Recreational research into Feudal Japan
Posts tagged Edo period
On Kissing
Nov 22nd (a Tomobiki (友引))
Once, many years ago, I read the following in Shinjū, by Laura Joh Rowland, a mystery novel set in Edo Japan.
But he’d never tried seppun, the exotic practice of touching mouths that had been introduced to Japan by the banished foreign barbarians. (p. 123)
Being naturally a trusting sort, I took this at face value and assumed the Japanese hadn’t kissed before the Portuguese arrived in 1542. But more recently, I read an interesting passage in the Tosa Journal, written around 935 by a courtier.(CJP:77)
People simply kissed the lips of pressed salted trout. (I.e., nibbled at their heads.) Do you suppose the trout found it romantic?
Is this evidence of pre-Western-influence romantic kissing? Certainly looks like it. But absent other evidence, I had to wonder what exactly was in the original and if anything had been added in translation. Looking at the original, several things are clear. The expression here is “kuchi wo sufu”1, literally “suck lips”, which does seem to specifically be an idiom for kissing. The romantic bit turns out to be “omofu yau ara n ya”, something along the lines of “perhaps they helplessly have longing”, omofu having among its various possible interpretations ‘think of’, ‘recall fondly’, ‘long for’, ‘love’, and ‘cherish’. I think we can fairly say, then, that my doubts of Dr. McCullough’s translation were unmerited. As for Westerners having introduced romantic kissing to the Japanese, as we say in the biz, “Myth Busted!”
I have also posted a complete translation of these two sentences.
Many thanks to Mister Bean (ミスター ビーン), whose analysis and translation of this passage into modern Japanese was quite helpful.
On Netsuke
Oct 17th (a Shakkō (赤口))
One area of Japanese art popular with collectors are netsuke. The ones you see in museums are from the Edo period (1603–1868) and are intricately-carved ping pong ball-sized wood or ivory toggles. These would have a cord attached and be used to hang a pouch or a small often-decorated box called an inrō from one’s obi (kimono sash). Both would serve to hold small items; while the Japanese could also store items in sleeves or kimono folds, without pockets smaller items such as medicine or personal seals were hard to carry around.(en.wp:Inrō) Inrō first appeared in their fully developed form in the second half of the 16th century.(JN:24)
A man using a netsuke to hang an inrō from his obi ties.
While the fancy carved netsuke prized by museums and collectors today didn’t happen until the Edo period, simple practical netsuke were in use earlier. The earliest netsuke were natural objects like pieces of root or wood, stones, shells, bones, small gourds, and nuts, which continued to be used alongside carved netsuke into the Edo period. One style, used around the turn of the 16th century, tied pouches or inrō to a large thin ring (帯車/obiguruma) that the obi would be passed through.(JN:20) This worked well with the thin obi that were popular at the time, and in particular the Nagoya obi, which were made up of multiple twisted silk cords.(JN:21) Unlike with the toggle-style netsuke, with an obiguruma you could not remove or add an item without untying your obi. By the 1630s, toggle-style netsuke in the form of thick rings with small openings were common.(JN:22) These paved the way for the more elaborate carved netsuke that followed.
Image by Rama; used under CC by-sa 2.0 fr.
Mon of the Week: Bell
Aug 24th (a Sembu (先負))
Today we look at another mon from the same collection of provincial samurai mon from the 15th century.(KJ:7) Today’s mon uses an enclosure that didn’t become a common element in Japanese mon despite its simplicity and elegance.
The enclosing shape appears to be a bell. Bells were associated with Buddhist temples, which used large bells to announce times for prayers, meals, and other such scheduled events in much the same way as Western churches and monasteries. These bells are struck from the outside by thick hanging wooden poles, instead of having an internal ringer and moving the bell itself with ropes.
The character inside is slightly mysterious despite being clearly drawn. It’s most probably a variation on 久, meaning ‘long time’, which in addition to being used in the Japanese equivalent of “long time no see” (久しぶり/hisashiburi) also has auspicious connotations of longevity.
While cross-like elements like the one present here would later be common in the mon of “secret Christians” (Kakure Kirishitan) after Christianity was outlawed in Japan, this particular mon predates such things. Here it perhaps represents a ring hanging the bell from a beam.
Similar bells would also be used as fire bells in the Edo period,(ja.wp:半鐘) when the population density and wooden construction in Edo caused frequent fires. In the peace of the Edo period, some warriors turned to serving in fire brigades summoned by such bells. More realistic, three-dimensional depictions of these bells are used in mon today.(Dower:105)
As a side note, a supposed veiled insult engraved on a temple bell is supposed to have triggered the Ōsaka Campaign,(en.wp:Bell_(instrument)) which is one good source of depictions of military mon.
Element of the Week: Tomoe
Jul 26th (a Tomobiki (友引))
This week, we look at another religious symbol that’s a mite less controversial. The tomoe (巴) is a comma- or swirl-shaped design with a variety of possible origins. It resembles ancient Japanese curved jewels (such as the jewel that serves as one of the three Japanese imperial regalia).(en.wp:Tomoe) Other possible origins associate it with a wrist guard (tomo/鞆) used by archers, Chinese snake depictions and the ying-yang symbol. Although dating to the Nara period (710–794), it only became widely used in the tenth or eleventh century, but at that point it became immensely popular, becoming the second-most-popular motif for family mon by the start of the Edo period (1600). Whatever its origin, it developed additional meanings: its resemblance to a whirlpool caused it to be used to protect buildings from leaks, and it later developed general religious connotations and became specifically associated with Hachiman, Shintō god of war.(Dower:145–146)
Here are three tomoe crests, each using three tomoe, the most popular number. From left to right, a crest used by Maeda Toshiie at the Siege of Suemori in 1584,(SH:F4) one used by Kobayakawa Takakage at the Battle of Pyokje, Korea in 1593,(SH:60) and one used by Itakura Shigemasa at Shimabara in 1638.(SH:J9)
Three tomoe mon
Mon of the Week: Natagama
Jul 4th (a Sembu (先負))
Here we have an interesting mon. Unlike many of the mon we’ve discussed recently, this mon has died out, and is no longer in use. In fact, finding information about this mon at all is quite challenging! It was used by Ōno Harufusa in the Battle of Ōsaka.(SH:62) What do you think it is?
My initial source for this mon, Stephen Turnbull’s Samurai Heraldry, describes this mon as a ‘hatchet’. But it doesn’t look like any hatchet I’ve ever seen. Perhaps this was some sort of traditional Japanese hatchet? Looking into it, however, it seems that Japanese hatchets are pretty similar to Western ones. What then?
After an extensive search, I found the mon in a Japanese collection of Sengoku period mon. Here it is identified as a “nata” (鉈).(SSS) This turns out to be a traditional forestry knife similar to a small machete used by woodcutters and for wilderness survival.(ja.wp:鉈) (The same kanji can also be used to mean “hatchet” in compounds, and a nata can be used for splitting wood like a hatchet, to give Turnbull some credit.) What this mon most resembles, however, is not the ordinary nata, but a variation called a “natagama” (鉈鎌) or “billhook”, which, unlike the plain nata, includes the hook at the end. It is mainly suited for cutting brush and branches, but could also be used as a weapon.(en.wp:Billhook)
As to why this mon didn’t catch on? One possibility is that, straddling the line between a weapon and a tool, once mon representing tools became associated with lower classes it was seen as not suitable for a samurai. Of course, the fact that our friend Harufusa seems not to have had any children(ja.wp:大野治房) may also have something to do with it.
Element of the Week: Chestnuts, Rhombi, and Caltrops
Jun 28th (a Sembu (先負))
This week we have a simple element that has some interesting characteristics. Hishi (菱) can be translated as the rhombus/diamond shape, a type of water chestnut, or as a caltrop (the weapon). In mon, it is depicted as a geometrical rhombus. This is the same element used in the logo for the Mitsubishi corporation, which was named for the three (mitsu) diamonds in its crest. Here are two versions of a three stacked (literally, three stories) hishi crest, a version used by Ogasawara Tadazane in the 17th century(SH:63) and a more modern version.(IEJFC:312.13)
Three stacked diamonds
This is an example of a highly stylized plant motif, and also, as a caltrop, a military connotation. This particular arrangement also has a similar shape to the character for ‘king’ (王/ō), and thus had auspicious connotations.(ja.wp:小笠原氏)
Motif of the Week: Folding Fans
Jun 14th (a Senshō (先勝))
A while back we talked about one type of fan used in mon, but the type of fan everyone associates with Japan is the standard folding fan. This was a very popular motif in mon through the centuries. Its origins as a design motif date to the Heian period (794–1185).(Dower:110)
Here are two folding fans from our collection of 15th century provincial samurai mon.(KJ:7) The one on the left is a cypress fan, which was part of the traditional court costume, with the number of slats used indicating the status of the holder.(Dower:110) The one on the right is of feathers. It’s stylistically related to the hemp palm mon, and is associated with tengu, the mythical “bird goblins” who would trick mountain travelers with illusions, and from there mountain asceticism and certain temples and shrines.(Dower:111)
Provincial samurai fan mon
A simple folding fan design with the sun-circle motif was used by Satake Yoshinobu at the Battle of Imafuku in 1614, in the early Edo period.(SH:H9,62) This style of papered fan, optionally with design, became the standard version of the folding fan for mon. This particular version is interesting because it breaks the standard two-color rule for mon, which would soon become inviolate, by using three distinct colors: black, white, and red.
Around the same time, we have a three-fan design used by Matsudaira (Okochi) Nobutsua, who we mentioned last week, at the Shimbara Rebellion in 1638.(SH:63) Making circles of fans is similar to the way circles would be made of some plants in mon.
Modern fan mon are very similar to these early Edo designs, but with more realistic handles that hearken back to the earlier fans we have here.(IEJFC:52.2)
Mon of the Week: Ladder
Jun 7th (a Butsumetsu (仏滅))
As time progressed, the daimyō gained power, and the samurai class came into its own in the Sengoku Period, mon became more universally used for identification among samurai, and the variety of mon used increased. While other forms of identification heraldry were used, including a wide variety of giant objects on poles, mon had the advantage that they could be replicated quickly, used on a wide variety of items (banners, curtains, armor, shields, and personal items), and could be varied easily in color1, background, or placement to represent different divisions of an army.(SH:24) Because of the widespread use of mon and the greater number of surviving records, we have evidence, both written and pictorial, for more mon in the Sengoku and Momoyama periods.
Even as the Edo period approached and mon became more stylistically consistent, they still weren’t as uniform as they later became. For example, while the modern image of mon generally has them about as tall as they are wide, today’s mon doesn’t follow that at all. Then again, it makes sense for a ladder to be tall. Ladders made good mon for several reasons: a simple design, ability to vary rung numbers to create variations, and a shape that mirrored the tall banners often used in battle. It may have also had auspicious connotations of rising in the world.(Dower:118) The ladder mon was used by Makino Tadanari (who used 7 and 10-runged ladders) at the Battle of Osaka in 1614–15 and by Matsudaira (Okochi) Nobutsua (who used an 8-runged ladder) in the Shimbara Rebellion in 1638.2 This latter ladder is shown here.
Here is a modern-style, more square version of the ladder mon. While tall ladders are still in use, they often use a more three-dimensional design than earlier ladders.
Names and Variation
Apr 5th (a Butsumetsu (仏滅))
Unlike English heraldry, which had an ornate system for describing heraldic devices that became divorced from the normal language, Japanese mon are named using simple phrases using reasonably standard Japanese for the time.1 The mon is named as its primary element, possibly prefixed with modifiers indicating its count, enclosure, style, or other characteristics. In some cases, the enclosure or style may itself has modifiers. Here is an example of a mon used by Inaba Masanari in the late 16th century: 隅切り角に三の字 or “sumi-kiri kaku ni san no ji”, which translates to “in a corner-cut square, the character ‘three’ ”.(SH:54)
These descriptive names lead to two ways mon can differ: they can have different names, or they can have the same name but be drawn differently. Different members of a family might use minor variations on the family mon, and different families that happened to use the same mon (say, in different provinces) ended up having slight differences due to artistic chance. These minor differences might not be expressed in the simple language of mon names, and would not be great for recognition in the heat of battle, but were in some cases taken seriously as a means of distinction. When a variant became well-known enough, it got its own name of the form “Family Charge”; e.g., the “Aoyama Coins”2, to distinguish it from other identically-named mon. Here are several different bellflower mon: the plain bellflower, two slightly-different but identically-named bellflowers in a circle enclosure, and a ‘shadowed’ or outline bellflower.
This gives you a taste of what common samurai mon might look like. We’ll go into more of the history and possible elements for mon next time.
Mon: Japanese Crests
Mar 22nd (a Tomobiki (友引))
Mon, or Japanese crests, are one of my favorite Japanese design elements. Mon served much the same purpose as European heraldry: they were used for identification on the battlefield, to mark personal property, and to show family relationships, and sometimes they were given by a superior as a mark of honor. Mon are much simpler, design-wise, then European devices, however. For one thing, mon are monochromatic: color is not considered part of a mon, and the same mon could be drawn white on black, blue on yellow, or any number of other combinations. Secondly, while European devices can be divided in all sorts of different ways and incorporate a large variety of charges, mon tend to be of a few simple designs: one to eight or so copies of a single element, possibly in an enclosure of some sort. There are some patterns that incorporate two elements, but mon never reached anywhere near the density of European devices. Mon favor plant motifs, with the animal motifs favored in Europe quite rare, with the main exception being occasional birds.(JM:Heraldry)
Design elements that would later be mon date back to the Nara period (710–784). These designs were initially used on carriages and clothing, and first saw widespread use in battle in the Kamakura period (1185–1333).(SH:7,12) They were used by the court nobility and by samurai up until the Edo period (1603–1868), when their use, under strict regulations, spread to actors and merchants. Mon are still used today, their clean designs lending themselves to corporate logos such as that of Mitsubishi, which is actually named for the mon used as its logo (“three diamonds”).
There are many interesting categories of mon I could discuss, but let me start with the big, obvious one: Imperial mon. The 16-petaled chrysanthemum has long been the symbol of the Imperial family. Some historians think it actually originated as a stylized sun, referring to the Imperial line’s heritage as descendants of the sun goddess. This was one of the few mon that had usage restrictions on it even before the Edo period; the mon proper was restricted to the Emperor’s household, with the variant of a 14-petaled chrysanthemum seen from the rear for imperial princes, and other variations used by other members of the imperial family at various times. Those who one the favor of the Emperor would sometimes be given permission to use a mon incorporating the chrysanthemum, such a crest being a symbol of imperial favor but also loyalty to the Emperor. Similarly, during their rule of Japan the Ashikaga shōgunate was given use of the paulownia (kiri) mon by the Emperor, and in turn would grant the right to use mon based on it to loyal followers.(SH:6)
16-petaled Chrysanthemum mon
Variations on the paulownia crest
Still, most mon were much less strictly defined, and I’ll discuss more about mon and variation another time.
