Creating a Japanese Feudal Village

Your roles (circle below):

• Market (food)

o Fisherman

o Farmer

o Merchant

• Market (Imports and Luxury goods)

o Tailor

o Artisan

o Merchant

• Zen Buddhist Monastery

o Head Priest

o Buddhist Monk

o Shinto

During group presentation, complete the following chart to indicate how each of the following

aspects of Japanese society contribute tot the thematic development of Japanese civilization:

Family Relations and Gender

Roles State Building and Conflict

Development and Interaction

of Economic Systems

Market

(Food)

Market

(Goods)

Zen

Buddhist

Monastery

Women’s

Club

Shogun’s

Palace

Samurai

School

• Women’s Tea House

o Geisha

o Female peasant

o Samurai’s wife

• Shogun’s palace

o Shogun

o Daimyo

o Emperor

• Samurai School

o Specializing in combat

o Specializing in The Code of Bushido

o Specializing in dress

FOOD GLOSSARY Abura-age Fried bean curd Awabi Abalone Azuki Red beans Daikon Giant radish Daizu Soya Ebi Shrimp Genmai Unhusked brown rice Ginnan Gingko nut Hasu Lotus root Kaki Oyster Katsuobushi Dried bonito Koi Carp Kombu Kelp Kuri Chestnuts Kyuri Cucumber Miso Fermented soybean and rice dish Misoshiro Bean paste soup Mochi Rice cake Negi Green onion Niboshi Dried sardines Sake Rice wine Sanhso Red pepper Sashimi Raw fish Shiitake Mushroom Shoga Ginger Takenoko Bamboo shoot Tempura Food dipped in batter and deep fried Thoyhu Sota sauce Tofu Soybean curd Tororo Yams Unagi Eel Wasabi Horse radish Zoni Rice cake soup

FARMERS

During the Tokugawa era, farmers were viewed as the foundation of Japan and granted a social

standing just below the samurai class. Yet the government made their lives oppressive and wretched.

To keep farmers in the fields and away from urban centers, government forces severely restricted

their ability to travel. Living under excruciating regulations, many farmers were taxed into poverty.

Though they grew rice (the currency of the day), they were unable to keep much. Instead they lived

meagerly on millet, wheat and barley. In certain areas the poverty was so intense that, after the birth

of the first son, families killed off all subsequent male children. Girls were welcomed since they could

be sold as servants or prostitutes. Farmers were only allowed to wear simple clothes—cotton kimonos,

loin cloths and straw sandals. Wealthy farmers sometimes wore an outer kimono with a design and

geta, thonged footwear.

COOKING IN JAPAN

The most popular foods in Edo were soba noodles (eaten standing at

portable road-side stands), sushi and tempura, which were

introduced by the Portuguese. Harvest from the sea was bountiful

including seaweed, fish, clams, shrimp, octopus, and whale meat.

Red meat was not part of the pre-modern Japanese diet, and did

not become popular until the Meiji Era.

Rice was a staple and considered a measure of wealth (samurai's

stipends were paid in rice). Rice cakes, wrapped in large leaves,

were a popular roadside treat. Samurai ate husked rice, while nobles

preferred polished rice. Though they grew rice, farmers generally ate

millet.

The most popular drink among the samurai was sake, a rice by-

product. Drinking was common among the samurai class, and

drunkenness was not frowned upon. It was sometimes considered

impolite not to get drunk at a drinking party.

AT MARKET

Street Vendors

To accomodate the growing traffic on the Tokaido Road during the 18th century, street vendors set

up portable stalls offering a variety of goods. Vendors called out to passing pedestrians, hoping to

catch their attention with distinctive sing-song phrases. Peddlers strolled through the crowds with

goods on their backs, selling things that a traveler might find useful such as straw hats, sandals, tea,

tobacco and old kimonos. At night, food stands were set up offering soba noodles, sushi and

tempura (particular favorites of the day). As the popularity of travel grew, guidebooks and prints

acted as travel guides for the literate populace.

Tea Sellers

Tea was brought to Japan from China by a returning Buddhist priest who had witnessed its meditative

values. Soon a favorite of the Japanese nobility, tea drinking soon spread from the court and

monasteries to all levels of Japanese society. Along the Tokaido Road's many government posts, tea

shops served travelers' needs much like highway rest stops today.

Most districts in the cities had an area of small restaurants and food stalls known as "chaya." Some of

these vendors served only tea, treating their customers to a simplified version of the tea ceremony,

while others were more like restaurants. During the Edo era, Japanese often ate their meals at tea

shops or other restaurants, since their homes were cramped with little cooking space. Also, because

of the humid climate, food spoiled quite easily and couldn't be stored for more than a day or two.

Book Sellers

During the Tokugawa Era, Japanese literacy was high, and townspeople especially enjoyed

illustrated storybooks. Private commercial publishers flourished, and bookstores—some of which

rented books to customers—spread in urban and rural communities. Though Portuguese missionaries

and Koreans introduced movable type to Japan during the 16th century, Japanese printers went

back to woodblock printing during the years of seclusion from the West. Typically, a page of text was

handwritten by a calligrapher, while an artist drew a design or illustration.

TOKUGAWAIEYASUON THESOCIALORDER

Note: Tokugawa Ieyasu (1543-1616) was the third of the three great unifiers of Japan and the

founder of the Tokugawa shogunate that ruled Japan from 1603 to 1868. The establishment of a

stable national regime was a substantial achievement, as Japan had lacked effective and durable

central governance for well over a century prior to Ieyasu’s rise.

Once, Lord Tosho conversed with Honda, Governor Sado, on the subject of the emperor, the shogun,

and the farmer.” … the true master of the way of the warrior is one who maintains his martial

discipline even in times of peace. … the farmer’s toil is proverbial … he selects the seed from last fall’s

crop, and undergoes various hardships and anxieties through the heat of the summer until the seed

grows finally to a rice plant. … the rice then becomes the sustenance for the multitudes. … the

merchant facilitates the exchange of goods so that the people can cover their nakedness and keep

bodies warm. …

AT MARKET

Street Vendors

To accomodate the growing traffic on the Tokaido Road during the 18th century, street vendors set

up portable stalls offering a variety of goods. Vendors called out to passing pedestrians, hoping to

catch their attention with distinctive sing-song phrases. Peddlers strolled through the crowds with

goods on their backs, selling things that a traveler might find useful such as straw hats, sandals, tea,

tobacco and old kimonos. At night, food stands were set up offering soba noodles, sushi and

tempura (particular favorites of the day). As the popularity of travel grew, guidebooks and prints

acted as travel guides for the literate populace.

Tea Sellers

Tea was brought to Japan from China by a returning Buddhist priest who had witnessed its meditative

values. Soon a favorite of the Japanese nobility, tea drinking soon spread from the court and

monasteries to all levels of Japanese society. Along the Tokaido Road's many government posts, tea

shops served travelers' needs much like highway rest stops today.

Most districts in the cities had an area of small restaurants and food stalls known as "chaya." Some of

these vendors served only tea, treating their customers to a simplified version of the tea ceremony,

while others were more like restaurants.

During the Edo era, Japanese often ate their meals at tea shops or other restaurants, since their

homes were cramped with little cooking space. Also, because of the humid climate, food spoiled

quite easily and couldn't be stored for more than a day or two.

Book Sellers

During the Tokugawa Era, Japanese literacy was high, and townspeople especially enjoyed

illustrated storybooks. Private commercial publishers flourished, and bookstores—some of which

rented books to customers—spread in urban and rural communities.

Though Portuguese missionaries and Koreans introduced movable type to Japan during the 16th

century, Japanese printers went back to woodblock printing during the years of seclusion from the

West. Typically, a page of text was handwritten by a calligrapher, while an artist drew a design or

illustration.

SAMURAI WARDROBE AND HAIR

Samurai warriors took great care styling their hair, which they pulled back

into a topknot called a "chomage." For battle, samurai warriors shaved the

tops of their heads, which reduced the heat under their heavy helmets,

and wore their hair straight on the sides. When not wearing helmets, they

pulled the side and back hair into a topknot.

A samurai's clothing style was very important and indicative of status.

Outlandish, colorful patterns were considered immodest and conceited.

Though samurai children dressed flamboyantly, they became more

subdued in appearance after their coming-of-age ceremony.

The samurai's everyday wear was a kimono, usually consisting of an outer

and inner layer. Normally made of silk, the quality of the kimono depended

on the samurai's income and status. Beneath the kimono, the warrior wore

a loincloth.

The samurai's swords were normally thrust through an "obi," a belt wrapped

around the waist, and were always worn on the left side. When indoors, the

samurai would remove his long sword, but he was always armed with some

form of weaponry.

Outside the home, the samurai wore a two-piece costume called a "kamishimo" over the kimono.

The upper piece was a sleeveless jacket with exaggerated shoulders. On the lower part of their body,

samurai wore wide flowing trousers called "hakama." When traveling, they would wear a long-

sleeved coat over the kimono.

A samurai going to town for pleasure would often hide his face with a hat (often one shaped like a

basket) to avoid being recognized just in case he was disobeying any rules.

ARTISANS

During the early years of the Tokugawa era, artisans provided services to inhabitants of the daimyo

castles throughout Japan. As the peace endured, cities sprang up around the castles, and with

them, an increasingly prosperous artisan and merchant class that supplied the burgeoning townsmen

(chonin). As community support for culture grew, the arts and entertainment flourished.

An early school of art to emerge in the Edo period was Ukiyo-e (pictures of the floating world), which

depicted landscapes and celebrated life in the entertainment centers. Ukiyo-e prints, albums, book

illustrations and greeting cards immortalized famous Kabuki actors and brothel beauties, and were

popular among the middle classes.

One of the most influential Ukiyo-e artists was Kitagawa Utamaro (1753 - 1806), known for his

woodblock depictions of beautiful women from Edo's pleasure quarters. In the early 1800s, Hokusai,

(1760 - 1849) a designer of book covers and billboards, became famous for his landscapes. His "Thirty-

Six Views of Mt. Fuji" includes "The Wave" (as it is known in the West), perhaps the most widely known

Ukiyo-e print in the world.

Ando Hiroshige (1797 -1858) infused woodblock printing with brush painting techniques. In 1832,

Hiroshige traveled from Edo to Kyoto on the Tokaido Road (major trading route in Japan, which

inspired his famous woodblock print series "Fifty-Three Stations of the Tokaido Road."

TRADITIONAL JAPANESE DRESS

Courtesean

The courtesan was not allowed to wear socks and went barefoot even in the

winter. Her feet were whitened with make-up and her toenails were rouged with

the juice of red flowers. Bare feet were considered sensual.

Daimyo

When not wearing battle armor, daimyo wore "eboshi" caps of black silk gauze

stiffened with a black lacquered paper lining. The cap was held in place either by

a white cord, or was pinned to the daimyo's topknot. The size and shape of the

cap largely depended on the samurai's rank, though by the 16th century the use

of eboshi was reserved for the most formal events. On such occasions, a page

carried the daimyo's sword. Daimyo frequently kept a simple folding fan tucked in

a belt wrapped around the waist.

Farmers

Farmers were only allowed to wear simple clothes—cotton kimonos, loin cloths and

straw sandals. Wealthy farmers sometimes wore an outer kimono with a design

and geta, thonged footwear.

Women

In the highly regulated society of the Tokugawa Shogunate, samurai women were allowed to wear

silk kimonos. Unmarried women and young girls wore long-sleeved kimonos called "furisode." Married

women blackened their teeth and wore the regular sleeve length (thus easily identifying their marital

status).

Before the Tokugawa era, the majority of women wore their hair long and straight. In the Edo period,

women experimented with more elaborate hairstyles; the most popular emphasized a rounded curve

of hair on the back of the head.

TOKUGAWAIEYASUON THESOCIALORDER

Note: Tokugawa Ieyasu (1543-1616) was the third of the three great unifiers of Japan and the

founder of the Tokugawa shogunate that ruled Japan from 1603 to 1868. The establishment of a

stable national regime was a substantial achievement, as Japan had lacked effective and durable

central governance for well over a century prior to Ieyasu’s rise.

Once, Lord Tōshō [Ieyasu] conversed with Honda, Governor Sado, on the subject of the

emperor,theshogun,andthefarmer.“…thetruemasterofthewayofthewarriorisone

who maintains hismartialdisciplineevenin time ofpeace.…thefarmer’s toilisproverbial

...He selectstheseedfromlastfall’scrop,andundergoesvarioushardshipsandanxieties

throughthe heat of the summer until the seed grows finally to arice plant. ... The rice

then becomes the sustenance for the multitudes. ... the artisan’s occupation is to

make and prepare wares andutensilsfortheuseofothers....themerchantfacilitatesthe

exchangeofgoodssothatthe people cancovertheirnakednessandkeeptheirbodies

warm.…”

MERCHANTS

In the Muromachi period, merchants, for their dealings with money, they were scorned as parasites of

society. In the present day, however, many prominent families became merchants after the samurai

class was dissolved in the 1870's. Today, Japan is one of the world's economic powerhouses.

During the Edo period, the merchant class enjoyed a rise in social and economic status. Increasingly

able to afford an education and the trappings of luxury, merchants broke social barriers, hobnobbing

with samurai at the popular haiku and literary clubs. The clubs afforded the two classes a rare

opportunity to mingle on an equal basis. Previously considered the dregs of society for their dealings

with money, the merchants' new affluence encouraged the growth of art and helped spawn a

culture more attuned to the common man.

WARDROBE AND HAIR

Merchants dressed in cotton kimonos, and were barred from wearing silk. Laws prohibiting the

wearing of silk by the merchant class were issued repeatedly (suggesting that rich merchants tended

to ignore the shogun's edicts). By the early Edo Period, many merchants were emulating the samurai

hairstyle, shaving the tops of their heads and pulling back the sides into a similar (though not

identical) topknot. Since classes were not allowed to inter-mingle, it was important that one be able

to differentiate among people.

TEA BOWL WITH CRANE

How is this bowl used in a tea gathering?

As a guest, you would drink a small portion

(about 3–5 sips) of unsweetened green tea

from this bowl. Imagine how it would feel in

your hands. After the guests and the host have

entered the tearoom, the host purifies all the

utensils and makes a bowl of tea in front of his

or her guests. The guests enjoy watching the

host’s graceful movements, and experience

the event with all their senses—sight, sound,

smell, touch, and taste. Tea bowls sometimes

have an obvious front, the side from which it is

most beautiful to look at. The host will present

the bowl to the guest with the front facing the

guest, however, the guest will turn the front

away before drinking, so the guest’s lips do not touch the prettiest side. Having finished the tea, the

guest turns the bowl back so that the front side is facing himself, and will closely examine the bowl.

The guest then returns the bowl to the host, turning the front so that it now faces the host. In this way,

host and guest show mutual respect by always presenting the front of the tea bowl to the other

person. The guest may ask the host about the design of the bowl, where it was made, and the name

of the artist.

What is this bowl’s connection to Korea?

In 1596, a Japanese ruler Toyotomi Hideyoshi invaded Korea for a second time, and the attackers

engaged in brutal killing and widespread destruction. Hideyoshi, and other warriors like himself, were

active patrons of tea-related arts. They wanted to import artists who could make the treasured

Korean style wares in Japan. The troops abducted some 300 skilled Korean artisans. These potters

helped establish new pottery types in Japan, including Hagi ware such as this bowl with a crane.

Hagi is the name of the castle town of the Mori family located on the extreme western point of

Japan’s main island of Honshu. Under the employ of Mori Terumoto, two Korean brothers, Ri Shakko

and Ri Kei made the first Hagi pieces in around 1604. Hagi ware from this time is often undecorated

with simple glazes in light colors. Historians often refer to Hideyoshi’s invasions as the “ceramic war,”

because of the impact this mass importation of Korean artisans had on Japan’s ceramic art, not to

mention the communities in Korea from whence they were taken.

WHY MONASTERIES?

What is a monastery exactly? A monastery is a community of men or women

(monks or nuns), who have chosen to withdraw from society, forming a new

community devoted to religious practice. The word monk comes from the

Greek word monos, which means alone.

It can be difficult to focus a lot of time on prayers and religious ritual when

time needs to be spent on everyday activities that insure one’s survival (such

as food and shelter). Think of the ancient Sumerian Votive Statues from Tell

Asmar, for example (image, right). These statues were placed in a temple

high above the village. Each statue represented an individual in continual

prayer as a stand-in for the actual individual who was busy living, tending to

crops, cooking food, and raising children. The person was depicted with

hands clasped in prayer (at the heart center) with eyes wide open in

perpetual engagement with the gods.

The work of the monastery

In Buddhism and Christianity however, instead of statues, monks or nuns pray on behalf of the

people. The monastery typically becomes the spiritual focus of the nearest town or village. In

Christianity the monks pray for the salvation of the souls of the living. But in Buddhism, there is no

concept of the soul. The goal is not heaven, rather it is cessation from the endless cycle of rebirth

(samsara), to achieve moksha, which is freedom or release from attachment to ego or the material

world and an end to samsara, and to realize nirvana (or liberation), which is to be released into the

infinite state of oneness with everything.

The beginnings of monasteries

In the early years of Buddhism, following the practices of contemporary religions such as Hinduism

and Jainism (and other faiths that no longer exist), monks dedicated themselves to an ascetic life (a

practice of self-denial particular to the pursuit of religious or spiritual goals) wandering the country

with no permanent living quarters. They were fed, clothed, and housed in inclement weather by

people wishing to gain merit, which is a spiritual credit earned through virtuous acts. Eventually

monastic complexes were created for the monks close enough to a town in order to receive alms or

charity from the villagers, but far enough away so as not to be disturbed during meditation.

THE FOUR NOBLE TRUTHS OR DHARMA

It is difficult to achieve moksha, which is why the Buddha’s teaching focuses on achieving

Enlightenment or knowledge that helps the practitioner. This is described succinctly in his Four Noble

Truths, also referred to as the dharma.

Adept practitioners of Buddhism understood that not everyone was ready to perform the necessary

rites to obtain the ultimate goals of ending samsara(rebirth). The common person could, however,

improve their karma (an action or deed that enacts a cycle of cause and effect) by everyday

charitable acts that were mostly directed toward the monastic community.

The Buddhist monks and nuns meditated and prayed on behalf of the lay community (or laity—

basically everyone who is not a priest or monk), those without specialized knowledge of the faith,

assisting them in the goal of realizing The Four Noble Truths. Monks and nuns also instructed the lay

practitioner on how to conduct the rituals, how to meditate, and advised them about which Buddhist

deity to focus on (this depended on the issue or obstacle in the practitioner’s path to Enlightenment).

The laity, in turn, supported the monks with donations of food and other necessary items. It was a

mutually beneficial relationship.

SHINTO SPIRIT

This figure represents a Shinto goddess; her name is not known. She is

depicted as an aristocratic woman, dressed in a thick kimono-like

garment. Shinto images like this one were not meant to be seen but were

kept hidden in movable cabinets in a special part of shrines, where they

were privately worshiped. Since ancient times, the Japanese worshiped

spirits (kami) who were believed to exist abundantly in such forms of the

natural world as mountains, rocks, waterfalls, and trees. As such, they were

not depicted in human form, male or female. It was only in the ninth

century, under the strong influence of Buddhist image-making, kami began

to be depicted in human form.

ZEN BUDDHISM AND THE ROCK GARDEN OF

RYŌANJI

Ryōanji is a temple located in north Kyoto,

Japan affiliated with a branch of Zen Buddhism.

The followers of Zen Buddhism pursued

“enlightenment” or “awakening” by means of

self-introspection 00and personal experience in

daily life. The quintessence and aesthetics of

Zen is epitomized in the rock garden and

architecture of Ryōanji.

Ryōanji thrived as a great Zen center for the

cultural activities of the elite from the late 16th

through the first half of the 17th century under

the patronage of the Hosokawa family. The temple and its gardens are listed as one of the Historic

Monuments of Ancient Kyoto. In the late 1990, the garden attracted over a million visitors annually

and is regarded as an expression of Zen art and a symbol of Zen Buddhism and Japanese culture.

When visitors pass through main gate, they encounter the Mirror Pond (Kyōyōchi) on the left with a

scenic view of surrounding mountains. Walking along the pilgrim’s path and entering the second

gate, visitors arrive at the main building of the monastery, the hōjo (abbot’s residence). The rock

garden is located in the front of the hojo and is viewed either from the wooden veranda embracing

the building or from inside the room.

The Ryōanji garden is the one of the most famous examples of a rock garden—a form which

developed during the Moromachi period (1392-1573) with the efflorescence of Zen Buddhism in

medieval Japan. This type of garden consists of rocks and pebbles rather than vegetation and water,

and was mainly created on the grounds of temples for encouraging contemplation. White gravel

often symbolizes flowing elements such as waterfalls, rivers, creeks, or sea, while rocks suggest islands,

shores, or bridges.

The garden may have been inspired by aspects of both Japanese and Chinese culture. For instance,

Shinto, an indigenous religion of Japan, focuses on the worship of deities in nature. Also, Zen

Buddhism, which derived from Chan Buddhism in China, emphasizes meditation as a path toward

enlightenment. Medieval Chinese landscape paintings associated with this sect of Buddhism often

displayed a sparse, monochromatic style that reflected a spontaneous approach to enlightenment

(see the example, left). Together, these concepts promoted the aesthetic values of rustic simplicity,

spontaneity, and truth to materials that came to characterize Zen art.

BECOMING BUDDHA

Source: From Japanese Zen master, Dogon (1200-1253 CE) sermon on life and death

Now, to conduct: in life identify yourself with life, at death with death. Abstain from yielding and

craving. Life and death constitute the very being of Buddha. Thus, you should renounce life and

death, you will lose; and you can expect no more if you cling to either. You must neither loathe, then,

nor covet, neither think nor speak of these things…. There is an easy road to Buddhahood: avoid evil,

do nothing about life-and-death, be merciful to all sentient things, respect superiors and sympathize

with inferiors, have neither likes nor dislikes, and dismiss idle thoughts and worries. Only then will you

become Buddha.

THE WAY OF THE SAMURAI

A famous monk once said that a master of men must be like the two Buddhist deities of Fudo and

Aizen. Although Fudo caries a sword and Aizen carries a bow and arrows, these weapons are not

intended for slashing or shooting, but for the purpose of subjugating devils. In their hearts, they are

compassionate and circumspect. Like them a master of samurai must first rectify his own way, and

then reward his loyal subjects and soldiers and eliminate those who are disloyal and treacherous. If

you can discern between reason and unreason and between good and evil and act accordingly,

your system of rewards and punishments is deemed compassionately administered. On the other

hand, if your heart is prejudiced, no matter how much you know the words of sages and study the

texts, they all come to naught.

SAMURAI

Samurai warriors emerged as an elite force in Japan's provinces during the early 10th century.

Recruited by local chieftains, these fighting forces were maintained long enough to wage a specific

war, after which the soldiers would return to their lands to till the soil. With Japan's emperor living in

the ancient capital of Kyoto and unable to maintain control of the provinces, the samurai clans

established themselves as viable political entities. By the late 12th century, samurai lords ruled both

the provinces and central Japan. They maintained their influence until the mid-1870's when the

samurai class was outlawed and their privileged status was dissolved.

The rigorous training of a samurai warrior began in childhood. Samurai school was a unique

combination of physical training, Chinese studies, poetry and spiritual discipline. The young warriors

studied Kendo ("the Way of the Sword"), the moral code of the samurai, and Zen Buddhism. Samurai

were expected to live according to Bushido ("The Way of the Warrior"), a strict ethical code

influenced by Confucianism that stressed loyalty to one's master, respect for one's superior, ethical

behavior in all aspects of life and complete self-discipline. Girls also received martial arts training.

Although most samurai women did not fight on the battlefield, they were prepared to defend their

homes against invaders.

The samurai attached great importance to the circumstances of their own death. If a samurai died

of his own accord, it was considered a valiant end. Rather than suffer defeat or humiliation at the

hands of an enemy, samurai warriors often chose ritual suicide (seppuku).

Samurai warriors derived their status and salaries from the daimyo lords they served. When a daimyo

died, these warriors became "ronin," masterless samurai.

After Tokugawa Ieyasu became shogun in 1603, samurai military services were no longer required,

and many ronin wandered the country seeking employment. Though they continued to train daily,

samurai gradually transformed from warriors to bureaucrats. As they became increasingly

marginalized, their resentment grew, and an uprising in 1651 was narrowly averted. With no wars to

fight, some ronin became farmers or monks while others led lives as mercenaries or bandits.

SAMURAI WARDROBE AND HAIR

Samurai warriors took great care styling their hair, which they pulled back into a topknot called a

"chomage." For battle, samurai warriors shaved the tops of their heads, which reduced the heat

under their heavy helmets, and wore their hair straight on the sides. When not wearing helmets, they

pulled the side and back hair into a topknot.

A samurai's clothing style was very important and indicative of status. Outlandish, colorful patterns

were considered immodest and conceited. Though samurai children dressed flamboyantly, they

became more subdued in appearance after their coming-of-age ceremony.

The samurai's everyday wear was a kimono, usually consisting of an outer and inner layer. Normally

made of silk, the quality of the kimono depended on the samurai's income and status. Beneath the

kimono, the warrior wore a loincloth.

The samurai's swords were normally thrust through an "obi," a belt wrapped around the waist, and

were always worn on the left side. When indoors, the samurai would remove his long sword, but he

was always armed with some form of weaponry.

Outside the home, the samurai wore a two-piece costume called a "kamishimo" over the kimono.

The upper piece was a sleeveless jacket with exaggerated shoulders. On the lower part of their body,

samurai wore wide flowing trousers called "hakama." When traveling, they would wear a long-

sleeved coat over the kimono.

A samurai going to town for pleasure would often hide his face with a hat (often one shaped like a

basket) to avoid being recognized just in case he was disobeying any rules.

BUSHIDO

Source: Hagakure (In the Shadow of Leaves); teachings on the bushido by a samurai turned Zen

monk, Tsunetomo Yamamoto

The Way of the Samurai is found in death. When it comes to either/or, there is only the quick choice

of death. It is not particularly difficult. Be determined and advance. To say that dying without

reaching one’s aim is to die a dog’s death is the frivolous way of sophisticates. When pressed with the

choice of life or death, it is not necessary to gain one’s aim. We all want to live. And in large part we

make our logic according to what we like. But not having attained our aim and continuing to live is

cowardice. This is a thin dangerous line. To die without gaining one’s aim is a dog’s death and

fanaticism. But there is no shame in this. This is the substance of the Way of the Samurai. If by setting

one’s heart right every morning and evening, one is able to live as though his body were already

dead, he gains freedom in the Way. His whole life will be without blame, and he will succeed in his

calling….

SAMURAI WEAPONRY

How did sword styles change to meet the needs of the warrior?

The use of single-edge iron swords (tachi), dates to the sixth century. By the Kamakura era (1185–

1333), tachi were being used by mounted warriors, and rivaled the bow and arrow in importance to

the samurai. To improve the tachi’s capability as a cutting and slashing weapon, its design was

gradually altered. The long blades became tapered from the hilt to the tip; they were ridged for

greater strength; and were curved slightly at the base. To better serve the needs of foot soldiers, a

shorter sword (katana), was developed. Curved at the tip and worn stuck into the belt (cutting edge

up), the katana allowed soldiers to move unencumbered, able to draw and cut in one stroke.

In the fifteenth century, mounted samurai also came to prefer the katana, since they often

dismounted for hand-to-hand combat. An even shorter companion sword called the wakizashi soon

joined the katana in the samurai’s arsenal. Worn together, the pair was known as daisho (big and

little).

What is the significance of the sword’s decorative fittings?

During the peacetime years of the Edo period (1615–1868), the daisho became a mark of status for

the samurai, the only members of society allowed to wear two swords. As the sword became more

symbolic than functional, the quality of the blades declined, but enthusiasm for elaborate and

expensive sword fittings grew. Sword owners would own many sets of fittings, changing them to suit

the occasion or season. Although elegant fittings had been made earlier, the art form reached its

peak in the Edo period with richly inlaid and sculpted scenes, and patterns combining precious

metals and new alloys.

GUNPOWDER IN JAPAN

Guns were introduced to Japan by Portuguese adventurers who were shipwrecked near the shore of

Tanegashima, a small island south of Kyushu, in 1543. Matchlock pistols and guns modeled on the

imported weapons began to be made in Japan and were an important feature of battles during the

1570s and 1580s.

How did they transform warfare in Japan?

Technically the matchlock is a kind of musket, fired by mechanically touching a lighted fuse to a

charge of shot and gunpowder. The matchlock’s effective range was about two hundred meters,

and a well-trained soldier would be able to fire four shots per minute at most. But in Japan, where

bows and arrows and stone catapults had been the only projectile weapons, firearms revolutionized

battle strategy. Long-range fighting came to replace close combat, and infantry superseded cavalry

in importance. Oda Nobunaga’s 1575 victory over Takeda Katsuyori in the Battle of Nagashino is said

to have depended on firearms fired in volleys by infantrymen against a charging cavalry force.

What do the symbols on the

matchlock pistol represent?

Samurai could order their family

crests (mon) inlaid into or

painted on the barrel of a new

gun. The pistol’s barrel bears a

family crest of golden stars

consisting of a large, central

circle surrounded by eight smaller circles. Some twenty-four samurai families used the star crest, a

symbol of hope and good luck. The pistol’s stock is further embellished with floral scrolls in gold and

silver against a black-lacquered background.

Who might have used this weapon?

The matchlock pistol was intended for use by mounted

samurai, but pistols proved impractical because the

rider had to ignite a piece of cord in the lock, or firing

chamber, while at the same time controlling his

moving horse. Nonetheless, owning a pistol remained

popular as a symbol of a samurai’s power, rank, and

wealth.

DAIMYO

Prior to unification, Japan was divided into numerous domains under the rule of the daimyo, military

lords with large landholdings living in castle towns. For hundreds of years, daimyo armies were

frequently at war. After the rise of the Tokugawa Shogunate in 1603, the daimyo swore their

allegiance to the shogun and promised military service on demand.

To keep the daimyo subservient, the third Tokugawa Shogun, Iemitsu, instituted "Sankin Kotai," which

forced the daimyo lords to reside in Edo during part of every other year. To comply with the shogun's

edict, the daimyo traveled to Edo in elaborate and costly processions. These placed a large burden

on the daimyo's finances, as did their lavish Edo residences. Iemitsu's policy cleverly kept the daimyo

occupied and reduced the potential for rebellion.

JAPANESE BUREAUCRACY

To maintain security, the Tokugawa Shogunate issued tight travel controls

and restrictions. Along the Tokaido Road and other major routes,

government guards were stationed at checkpoints. Commoners'

documents were carefully reviewed with officials on the look-out for

smugglers attempting to bring guns into Edo, and women (sometimes

disguised as boys) trying to escape—daimyo wives and daughters were

required to remain in Edo when the daimyo went back to their domains.

With only a few guards to check passports and permits, government

inspections slowed traffic considerably on the Tokaido Road. Daimyo

processions, which could involve as many as several thousand men, were

not usually examined. Women received heightened scrutiny at

checkpoints, and were often subject to physical examination.

TOKUGAWAIEYASUONMILITARYGOVERNMENTANDTHESOCIALORDER

Note: Tokugawa Ieyasu (1543-1616) was the third of the three great unifiers of Japan and the

founder of the Tokugawa shogunate that ruled Japan from 1603 to 1868. The establishment of a

stable national regime was a substantial achievement, as Japan had lacked effective and durable

central governance for well over a century prior to Ieyasu’s rise.

Once, Lord Tōshō [Ieyasu] conversed with Honda, Governor Sado, on the subject of the

emperor,theshogun,andthefarmer.“Whetherthereisorderorchaosinthenationdepends

on thevirtuesandvicesofthesethree.Theemperor,withcompassioninhisheartforthe

needsof the people, must not be remiss in the performance of his duties — from the

early morning worshipoftheNewYeartothemonthlyfunctionsofthecourt.Secondly,the

shogunmustnot forgetthepossibilityofwarinpeacetime,andmustmaintainhisdiscipline.

Heshouldbeable tomaintainorderinthecountry;heshouldbearinmindthesecurityof

thesovereign;andhe muststrivetodispeltheanxietiesofthepeople.Onewhocultivates

thewayofthewarrioronly intimesofcrisisislikearatwhobiteshiscaptorinthethroesof

beingcaptured.Themanmay diefromtheeffectsofthepoisonousbite,buttogenerate

courageonthespurofthemomentis notthewayofawarrior.Toassumethewayofthe

warriorupontheoutbreakofwarislikea ratbitinghiscaptor.Althoughthisisbetterthan

fleeingfromthescene,thetruemasterofthe wayof thewarriorisonewhomaintainshis

martialdisciplineevenin timeofpeace.Thirdly, thefarmer’stoilisproverbial — fromthefirst

graintoahundredsactsoflabor.Heselectsthe seed fromlast fall’s crop, andundergoes

varioushardships and anxieties through theheat of the summer until the seed grows

finally to a rice plant. Itis harvested and husked and then offered to the land

steward. The rice then becomes sustenance for themultitudes. Truly, the hundredactsof

toil fromlast fall to this fallarelikesomany tearsofblood.Thus,itisawise man who,

while partaking of his meal, appreciates the hundred acts of toil of the people.

Fourthly, the artisan’s occupation is to make and prepare wares and utensils for the

use of others.Fifthly,themerchantfacilitatestheexchangeofgoodssothatthepeoplecan

covertheir nakedness and keep their bodies warm. As the people produce clothing,

food and housing, whicharecalledthe‘threetreasures’,theydeserveoureverysympathy.”

SAMURAI WOMEN

With their husbands in combat almost continuously, 16th century samurai

women provided for the defense of their homes and children. Their

wartime roles included washing and preparing the decapitated bloody

heads of the enemy, which were presented to the victorious generals. Like

their samurai husbands, personal honor was paramount for samurai

women. They carried small daggers and were always prepared to die to

maintain their honor and family name.

After Tokugawa Ieyasu unified Japan, the role of women changed. Their

samurai husbands, no longer fighting wars, had become bureaucrats.

Women were now encouraged to supervise their children's education and

manage the home.

Travel was highly restricted for samurai women during the years of the

Tokugawa Shogunate. Forbidden from traveling alone, they were required to carry travel permits,

and were usually accompanied by a man. Samurai women often were harassed by the authorities

when passing through the government inspection posts.

WOMEN IN JAPAN

Starting in the early 17th century, entertainers called "geisha" provided services to patrons at

specialized restaurants in Edo. The first geisha were men, but woman soon dominated the profession,

trained in the traditional arts of singing, dancing, conversation and companionship. Typically, geisha

did not provide sexual services to their clients, as that was the province of courtesans.

Courtesans were sanctioned by the Tokugawa government and readily available to samurai and

commoners. Prostitution was one the few jobs available to women, open to any strata of society. If a

family found themselves in dire financial straits, one option was to sell a daughter for a lump sum, and

girls sold into prostitution were regarded with sympathy. For the parents, the loss of a daughter was

outweighed by the creature comforts she would gain—her housing and clothing would likely be

better than anything they could offer, and she might even receive an education. A beautiful woman

from the lowest class could erase her past and low social status if she were trained in the arts. There

was even the possiblity that she could marry a man from higher class.

In Edo, high-class courtesans plied their services in Yoshiwara, the city's elite pleasure district. For a

samurai, an evening in Yoshiwara was a special occasion, and quite expensive. To enter Yoshiwara,

one crossed a lowered drawbridge and entered through a front gate. Once inside, the visitor was

confronted with block after block of invitingly illuminated houses.

THE TALE OF HEIKE

Source: Excerpt from the Tale of Heike; the most famous account of the rise of the samurai; in this

passage Yoshinaka, leader of the Minamoto clan fights one last fight

Tadayori tried to seize Yoshinaka by surrounding him with his many men. Yoshinaka fought

desperately, urging his horse into the six thousand…When he had dashed through the enemy he

found that his three hundred men had been cut down to fifty…He continued on, attacking several

other small bands of one or two hundred here and there, until at last his men were reduced to four.

Tomoe was among survivors. Yoshinaka called her (Tomoe) to his side and said: “You are a woman—

leave now for wherever you like, quickly! As for me, I shall fight to the death. If I am wounded, I will kill

myself. How ashamed I would be if people said that Yoshinaka was accompanied by a woman in his

last fight.

SCENES FROM THE TALE OF GENJI (TEXT WRITTEN IN HEIAN PERIOD, PAINTING FROM THE EDO PERIOD)

What is this painting about?

This pair of screens illustrates scenes from four chapters of Japan’s classic literary work, The Tale of

Genji, written by a female courtier by the name of Murasaki Shikibu in around the tenth-eleventh

centuries. It is a romantic novel that follows the relationships of a legendary Prince Genji and the

generation following him. Divided into 54 chapters, the English translation by Edward Seidensticker

takes up 1,090 pages. It is required reading in Japanese schools today.

The book is full of palace intrigue, but more important is the attention Murasaki paid to describing the

beauty and emotions of the story, from the perfect kimono ensemble to the sprig of plum blossom

attached to a bittersweet love letter. The Japanese have a term for this—mono no aware, a pathos

for the fleeting moments of beauty, joy, even heartbreak that are part of being human.

Chapter 51 Ukifune (A Boat upon the Water)

The upper part of this screen depicts two different scenes from Chapter 51, A Boat upon the

Water. The scenes are cleverly divided by the Uji bridge, located south of Kyoto, which spans the river

in the central panels. On the right, Kaoru (the young man) and Ukifune (the young woman, whose

name is taken as the Chapter name) sit on a verandah gazing over the river.

The bridge is used as a metaphor by both characters, symbolizing loyalty on the one hand and

uncertainty on the other. In the upper left, is a scene that takes place several days later. A different

suitor, Niou, is with Ukifune, taking her by boat to a secret hideaway.

“See,” said Niou, “they are fragile pines, no more, but their green is so rich and deep that it lasts a

thousand years. A thousand years may pass, it will not waver, This vow I make in the lee of the Islet of

Oranges.”

What a very strange place to be thought the girl.

“The colors remain, here on the Islet of Oranges. But where go I, a boat upon the waters?”

The time was right, and so was the girl, and so was her poem: for him at least, things could not have

been more pleasingly arranged. 1

Ukifune expresses a feeling of discomfort, but Niou is delighted that he has managed to steal away

with his love. Later in the chapter, Ukifune in a terrible dilemma having to chose between two suitors,

and being very restricted by codes of behavior, became so distraught that she eventually killed

herself by throwing herself into the river.

THE WILL OF THE SAMURAI

With Ieyasu in control, peace settles over Japan, and a new society based on the samurai ethics of

obedience and loyalty is established. In 1600, William Adams becomes the first Englishman to set foot

in Japan. Impressed by European trading vessels, Ieyasu asks Adams to help him build his own fleet.

Aware that the English have no interest in converting the Japanese to Christianity, Ieyasu decides to

expel the Portugese and Spanish who often combine missionary work with trade.

As Shogun, Tokugawa Ieyasu has united the daimyo warlords. When he dies at 72, his vision of a

strictly controlled class system based on the rule of the samurai is a reality. But his grandson, Iemitsu,

will rule more harshly. With no wars to fight, Iemitsu tightens control over the power of the daimyo and

their restless samurai armies.

Foreign missionaries have been expelled from Japan, but still Iemitsu fears the influence of

Christianity. Impoverished peasants and persecuted Christians explode in anger. The Shimabara

Rebellion in 1637 results in the deaths of thousands. In order to prevent further dissention resulting from

foreign influence, Iemitsu closes Japan to the western world. It will be more than 200 years before the

nation will open its doors again.

In 1606, Tokugawa Ieyasu, a Japanese military dictator, moved

the capital of Japan from Kyoto to Edo. Edo seemed to

undergo an overnight transformation. With the help of the rising

merchant class, the city quickly turned into a hub of Japanese

nightlife. By the 19th century, Edo had become one of the

world’s largest cities, both in terms of land size and population.

In Edo, sushi makers used a fermentation process developed in

the mid-1700s, placing a layer of cooked rice seasoned with

rice vinegar alongside a layer of fish. The layers were

compressed in a small wooden box for two hours, then sliced

into serving pieces. This new method greatly reduced the preparation time for sushi… and thanks to a

Japanese entrepreneur, the whole process was about to get even faster.

In the 1820s, a man named Hanaya Yohei found himself in Edo. Yohei is often considered the creator

of modern nigiri sushi, or at the very least its first great marketer. In 1824, Yohei opened the first sushi

stall in the Ryogoku district of Edo. Ryogoku translates to “the place between two countries” because

of its location along the banks of the Sumida River. Yohei chose his location wisely, setting up his stall

near one of the few bridges that crossed the Sumida. He took advantage of a more modern “speed

fermentation” process, adding rice vinegar and salt to freshly cooked rice and letting it sit for a few

minutes. He then served the sushi in a hand-pressed fashion, topping a small ball of rice with a thin

slice of raw fish, fresh from the bay. Because the fish was so fresh, there was no need to ferment or

preserve it. Sushi could be made in a matter of minutes, rather than in hours or days. Yohei’s “fast

food” sushi proved quite popular; the constant crowd of people coming and going across the

Sumida River offered him a steady stream of customers. Nigiri became the new standard in sushi

preparation.