ten actual specimens which allow us to make a study in detail of this species of costume.
     The eight Dobuku described here are unsoiled and in an excellent state of preservation. More. over, they are of unimpeachable origin and irreproachable quality, so that a close examination of each piece should prove of great value in further researches in the history of costume and textiles.
     The Dobuku was a garment worn over the Kosode like a jacket and was the earlier form of the modern Haori. Both the Kosode and the Dobuku originated in the Muromachi and Momoyama Periods. The eight Dobuku examined here are reported as having been used from the end of the Muromachi Period to the beginning of the Momoyama Period, and are thus among the earliest specimens of this type of garment.
     These eight Dobuku are the most lavish and beautiful of the costumes handed down in the Uesugi family, They are beautifully preserved, probably because they were worn over the Kosode which were quick to show wear and tear. They still look crisp and new. Of special interest is the artistic taste seen in the contrast of collar and garment, or the contrast of lining to the outer fabric.
     We may classify these Dobuku according to the type of fabric used as follows: Patchwork of gold and silver brocade and other cloths (1), Red Nerinuki (a type of flat weave silk) with over-all embroidery (2), Figured silk (3,4,5,6,8,), Rinzu (7). In all of these Dobuku, we find lavish gorgeous collars, no doubt because this was the most conspicuous part of the garment. For instance, one Tsujigahana-zome collar (2), two embroidered collars (3, 4,), one collar with Surihaku (5), and two Karaori collars (6,7). See chart pp. 2-3. 
     The eight Dobuku, though all made of rich fabrics, are not ostentatiously extravagant. But when we turn to the collars of these garments, this understatement gives way to a profuse and lavish display. It goes without saying that the two Dobuku earlier reported on and the other six we describe here are all of the highest quality in material, in design and workmanship. 
     Particulars in measurement and shape are given in the chart. The shape of the garment follows that of the Kosode of the pre-Momoyama style.
     In Part I of this report, one Dobuku is examined, while the five others are described in Part II. The single Dobuku reported on here is : (2) Dobuku, red silk, covered with embroidery of snow-covered willows; Tsujigahana-dyed collar (Plates Ⅰ, Ⅱ, Ⅲ ). This is an extremely gorgeous Dobuku with the beautiful embroidery of snowy willow bran. ches, and the intricate tie-dyed collar (see detail, Pl. Ⅲ). The lining is of yellowish green Nerinuki. Padded with silk wool. Length 111.5cm. Weight 520g.},
 pages = {1--12},
 title = {伝上杉謙信所用胴服八領　上―伝上杉謙信・上杉景勝所用服飾類調査報告　四―},
 year = {1966},
 yomi = {［神谷栄子・田実栄子］}
}