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Archive for the ‘Temples and shrines’ Category

In my last post, I talked about visiting the Yonashiro History Museum, where they had on display some Roman coins uncovered in archaeological excavations at Katsuren castle.

After leaving the museum, I made my way to the castle itself, but first had to go find some lunch. This was my first time up to that part of the island, and walking around that section of Uruma City, I don’t know if I just was in the wrong part of town, or if I should have turned left when I instead turned right, but the stretch of road I ended up walking on was just amazingly devoid of any kind of café or restaurant that looked inviting at all. The local Uruma City tourist guide pamphlet I picked up at the castle listed all kinds of wonderful-looking vegetarian cafés and ice cream shops… looked very appealing. But these guides expected you to have a car. And while I certainly could have just taken another bus (still for free), I thought I’d just grab something quick, nearby. I found lots of “snack” bars – which might be just a sleazy townie dive bar, or might be a front for more illicit activities – and a few super-run-down-looking cafés or diners (shokudô), but nothing that looked at all welcoming or appealing. Finally, finally, after walking many blocks, I settled on eating at a Hotto Motto, a chain store selling premade bento boxes. *smh* One of the few days I’m off-campus, and out in a different town, really having the potential to be on vacation (kind of) for a day, to experience a nice local restaurant and maybe try some different foods, and instead I end up at a Hotto Motto.

Anyway, it was an interesting and valuable experience to see this one more corner, one more bit, of the kaleidoscope that is the “real” Okinawa. Really makes me wonder what the experience of everyday life is like there, and what it’s like to grow up there. And just how much of Okinawa prefecture (or even just of Uruma City) looks like this. Certainly, riding on the bus, looking out the window, things didn’t look so different from one city to the next. As we drove up into Okinawa City (formerly Koza), and then Uruma, I definitely had a feeling of excitement at visiting a different part of the island that I hadn’t been to before, and genuinely retained that excitement even despite the fact that everything looked pretty much the same…

The castle site itself was quite interesting, when considered in comparison to Nakagusuku, another major World-Heritage-Site-designated gusuku ruin from the same period, which I had just visited a couple weeks earlier. I was surprised at how small Katsuren was. I don’t know how big it is in terms of square hectares or whatever, or how tall; I have no doubt that it was a sizable and imposing compound in its time. But, while it may have simply been a result of entering via a side gate instead of a main gate, or something like that, Nakagusuku felt as though one had to double-back numerous times in order to make sure one had explored the entire compound. There were a lot of different areas, to put it quite simply. At Katsuren, by contrast, one simply entered at the fourth enclosure (or kuruwa), and walked up some stairs to a small area that constituted the third enclosure, then up a few more steps to the second enclosure, then up a few more steps to the first enclosure, and that was it. Done. You’ve seen the whole castle. And, each of the individual enclosures was also much larger at Nakagusuku.

That said, Katsuren provides I think a more direct, clearer understanding of the structure of a “standard” or “classic” gusuku, both in terms of the experience of the actual site, and because of the very nice model on display in the rest station across the street (right). I’m quite curious to visit Nakijin castle, as that’s the one that seems to get most often cited as emblematic of the standard form. But, this is seen at Katsuren as well.

A small first enclosure was the innermost part of the castle, the most well-protected by virtue of its location atop the hill, surrounded on all sides by either the second enclosure, or steep drop-offs. This would have contained the castle’s treasure houses, and at least one major sacred site. The second enclosure, a bit lower down the hill but still very well protected, was larger, and contained the main administrative buildings and lord’s residence. A narrow set of stairs connected the first and second enclosures, hindering invaders. The third enclosure, by contrast, is separated from the second by a series of very accessible, wide, steps, connecting the palace buildings in the second enclosure to plaza areas in the third, which would have been used for ceremonies and perhaps for other more “public” court events.

Stone foundations suggest the shape and scale of the structures that once stood in the second enclosure.

The third enclosure also included a number of water cisterns, and sacred sites. Following the fall of the castle in 1458, the third enclosure came to be frequented by noro and other local priestesses, who transformed the space into their own – a space for offerings, prayers, and rituals. The third enclosure is the last (or, I suppose the first, depending on how we’re counting) to be well above ground level and to have access protected by twisting and narrow stairways. The fourth is the “ground floor,” so to speak, of the castle compound, a wide extensive area, albeit still surrounded with stone walls, and guarded by heavy wooden gates which are no longer extant today. It was in this area, somewhere, that the Roman and Ottoman coins were found. Sections just outside the fourth enclosure would have included rice paddies and other farmland and swampland; as signs on-site explain, this not only helped supply the castle with food, but also served as a further defense against invaders, who would have had to plod through deep, wet, muddy ground.

Interestingly, unlike many Japanese castles we might visit, most of which took their well-known “Japanese castle” forms towards the very end, or even after, the period of warfare (Sengoku period, 1467-1600), and thus never actually saw serious siege or attack, Katsuren absolutely did. With all of these structural, geographical defenses, one can only imagine how the battle actually went, as the forces of the Ryukyu Kingdom took the castle in 1458.

The main gate of Jingû-ji, as it appears from within the temple grounds, looking out.

After taking a second look around to make sure I hadn’t missed anything, I called my visit to Katsuren done and successful. I then took the bus down to Futenma, so I could quickly pay a visit to Jingû-ji, the temple immediately next door to Futenma Shrine, which I missed when I went to visit the shrine. Not too much to say about the temple, I suppose. But, I do love and am still not tired of seeing the distinctive Okinawan architectural style – lighter wood than in mainland Japan, and the distinctive red roof tiles. When we remind ourselves that Ryukyu was once an independent kingdom, and we start to think not simply about regional variation within Japan, but about the ways in which different schools of Buddhism took on different forms in different places all across Asia – when we start to think of Okinawan architecture not as a variation within Japanese styles but as something to be compared against Japanese, Korean, Chinese, and Vietnamese styles, there’s something very interesting and powerful there, I think.

Anyway, with that checked off my list, I then started to make my way home, and ended up walking quite some ways, maybe about half the length of the main center of Ginowan Town, along the outsides of the fences of the Futenma Air Base. An interesting contrast with that one neighborhood near Katsuren – for all its problems, and I’m not saying Ginowan is the most happening and exciting city either, Ginowan felt more lively, more welcoming/appealing, and more upscale (though it would hard to not be more upscale than what I saw in Katsuren). Despite the length of the walk, it was surprisingly enjoyable, easy, and refreshing. I passed by lots of shops that looked kind of appealing… many of them quite clearly aimed at military folks as their market. Second-hand shops for clothes and for furniture (specifically American-style furniture), some nice-looking bars, some nice restaurants… closer to campus, further from the base, I found a cute little bakery with scones in all sorts of flavors (banana, green tea, earl grey). I’m really tempted, though it’s maybe a little embarrassing to admit, to try out the California-style Diner. Though maybe try to figure out some time to go when there’s no military around? Actually, that particular moment as I passed by that night, the place was empty…

And once I got my bike back – oh yeah, I locked my bike to a barrier on the side of the sidewalk in Ginowan all day while I rode the bus up to Katsuren. Thankfully, the police or someone didn’t confiscate it, and it was still right where I’d left it :) – I got my bike back, and was thinking of going to BookOff, but was already most of the way back to campus and didn’t feel like backtracking… but I found a great little soba shop on the side of the road! Sometimes you really can’t tell from the outside how nice a place might be on the inside. And by nice, to be clear, I don’t mean fancy – I just mean, it had a pleasant atmosphere. Brightly lit, colorfully decorated, with very friendly staff…

So, yeah, all in all, a rather successful day, I would say.

All photos my own.

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Life on campus hasn’t been entirely uneventful – to the contrary, there was the Ryudai-gakusai (University Festival). Tons of booths with student groups selling food, or running other sorts of activities, to raise money for their clubs. Plus, eisa!

10/2

Today was another busy day of adventures down in Naha/Shuri. After staying on campus and just doing readings and otherwise “working” for most of the week, I felt it was about time for some new adventures. Plus, I just moved dorms yesterday, and while the previous place was a little more like a hotel, with most basic amenities provided, the new place is rather lacking in just a few certain basic things, a few of which I could not seem to find for sale anywhere in the immediate vicinity immediately around campus. Now that I’ve explored a little further, I’ve found a supermarket, more convenience stores, a few large drug stores, a kaiten-zushi place, a “family restaurant” with a nice (if basic) variety of both Western/Italian and Japanese dishes, and quite a few ramen places. Even found a store that sells almost nothing but Magic: the Gathering cards. But trying to buy a basic cooking pot (saucepan) – let alone a frying pan, rice cooker, electric tea kettle, or used bicycle (in decent condition, for a reasonable price) – was proving rather unsuccessful.

I considered that I could go almost anywhere today, and so long as I made sure to hit a home goods store (to pick up a cooking pot at the very least), I’d be good. There’s a typhoon on the way – they say it has the potential to be really quite bad; I really hope it isn’t… – but if I do have to hunker down and just survive through a storm, I need a cooking pot. So long as I have water and gas, even if I don’t have power, I can have ramen, spaghetti, etc. So, I was thinking of maybe going to Futenma (to hit the temple I missed that’s right next door to the Futenma Shrine), and then making my way the relatively short distance from there to Nakagusuku, to see Nakagusuku castle, and the Nakamura House (one of a handful of serious historical house-type establishments on the island). A second possibility was to take a bus way up to Katsuren, check out Katsuren Castle, and also the small Yonagusuku local history museum where they’re currently displaying the Roman & Ottoman coins that have so made the news this past week. And just make sure that before I catch a bus back down towards campus that I hit up a home goods store. The third possibility was to go out to Urasoe, a city just a little ways west of here, and just north of Naha, where I could visit Urasoe Yodore – the graves of several of the kings not buried in the royal mausolea in Shuri – and whatever else might happen to be in the area. In the end, I decided to put all of these off to instead just go into Naha.

The torii for Sueyoshi Shrine, leading the way into Sueyoshi Public Park.

The regular public bus (#97) from campus happens to let off at Gibo, so that was plenty convenient, to just get off there and hike up towards Sueyoshi Park. First, I thought I’d go looking for the grave of Haneji Choshu, aka Sho Shoken, an 18th century Confucian reformer who is easily one of the most prominent figures in the kingdom’s history. The grave is supposedly right outside the park somewhere… I didn’t manage to find it on my last visit, and spoiler alert, I didn’t actually find it today either, though I was certainly a lot closer. Following Google Maps, walking up the small residential side street that runs roughly along the northeast side of the park, you’ll see a small path to the right, hemmed in by a fence, leading upwards away from the homes. There’s a sign about it being a wildlife area. This is the path to follow – if you stay on the streets, you’ll just hit a cul-de-sac / dead end. Follow this path up a little ways, until you find a whole group of stone tombs. Haneji Choshu’s tomb is supposed to be somewhere in here. At least according to Google Maps, if you keep going deeper into the unpaved, woodsy path, you’ve gone too far. Though maybe you do need to go that way; maybe it doubles back eventually or something. Or maybe the pin-drop from the one website I got it from was mistaken. I dunno. But I explored that one group of tombs – carefully and respectfully – and according to the pin-drop was in precisely the right place, but still didn’t find it. I dunno.

(Now that I’m on the computer writing this up, I’ve zoomed into the map further, and realized it looks like its a bit deeper in the woods – maybe one needs to enter through the gate I found closed along the path. But I’m certainly not going to open a closed gate – not going to risk entering private property; in any case, it does look like it’s a bit of a ways into the woods, not immediately among that group of tombs, so no wonder I didn’t find it. And I’m certainly not climbing through the underbrush – which may be full of deadly venomous snakes – just to find some historical site.)

I’m a little annoyed and disappointed, especially after walking all that way, but at the same time, if I had found it, then what? Just to have a picture of it, just to be able to include on this here blog post, and on the Samurai-Wiki, and so forth? I mean, I still really like the idea of having been to a place myself, to have my own photos, to not just be using whatever I find on the internet. But, at the end of the day, what difference does it really make? And most especially, if by chance I had encountered a habu (pit viper) in there, or gotten in some other kind of trouble, then even if I had found the tomb, would it have been worth it? I dunno, maybe I’m just getting over-cautious, over-worried, un-adventurous in my old age. In any case, I found a way out of the cemetery area out a different side, right into a residential neighborhood. For anyone looking to find Haneji Choshu’s tomb yourself, I would suggest you might have an easier time of it this way, rather than going up that slightly (just slightly) worrying side-path up and up and up alongside that fence… but, then again, I never did find the exact right tomb, so who am I to say which path is the best one?

The main hall of Sueyoshi Shrine.

Giving up on that matter, I moved on to the next task. Fortunately, this one turned out to be quite easy. The last time I came to Sueyoshi Park, I had a hell of a time finding Sueyoshi Shrine. The park overall is far more densely forested than most parks I’m used to, and involves lots of narrow winding paths that are, well, they’re certainly maintained to some extent – they’re not wild and overgrown – but they’re not nicely, cleanly, manicured or whatever either. And signs pointing around the park are fairly minimal; or at least, that was my experience, entering the park from the south and not realizing the shrine is all the way at the northern end. I just wandered and wandered, sometimes not even knowing what was and wasn’t an official path… and never did find the shrine. This time, though, today, after leaving the cemetery via that small residential neighborhood on the north side of the park, I simply walked along that quiet suburban street, until only a block or so later I found a gateway indicating the way towards Sueyoshi Shrine!!

Well, that was easy. Follow the path in away from the street, and up a few steps, and there’s a beautiful plain wooden torii (above), followed by a rather steep stairway (with a nice red metal handrail) leading down into the park, as if descending into a cave or something. But, at the bottom of the stairs, bam, more or less right there, suddenly, is the stonework of the bottom of the Shadan (“shrine platform”). Steps lead up from there to the main shrine buildings, and there you have it, Sueyoshi Shrine. I’m not sure how much of this is original, and how much is postwar reconstruction – I’ll have to read into it; I wouldn’t be surprised if a lot of the stonework is original, or repaired, and if the slightly run-down looking shrine office building were a prewar survival, I would be surprised, but I could certainly believe it. The main shrine building, though, looks far too nice to be pre-war. Then again, it could be, just repaired and restored and repainted. In any case, it’s a gorgeous building. Really impressive. I’m so glad to have finally found it. I’ve now been to seven of the “Eight Shrines of Ryukyu.” The only ones outside of Naha/Shuri are Futenma Shrine, which I visited in the last blog post, and Kin Shrine, way up in Kin Town, which will have to be a day trip of its own one of these days. I don’t know the full story behind who chose those eight or when or why, but it’s certainly interesting to me that Kin Shrine, of all the provincial (so to speak) villages and towns on the island, got chosen. Returning to Sueyoshi, I’m also a little unclear as to whether it’s considered an active shrine today – the shrine office was labeled as such, and seemed to have protective charms (omamori) and other things stocked… but, then, why were they not open? And the shrine building itself, looks quite nice, restored & repainted and whatever, and there’s also a donation box out in front – and a sign explaining procedures for worshippers. So it would seem active enough – but, then, why do the signs leading into the park from the street say 「跡」, meaning “ruins of” or “former site of” the shrine, rather than just saying “this way to Sueyoshi Shrine” (without the “ato”)? Maybe it’s that even with the building restored, the spirit is not considered to reside there anymore? Maybe there are actual physical objects of worship that were lost, destroyed, or relocated? Or maybe even without physical objects of worship, there had been some ceremony of relocating or disbanding the shrine? Whatever the case may be, it’s a truly beautiful sight. I definitely recommend you to go check it out if you’re visiting Naha.

I then left the shrine to make my way to Shuri Tônokura-chô, for an exhibit of artworks by professors at the Okinawa Prefectural University of the Arts. The exhibit closes next week already, so I’m glad I decided to go into Naha today, and caught it. Of course, they didn’t allow me to take any photos (*fist shake!*) but on the plus side, they did give out a nicely produced catalog of the exhibit for free, so that’s something? I still really would have preferred to take my own photos – I don’t know the precise ins and outs of copyright law, especially across Japan + US copyright law both, regarding posting my own photos online of someone else’s copyrighted work, but that’s still gotta be better, at least to some extent, than just scanning photos out of a catalog… Anyway, I wrote a comment card about it. (Also, see this great Tweet / post about photo policies at libraries/archives.)

I think I’ll write a whole separate post about this exhibit, but for now let me just say that I’m really looking forward to more engagement in future with local art events like this, by local artists, getting a sense of what’s really going on, right now. And maybe, just maybe, by the end of these six months, getting to be just regular enough an attendee at such things that some people might start to recognize me, to know me..

Leaving the University of the Arts, I decided to walk over to Omoromachi, seeking to stop at a home goods store which Google Maps said was along the way. Somehow it ended up being a much longer walk than it should have been – or at least it felt like it. Then again, a 30+ min walk maybe just feels that long…

The main hall of the Shuri Kannon-dô, aka Jigen-in.

But, along the way, I stumbled upon the Shuri Kannon-dô, a Buddhist temple I had seen on my first trip to Okinawa, some eight years ago, but which I decided to check out again. I don’t really remember that first time too well, but I feel like maybe I didn’t explore the grounds much at all (perhaps because it was raining) – as familiar as the gate looked, once inside nothing rang a bell. It’s a gorgeous little temple, clearly very well-maintained and/or recently restored. And while I don’t normally venture all the way inside, the doors were wide open and welcoming, so I went inside and actually saw the object of worship – the 1000-armed Kannon – and also bought a little protective charm (o-mamori) for safe travels.

This blog is named for the classical Ryukyuan song “Nubui kuduchi,” a song which tells of the journey from Ryukyu “up” (nobori, or nubui) to Kagoshima. The very first line of the song references exactly this temple, which is why it was particularly cool to visit. As the song says, 「旅の出立ちに、観音堂、千手観音。伏せ拝で、黄金尺取て、立ち別る」 (tabi nu njitachi ni, kwannun dou, shinti kwannun. Fushi wugadi, kugani shaku tuti, tachi wakaru). When departing on a journey, [first we visit] the Kannon Hall, the 1000-armed Kannon. And, while I have no doubt that the temple, and quite possibly the Kannon statue itself, were lost in the war, and that all of this is quite likely quite new, nevertheless, in name and in spirit it carries on as a rebuilding of that very same temple – the same one Ryukyuan scholar-aristocrats prayed at before leaving on their journeys to Kagoshima. I put my hands together, bowed my head, closed my eyes, and said a quick prayer to Kannon, for safety in my journeys here in Okinawa, and beyond, over the rest of the year.

I then finished walking to Omoromachi. I had been thinking of going to the Prefectural Museum to check out an exhibit on Okinawan “folk arts” (mingei), but I just wasn’t in the mood for more intense reading Japanese at this point.

The rest of the day was rather uneventful, so far as history & culture are concerned. I found my way to the home goods store, and bought a pot (saucepan), frying pan, and a couple of other things. My kitchen is now much more well-equipped. Although I did realize later that night I still have no napkins, paper towels, dish towels / hand towels, or a sponge. No sponge to wash dishes with. Idiot.

There’s a bit more to say – not much – but as this post is getting quite long already, I’ll post a continuation another day.

Except where indicated otherwise, all photos are my own.

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The 14th century graves of Shimazu Ujihisa (center), his daughter (left), and wife (right), at the Shimazu clan cemetery at Fukushô-ji, in Kagoshima.

Almost done with exams. So close I can smell it.

If you’ve been to Japan (or even if you haven’t), you’ve probably seen stone grave markers like this one. If you’re a nerd like me, you might have wondered something about them. What does the shape symbolize? How long ago did the Japanese start using them? How has the shape, or other aspects of their use, change over time? Despite the ubiquity of these grave markers – you can find them in just about every cemetery in Japan – and their distinctive aesthetic / sculptural form, in my experience, textbooks and classes on Japanese art and architecture typically skip over grave practices entirely. I have never yet been to China or Korea, but I am told that Japanese grave markers and burial practices otherwise are rather distinct from those on the continent… so you would think it would be something worth talking about.

One of the few things I did hear about these five-stage gorintô structures previously was that they are meant to represent the five elements. But, I’d always been confused as to which set of elements these were supposed to represent; if the five Chinese elements are wood, metal, fire, earth, and water, then how/why would this Japanese form feature such associations with earth, water, fire, wind, and void? Turns out the latter are the Indian five elements, adopted more directly into Japan from Sanskritic/Buddhist origins than the natively Chinese (Confucian? Taoist?) wǔ xíng. The form is also used as a tool for meditation, the five stages representing five portions of the human body, or of Dainichi (the Universal Buddha), associated with the elements. The folded legs are earth; the hara (abdomen/stomach) is water; the chest fire; the head air; and above that, void.

Fortunately, Prof. Hank Glassman of Haverford College gave a fascinating talk on the subject recently. As he explained, as recently as the Heian period, visiting graves was not a widespread custom, and graves generally were not even marked. Eiga monogatari, from the early 12th century, is among the earliest literary works describing a visit to a grave, yet here it is still limited to the top echelons of the elites, and the grave remains unmarked. A member of the Fujiwara clan seeks to visit his father’s grave, to tell of his promotions in title/post to his father, but worries he won’t be able to find the unmarked grave, which is also overgrown with weeds, since the custom of maintaining or cleaning graves was also not widespread yet; Glassman suggests the practice of maintaining, marking, and visiting graves may have become more standard in Japan along with the introduction of the Neo-Confucian teachings of Zhu Xi, which would have emphasized filial piety – obligations to one’s parents, and ancestors.

Sotoba at Negishi Cemetery in Yokohama.

The first stone gorintô grave markers are believed to have been based on wooden ones, a few of which survive, albeit only from later centuries. Even before that, however, the first gorintô were far smaller. They were reliquaries, as is the original essential idea of the stupa form. Some of the earliest such gorintô reliquaries date to the 1190s, and have been found in rock crystal or bronze, placed inside Buddhist statuary, as receptacles for holding relics of the Buddha, arhats, or other significant Buddhist figures. This form was then adopted onto carved flat wooden planks, carved only into the topmost sections of the plank; this evolved by the 12th century into the fully three-dimensional wooden form, and then the stone one, but still survives too in the wooden planks (sotoba) seen all the time at Japanese cemeteries today. These, we learned, are typically replaced at a given grave every day for the first week after burial, and then annually after that; Glassman spoke of the beauty and impressiveness of the monks’ skills at inscribing calligraphy, in both Chinese and Siddham, on these planks by brush.

A small gorintô atop the grave of Murasaki Shikibu in Kyoto (presumably a later addition, though I don’t know how much later).

It was only in the late 12th century that the custom of stone grave markers is thought to have been first imported from the continent, though adapted to a distinctly Japanese form (shape) of marker, already in use in wood. Even then, the practice was initially rather limited to the aristocracy, and to the most prominent of religious figures. The first gorintô grave markers are believed to have been carved and erected in Japan by a group of Chinese stonemasons invited from the continent to aid in the rebuilding of Tôdai-ji, which was destroyed in the Genpei War of the 1180s. Once the Tôdai-ji project was completed, for some reason these stonemasons remained in Japan rather than return home to China; this may have been because the journey was too difficult in some way, or too dangerous, though probably not because of expense, given that the Tôdai-ji project itself was extraordinarily expensive, including the shipping of many tons of stone from Suzhou to Nara, so surely the shogunate (or whomever) could afford to fund the return trip.

Let’s step back a moment. The Great Buddha Hall at Tôdai-ji, then and now the largest wooden building in the world1, and housing the largest bronze Buddha in the world at that time, if not today, was destroyed by warriors of the Taira clan in the 1181 Siege of Nara. Even before the end of the war in 1185, efforts to rebuild the great temple were begun. Hônen (1133-1212), founder of Pure Land Buddhism in Japan, was asked to head up the project and apparently turned it down. One of Hônen’s direct disciples, Shunjôbô Chôgen (1121-1206), then took up the project, coordinating both the fundraising and the construction. It was Chôgen, who had previously spent time in China, who organized to have a group of stonemasons come from Ningbo, then known as Mingzhou, to help with the project. Glassman says we do not know just how Chôgen knew, or found, these stonemasons, but he conjectures that they may have been associated with temples Chôgen stayed/studied at in China.

Based on inscriptions on some of these stone markers, and other objects, we know that one of these Chinese stonemasons was named Yī Xíngmò (伊行末, I Gyômatsu or I Yukisue in Japanese), and that his son Yī Xíngjí (伊行吉, J: I Gyôkichi, or I Yukiyoshi) was active in Japan in the late 12th or early 13th century as well. Yī Xíngmò would have been fairly young at that time, and is believed to have been only a junior member of the team, perhaps even an apprentice, when he accompanied some number of master stonemasons to Japan in the 1180s; however, it is his name which comes down to us today, by virtue of inscriptions such as those on certain stone carvings at Hannya-ji in Nara, by his son Yī Xíngjí.

After arriving in Japan, the stonemasons determined that Japanese stone was too soft, and despite the incredible expense, Chôgen apparently managed to afford to have tons of stone imported from China. This comes as a particular surprise given the stories surrounding the fundraising efforts for the rebuilding of the temple. Monks traveled the provinces collecting donations, and in fact, a very famous and popular kabuki play, based on an earlier Noh play, features Minamoto no Yoshitsune and his companion Benkei pretending to be just such donations-collecting monks, traveling the provinces, as part of Yoshitsune’s efforts to escape from his brother’s men. Still, in any case, the stone was boated in, and two stone lions believed to have been made at that time by those Chinese stonemasons still survive today at Tôdai-ji. A group of four stone statues of the Deva Kings they are said to have produced at the same time do not survive, however. The stone lions are quite ornately decorated, with carved-on wreaths and sashes; in China, ornamentation on stone lions was restricted to Imperial tombs, but in Japan, such attitudes and policies were not in place, and further this was one of the greatest – and originally strongly Imperial-associated – Buddhist temples in the realm.

The graves of Katsu Kaishû and his wife, at Senzoku-ike Park in Tokyo.

Once the Tôdai-ji project was complete, it is believed that some of these stonemasons may have found work at Mt. Kôya, where some of the first gorintô stone grave markers would have been produced. Glassman says Mt. Kôya might represent the largest graveyard in the world; I have never been, but would love to visit. The earliest gorintô marked the graves of eminent monks, and of members of co-fraternities, not only in the Kyoto/Nara region and at Mt. Kôya, but rather broadly across the archipelago; the oldest extant stone gorintô inscribed with dates are located in such disparate regions as Hiraizumi, in the far north, and in Ôita prefecture, in Kyushu; both of these date to 1269.

Yi’s descendants went on to become well-established, with at least two major branches of gravestone-carving styles developing. The main branch of descendants and disciples, still called the “Yi school,” or I-ha (伊派) in Japanese, was based largely in Nara and Kyushu in the early medieval period, while another branch, the Ôkura-ha (大蔵派), became prominent in the Kantô (around Kamakura, and what would later become Edo, and then Tokyo).

All photos my own.
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1. Or, at least, the largest wooden building constructed prior to the 1990s or so. According to Wikipedia, a baseball stadium in Akita, built in 1998, is larger. Boo.

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I still have a few posts to post about our “field trip” day, but for now, I think it about time that I skip ahead and post the following, which I wrote on my last evening in Okinawa this summer.

The main worship hall of Azato Hachimangû.

Monday, Sept 20. Okinawa.

Boy, today was incredible. After doing some laundry, packing my bags, and otherwise just coordinating things to get ready to fly out tomorrow, I poked over to Azato Hachimangû, one of the Eight Shrines of Ryukyu, which turns out to be quite close to my hotel. Had things gone a little differently, I might have actually seen three of the Eight Shrines today – and having already seen four on my previous trip to Okinawa, that would leave only the one, Kin Shrine way up in Kunigami. But, even having not seen those other two today, it’s okay.

Azato Hachiman Shrine was quite small, and just sort of tucked away in a residential neighborhood. So, my trip there was quite brief, just a sort of check it off the list sort of thing. By then it was already 10am or so, maybe later, I don’t remember, and I was trying to catch a bus at 12:23, so I knew I didn’t have too much time to do too much else. I had been thinking of going to the Okinawa Prefectural Library, to try to see if I could take a look at some original (primary source) documents, or to at least see what was on the shelves and get a sense of some books I didn’t previously know about, maybe make some photocopies. But even just walking there and back might have taken up the great majority of the time I had, and looking at books or documents could very easily take far more time than I had.

So, I decided instead to head over to Sueyoshi Park, to try to see Sueyoshi Shrine, another of the Eight Shrines. The park is fairly large, and situated right between Gibo and Shiritsubyôinmae stations on the monorail; what I didn’t know is that the park is actually quite mountainous, that there are very few signs or maps once you get into the park, and that the shrine is way over on the far side. Of course, if I had bothered looking closer at my map, or at Google Maps, rather than just heading out, I might have realized this. But, that’s the way it goes sometimes. I got into the park, and just sort of took a path, up, knowing that shrines tend to be located at the top of hills more typically than lower down, and basically just taking my chances. The staircase ended at a dirt path roughly cut through the greenery… I decided to check it out, and soon found a small stone sign, indicating the site of a princely tomb called Ginowan-udun – just a sign, along a forested path, with nothing else of any ruins or structures immediately visible. Cool, I thought. Nothing much to see here; clearly nothing much remaining of the site, but cool to know it was here. But I kept walking, and a stony path emerged, along with an old-looking stone wall. So we’re no longer walking on just pure dirt any more. And then, then, I see a much more serious-looking stone wall, and a set of stone steps leading up through the wall. Oh ho. What is this now? I turn the corner and get a better look, and – whoa. A very large traditional-style Ryukyuan “turtle back” tomb. Wow. I’m not sure the picture does it justice. To stand there, before this immense thing, so relatively intact and so hidden amongst the forest of this public park, just sitting there, hidden… well, it was quite a feeling. And I certainly would never have found this site except just by luck, as I did.

I then poked around a bit longer, in the hopes of finding Sueyoshi Shrine, but eventually had to just give up, as I found myself all the way over at another end of the park, and yet still completely the wrong side, having never come across so much as a sign or pointer towards the shrine.

I made it back to my hotel just in time, pretty much, to catch the bus. I had left a fair bit of time, but after walking the extra three or so blocks to the post office, waiting in line for the ATM, walking back to the general area of the bus stop, asking at a major hotel right in front of the bus stop about just where exactly the bus stop was, how to pay for or get on the bus, and whether or not I need a reservation, and finding them utterly uninformed, I ended up finding the bus stop on my own with literally something like 1 to 3 minutes to spare. Fortunately, the bus came ten minutes late. So, yes, by the way, if you’re ever in Okinawa, and looking to get to certain parts further north, the Yambaru Express Bus is actually a really easy and relatively inexpensive way to get to Kakazu (Ginowan), Nakagusuku (that is, the Nakagusuku bus stop on the side of the highway; I’m not sure about how convenient this is for getting to the castle), Nago, Motobu, Nakijin, and Unten Port (and to the aquarium, I’d imagine). It doesn’t run too often – today, if I had missed my 12:23 bus, the next would have been at 3:something PM; and on the way back, there were buses at 4:20ish, and 6:05, which was the last one for the day. Glad I got a ride back instead of having to deal with that. But, you don’t need any reservation, you just get on, take a ticket that shows where you got on, and then a display screen on the bus shows how much you need to pay for each exit. So, for example, when I got on, the ticket showed a number 4. Then, when I got off at Nakagusuku, the screen said “1: 500 yen, 2: 450 yen, 3: 430 yen, 4: 430 yen” or something like that, and so I paid my 430 yen, or however much it was. So you just drop the right number of coins, along with your ticket, in the collection box on your way off the bus. It’s a nice cushy tour bus style bus, and takes the highway, so it actually goes quite quick – got me to Nakagusuku in 20 minutes. Going all the way to Unten will take the better part of three hours, and as much as 2000 yen (approx. US$20), but, still, it’s good to know that it’s so relatively easily doable – renting a car to get around Okinawa is not as 100% required as I had been led to believe. Now, sure, 3 hours each way doesn’t make for a good day trip, so I don’t know about taking this bus just to go to the aquarium, all the way from Naha, but if you need to get to Unten to take a ferry to Izena or Iheya Island, where you’re going to stay overnight (I’m told you kind of have to, the ferries run that infrequently), it could be worth it. Or, just to get up there to then mosey around that part of the island for some time…

Anyway, returning to my story of today, I had met Garrett Kam, a fellow UH & EWC alumnus, the previous week, and Garrett, a dancer of traditional Javanese and Okinawan forms, had let me know about a kumi udui performance going on in Ginowan, at 2pm on Monday (“today,” the day I’m talking about).

Right: a poster for an April performance of Yukiharai at the National Theatre Okinawa. This was the same performance, by the same troupe/school, which I saw that day in September.

Kumi udui, to put it quite simply, is the chief traditional theatrical form of Ryukyu. It draws influences from Noh and Kabuki, and to someone more familiar with those forms, like myself, it definitely bears resemblances to both, and fits somewhere between the two, featuring bold colored costumes like kabuki, but also very slow, drawn-out chanted speech, and subtle movements, like Noh. It also has some connections with Chinese and Southeast Asian forms. I had seen kumi udui before on YouTube, but never in person, so this was very exciting.

Ginowan City Hall, right next door to the shimin kaikan (Community Center) where the performance was held.

I got to Ginowan about an hour early; less, really, once one takes into account the time it took to hike up into town from the Nakagusuku bus stop, which is right on the side of the highway, near a highway rest stop. Still, I had some time to spare, so I stopped into a local bookstore called Miyawaki Shoten (now that I look up the website, I realize it’s a national chain, not even based in Okinawa), thinking, oh I’ll just see what they might have. Turns out Miyawaki’s “local books” (read: Okinawan history, culture, etc.) section is quite good, including full runs of several series I’ve only seen bits and pieces of before (e.g. a series of short, popular history 1000 yen books on each of the kings of Ryukyu), as well as other books I’d never come across before at all. Resisting the urge to buy more than I could fit in my luggage, I ended up with just one thing, a thin volume of the magazine Momoto, focusing on sites in mainland Japan related to the Ryukyuan missions to Edo (how perfect, given my research topic!). Momoto seems a really excellent magazine – each issue is quite short, so without actually reading them I couldn’t actually say just how thorough or actually informative they might be, but on the surface, they do seem to cover a good range of topics, with issues on Shuri, on Naha, and on Reversion (in 1972), though some of the earlier issues focus more on Okinawan lifestyle and the kinds of things that don’t really pertain so much to my interests. But it’s a relatively new magazine, just a few years old, and on the surface (yes, I am judging books by their covers. What of it?), they at the very least have very nice design aesthetic to them, plus I’m just taken, so to speak, with the idea of such an Okinawa-specific magazine.

I had thought about exploring the town a bit more, maybe trying to see something of the outsides of the highly controversial Futenma Air Base, which is right there, occupying the center of the town, and thus was never more than a few blocks away from the places I was today; I was also thinking of trying to make my way to Futenma-gû, or Futenma Shrine, another of the Ryukyu Eight Shrines. But, time was pressing, so I skipped all of that and just made my way to the Ginowan Shimin Kaikan (which they translate as Civic Hall, though it really means something more like “citizens’ meeting hall). Turns out it was not a public or publicly accessible performance, but rather a performance in conjunction with the annual meeting of the pension “friends” group of the Ginowan branch of a Japanese Agricultural Coops organization (JAおきなわ・宜野湾支店 年金友の会), or something like that.

Not really understanding what was going on, I went in and explained I didn’t have a ticket, and asked if I could buy one, and to my surprise, the fellow asked me immediately, “Garrett-san?” “Ah, no. Garrett-san’s friend,” I answered, and before I knew it I had been taken to the actors’ dressing room (!!). I spoke with them very briefly, and got to take some pictures and watch them put on hair and makeup, as they very kindly and generously allowed me to just sit there and watch as I waited for Garrett. I suppose I should have taken greater advantage of this, to stay longer and see more of the process (and get more pictures) – as it is, I only have pictures of some earlier / middle stage of the process, which is still super cool; I can’t imagine I’ll ever see such a thing backstage at Kabuki-za, for example. But I don’t have pictures of any later stages, or indeed of the costumes at all, since I presumed there were no photos allowed during the performance. Sadly, since it was this weird special private event, there are also no posters, flyers, or websites about the performance to keep to help remember it, nor to share with you.

So, I went outside to wait for Garrett, and he eventually came, and he was then invited backstage again, to say hello to the Sensei, who he had met some years before. I managed to tag along.

The show itself was interesting, and quite enjoyable, though considerably lower energy than Kabuki can be – in this respect, it’s not so much “entertaining” in a direct way, but rather something you appreciate, or try to appreciate, as a cultural expression, as a practice/performance of a traditional form. The story, a new interpretation of a relatively traditional story, was at its core about a young woman whose mother has passed away and whose father has gone off on official business. Her evil stepmother, very much in Cinderella-like fashion, forces the girl to do difficult household chores, in the snow, without an outer kimono (i.e. it’s quite cold). Why there’s cold and snow in a Ryukyuan play, beats me. But, she eventually collapses due to cold and exhaustion, sees the ghost of her mother, and is then found, collapsed, by her brother, and then by her father. I may be missing a few bits, but basically, in the end, the father gets upset with the stepmother, and makes to kill her, but is stopped by the children, and they all make up (somehow) and become a happier family, the end. The chanting and movements were quite slow, highly stylized, and minimalist, like in Noh, but of course quite different in style, coming out of distinctly Okinawan traditions, and being chanted in Okinawan language (Uchinaaguchi). The costumes, though, unlike in Noh, were brightly colored, and quite beautiful. The young woman wore a white bingata robe, covered in multi-colored patterns, and under it, a red underrobe, while other characters wore similarly bold costumes. The musical ensemble – sanshin, kutu, drum, and I think maybe a few other instruments, played classical (koten) Okinawan music as I am familiar with, though no specific pieces with which I am familiar. … I’m not sure what else to say about the piece exactly. I am quite glad to have gotten to see it, and certainly look forward to seeing more kumi udui in the future. At first go, it’s certainly not as captivating as Kabuki can be, but then, it was only on my Xth time seeing Noh that I first had a real sort of “experience” with it, having/gaining a certain insight, a certain appreciation, that I hadn’t appreciated before. So, maybe after seeing kumi udui a few more times…

A video of Garrett’s “Okijawa Hi Sigh” dance piece, combining Javanese and Okinawan elements. Thanks for filming & sharing this video to YouTube user angeline158.

Garrett’s friends Chiyo and Yuko-san then gave me a ride, driving us all to Okinawa University of the Arts (Okinawa Geidai), where Garrett shared one of his fusion Javanese-Okinawan (“Okijawa”) dances with the gamelan circle. I was quite thrilled to get to come along, having passed by but never actually been inside Okinawa Geidai campus, and more to the point, having heard – years ago – of the Okinawa Geidai gamelan group, which takes advantage of the musical similarities between Javanese and Okinawan musical forms, scales, and such, to play Okinawan music on the Javanese instruments. I don’t really know why, or how to express it, but ever since hearing about this, I just wanted to visit and meet this group, and perhaps even play with them, so badly. And today I got my chance. And not only that, but somehow I’d had an impression that this was a very serious group – this is Japan after all, and an arts university – and that any interactions with them I might ever have might be highly formal, and sort of exclusive – like trying to talk to them after a performance and them being, understandably really, too important and too busy to care what some random white guy grad student wants to say. Maybe I’m dragging this out too long, making too much of it. But, in any case, in the end, today at least, with the gamelan circle (a student club, not a formal class), it was just about as laid-back, friendly, and welcoming as could be. After Garrett shared his dance, we practiced trying to play that song a few times, and I actually got into it, despite having not played gamelan for several years; I’m no good at it, of course, but so long as you’re just repeating over and over, it’s not so hard to get into the pattern, and that’s where it becomes wonderfully meditative and kind of relaxing, as you just play 3, 2, 3, rest, 7, 5, 7, rest, 7, 3, 2, 3, …. going through X sets of four notes each, at a regular pace, and then repeating the whole X sets, around and around, as it gets a bit faster, and a bit slower, again and again, until finally coming to an end.

The Okinawa University of the Arts gamelan group performing a Tanabata concert, July 2014. The piece I’ve cued up here is a version of the classic Okinawan folk song Asadoya Yunta, performed as you can see on a combination of Okinawan sanshin and Javanese gamelan.

These are the kinds of adventures/experiences I dream(ed) of when I think about continuing my involvement in academia. To get to meet and speak with someone like Garrett Kam, who’s doing such exciting fusion work, and who is so knowledgeable and thoughtful about multiple cultures and about their co-mingling; to get to go backstage at a kumi udui performance at the Ginowan Shimin Kaikan of all places; to get to hang out and even practice with the Okinawa Geidai gamelan group… as I’m not as directly, explicitly, involved in the arts as some people are, who knows if these kinds of experiences or opportunities will come as frequently or as easily as they might otherwise, but here’s hoping that they do continue to come. In particular, if the Okigeidai gamelan group is indeed as laidback and welcoming as they were today, here’s hoping that if/when I find myself in Okinawa for a more serious length of time sometime, that I might be able to join them more regularly, practicing together, and just building networks and friendships, and some sense of actual belonging & involvement at such a place as Okinawa Geidai… what a thing that would be.

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It’s been more than six months since I meant to write this post… where last I left off, I’d just visited the three old samurai houses along Kaburaki-kôji, and it was still early in the day. Of course, since it’s been six months, sadly, I can no longer remember exactly what route I took, or how I was feeling, over the course of the day.

To summarize, then, I wandered around the town, which is wonderfully walkable, and checked out a whole bunch of Buddhist temples. I’d picked up a few tourist guide pamphlets and maps at the museum, which list 27 sites across town. Looking at the pamphlets again right now, I realize I missed the Sakura Old Samurai Town Museum of History and Folklore altogether. Drat. But, I did manage to make it to quite a few of the temples. It’s hard to tell from the tourist pamphlets which temples are going to be particularly beautiful, or which might be hiding some great historical significance. So, why not check them all out?

The main hall at Daishô-in.

The first stop was Daishô-in, which is located along the same street as the samurai houses. The home to two of Sakura’s “Seven Lucky Gods” – Daikokuten and Hotei – Daishô-in is also the site of the grave of Hosokawa Tadayoshi, a famous Sakura swordsmith.

Above: The Sakura Shinmachi O-hayashikan. Below: Hiyodori-zaka.

After making my way down Hiyodori-zaka, a small bamboo-lined walking path said to be (more or less) still in the same form it was in the Edo period, I made my way to the center of town, passing by quite a number of old homes dating to the Edo or Meiji periods, and the Tsukamoto Sword Museum, which is closed on weekends, and which I was thus never able to visit. I found my way to the Sakura Shinmachi Ohayashikan, where locals practice folk dances and the like for annual festivals, thinking that I might rent a bicycle, to get around town faster. There are several places in town that one can rent a bike, and it’s a wonderfully convenient thing that they offer it. However, I was advised by the kind woman manning the desk there that it wouldn’t really be worth it, logistically, for me, since bikes had to be returned by 4pm, and returned to one of several places nowhere near the guest house I was staying at (in other words, I’d have to return the bike and then walk halfway across town to get home). Besides, she assured me, the town is really quite walkable – and, dear readers, having now done it, exploring more or less everything there is to see in Sakura, on foot, I’d have to say I agree.

Noticing that quite a few of the temples on the map were quite close together, all along one small side street, I headed off in that direction. And, incidentally, I should mention, Sakura does an excellent job of having signs pointing towards the major historical sites in town. As you walk around the town, you’re constantly coming upon signs with arrows, “Jindaiji 300 m [this way]”, “Juntendo Memorial Hall, 1km [that way],” “Makata Shrine, right here” [point point]. It’s really quite nice, especially as many of the temples are hidden down back streets.

The main hall at Jindai-ji, originally built in 1726, but at a different temple, being moved here only in 1961.

Sôen-ji, home to the grave of Juntendô founder & Rangaku scholar Satô Taizen, was my next stop. It is also the Jurôjin shrine on the circuit of the Sakura Seven Lucky Gods. Sadly, I did not get to see the grave, but Jindai-ji, right across the street, would more than make up for that. Jindai-ji is the patron family temple, or ”bodaiji”, of the Hotta clan, who ruled Sakura from 1746 until the abolition of the domains in 1871. The temple itself is quite nice, with a main hall (hondô) with striking vermillion accents. But, the real key attraction, and I’d say for any fan of samurai history, perhaps the top historical attraction in the city outside of the National History Museum, is the Hotta clan graveyard, which contains the graves of all the Hotta clan daimyô of Sakura, including Hotta Masatoshi (1634-1684, rôjû under Ietsuna and Tairô under Tsunayoshi), Hotta Masayoshi (1810-1864, the chief shogunate official involved in negotiating and signing the Harris Treaty), and Hotta Masatomo (1851-1911, the last daimyô of Sakura, who built the Hotta clan mansion maintained on the outskirts of town). I’ve seen a couple of other clan graveyards – the chief one that comes to mind is that of the Hosokawa at Kôtô-in in Kyoto – but this is the first one I’ve seen where you can really sort of walk around in it.

Not that it’s all that huge – took me no more than five or ten minutes to see the whole thing, including taking pictures and such. It’s also an interesting space in that the temple itself isn’t that large, and is kind of next door, so to speak, so the clan graveyard really doesn’t feel contained within a temple grounds, so much as just sort of, there, along a small suburban street. I suppose, now that I look at my photos again, there is a wall around the cemetery, and gates that can be closed. But, even so, the approach from the street isn’t particularly marked at all – it feels more like entering an empty lot than it does a temple or historical site. Not that I’m complaining – this kind of variety only makes it more interesting. Imagine if all temples & historical sites looked the same.. it’d drain all the enjoyment out of it.

Above: The squat, plain main hall at Shôrin-ji. Right: The “Sakura daibutsu,” at Kyôan-ji.

Shôrin-ji, constructed under the patronage of prominent early Edo period figure Doi Toshikatsu, contains small memorial towers (kuyôtô) dedicated to Toshikatsu, his parents, and his wife, as well as the oldest wooden building in the city. Kairin-ji, meanwhile, is the patron temple of the Chiba clan, though I’m not sure there are actually any proper graves of famous Chiba lords to be found there. Another small temple in town, Kyôan-ji, is known for its large bronze Jizô, also known as the Sakura Daibutsu, despite not being nearly the size of the more famous Daibutsu in Kamakura, or that in Nara.

In wrapping up this post, I suppose I ought to say something about travel tips or the like, rather than just listing off places I saw. Generally, I’m a fan of just wandering around, taking in the atmosphere of the city, and seeing what you run into. I guess that’s the New Yorker in me. But, while that works well in Manhattan, and in a city like Kyoto which is about as dense as they get in historical sites on nearly every corner, in a place like Sakura, or for that matter, Naha, or almost anywhere else you might go, I do think that having a map is a huge help. Especially if, like myself, you do not have a full smartphone data plan in Japan, and thus cannot call upon the internet and Google Maps to help you find your way around.

Even when I was in Kyoto, though, and was in full-on roaming mode, I still usually had a specific destination in mind; and then, on the way to that destination, whether you get lost or find it quickly, you’ll find other things along the way. In Sakura, there were not necessarily all that many historical sites or the like of true interest along the way, but, in the process of traipsing around looking for temples, I did get to see quite a few back streets, residential neighborhoods, and to really get a nice feeling for the town, a bit more than if I’d stuck to the main streets and more exclusively to the bigger-name sites. And there really is something interesting and enjoyable about simply seeing the range of style of houses, the range of layouts of streets (gee, I wonder what it would be like to live on this tiny street, or on this major street, or up on that hill, or next door to this temple). Sakura also has an interesting variety of styles of temple gates – it might just be that I visited so many in one day, but it truly did strike me, how some temples had simply two stone pillars framing the entrance to the space, some had more elaborate roofed wooden gates, and some no gates at all; Myôryû-ji even has a pair of ornately carved white pillars topped with lion-dogs, one of which has sadly, however, toppled over. The temple buildings themselves are also quite varied, in a calm, simple sort of way.

Since I did visit so many in one day, and since each was so small, with very little to take notice of, or to set them apart, beyond simply the style of the buildings, I guess it helped focus me in on noticing the variety. I can’t quite figure out how to put it into words… of course temples have great variety – if you go around Kyoto, you’ll see some incredibly, wildly different buildings. But, in Sakura, none of the buildings are, to be honest, all that especially striking, and in a way, this makes the variety more… what am I trying to say? I guess, the great famous monuments of Kyoto will certainly give you a crash course in many of the most iconic buildings in Japanese history, but, Sakura gives me a sense of seeing a more standard, typical, variety of architecture such as would have (and, obviously, still does) exist in any average typical Japanese city. Kyoto, Nara, certain other cities, you know are going to have a rather special feel, because of their very special histories. But, in Sakura, the temples – their main halls, their gates – alongside old homes and shops from the Edo & Meiji periods, and more modern structures, come together to provide a real atmosphere of a “typical” (though I don’t know how typical it truly is) small Japanese city.

In my next Sakura post, I’ll talk about the Juntendô, and the Hotta clan mansion.

All photos my own.

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*I posted a few weeks ago about a dispute between the Russian government and Chabad, over a collection of documents which Chabad claims Russia is refusing to return to them. A not-so-different situation has emerged in Japan regarding a number of Buddhist sculptures stolen by Koreans, who claim they were simply stealing them back, and who now refuse to return the objects to Japan.

Two Buddhist sculptures recently stolen from Tsushima and now in the hands of S. Korean authorities. Images from Japan Daily Press.

One such sculpture, the New York Times reports, was seemingly stolen right out of a Buddhist temple on the Japanese island of Tsushima. The statue, originally held in a Korean temple in the early 14th century, has been on Tsushima for centuries, and has been designated an Important Cultural Property by Nagasaki Prefecture. As the article relates, the statue was soon afterwards discovered by South Korean police, but then a Korean court judged that the object did not need to be repatriated to Japan, as its arrival in Japan may have originally been at the hands of pirates who stole it from Korea.

A model of a red seal ship, or shuinsen, on display at the National Museum of Japanese History (Rekihaku). Though the model is not explicitly, specifically, labeled as or intended to be a pirate vessel, but rather, by definition an authorized, legal, merchant vessel (the “red seal” being the official mark of authorization), this is representative of a typical seagoing Japanese ship of that time.

People sure are obsessed over these pirates. I of course know nothing about this specific case, and cannot say whether the object was, indeed, brought to Japan by pirates who stole it from Korea, or not. But, I can say that contrary to popular belief, the so-called wakô (C: Wōkòu, K: waegu, lit. “Japanese bandits”) were not exclusively or even primarily of Japanese origin. A great many of them were from China, Korea, or Southeast Asia. Even if the object had been stolen by pirates in the 15th or 16th centuries, does that really mean that it ought to be returned to Korea? Is it still an outstanding case, an ongoing “wrong” that needs to be righted? Or is it just history? Where do we draw the line? Interestingly, the Japan Daily Press reports that the Chosun Ilbo, one of S. Korea’s most major newspapers, has published pieces by Korean scholars arguing both in support of the piracy theory, and against it, with the latter scholar suggesting the statue may have made its way to Japan as a gift, as part of diplomatic exchanges between Joseon Dynasty Korea and Tokugawa Japan.

Last year’s (2012) Tsushima Arirang Festival Korean Missions Procession, as recorded & uploaded by YouTube user syokichi0102.

Tokugawa Japan & Joseon Korea had rather peaceful and friendly relations for roughly 250 years, from the early 1600s until the 1850s or so, via Tsushima. A great many objects were given as gifts, in both directions, though the Korean authorities today (and in particular, representatives of the temple which originally owned the statue back in the early 14th century) seem dead-set on rejecting the idea that the sculpture could have possibly been gifted or sold willingly. The Korean diplomatic missions which passed through Tsushima in the 17th-19th centuries are celebrated and reenacted every year by the people of the island along with visitors from South Korea. Or, at least, they are normally. The festival has been canceled this year, in response to the Korean court’s decision, and the broader controversy/incident surrounding the theft of this sculpture.

Roughly half the residents of Tsushima have now signed a petition to be submitted to the Cultural Heritage Administration of Korea, asking that the statue be returned. We shall see what happens. The Japan Times (in English) and J-Cast News (in Japanese) also have articles on this subject.

The Korean peninsula as depicted in Hayashi Shihei’s 1785 Sangoku tsûran zusetsu.

*Meanwhile, on a related note, while I fully admit that I do not know much at all about the actual content of Korean scholarship, I have always gotten the impression that it is rather nationalistic, and in particular, emphasizing a Korean cultural superiority & individuality, downplaying Chinese influence on Korea, and up-playing Japan’s cultural/historical debt to Korean cultural influence, while also emphasizing Japanese violence and militarism throughout history. To what extent, or in what precise ways, any of that is or isn’t true, in all honesty, I do not really know for myself.

But, given those rumors I’ve heard, given those impressions I’d been given, it is wonderfully refreshing to hear about best-selling S. Korean art historian You Hong-june, whose newest book not only goes against my impressions of what is typical in Korean scholarship, but also appears to provide radically new and interesting – genuinely valuable – perspectives on the history of Korean-Japanese interactions.

To give an example, during Toyotomi Hideyoshi’s invasions of Korea in the 1590s, in addition to the extensive violence inherent in any such war, a great many potters and craftsmen were also kidnapped from Korea, essentially taken as prisoners of war, and forced to teach their techniques to Japanese potters. Any art history textbook will tell you that many of the most famous Japanese pottery styles owe their origins in Japan to these Korean potters. Most English-language scholarship that I’ve seen has emphasized the kidnapping, the terrible wrongs inherent in those actions, and rightly so. I get the impression that most Korean scholarship emphasizes this violence even further, and while I don’t really know, I somehow get the impression that much Japanese scholarship might not take too different a position, acknowledging this as kidnapping, as a violent act. But, getting to the point, interestingly, You Hong-june is quoted as pointing out an additional, interesting, and important side of all this: “In a description of the area in Kyushu that produced the Arita and Imari styles of pottery, You writes that the potters brought to Japan by troops sent to invade the Korean Peninsula by the warlord Toyotomi Hideyoshi in the late 16th century were ‘of lowly status in Korea, but in Japan treated as skilled artisans.'”

Speaking of the origins of the Japanese state, and of “Japanese” culture in the 6th-8th centuries, You also writes that “foreigners [i.e. Koreans] who came to settle in ancient Japan exerted an influence, but what grew there should be regarded as Japan’s own culture.” Again, as I don’t read Korean, I can’t say what truly is said in most Korean scholarship, but I get the impression this is a relatively radical notion against claims of Japan’s origins being entirely a borrowing, or a stealing, of superior Korean culture, or something to that effect.

Stereotypes and misconceptions abound in any and every culture. That’s unavoidable. But, You seems to be encouraging Korean readers to take a fresh, new, open-minded look at Japan. “Knowing about Japan as it really is will further broaden readers’ understanding of Korean history,” he writes, encouraging a less nationalistically-centered view of Korean history and Korean identity, and instead one more engaged with regional exchanges and interconnectedness. Having only these quotes from today’s Asahi article, I can’t say what the content of his book is like through-and-through, but if it’s anything like what I suspect, it could be wonderful to see it translated and published in Japanese and English, providing a new, different, additional perspective on Korean attitudes about Japan.

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8/9 Friday

Today was my last day in Okinawa :(

I started out by heading for Shikinaen, the one truly major sightseeing site in Naha that I’d missed on my previous trip to Okinawa, on account of them being unexpectedly closed on Wednesdays. (Many museums, around the world, are typically closed on Sundays or Mondays or Tuesdays, or even Fridays, I guess. But Wednesdays? Took me completely by surprise. And was not the most pleasant end to a rather long walk from Shuri castle.)

Ah, but first I headed back to Gekkôsô / Tsukinowa for breakfast. I skipped out on posting about them in my previous entries, but the short version is, it’s a rather ramshackle-looking youth hostel located at the end of a back-alley off Okiei-dôri near Miebashi (in central Naha). I was introduced to the place during my Naha Machima~i walking tour of the Miebashi neighborhood; I’m not sure I’d ever stay there, but it was a really fun place to hang out at night, and to go back to for breakfast. Very friendly, very real. The staff aren’t professional staff, like at a corporate hotel, who are there just to provide professional service, but, rather, are young people hanging out and enjoying living in Okinawa for a few years – they’re friendly and open and honest, and in short, just very real. And the guests as well, mostly college kids from mainland Japan, here to hang out and just have fun in Okinawa for a few days… I never did manage to get invited to join any locals in hanging out and singing folk songs or playing sanshin or whatever, like I did five years ago, but I did bring my sanshin to Gekkôsô late one night, and just hang out, sharing in their food and drink, and singing along and just generally having a good time, in that particular sort of youth hostel / beach house sort of way. Though it is a hostel, they welcome people who are not staying overnight to join them for dinner, or drinks, running a cash bar in the hostel’s common rooms, and they prepare breakfast too. A nice, cheap, filling breakfast, including an amazing banana milkshake (nothing but fresh bananas and local Okinawan milk, or so the menu says), and some nice conversation. Life in a normal hotel can be quite isolating and lonely, as you explore the city alone each day, and whatever – visiting Gekkôsô at night, and again in the morning for breakfast, brings in the social element. I’m not sure I’d ever stay there – it’s quite cheap, but also quite ramshackle (I didn’t actually see the guest rooms, but…), and, well, maybe if I were younger, but, I’d definitely recommend at least dropping by one evening, and/or in the morning for breakfast, for a taste of that backpackers / beach bums side of the Okinawan experience.

On my previous trip to Okinawa, five years ago, I walked to Shikinaen from Shuri castle – a pretty logical way to go, or so it seemed at the time, given that the Kinjô ishitatami (cobblestone) walking road suggested in all the tourist guidebooks seems to lead towards it. But, as it turns out, it’s still a really long walk beyond the end of the ishitatami road. Today, instead, I took a regular public city bus from right in front of Mitsukoshi (on Kokusai-dôri), and it dropped me off more or less right in front of the gardens.

Shikinaen was the bessô, or second residence, for the Ryukyuan royal family, a sort of relaxation pleasure garden. Is there a standard English-language term for this sort of thing? I see that the British royals have “London residences” and “country residences”… Shikinaen is only a couple hours walk from the main royal palace at Shuri, so I don’t know that I’d call it a “country residence,” but, then again, it’s certainly at a remove from the city proper, and a few hundred years ago, the urban areas would have been even smaller… In any case… In some respects, Shikinaen is quite similar to a lot of the other historical mansions I’ve visited elsewhere in Japan – such as castles, or the former Hotta clan residence in Sakura that I’ve yet to post about. You pay a small fee to get in, wander around along a set recommended path (順路), take lots of pictures, read the signs, learn a little something, maybe stop and sit for a bit and just enjoy the garden.. and maybe wonder what it was like in the time of the kings. Sure, it’s a pretty nice, pleasant, place, and a nice escape from the city, its own little self-enclosed green space, with a pond and a nice residence, but, god, what did people do for fun back then? Was it really so enjoyable just to have a garden, and sit there, and look out over the garden? .. Now that I think about it, it seems perhaps really not so different from our summer homes or country homes today. We escape from the city, and go spend the weekend, or a few weeks, in a rustic-looking home up in the mountains, surrounded by woods, maybe with some deer, and it’s all quiet and cozy, a very romantic getaway…

The residence at Shikinaen, similarly, is quite simple in comparison to the luxurious furnishings of Shuri castle – or, at least, those parts of Shuri castle that we most strongly associate and think of. Yet, it is still a royal space, and so I was surprised at its simplicity, and at the relatively unassuming scale of the gates, and of the house itself. While certainly larger than a typical vernacular home (such as the one on display at the Okinawa Prefectural Museum), like the Hotta mansion it’s basically just a larger version of a very standard basic form: wood construction, tatami flooring, red ceramic tile roof. Don’t get me wrong, I love it, and it’s beautiful in its simplicity and craftsmanship, and the simplicity helps make it feel all the more relaxing and cool, breezy, like a vacation home should. But, still, this is a royal residence?

I wonder if our 20th-21st century American lifestyles, the large houses, the consumer culture, have perhaps skewed our (my) appreciation of what luxury looks like in other places and times. The house I grew up in, a three story Victorian (two floors plus attic and basement), with a front and back yard, total something like 3/4 of an acre, with a garage, two compact cars, no pool, no extra-fancy furnishings, no second vacation home, based on my upbringing, compared to the people around me, I thought (and still think) was pretty average, pretty typical middle-class. But, even putting aside that people in the past didn’t have electricity or cars or cable TV etc etc., and just talking about the size of the space, the comfort level, and the sheer amount of stuff we own (including things made of precious materials and/or fine craftsmanship) even our (my) notion of a typical, average size home is apparently pretty large, if not explicitly “luxurious,” compared to, for example, the middle-ranking samurai homes I saw in Sakura. Even at Shuri castle, despite the Seiden (main audience hall) being all done up in red and gold and everything, I wouldn’t be surprised if the royal residence was relatively plain, like this garden villa. It just goes back to what I was saying in previous posts about our assumptions about the past based on examples of the most lavish, the most luxurious clothes and architecture from that period or culture, and how this, apparently, skews our visualized understanding of what was typical/standard, very much.

Daimyô in audience with the shogun, as represented by mannequins, in the Ninomaru Palace at Nijô Castle in Kyoto. Sure, it’s a bit cheesy, and I am sure there are other very valid arguments against having such a display, but, these totally empty rooms (sometimes only largely empty) at so many historic houses only go so far to help us really imagine what the spaces looked like, and how they were used, in their time. Image courtesy of Wikimedia Commons.

I think I’d like to see, one of these historical homes more fully set up, with all the furnishings, and other objects, maybe even mannequins showing how the space was used, how full and lively and formal or elegant these palaces were. And maybe include pleasure boats floating on the pond, palanquins, and mannequin horses in the stables, because otherwise the whole place just feels so plain, and empty. (The Shinsen-en in Kyoto includes a reconstruction pleasure boat, and it adds so much to the impression of the place as an Imperial/aristocratic pleasure garden.) Admittedly, Shikinaen does display quite a few old photos, allowing us to see how the space was furnished – and now that I’m looking at these, and seeing all the lacquered furniture and fancy plaques (扁額) hung on the walls, it’s certainly looking more luxurious than the empty rooms themselves attest. I suppose it would be difficult and expensive to obtain, and maintain such furniture (read: conservation issues, climate control, etc.). Still, it would be nice to see. Of course, all that said, I enjoyed Shikinaen very much and was very glad to have gone. It certainly helps provide an insight into the aesthetic or style, and lifestyle, of the Ryukyuan royalty.

Departing Shikinaen, I considered what to do with the rest of my day. I’d been thinking of doing more shopping – either for used books, or more Okinawan clothes – but my bags were already quite full, so I decided to pass on that point. Plaques and guide signs at Shikinaen indicated that many famous historical Ryukyuan officials – such as Tei Junsoku and Nomura Anchô – were buried nearby at Shikina-reien (Shikina Cemetery), but, as it turns out, unlike Yanaka Cemetery in Tokyo, or Green-Wood in Brooklyn, there are no maps or guides to these famous graves. Guess they don’t get many tourists. And I absolutely was not going to go traipsing around in the hot sun across a cemetery with no idea of which section to look in, or where I was going. But! The office at Shikinaen sold these nice little pamphlets of guides to walking around Shuri & Naha. The maps inside aren’t the greatest, and the info about each site is in a separate pamphlet, but each one was only 100円, and they did include a number of sites I hadn’t been able to find, or hadn’t known about, previously.

So, I set out to fill in the gaps of some of the places I’d missed the first time around. First was Kume and the old town of Naha, known simply as Nishi and Higashi (West and East districts). The public bus from Shikinaen let off just near Fukushûen (“Fuzhou Gardens”), a Chinese-style garden built as a gift from the city of Fuzhou and as a replica of a garden located there. This was built in the 1990s, and so it’s not strictly speaking a historical site at all, but it’s representative of the long history of Kumemura as the center of classical Chinese learning & classical Chinese high culture in the kingdom. I saw the garden last time, so I didn’t bother visiting it again. But, I found to my surprise a Confucian temple behind it, looking quite shiny and brand new. Turns out it was built/opened this year.

A nice statue of Confucius now stands on the original site of the historical Kume Confucian temple. Meanwhile, two reconstructions, revivals or recreations, of that temple can now be found in Kume – one which I visited five years ago, in the Naminoue neighborhood, right near Naminoue Shrine and Gokoku-ji, and the other newly established here right behind Fukushûen – both with extremely similar names, layout, and appearance. Not that I’m complaining. I wonder if there’s some kind of political or sectarian divide between the two that would spark the construction of a second one…

I pulled out my map, and moseyed over to Nishi, from Kume, and found a plaque marking the former site of the zaiban bugyôsho, the office of the Satsuma samurai official who oversaw matters in Ryûkyû, on behalf of the daimyô. There’s nothing at all to see on the spot today, but this whole street would have, in the 17th-19th centuries, been all homes and offices of the small contingent of samurai stationed in Ryûkyû. Kind of like the earliest Japanese version of the US military bases now occupying so much of Okinawa’s land.

Speaking of which, my next destination was Omono-gusuku (O: Umungusuku), a storehouse located at the end of an earthen embankment, jutting out into Naha harbor. Like Mie gusuku, it survives, in a form, with more modern buildings established atop its ruins, for modern official purposes. I was a bit surprised to find the site completely inaccessible, but then realized that it’s not so unreasonable for major port shipping facilities to be closed off to general access, to people just wandering in amongst the trucks and shipping containers and all that. Not only would tourists be a major nuisance, and danger, but in this post-9/11 world, there is a need for a certain degree of security in and around shipping.

Ah, but, as it turns out this is no civilian shipping facility. Nope. A US Army Facility sign on the barbed wire fence – sadly, not an uncommon sight on Okinawa – means that no one, regardless of Japanese or American citizenship, is getting in there. Oh well. I got some good pictures from afar, and, in fact that’s better for depicting the site as a whole, and its location in the harbor, rather than taking pictures on/at the ruins themselves.

I then turned around and returned to Kume, in search of the former site of the Tenshikan, a sort of guesthouse maintained by the Ryûkyû Kingdom for housing and entertaining Chinese investiture envoys who came to the islands to formally invest the Ryukyuan king with the position of king, as officially recognized and acknowledged by the Emperor of China. According to my maps, it was right around the corner from the Tenpi Shrine site I’d found a few days earlier, but, in the end, I didn’t manage to find it. I imagine there’s likely nothing there but a marker or a plaque anyway, unlike the Tenpi Shrine itself, of which only one gate survives today, but that gate is sure a lot more than nothing.


I then returned to the Tomari Foreign Cemetery, as the maps I obtained at Shikinaen now indicated that had I simply gone the other way around the cemetery, I would have found Ameku Shrine right quick, rather than wasting an hour or two wandering pointlessly all the way around that stupid “Ameku Greenspace” in the hot sun unsuccessfully looking for any kind of indication as to the direction to the shrine. Following my new maps, I found the shrine very quickly and easily, along with the small temple Seigen-ji associated with it, and then returned to the cemetery. Still very tempting to just hop the wall. A sign in the cemetery said something to the effect of “if you’re interested in cleaning up your ancestor’s grave, please notify the City Board of Cultural Affairs ahead of time,” and gave a phone number. So, thinking that the Board of Cultural Affairs had some kind of authority over the site, I decided to call them. I don’t think my Japanese has gotten any better since my last time in Japan – if anything, it’s gotten worse – but, somehow, I just never really thought of using the phone before. I guess I was nervous it would be too difficult, navigating the formal Japanese used by any kind of customer service phone-answerer, dealing with trying to understand someone based on sound alone (no facial or bodily indicators of meaning), and, I guess, just being nervous that I was bothering people who were much too busy to deal with a foreigner who can’t express himself perfectly. But, actually, numerous times this summer, whether it was something like this, calling up the Naha City Board of Cultural Affairs, or whether it was calling a museum to ask about ordering an exhibit catalog from them, it all went really smoothly, and was so effective compared to not calling at all; I obtained a number of museum catalogs this way that would have been very difficult to obtain otherwise. Anyway, I called the Board of Cultural Affairs, and explained simply, “I’m here as a tourist, and I thought I’d visit the cemetery, just as an interesting historical site, no real serious reason or serious business, but the gates are closed, and is there a given day or time that they’d be open?” He told me, “oh, the gates are closed, but they’re not locked, so let yourself in, and just be sure to close the gates again when you’re done.” … Really? Okay. Thanks. So, now bearing official permission, I let myself in, and poked around the cemetery, finding the graves of a number of members of Commodore Perry’s crew, as well as a few of missionaries from various European countries, and other foreigners resident in 1840s-50s Ryûkyû for a variety of other reasons.

What a way to leave Okinawa. Look at that sky. Just gorgeous.

And that was it. Time was up. I made my way back to the hotel, collected my bags, and set off for the airport. Flying the budget airline Air Asia was a bit of an adventure, as they’re located not in the Domestic Terminal, nor in the International Terminal, but in a converted cargo shipping terminal space. lol. And I was afraid for a moment that they might not allow me on with as many bags as I had – it’s only a 2 hour flight from Okinawa to Tokyo, and if they were using a smaller plane, then my sanshin case might be too much. Thankfully, in the end, that wasn’t a problem, and the flight itself went just fine as well.

Back to Sakura for just a few days, and then, my summer adventure in Japan was all over. Back to CA for the school year. Cannot wait to go back to Japan again.

For more of my adventures in Okinawa, check out my Flickr page, Tumblr, or the Samurai-Archives Wiki, where I will continue to add content from my trip.

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