Archive for the ‘History’ Category

Reading through a journal article by Prof. Asô Shin’ichi (Okinawa Geidai) on samurai gift-giving customs, and how that relates to Ryûkyû’s gifts to the Shimazu and to the shogunate, I found reference to this book edited by Asao Naohiro 朝尾直弘, which just somehow grabbed my attention. Entitled Fudai daimyô Ii ke no girei 譜代大名井伊家の儀礼, or roughly “Ceremonies of the Ii clan of Hikone domain,” it’s one of a series of books put out by the Hikone Castle Museum, using the Ii Family Documents 彦根藩井伊家文書 and other sources to explore a more extensive, detailed, complex understanding of the history of the Ii clan of Hikone domain, and by extension of aspects of early modern (i.e. Tokugawa period) Japanese history more broadly. Though it normally goes for 6000 yen (roughly US$60), I was fortunate to find a copy online for the far more reasonable 2000 yen. Thank you, Amazon.jp.

Even just on the face of it, this style of book, this approach, really appeals to me. I love the idea of using local histories in my own research. The scholars featured in this volume worked with the Hikone Castle Museum to produce something that doesn’t just take the Ii family as some kind of convenient case study, in order to examine something broader, more removed, more theoretical or abstract. Rather, it takes the Ii family, their records, their local domainal history, as something to be explored as a topic worthy of interest in and of itself. And so, while I admittedly am using them as a convenient example, a convenient resource, for my own project, nevertheless I find something really appealing about the idea of employing such research. I will also be reading, and citing, books like Yamamoto Hirofumi’s Sankin kôtai and numerous others which are more typical academic books, drawing upon whatever resources from here and there in order to build up an argument, or simply a description or narrative, of something much broader (in Yamamoto’s case, the “alternate attendance” or sankin kôtai system, as practiced not by any one domain, but by all of them, across the archipelago). But, reading this Hikone volume and drawing upon research that’s focused in on a particular set of documents from a genuine interest in the history of that particular family and their domain, makes me happy.

A section of Hikone castle, home to the lords of the Ii clan. Photo my own.

And, actually delving into the book, I find that at least some of the chapters – those by Okazaki Hironori 岡崎寛徳 – follow a really interesting format. Okazaki’s chapters, like all the others, like most chapters in most academic books, each address a particular aspect or sub-topic, and form an argument, or a narrative, about them, but they do so while quoting heavily from primary source documents – so heavily, in fact, that they serve as a pretty excellent resource for reading (and citing / quoting from) primary sources themselves.

To put it another way, Okazaki’s chapters read not quite like a normal essay, but more like something in between a normal essay, and a set of introductions or explanations for primary sources. Roughly half the text in each of his chapters is just direct transcriptions of excerpts from the Ii Family Documents, and while there certainly is some narrative argument being made, at the same time he’s also just showing the reader a number of different aspects of the topic, as represented in primary sources. Here’s a letter from the domain to the shogunate asking for confirmation on which kinds of gifts they’re expected to give on which occasions (and in what numbers/volumes), and here’s the shogunate’s response (including permission to reduce the amount of gifts, in these financially difficult times [the 1720s]). And here’s Okazaki’s introduction to what the document is that he’s quoting from, and what this excerpt is going to show us; and then, here’s Okazaki’s summary of the key points of what the excerpt said. All in all, I just find he strikes an excellent balance – providing enough of the primary sources, on enough different aspects around the same topic or theme, and enough information surrounding them, to allow you to use them for your own research, your own interests, beyond just the narrow focus of his argument (that is, in contrast to more typical essays, which only quote just enough to make their argument, and only very strictly those sections which are relevant to their argument, leaving everything else out); and, at the same time, he’s doing so within a narrative or argumentative framework, thus providing so much more framing context, and explanation, than a lot of works I’ve seen that are more explicitly dedicated to only sharing transcriptions of the sources (with minimal framing material), leaving it totally up to the reader to make of it what one will, depending on the reader’s interests.

A bridge near the entrance to the Hikone castle complex. Photo my own.

Let me see if I can give a more solid example. I think it’s easy to imagine a chapter or article from whatever book or journal that focuses solely on New Year’s audiences, for example, explaining out that one event, with maybe some minimal quoting here and there from primary sources, just enough to explain things out. And they of course would cite which sources they’re getting it from, and maybe they would explain a little bit what that document is, how it’s organized, why it contains the kinds of information that it does in the way that it does. I think it’s also easy to imagine a publication which just transcribes the entire primary source document, or significant sections of it, saying, essentially, “here it is. Use it as you will, for whatever aspects, whatever themes you may be researching,” without telling you much at all about the document itself – where it comes from; who wrote it, when, and why; which sections are about what; what new revelations might be learned from this document that aren’t found elsewhere; what to look for or to notice while reading; just the text itself, that’s it. Those are the two ends of the spectrum. Okazaki lies in between them. He spends a good paragraph or so introducing the Kôrei rinji gyôji tomechô 恒例臨時行事留帳, a 1736 document contained within the broader collection of Ii Family Documents – who wrote it, when, why, and what sort of stuff it contains. And then, while providing sizable excerpts from that text, sometimes a full paragraph, or even a full page or more at a time, he uses those excerpts to help show a full sampling of many of the different regular and irregular audiences & court rituals (at the shogun’s court, in Edo castle) in which the Ii participated. Here’s an excerpt explaining how for New Year’s, the Ii lord went up to the castle at X hour, sat in his designated waiting room (the Tamari-no-ma) in accordance with his rank, then moved to the Shiroshoin (one of several audience halls in the castle), and sat at such-and-such a spot, bowed X number of times, said such-and-such formal words, was told such-and-such by the rôjû (Elders) or by the Shogun himself, presented such-and-such gifts, bowed X number of times, then withdrew. And now here’s an excerpt showing how it was a bit different for the regular monthly audiences, for the “in-between” audiences (間之登城), for Girls’ Day and Boys’ Day and Chrysanthemum Festival. And here’s how it was for banquets following the shogun’s successful hunting expedition. And here’s how it was when the shogun decided to go horseback riding and to request (command, really) the various lords to come and attend just to watch him. Good-sized chunks of primary sources, presented not in-line just as quotes, just enough to make a single point within the course of an argument, but rather as good-sized chunks that are allowed to speak for themselves, surrounded by enough introduction, and summary, and explanation, to make them understandable and useful, and to present a broader narrative or argumentative description of a topic.

Other chapters in this book, outside of those by Okazaki, seem at first glance to follow a more standard format. But, after eleven chapters addressing various aspects of the topic of “the Ii family and rituals,” the book ends with over 200 pages of more straightforwardly, more fully transcribed primary sources, along with maps and diagrams of several relevant buildings / rooms, and at the very end, charts of the family tree of the Ii family, a lengthy chart of where each Ii lord was on given dates (as they moved between Hikone, Edo, and other cities, on official and personal business), and a timeline of incidents and events relevant to the history of the family & of the domain.

The sankin kôtai procession of the lord of Iyo-Matsuyama, as seen in one section of an 18th c. handscroll painting at the National Museum of Japanese History. Photo my own.

One thing I do find frustrating, and a little disappointing, though, about this book is that like much other scholarship, it skips over explaining out the basic, general, foundational situation, and focuses overmuch on changes, exceptions, and complexities. As wonderful as it is to learn, for example, about how the type and amount of gifts changed through negotiations in the 1720s at a time when both the shogunate and many domains were experiencing significant financial difficulties, I would love to first have a more general explanation of what types and amounts of gifts were typical, to begin with. And while it’s really interesting to learn about these various different hunting-related banquets and occasion of watching horseriding or Noh, I still don’t think I’ve ever yet come across a basic, step-by-step, description of just what normally, typically, happened when a lord arrived in Edo on sankin kôtai. This sort of thing is even more a problem in many of the other books and articles I have been reading, works which overwhelmingly employ extraordinary examples, rather than anything that might be representative of “standard” “typical” practices – for example, the journeys of either Tokugawa Iemitsu (in 1634) or of Tokugawa Iemochi (in 1863) to Kyoto, despite the fact that no shogun ever traveled to Kyoto for the 220+ intervening years; or the 1862 wedding of Imperial princess Kazu-no-miya into the shogunal family despite the fact that (a) this was probably one of only a very few Imperial-Tokugawa marriages, and (b) presumably by 1862 it’s late enough that practices would be quite different from whatever was typical in the 1600s or 1700s or even up into the 1830s or 1840s; or the shogunal succession ceremonies of Tokugawa Yoshimune, one of a handful of shoguns who were not direct relatives of their predecessors – why not use as your representative example records of the succession ceremony for a “normal” succession from father to son?

Still, returning to what I was saying about Okazaki’s balanced approach to sharing primary sources & scholarly commentary, and about the character of the book as a whole, it makes me wonder what other books might be out there of a similar type, put out by local museums, foundations, History Associations, local Boards of Education, or by more mainstream or academic publishers, but that might contain a similar approach, a similar balance of scholarly explanation and extensive provision of primary sources. Books which might not quite come up on the radar, normally, because they are less mainstream and might get filed away under “local history,” but which might prove surprisingly interesting, informative, and/or useful, either in general, or for one’s specific research project…

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Returning finally to my previous series of posts talking about Okinawa’s postwar art history, we jump back chronologically a bit as we finally visit the second of the three exhibits I saw that day at the Okinawa Prefectural Museum. Okinawa no kôgei (“Craft Arts of Okinawa”), an exhibit put on in conjunction with the 80th anniversary of the Nihon Mingeikan, the leading Folk Arts Museum in Tokyo, discussed the Mingei (“Folk Arts”) movement, and the place of Okinawa in it, as the movement’s founder, Yanagi Sôetsu, traveled to Okinawa several times in the 1930s-40s, and took Okinawa’s traditional arts (along with those of Korea, Taiwan, and the Ainu) as representative of some of the greatest things modern Japan had lost. Sadly, the exhibit closed here in Okinawa on Oct 23rd. But more like it are going on constantly, I assume, at the Mingeikan in Tokyo.

Here, too, we have another set of stories to learn and to know, and then to retell. The biographies of Yanagi and his compatriots, Serizawa Keisuke, Hamada Shôji, Kawai Kanjirô, Bernard Leach, and others – their individual stories – and also the story of the attitudes/aesthetic/ideology of the Mingei movement, a story which I feel is all the more intriguing, all the more fascinating, for how problematic it is. One scholar, Kikuchi Yûko, has flat-out called the Mingei movement “Oriental Orientalism,” for how it romanticizes Okinawan, Korean, Taiwanese, and Ainu cultures, appropriating them, recrafting their narratives through the lens of Japanese imperial/colonial attitudes and interests, and so forth. Even as someone for whom ceramics, lacquerwares, and textiles have never been as attention-holding as paintings, I find the story surrounding it – this story of Oriental Orientalist aesthetic ideology, and so forth – really quite fascinating.

An unexpected treasure of this exhibit was a collection of many tens of photos by Sakamoto Manshichi, who traveled to Okinawa with Yanagi several times, and whose photos provide for us a window into the look and feel of traditional / prewar life in Okinawa – traditional fashions, hairstyles, architecture, cityscapes, and lifeways otherwise, which any sort of structural political/economic/social history would never be able to express. Images, artworks, culture, giving as close as we’ll ever get to a real, full, five-senses impression of what it really looked and felt like to be there at that time – what these people’s everyday world looked and felt like. I had not realized the extent to which, even as late as the 1930s, even in Naha and Shuri (the largest cities in the prefecture, and the chief political & economic centers), many people were still very much living in traditional architecture, and traditional clothing and hairstyles. I wouldn’t want to falsely leap to the assumption that these 1930s photos represent what it was really like 30 or 40 or 60 years earlier, in quote-unquote “traditional” times, as if nothing had ever changed. But, even so, at a time when Tokyo was already covered in cafés, jazz clubs, movie houses, moga (“modern girls,” the Japanese equivalent of the flapper), at a time when one might think it would have already been too late to hope to see photographs of “traditional” Okinawa, there it is: hugely valuable documentation of what things looked like before the island was so utterly devastated by the war between Okinawa’s two foreign invaders/colonizers: the Japanese and the Allies.

Uchaya udun, a no longer extant secondary palace of the Ryukyuan royal family, as seen in a photo by Sakamoto Manshichi. Public domain image from Naha Machitane.net.

And, among those photos, images of specific sites of great historical significance. If these buildings had survived, they would be among the most significant historical sites in the islands today, and among the key exemplars of traditional Okinawan architecture. The fact that these temples, palaces, and the like were lost is only the tip of the iceberg of what was lost in 1945, but to see them in these photos is really incredible – not just the outer faces, but various different views of the insides of many of these buildings… And, incredible just to think, just to realize, that all the way up until 1944-45, so much of this was indeed intact, simply surviving continuously (if not actively maintained) since the 19th century. In that sense, while Sakamoto’s photos of daily life – of everyday people’s homes and clothing – may be more truly indicative of a “modern” 1930s Okinawa, his images of Engaku-ji, Uchaya udun, and Sôgen-ji might be said to be at least somewhat reflective of the Kingdom era appearances of those buildings. His photos of Ryukyuan theater and dance, and of Yanagi & friends themselves are of course valuable historical documents as well. One can only wonder, if the island had not been devastated as it was in the battle, what it might look like today. Might Shuri look more like Kyoto, a decidedly traditional-feeling cultural space, as full of traditional architecture on the outside as it is full of traditional arts activities on the inside (behind closed doors), mixed in more naturally, more positively, with modern developments?

“Churashima Henoko” 美ら島・辺野古, by Miyara Eiko 宮良瑛子, 2005.

Finally, jumping forward once again, the museum was also showing at that time (earlier this fall), a solo exhibition of the works of Miyara Eiko (b. 1935), a prominent figure in the postwar Okinawan art world, still active today. I must admit I was completely unfamiliar with her name or her work before going to the museum that day, but according to the exhibition, she played key roles in the founding of a number of notable Okinawan artists’ associations, exhibitions, and so forth, and in particular in building a space for women artists in the postwar Okinawa art scene. I was excited to learn this history, to learn Miyara’s story, and also to see & learn of her works themselves, representative of one piece of the canon of the history of postwar Okinawan art. As gallery labels explained, this is the first exhibit of what will surely prove to be a great many, highlighting new acquisitions by the Museum, as they continue to work to amass an extensive and representative collection of Okinawan art.

As we enter the exhibit, we see Miyara’s “Song of the Bottom of the Sea” (水底の歌), a bronze produced in 1994 as a prayer or song for those killed in the Battle of Okinawa, including many who lie now at the bottom of the sea. It is a statue of a young woman, nude, with her hands in a gesture of prayer, and her eyes looking upwards. She leans forward on her tiptoes, as if leaning towards the gods, or towards a shrine, or the sea.

Right: Miyara’s Mina no soko, bronze, 1994. As the museum wouldn’t allow photos, and as to my amazement a basic Google Images search reveals no “free use” images of Miyara’s work whatsoever, I am using this image, which I found on the blog of radio personality Arthur Binard. Thank you, Mr. Binard, for sharing with us what so many other institutions wouldn’t.

Miyara moved from Tokyo to Okinawa in 1971, a year before Okinawa was returned to Japanese sovereignty. I know little about the logistics and policies of entering or leaving Occupied Okinawa – during the period from 1945-1972 when the entire prefecture was essentially under American martial law – but I assumed this would be quite difficult. And, the exhibit tells us it was, but that even so, and even despite her husband being a known member of the Japanese Communist Party, they were somehow able to do it.

In Okinawa, as was surely the case elsewhere in Japan and around the world to varying extents, Miyara found that men held all the dominant positions in the local art world. Major art activities on the island, such as the Okiten prefecture-wide Salon-style exhibitions (akin to the Nitten, the most prestigious national-level juried art exhibition, except on a prefectural, Okinawa-wide, level), were all controlled by the art department at the University of the Ryukyus, and most if not all of the professors in that department – and most certainly the heads of the department, the most prominent or influential professors, etc. – were men. And it’s not just that they happened to be men, but that they were actively exclusionary of women artists, or of certain attitudes, approaches, or themes these women brought. Thus, along with other women artists in Okinawa, Miyara began organizing exhibitions of artworks specifically by women, in 1971, 1974, and 1975; as another significant step towards addressing the male dominance of the field, Miyara helped found the Association of Okinawan Women Artists (沖縄女流美術家協会).

Her own works, featured in this exhibit, include the one bronze, and numerous works on canvas. Miyara also made a career of doing watercolor illustrations for children’s books. Many of these related stories of World War II, and of the Battle of Okinawa in particular. One I picked up and flipped through told the story of the Tsushima Maru, a civilian ship, carrying Okinawan civilians – including many schoolchildren – which, while trying to take these innocents away from the warzone, was sunk by a US submarine.

In 1982, Miyara helped establish the Okinawa Art Peace Exhibition (沖縄平和美術展). Inspired to action after thinking about the Vietnam War – and about Okinawa’s role in that war as one of the chief places from which American forces were launched, etc. – Miyara led the exhibition with a philosophy of allowing anyone to freely exhibit their artworks, regardless of theme, an idea she associated with the power of peace. She writes that it was in Okinawa, especially, that an exhibit “crowned” with peace had to be shown (「沖縄でこそ平和を冠した美術展を開くべきだ。」). This first Okinawa Peace Exhibition in 1982 was shown at the Naha Civic Hall (那覇市民会館). Ômine Seikan, a major figure in the postwar Okinawan art scene, easily a member of the canon of Okinawan artists I discussed in my previous posts, served as chair of the exhibition committee. However, during the opening ceremonies, he found he was too choked up to say anything. And so, Miyara Eiko stepped in. This Okinawa Art Peace Exhibition continues today, having taken place now 21 times.

One section of the works displayed in the current exhibition (this fall, at the Okinawa Prefectural Museum) were from Miyara’s “Scorched Earth” (焦土) series. They show figures in long robes, their heads covered (are they meant to be Arabs/Muslims, perhaps? Unclear.), in many cases holding children, or holding bodies which are either dead or dying. The background is more or less featureless, yellow and orange, colors which somehow evoke (for me, anyway) a greater impression of the feeling of suffering.

Another of Miyara’s works, entitled 「オモニ幾星霜」 (roughly, “Mainly, Many Months and Years”) and painted in 1996, caught my eye with its deep blue composition. A woman in blue robes, resembling to me perhaps the Korean hanbok, stands in the lower right corner of the composition, her face rendered only in greys. The entire rest of the piece is merely a blue background, shifting in tone, growing darker towards the top, and interrupted here and there by stretches of red. I find this piece a very interesting combination of abstraction, juxtaposed against this depiction of a woman. What are we supposed to think is the theme, or the setting? Just the blue and the red, alone, abstractly, attracts interest – and I don’t normally go for abstract works. It’s a beautiful, cool, relaxing, blue, but shot through with red, like anger, like blood. How does this artwork make me (the viewer) feel, is I suppose the question the artist may be wanting me to be asking. I don’t even know the answer. Is the blue and red supposed to represent, perhaps, the memories or emotions of the woman?

My notes from the exhibit cut off there. But, as I said, this is the first of what is intended to be a long ongoing series of exhibits of the museum’s newest acquisitions, introducing visitors to the ever-growing, ever-changing collection, as the museum continues its efforts to obtain more Okinawan art, and to become ever moreso the chief collection of Okinawan art in the world, the chief center for the exhibition and study of that art, the chief center for the construction and dissemination of the standard narrative, the canonical story, of the history of this art – a history, a story, that is dreadfully, woefully, sadly unknown out in the wider world.

The Okinawa Prefectural Museum. Photo my own. The Museum is starting to get a lot better about allowing photography in the galleries – on the History side – but they still have a long way to go, towards allowing photos on the Art Museum side, if they want people to be able to spread and share the story, the beauty, the importance, the wonder of Okinawan art with others.

All in all, to conclude this whole series of posts on that one busy day at the Okinawa Prefecture Museum, there is something terribly exciting about seeing these exhibits, and feeling that even simply in attending the museum and seeing them, I am somehow a part of this storytelling, this narrative-writing. Though I am only a visitor, I am witnessing the construction of the Okinawan canon, and of the standard narrative of Okinawan art history, as it is being written. These are *the* exhibits where that is taking place, and this is *the* museum that is doing it. Much like the Bishop Museum in Honolulu, this is the one and only leading institution leading the charge in telling this story – in amassing a collection and using it to tell a story which, while we likely can’t say it’s never been told before, is certainly being told in a more fully coordinated manner now. All canons are false, and no narrative can ever be truly definitive. Canonization is terribly problematic in its own ways. But, still, in our teaching and in our research, we have standard narratives of Japanese art history, of Chinese art history, of European art history, to build upon, to critique, to work against; something to work to revise. Okinawan art history doesn’t have that yet – the Prefectural Museum is doing this very exciting work right here right now, as we speak, and by visiting the museum, we get to witness it, in the making. And that’s a really exciting thing, something you won’t get to see at the Metropolitan, the Boston Museum, the Freer-Sackler, the Asian Art Museum in San Francisco, LACMA, the Seattle Art Museum, or at many other places. All of these are excellent top-notch museums, and I absolutely love visiting them; I love them for what they are and what they do. But, I have a hard time feeling that any of them are really the one singular place – more so than any of the others on this short list of American museums – in functioning as the one and only leading institution leading the way in any one particular thing, let alone in recovering and telling the stories of their peoples; none of these museums are the one and only leading repository of not only objects but also of experts, expertise, and authority on a single culture, as places like the Okinawa Prefectural Museum and Bishop Museum are.

As I walk through the Okinawa Prefectural Museum, or the Bishop Museum, I find myself feeling a certain kind of feeling of “good luck!” “hang in there!” “Chibariyo~!” A feeling of encouragement towards the staff of this museum as they embark on this project that is so personal and powerful and meaningful for them, as Okinawans, creating something for their own people, to promote their own history to the world. It’s a feeling akin to that which I felt in meeting Kamalu du Preez, Interim Collections Manager at the Bishop Museum, briefly, at the LACMA opening earlier this year. A kind, energetic, young person, who is also a key member of a team (a staff) working to do this thing, recovering, safeguarding, sharing, the treasures of the history of her people, the Bishop Museum as one of the chief voices unto the world of what Hawaiian history and culture is (was), its beauty, its importance.

And a place like the Okinawa Prefectural Museum feels welcoming to me, in a weird way, despite the fact that I’ve only ever been a visitor and that it’s exceptionally unlikely I’ll ever be staff of any sort. Perhaps it’s simply because I’ve visited so many times, and so it feels familiar. But perhaps it has something to do with the notion that I fear I will never be “art historian” enough for any of those mainland US museums – that the staff see me as a “historian,” as an outsider, and so long as they’ve got Columbia & Harvard PhD students explicitly in Art History primely placed to get internships or entry-level positions in those institutions, I’ll continue to be left out in the cold… whereas, as an Okinawan Studies scholar, as someone who is more a specialist in Okinawan Studies than nearly anyone else in the US-centered academic world, I can allow myself to feel a bit more “insider” here. I may not ever be staff; I may not even get to know, or get to be known by, the staff for some time yet. But even just as a visitor, just by going to the museum, I am learning things about Okinawa, witnessing exhibitions, that 99.99999% of Americans have never seen, and I can be the one to share it with them – in English, in a museum, gallery, book, or college classroom closer to home.

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Thanks to the Uchinanchu Taikai, I had a bus pass for unlimited free bus rides all over the island, for nearly a full week after the Taikai ended. So I decided to try to make the most use out of it (well, for one day anyway) while I still could, and went up to Katsuren gusuku – about a one hour bus ride from here, a ride which would normally have cost around 1000 yen (US$10) each way. Saved quite a bit of money.

But before actually going to the castle, I first went to the Yonashiro History Museum. Why it’s Yonashiro and not Yonagusuku is a mystery to me, but in any case, this was a tiny local history museum based in one wing of the town hall. A few years ago, archaeologists working on the grounds of Katsuren castle found a number of coins, which in recent months they determined to be, most probably, from the circa 4th century Roman Empire. That would make these the only Roman coins ever found in Japan – speaking to the incredible maritime activity and connections of pre-modern Okinawa, long before the island ever became part of any Japanese state.

From Kôhô Uruma Magazine’s November 2016 issue:

(rough translation my own; apologies for any errors)

Coins from the Roman and Ottoman Empires discovered at Katsuren Castle

About the excavated coins: In the 2013 archaeological survey conducted at Katsuren castle, ten small, round, metal coins were discovered (nine within the grounds of the castle, and one outside). The metal objects discovered in the survey were brought back [to the research center], and when they were further examined, four were determined by experts’ analysis to be circa 4th century Roman coins, and one a coin made in the 17th century Ottoman Empire. However, as analysis continues, the possibility remains for a different result [to emerge].

The dates we are currently conjecturing for the production of these coins places all five outside of the 12th to 15th centuries, the period of Katsuren’s peak prominence. Continued examination of the Katsuren site, and of ceramics and other objects excavated there, [will hopefully provide some answers as to] why these coins were found there, and how they came to Katsuren.

Other examples of similar coins being discovered in Okinawa are unknown, and it is thought likely that this is the first discovery of similar coins [i.e. from the Roman Empire] anywhere in Japan.

It is thought there is a possibility that someone related to Katsuren castle and serving as some kind of point of contact between East and West obtained the coins somewhere, and as such this is a very important find for continuing research on [the extent and form of] Katsuren’s still largely unconfirmed networks of interaction & exchange. This can be seen as a significant development not only for the fields of Okinawan history or Japanese history, but also for those of the histories of Western Asia, or of the West, and as such for World History as a whole.

Plans from here on: The remaining five coins which have not yet been thoroughly identified will be cleaned, and the designs and inscriptions on them will be examined. Further, the sites that have been excavated, and the artifacts excavated from those sites, will be carefully examined, a more thorough analysis of the composition of the objects will be undertaken, and from this we plan to better determine the time and place when/where they were made.

The History and Archaeological Surveys of Katsuren Castle

Katsuren castle was built around the 12th or 13th centuries, and flourished in the 14th and [early] 15th centuries through overseas trade. The castle fell in 1458, as the tenth lord of the castle, Amawari, was attacked by the armies of the Shuri royal government [i.e. of the unified Kingdom of Ryukyu which ruled over the whole island] and was defeated. From then through roughly the 17th century, the castle was used by the local people in some fashion, but little is known about this period in any detail.

Excavations on the grounds were begun in 1965 by the Ryukyu Government Cultural Properties Protection Agency [part of the Okinawan civil self-government under US martial Occupation], and in 1972 [following the return of Okinawa to Japanese sovereignty] the site was named a National Historic Site. The site was named in 2000 as one of the sites included within the umbrella UNESCO World Heritage Site designation “Gusuku Sites and Related Properties of the Kingdom of Ryukyu.” Today, the Katsuren Castle Site Maintenance Project receives funding from the Agency for Cultural Affairs [an agency within the Japanese national government], and the cultural office of the Uruma City Board of Education is overseeing archaeological excavations and restoration efforts. Excavation efforts began in earnest in 2012, with a focus on the fourth enclosure (the outermost of the castle’s four main enclosures, baileys, or enceintes, depending on one’s preferred term), and excavations of the eastern and northern portions of this area, and of the area immediately around the Nishihara Gate, were completed in 2015.

From my own notes, taken at the exhibition (if only they would have allowed us to take photos!! then I’d have the full gallery labels to look at again, and to take the time to translate them – I just didn’t have the time or patience to copy down everything by hand, on the spot):

Coin #2: seems to be from the Roman Empire, c. late 3rd century.

Coin #4: possibly from the reign of Suleiman II (r. 1687-1691) of the Ottoman Empire. The coin is labeled “Constantinople” in Arabic script, along with the date 1099 A.H. (=1687 CE).

Coin #5: seems to be a mid-4th century Roman bronze coin. Possibly inscribed “CONSTANTIVS”.

Coin #7: seems to be a coin issued on the occasion of the death of Constantine I in 337, thus making the coin’s date circa 337 to 340 CE.

Coin #8: seems to be from the period of shared/collaborative rule between Constantius Gallus and others, c. 337 to 340s or 350s CE. Researchers have noted similarities to a coin dated 347-348 CE and inscribed “CYZICVS.”

Other objects excavated from the castle site and displayed at the museum included Chinese coins from the Sui (581-618), Northern Song (907-1127), and early Ming (1368-1644) dynasties, as well as dice, hairpins, smoking pipes, elements of Japanese weapons & armor, and plenty of shards of pottery, including Chinese celadons and other luxury items from overseas.

I’m sorry that I don’t have more information… I shall certainly keep my eyes open for further news articles or the like.

Stay tuned for Part Two of this post, as I finish talking about my adventures of that day, at Katsuren castle, the surrounding neighborhood, and in Futenma/Ginowan on the way home.

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Prior to flying to Okinawa to begin my research year in earnest, I had a few days in Tokyo, mainly organized around the need to go in to Japan Foundation headquarters in Yotsuya for a one-hour orientation meeting, to get situated with paperwork and so forth. But these few days were also a good opportunity to see the city a little bit, catch up with some friends, meet (however briefly) a whole bunch of other grad students currently doing their research years as well – many of whom are staying in Tokyo, but many others of whom, like myself, left within the next day or two for Okinawa, Fukuoka, or Sendai.

And, while in Tokyo, of course I squeezed in a bit of history wandering. I don’t know how the blog posts will go from here for the remainder of this year. I would really love to keep up with writing about every place I visit, every thing I do, to engage with these things not only in the moment but also by writing about them afterward, and thus thinking about them a bit more, and also feeling I’ve produced something that I’ve shared – feeling that I’m contributing in some small way to informing or entertaining others, the Internet; that I’m doing public history, maybe, in some small and amateurish way, if that’s not too grandiose a thing to say about my ramblings on this little blog. But, then, of course, on the other side, as much as I would like to do that, blogging is time-consuming, and I just don’t know if I’ll be able to keep it up, while also devoting appropriate levels of attention to my research, which is what I’m really here for, and what I’m getting paid to focus on. So, we’ll see. In the meantime, though…

The entrance to the PARCO Museum, done up for its first ever exhibit, “STRIP!”

I arrived in Tokyo on Monday night, Sept 12. On Tuesday, I skimmed briefly through the first ever exhibit of the newly opened PARCO Museum, an art space located on the 7th floor of the PARCO department store in Ikebukuro. Their opening exhibit is of drawings by mangaka Anno Moyoco, who I know best from her Yoshiwara-themed series Sakuran, which was turned into a live-action movie in 2006, starring Tsuchiya Anna and with rocking music by Shiina Ringo. There is so much going on in Tokyo at any given time – it’s awfully tempting to immerse myself in that art world, to become (again) someone well familiar with the latest goings-on, who has been to the latest exhibits, and who has real thoughts on exhibit design, aesthetics and artistic choices of the artists themselves, and so on and so forth. But, boy, that is a whole other ‘me’ yet; I would need three of me, three clones, just to be all the different people I want to be – the Historian / grad student / researcher; the art historian, museumgoer, art world member; the history nerd visiting and blogging about obscure historical sites; the culture nerd attending and blogging about and getting involved in festivals and performances… Still, I’m excited to return to Tokyo in a few months and get involved in all that again.

I’m not sure I have too much to say about the Anno Moyoco exhibit. I’ve grown so detached and distant from the worlds of anime, manga, and pop culture otherwise in recent years… The exhibit design was pretty cool, with walls and curtains and other elements evocative of the worlds or aesthetics of each of Anno’s different manga. While I understand the arguments for letting art speak for itself, I think that immersive exhibits are a worthwhile, impactful, experience unto themselves, and artworks in their own rights. And this one did a great job of that.

Screw Hattori Hanzô. Who cares? Totally over-hyped weeaboo bait. This here is a memorial monument (kuyôtô) for Tokugawa Nobuyasu, son of the great Tokugawa Ieyasu; poor Nobuyasu gets no attention, no recognition at all, and why? Just because he died decades before he might have ever gotten the chance to succeed his father as shogun? Feh.

Poking around Yotsuya prior to my meeting at Japan Foundation, I found my way to the small local temple of Sainen-ji 西念寺, where I grabbed some photos of the grave of Hattori Hanzô (“ninja” retainer to Tokugawa Ieyasu, who is probably a pretty cool figure, but who has been blown far out of all proportion by sammyrai geeks), and of a memorial stone (kuyôtô) for Tokugawa Nobuyasu, a son of Ieyasu’s who gets majorly short shrift and is treated as merely a footnote – if that – in the vast majority of scholarship on Tokugawa Ieyasu or the shogunate. Granted, he died some twenty years before the founding of the shogunate, but, still, he’s still a person, a figure, who had at least some significance. Doesn’t really deserve to be relegated to the dustbin of history just because he didn’t survive to be more explicitly influential.

For anyone looking to visit these sites yourself, Hattori’s grave and Nobuyasu’s memorial stone are just around to the side of the main hall. As you enter the temple’s main plaza, just walk straight and a bit to the left. I was wandering around in the cemetery itself, trying to look around for them, and got chastised. It wasn’t the first time, and it won’t be the last – I do my utmost, of course, to be as respectful as possible towards the fact that it’s an actual cemetery, and I hope that people (Japanese mourners, temple staff) see that; the vast majority of the time, in my experience, people associated with the temple understand and appreciate that people like myself are interested in these historical spots, and they are almost always plenty willing to guide you to the right place. But, yeah, it’s a balancing act. Some temples have signs pointing you in the right direction; some don’t, and so you just try to be as respectful as possible while trying to find what it is you came there for.

I then took a very brief run through the Fire Department Museum, a surprisingly large (seven floors of exhibits?) museum, with free admission, that stands adjacent to the Yotsuya Fire Department. Didn’t really have time to engage properly, but just ran through taking photos of the displays on Edo period firefighting; I’ll come back to these at some point in the future and read the labels I photographed, and learn a tiny bit more about how Edo (Tokyo) functioned at that time. I really love museums like this, because they just have so much stuff, and they just put it all out so nonchalantly. Can you imagine ever seeing more than one or two or three Edo period firefighting-related objects on display at the same time at the Metropolitan Museum, or LACMA? Can you imagine actually learning anything of real volume, real extent and consequence, about early modern Japanese firefighting, at the Freer-Sackler or the Museum of Fine Arts? I know that for the average general American museumgoer this is all terribly obscure. But it’s not so exceptionally obscure, is it, really? You don’t have to be a super crazy deep “history of firefighting” nerd to be interested in this stuff – all you have to be is someone who’s heard of it and wants to learn more; someone with an interest in Japan, or in premodern societies more generally, curious about how fires were fought – for example – prior to the advent of modern techniques and technologies. All you need is to take it that one next step – from having ukiyo-e woodblock prints of firefighters because that’s “art”, and perhaps a fireman’s robe, because that’s “textile art,” and taking the next step to include a historical fire-fighting tool – even just one – so that museumgoers can learn something not just about the art and the artist and the aesthetics, but also about the subject matter itself. What was life like in Edo? How did the city work?

Following my Japan Foundation orientation, around 4pm, I then met up with some friends for happy hour (and what for me was a very late lunch, which is actually about the time I normally eat lunch) in Harajuku, followed by some brief clothes shopping adventures. I don’t know if I was just tired, or because I’ve just finished packing up my entire life back in California and thus am particularly keenly aware of how much shit I already own, or because for a change I know I’ll actually be back here for a many-months-long stay and so there’s no need to go crazy right now today, but somehow the whole Harajuku thing just wasn’t grabbing me that night. In a few months, after I’ve gotten a better sense of what clothes I do and don’t have, what styles I’m yearning for, and so forth, I’ll come back and I’ll buy all the things.

Wednesday saw more general random history wandering. I was meeting up with a friend in the Akasaka/Nagatachô neighborhood, so while I waited to get together with her, I found my way to the ruins of the Akasaka-mitsuke, the approach to the Akasaka Gate of Edo castle. Marky Star has a wonderfully thorough explanation about mitsuke and so forth here, so I won’t bother to rehash that. Still, it was neat to see some stonework surrounding a small former section of the castle moat, along with its associated bridge (Benkei-bashi) – to get some sense of what had once been there, much more so than if it were just a few stones and a marker saying “you can’t see anything at all, but just imagine…”

Adjacent to this is a massive, shiny, very new-looking residential+shopping complex, which we are told stands on the former grounds of the Kishû Tokugawa Kojimachi mansion. Here too, while there is less explicitly to be seen of anything surviving from that time (such as a gatehouse, for example), I was happy to see as many plaques and markers as I did, explaining even just a little bit the history of what once stood there. For a moment, I got mixed up and thought this was maybe the Kishû Tokugawa Akasaka mansion which in the Meiji period became the temporary imperial palace for a time, but later in the day we visited the far more famous Akasaka Palace, and I was reminded that that was built atop the former site of the Akasaka mansion I was thinking of – and so the one more immediately adjacent to Akasaka-mitsuke was a separate mansion.

Incidentally, directly across the street from the Akasaka-mitsuke ruins I could see (across the street, in the distance, behind serious gates) the official residences of the heads of the two Houses of the Japanese Diet (i.e. the two houses of parliament). Had I taken the time, I could have easily sought out the Diet Building, the Prime Minister’s residence, the headquarters of the Liberal Democratic Party, and so forth, all of which are clustered right around that neighborhood.

Instead, I poked around in a slightly different direction, walking left instead of right, or something to that effect, and happened upon a building associated with the Korean royal family, who in Japan’s Imperial period were incorporated into the Japanese European-style peerage/aristocracy, or kazoku. Not something I think the Japanese government or whoever are necessarily trying to hide, per se – that the last members of the Korean royal family were present and resident in Tokyo in the 1900s to 1940s – but just a corner of the international history that just doesn’t pop up so much on the Japan side (of course, this is quite prominent in Korean history); empire is one thing, but what happened to the royal family, as individuals, where they lived in Tokyo, and so forth, gets brushed aside in the face of the much more boldly and starkly obvious issues of Empire and imperialism and colonialism – political history and all of that. Still, I think it fascinating, the place of Koreans, Ryukyuans, Chinese, within Japanese culture and history.

What’s today known as the Classic House at Akasaka Prince, standing on one portion of the former site of that Kishû Tokugawa Kojimachi mansion, seems to be the restoration of a residence constructed in 1930 for the last Crown Prince of the Korean Kingdom; this 1930 building seems to have replaced one built in 1884 for Prince Kitashirakawa by Josiah Conder – arguably the most significant architect of the Meiji period, or at least the most widely featured in introductory Japanese Art History survey textbooks.

So, that was pretty cool. Meeting up with my friend, we then poked around Hie Shrine for just a bit – they were having a gagaku concert and some kind of festival procession the next day in conjunction with Mid-Autumn Festival and also the 300th anniversary of the accession of Shogun Tokugawa Yoshimune, all of which sounds quite exciting but I won’t be able to attend.

We then made our way to the Akasaka Palace – the more famous one, built in 1909 on the former grounds of the Kishû Tokugawa mansion which had been appropriated and modified to serve as a temporary imperial palace from 1873 to 1889. Whereas I imagine the 1870s-90s palace to have been largely unchanged from its architectural style, layout, construction, character as an Edo period daimyô residence – wooden construction, tatami mat flooring, shôji and fusuma screens for walls, ceramic tile roofing, and all the rest – the Akasaka Palace built in 1909, the one we know today, is a glory of Meiji architecture, in a Neo-Baroque style inspired by palaces of Germany, Austria, and France. Originally constructed as a residence for the Crown Prince, it has since the 1960s (if not much earlier? I’m not sure) been used to provide lodgings for top-level visiting foreign dignitaries, such as heads of state. Sadly, we failed to consult any public opening schedule or public tours application process ahead of time, and so were only able to see the palace from a distance, from outside the impressive gates. Kind of like visiting the White House. But that’s fine.

So, that’s it for Tokyo for now. Just a few scattered adventures, and now, off to Okinawa. I expect I’ll be doing a lot of exploring and adventuring in Okinawa – historical sites, traditional arts performances, museum exhibits – so, watch this space. Then, in the spring, I’ll be back in Tokyo, and the more mainstream Japanese adventures will continue.

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Gradually getting there. After a year of doing this, I’m finally almost done posting these book reviews from my comprehensive exams. Feels like a whole other world – exams feel so far behind me; a month from now, I’ll be in Japan, for the next big step in this PhD process. Well, well. Looks like this was the last of the reviews. I didn’t realize that. Okay. Well, here we are, my last review from the exam process. Look forward to a return to some other sorts of posts, coming up soon.

In the meantime, Marius Jansen’s China in the Tokugawa World (Harvard University Press, 1992)

Jansen’s China in the Tokugawa World provides an outline of a wide range of major aspects and themes in the role of Chinese people in Tokugawa Japan, perceptions of China, Chinese cultural influences, and the like, nestled into overarching narratives of changes and developments in Japanese relationships with China during this period, both as a concept and as a real political and economic entity. He devotes particular attention to the Chinese community at Nagasaki, providing a considerable degree of detail as to the logistics and economics of trade activity, as well as intellectual and cultural interactions in Nagasaki, and the role of the fūsetsugaki, imported books, and visiting Chinese scholars and monks as sources of information and intelligence on goings-on in the outside world, complemented by intelligence obtained from the Dutch, Korea, and Ryukyu. Jansen also touches upon numerous other topics, including the introduction of Ōbaku Zen, interactions with Ming loyalists & their cause, and perceptions of China following the fall of the Ming among scholars, political elites, and the general populace. In the last thirty pages or so of this short 120-page volume, Jansen describes the turn in perceptions of & attitudes towards China, as over the course of the 19th century, the Qing Dynasty experiences considerable difficulties, and in the eyes of many Japanese, severe decline.

The volume serves as a fine introduction to these many themes or aspects, and to the overall arc of interactions with, and perceptions of, China. In a sense, it reads more like a textbook than a scholarly argument piece, summarizing the topic of “China in Tokugawa Japan” overall, and providing descriptions, rarely more than a page or two long, of a variety of individual topics, such as the biographies of Li Hongzhang and the monk Yinyuan Longqi, as a textbook would, less as examples of evidence to further an argument than as descriptions of items within a topical umbrella.

That said, there are significant chronological and thematic arcs presented. Jansen describes a number of related but differing understandings or imaginations among Tokugawa period scholars of a conceptual China, ranging from those who viewed China not as a real place existing coevally in time, but as a land of Sages, tranquility, and the ultimate manifestations of high culture and civilization, to the subtly but importantly different position of those for whom China served as a sort of straw man, an Other against which Japan could be described in contrast. While many Confucian scholars idealized China, many kokugaku scholars, some of them still looking to Confucianism or other aspects of Chinese civilization as an ideal, presented varying notions of why or how Japan superseded China as the civilizational center. Meanwhile, much of the popular discourse conflated China with the foreign more generally, making little distinction between various Others (e.g. Koreans, Ryukyuans, or Dutch). This topic is of particular relevance to my own project, as I attempt to gain some understanding of how Ryukyu was perceived, understood, or imagined at this time; while Keiko Suzuki has argued similarly in her article “The Making of Tôjin” of an undifferentiating perception of the foreign, the true story seems considerably more complex, given that there were numerous widely available popular publications describing or depicting Ryukyuan subjects as specifically Ryukyuan. In any case, I am eager to delve into this subject further, and while Jansen’s discussion of it is most welcome, and valuable in its way, it is also far too brief and cursory for my purposes. The same is true of his discussion of perceptions of Japan (or Korea or Ryukyu) as representing the place where the great high culture and civilization of (Ming) China survives, since it has been corrupted or destroyed in China’s fall to barbarian (Manchu) invaders. This, in particular, is a topic which I think to be of great interest, and potentially of great relevance to my project, and yet Jansen’s brief discussion of it remains, perhaps, the most extensive such discussion I have come across; he does not, in his citations, point the way to any more extensive treatments of the subject.

China in the Tokugawa World represents a great start, a great survey of the subject. The overall thematic and chronological arcs, of differing ways in which China was perceived, and how this changed over time, help provide a fundamental sense of the thing, informing and deepening one’s understanding of the character of the Tokugawa period as a whole. Jansen’s detailed description of the workings of trade and other activity at Nagasaki is also sufficiently lengthy and detailed to constitute a source one can turn to for citeable details. On other topics, however, Jansen’s volume serves as only a starting point, requiring one to look elsewhere for a more thorough or extensive description of kangaku or kokugaku, popular depictions of China, the influence of Ōbaku Zen, or any one of a number of other topics.

The Chinatown (tôjin yashiki) of early modern Nagasaki, as seen in a handscroll painting (detail) on display at the British Museum. Photo my own.

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Following up on my post about Mark Ravina’s Land and Lordship, I think it only makes sense to pair that up with a discussion of Luke Roberts’ book Mercantilism in a Japanese Domain. The two books came out right around the same time, and are quite complementary, both significant, influential, books in promoting the argument for seeing the daimyo domains of Tokugawa Japan as semi- or quasi-independent “states” – a critique of earlier scholarly views of Tokugawa Japan as highly centralized and strictly, even oppressively, ruled. The view promoted by Ravina and Roberts has now become the standard view among historians.

Mercantilism in a Japanese Domain focuses on the emergence of the idea of kokueki (国益, “prosperity of the country”) in Tosa domain in the early 18th century. This is a notion which bears some strong similarities to mercantilist thought, envisioning the prosperity of the country as separate from the prosperity of the lord or of his household, and advocating a variety of economic thought in place of a Confucian focus on morality, virtue, and diligent labor.

Advocates for kokueki thought supported a variety of different strains of economic thought, with some supporting the bullionist notion of amassed wealth as the measure of economic prosperity, and therefore advocating strong restrictions on the outflow of precious metals or certain other forms of wealth from the domain, while others argued quite the opposite, suggesting that it’s the volume of trade which brings prosperity, and that the domain should not be afraid to export valuable goods, as it will only allow for the greater import of other valuable goods, enhancing the overall volume of trade. Meanwhile, many samurai officials, at least initially, employed the term kokueki to refer in a more conservative manner to the prosperity of the lord’s household, perhaps with the notion that the lord’s household equals the domain; drawing upon neo-Confucian notions of duty to one’s lord and of proper observance of one’s station, they asserted plans for increased prosperity which did not concern themselves with supply & demand or import & export, so much as the idea that everyone should behave more morally, more virtuously, meaning to be more diligent and more hard-working in their respective professions. Perhaps most interesting about these conflicting economic philosophies is that while the more mercantilistic approaches resemble European mercantilistic thought & policy, none of these approaches match up with what modern economic theory today would consider to be the most correct or valid. To be sure, some are startlingly innovative and progressive for their times, for their historical context, in contrast to the Neo-Confucian approaches. And, as Roberts details, these ideas of everyone working together for the prosperity of the country – the country as a distinct abstract entity disaggregated from the lord or his household, or from the shogun or the shogunate – play a prominent role in the reconceptualization of economic nationalism in the Meiji period. But the various economic philosophies that competed and negotiated in 18th century Tosa cannot be simply placed on a linear line of progress.

An Arita ware dish showing the provinces of Japan. Asian Art Museum of San Francisco. Photo my own.

Two other threads underlying Roberts’ narratives and arguments about kokueki are also extremely valuable. One is Roberts’ argument that despite documents by samurai officials which represent most (if not all) policy initiatives and ideas as coming from the lord, or from amongst samurai officials and prominent scholar advisors, suggestions submitted by commoners to the domain’s petition box reveal that not only did commoners articulate these kokueki ideas before the samurai picked them up, but further, commoner/merchant ideas had direct impact on domain policy. The vast majority of the book discusses examples from only one domain, and only one aspect of policy approaches, but it strongly suggests the need for a reconsideration of our assumption that commoners, throughout the archipelago, played little or no role in suggesting or determining policy.

Further, Roberts’ account also contains powerful arguments for the validity and importance of regional and local histories. It is my understanding that at the time this was written, the field was only just beginning to more fully open up to the ideas of domainal autonomy, and to seeing Tokugawa Japan as less centralized, less authoritarian, and more like a decentralized confederation of relatively autonomous states, albeit under shogunal authority. Roberts’ Introduction includes a valuable discussion of the varying meanings and usages of the term kuni (“country,” “state,” “province”), and invites us to seriously rethink our imaginations of the political landscape of early modern Japan, which was structured according to a very different set of notions of political geography from our modern sense of the nation-state. Whereas much of the most prominent or most influential scholarship on Edo period politics up until that point had focused on the shogunate, and the shifts and changes in its policies, with the assumption of a relatively direct and strong impact upon the domains, here we see Tosa not simply being controlled by bakufu policy, but rather negotiating positions within that political environment, in order to seek what is best for the lord & his household, and later on, for “the country” of Tosa as a “whole.” Some examples of this are seen not only in decisions about economic policy, in terms of bans or monopolies on exports, and the like, but also in the daimyô’s exercising of agency, and displaying of interests differing from those of pure feudal loyalty, in claims to be ill, asking for delays in performing his various duties owed to the shogunate.

That Tosa presents a rather different case from, for example, Satsuma, makes it a valuable counter-example, alongside various other studies, including the work of Robert Hellyer. Tosa is large, but relatively poor, with relatively little good agricultural land. Unlike the Shimazu, who ruled Satsuma since the beginnings of the Kamakura period, the Yamauchi were not traditional leaders of Tosa and had to come in and assert their rule following Sekigahara. And yet, unlike many domains, Tosa recovered from severe debt, becoming economically strong enough by the Bakumatsu period to play the prominent role that it did. That the petition box system was apparently quite widespread, and yet little discussed in the more mainstream discussions of Edo period Japanese political systems and class structures, also makes this a particularly valuable contribution.

As with Land and Lordship, I would love to see a more thorough narrative description of Tosa history – not to mention the history of any/every other province of Japan – but, in the meantime, we’re learning very valuable things about how to think about the “state” in early modern Japan; political centralization or decentralization; and so forth.

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I found something kind of neat today. Continuing my investigations into the Ryukyuan tribute missions to China, I started reading a short article by Maehira Fusaaki 真栄平房昭, entitled Ryûkyû shisetsu no ikoku taiken1, and discovered a mention of George Lord Macartney coming across Ryukyuan ambassadors on their way to Beijing.

Right: Image of Lord George Macartney. Quite the fashionable looker. Source unknown. Public domain image courtesy Wikipedia.

For those unfamiliar, George Lord Macartney was the head of the first official British mission to China, in 1793. This has become a particularly famous event in Chinese history, a meeting in which British and Chinese notions of diplomacy, and cultures of court ritual, clashed and resulted in misunderstandings and a general failure to achieve good relations. This was also the occasion of the Qianlong Emperor’s famous saying, that China had all the things it could want in the world, and that China had no need of such nonsense trinkets as some petty small country such as Britain might have to offer.

Meanwhile, the Kingdom of Ryukyu became a tributary to the Ming Court in 1372, and continued to send tributary missions to Beijing quite regularly from that time, all the way up until the 1870s. For much of the 17th-19th centuries, Ryukyu was sending missions to Beijing once every two years, as Korea did as well. The Ryukyuans and Koreans presented gifts of local goods (i.e. Ryukyuan or Korean products) as tribute, as a show of their king’s gratitude and deference to the Emperor of China, and in return the Emperor bestowed lavish gifts upon them, as a show of his grace and generosity. Unlike what Lord Macartney had in mind, there were no policy discussions involved in these meetings. Rather, they were ritual performances, enactments, of the maintenance or reaffirmation of the relationship between the two countries. The Emperor of China invested the kings of Korea and Ryukyu in their thrones, officially recognizing them as King, and serving as the source of their legitimacy, and in return those kings dispatched tribute missions.

Given how frequent these tribute missions were, I suppose it should come as no surprise that the Ryukyuans would have crossed paths with Macartney. Still, it was a neat find. Coming across this mention in Maehira’s article, who quotes it in Japanese translation, I decided to go try to find the original English. Unsurprisingly, Macartney’s diary, An Embassy to China: Being the journal kept by Lord Macartney during his embassy to the Emperor Ch’ien-lung 1793-1794, has been reprinted in modern publication, and can be easily found in a 1963 volume edited by J.L. Cranmer-Byng. Turning to November 18, 1793, when Macartney & the Ryukyuans crossed paths on the Grand Canal just south of Hangzhou, on pp182-183, it reads:

Monday, November 18. The river spreads here a good deal, and is very shallow. The banks rich, pleasant and generally level, but we see the mountains at a distance before us, and approach them very fast. I suppose we shall be amongst them to-morrow.

This evening Wang brought two genteel young men with him on board my yacht, and presented them to me as the ambassadors from the King of the Liuchiu islands, now on their way to Pekin. Regularly once in two years this prince sends such ambassadors to Amoy, in the province of Fukien (no other port being open to these strangers), from whence they proceed by this route to carry their master’s homage and tribute to the Emperor. They speak Chinese well, but have a proper language of their own, whether approaching to the Japanese or Korea I could not well comprehend. They told me that no European vessel had ever touched their islands, but if they should come they would be well received. There is no prohibition against foreign intercourse; they have a fine harbor capable of admitting the largest vessels not far from their capital, which is considerable in extent and population. They raise a coarse kind of tea, but far inferior to the Chinese, and have many mines of copper and iron. No gold or silver mines have as yet been discovered among them, which may in some measure account for these islands being so little known.

The dress which these ambassadors wore I particularly remarked. It is a very fine sort of shawl made in their own country, dyed of a beautiful brown colour and lined with a squirrel skin, or petit-gros. They wore turbans very neatly folded round their heads; one was of yellow silk and the other of purple. They had neither linen nor cotton in any part of their dress that I could perceive. The fashion of their habit was nearly Chinese. They were well-looking, tolerably fair complexioned, well-bred, conversable, and communicative. From the geographical position of these islands they should naturally belong either to the Chinese or the Japanese. They have chosen the protection of the former, and when their Sovereign dies his successor receives a sort of investiture or confirmation from Pekin. It would seem that the Japanese give themselves no sort of concern about their neighbours. Concentrated and contented in their own Empire, they seldom make excursions beyond their own coasts, and are equally averse that their coasts should be visited by others. If circumstances permit, I think it may be worth while to explore these Liuchiu islands. The climate is temperate, rather cold in winter, but not very hot in summer.

As Maehira explains, “Wang” refers to Wang Wenxiong 王文雄, a Tongzhou military official. Macartney says Ryukyuans are limited to Amoy (Xiamen), when in fact it was the port of Fuzhou, but otherwise gets the basic notion of tribute missions once every two years correct. He is also right that the Ryukyuans have their own language and culture, close to that of Japanese, but distinct; and I would not be surprised if these ambassadors were well-educated in both Chinese language and Chinese customs, though at the same time, we must always be wary that when a foreigner, even a Japanese, says things like “the fashion of their habit was nearly Chinese,” they could be speaking from Orientalist stereotypes and fantasies, and not from accurate judgement. In any case, I am not sure whether any European ships had ever been to Ryukyu yet, but of course they were not truly open to foreign intercourse. I am also not sure of any iron or copper mines; seems unlikely, given the extremely flat terrain and coral limestone makeup of the islands.

I don’t know quite enough about the Ryukyuan garments to say what sort of “squirrel skin” or other lining they might have been using, but given that it’s November, and the mission is spending New Year’s in Beijing, I should hope that these Ryukyuans – coming from a rather warm climate – would have some kind of lining in their clothes to keep them warm in the North China winter. The “turbans” Macartney refers to are hachimaki – court caps indicative of the two men’s rank. The Lead Envoy, in a purple cap, held the title ueekata 親方, and must have been of the First or Second Rank, while the Deputy Envoy, holding the title of peechin 親雲上, would have been somewhere in the Third to Seventh ranks. It is interesting to see Macartney relate the notion of Japan’s isolation from the world, and his understanding that Ryukyu has “chosen” China, and has no relation with Japan – even with the Qing Court being aware of the connections between Japan and Ryukyu, I guess they were still able to fool some people. Finally, there is Macartney’s note about Ryukyu’s climate being temperate. I suppose that all depends, and is relative, depending on just how “cold” someone considers “cold” to be. I’ll be in Okinawa in winter for the first time this coming year; I guess I’ll find out what it’s like.

Right: A lithograph depicting Sōrikan Shō Kōkun, also known as Prince Yonashiro Chōki 総理官・尚宏勲こと、与那城王子朝紀, the chief Ryukyuan official who met with Commodore Perry in 1853. Image courtesy Wikimedia Commons.

Though Macartney doesn’t give their names, it is easy to deduce that the two Ryukyuans he met were the two heads of that year’s tribute mission, Lead Envoy Misato ueekata Mô Kokutô 美里親方毛国棟 and Vice Envoy Kanemoto peechin Mô Teichû 兼本親雲上毛廷柱. I don’t know much about Mô Kokutô yet, except that he would return to Beijing in 1801 as the head of a special mission, dispatched in gratitude for the investiture of Ryukyu’s King Shô On 尚温王. Mô Teichû, meanwhile, is a somewhat more familiar figure for me – not that he’s the most influential, significant figure in Ryukyuan history, not by a longshot. But, still. This was not Mô Teichû’s first rodeo – he had previously served as gieisei 儀衛生 (head of street musicians) on the 1790 mission to Edo, during which time he produced a number of notable works of calligraphy which remain in private Japanese collections (e.g. at Buddhist temples) today. Maehira gives his title as Gusukuda peechin 城田親雲上, though I’ve always seen him referred to as Kanemoto peechin. Perhaps he was promoted in between 1790 and 1793. If one were so inclined, one could check the Mô family genealogies, which if we’re lucky might be reproduced within the volumes of the Naha shishi (那覇市史, “City History of Naha”).

I love this sort of thing. It doesn’t add anything to my dissertation, I don’t think, as I’m really looking to better understand the Ryukyu tribute missions to Beijing themselves, and elements of formal ritual and performance in the execution of those missions. So, in that respect, maybe it was a little bit of a waste of time for me to pursue it today. And, while I suppose this does reveal something about British conceptions & misconceptions about Ryukyu at that time, in the grander scheme of things, I don’t think we actually learn that much from this passage. This likely won’t make it into my dissertation, and if I were writing a study of the Macartney mission, I don’t think it would make it into that paper either.

But! I do think it’s interesting, and fun, and of value to know that these people crossed paths in this way. Adds just one more instance, one more example, to a broader notion of the incredible complexity and vibrancy of historic interactions – a vision of the world of centuries past as vibrantly, busily, actively full of people crisscrossing back and forth, a world of interaction and interconnection… Macartney is of course a rather significant figure himself, and the Ryukyuans he ran into aren’t exactly nobodies either. Adds just a little more to our knowledge of the biographies of Mô Kokutô and Mô Teichû, and while I admittedly don’t really plan to be writing full-on biographies at any point, I do feel passionate about recovering the memory, the story, of figures like these – far too many historians treat historical figures (as individuals) as merely pawns, or footnotes, in their pursuit of some broader interpretive argument. But these were real people who populated the stories we are telling; history should be about stories, about people, about recovering and retelling the narratives of their lives and of the events they were caught up in; it should not be only about the broader interpretive analyses.

Even if we have no record of any particularly extensive or impactful exchange between Macartney and these two, even so, there is something interesting and meaningful about knowing that there was at least one occasion when Ryukyuan ambassadors to China crossed paths with a European embassy, and that that embassy was none other than the famous 1793 mission of George Lord Macartney; and further that the British mission encountered not only Chinese people and sights and culture during their trip, but Ryukyuans as well. And as a result, that Ryukyuans and Brits both had at least some notion of one another, at this early stage. I don’t know if it’s a result of my many years poking around as an editor on Wikipedia, but I’ve long had a real interest in the chance interconnections between people, places, events – as much as I do enjoy reading history scholarship that brings up new understandings, new interpretations, new insights, I enjoy in a different way reading works that introduce me to new people, places, events, or to new interconnections between them, or information about them, expanding my concrete knowledge of History, bit by bit. The kinds of works where I can feel that having read them, I’ve not only been exposed to one author’s opinion or interpretation, some hopefully possibly potentially thought-provoking ideas, but the kinds of works where I’ve really learned something I didn’t know before, however small or obscure.

1. Maehira Fusaaki, Ryûkyû shisetsu no ikoku taiken 琉球使節の異国体験 (“The Ryukyu Envoys’ Experiences of Foreign Countries”), Kokusai kôryû 国際交流 59 (1992), 60-67.)

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