Early Edo Period Research Articles

‘義利’와 ‘興利’의 사이

The purpose of this study is to examine the meaning of a word, ‘benefit (利)’, used by intellectuals in the Edo period to reveal how the difference between the justice (義) and benefit (利) was criticized in Japan and how the value of using benefit (利) for people’s livelihoods developed.
 The evaluations of ‘benefit (利)’ are divided depending on whether you view 利 as ‘利 of liyog (利欲)’ or ‘利 of limul (利物)’. In Neo-Confucianism, ‘利’ was interpreted as ‘利 of liyog (利欲)’, so it was used in a negative sense. However, intellectuals in the early Edo period viewed ‘利’ ambiva- lently, which served as an opportunity to look at the Neo-Confucian view of justice and benefit critically. In the middle of the Edo period, Ogyu Sorai criticized the Neo-Confucian view of justice and benefit thoroughly, which significantly changed the Japanese perception of ‘利.’ He thought that both ‘justice (義)’ and ‘benefit (利)’ came from striving on social duties and defined those engaged in giving benefit (利) as ‘the superior man (君子)’ and those engaged in receiving benefit (利) as ‘the mean man (小人)’. He believed that both the superior and mean should endeavor for ‘pacifying the people (安民)’ and ‘making livelihoods (營生)’ so as to keep the society stable. Furthermore, Ogyu Sorai argued that 『Mencius (孟子)』’s view of justice and benefit was a discourse presented in the context of Baekgajaengmyeong (百家爭鳴) in which there was a lot of dispute between schools, and it did not make sense for posterity to imitate this discourse as it is. Japanese intellectuals influenced by him recognized that the saint as a ruler who gave benefit (利) to the people, not a moral person who rejected benefit (利), and argued that to carry out ‘flourishing benefit (興利)’ at the policy level conformed to the will of the old saint.

Stomping on Sacred Grounds

Abstract This paper investigates the changes in the uncanny expressed in historical examples of sumo wrestling. Various pre-modern instances show sumo as a wild and relentless combat, often resulting in the injury or death of one of the wrestlers. However, due to sociopolitical changes in the early Edo period (1600–1868), a new mode of conduct emerged at shrines and temples that complied with regulations in the urban space and forced wrestling to adapt and curtail the uncanny. Eventually, a further drastic image shift occurred when popular culture picked up sumo wrestling. Finally, in the latter half of the nineteenth century, sumo wrestling turned into a “sport” while still retaining uncanny elements in its conduct. Thus, this paper concludes that religious institutions tamed sumo wrestling’s classical uncanniness; at the same time, new conduct secured the integration of uncanny elements within modern sumo wrestling.

The Material Complexity of Three Seventeenth-Century Cabinets Exported from the Far East

ABSTRACT This paper focuses on three Far East cabinets that have ended up in Sweden for various reasons and on various routes. Some specific characteristics have been analysed using various scientific methods: sectional microscopy, wood taxonomy, X–ray fluorescence microscopy, pyrolysis-gas chromatography-mass spectrometry, strontium isotope ratio measurement, and radiocarbon dating. The results show that the cabinets contain wood from species endemic to Japan, namely asunaro (Thujopsis dolabrata) and hinoki (Chamaecyparis obtuse). They are coated with urushi sap derived from Toxicodendron vernicifluum trees, in two cases confirmed to be harvested in China, and one case probably blended with sap exuded from Toxicodendron succedanea harvested in North Vietnam. Their black appearance is due to a soot pigment typical of many products from the early Edo period or older. The data obtained with scientific methods, unavailable in the past, improve knowledge about these cabinets. Such new information should be made available to scholars and the general public.

近世の白山三禅定道における室の変遷と形式

By the end of the Sengoku period, accommodations known as muro had been established around the three peaks of Mt. Haku (Hakusan) by temples and shrines at the foot of the mountain. By the early Edo period, villages along the worship ascent trails to Hakusan’s three peaks had constructed their own muro. They were simple wooden huts built on flat land and near water. Although enclosed by stone walls to protect against wind, they often needed to be renovated and reconstructed. After frequent disputes over rights, Heisenji Temple seized power, leading to the decline of the ascent trails and muro.

An Exploration of the Ecological Wisdom in Kumazawa Banzan’s Confucian Thought

Against the backdrop of an increasingly serious global ecological crisis, scholars have turned their attention to Eastern Confucianism in an attempt to find ecological wisdom in traditional Confucianism in order to seek a path of harmonious development between human beings and nature. Kumazawa Banzan, as a Confucianist and a realist with environmental consciousness who emerged in the context of the severe environmental destruction in the early Edo period, is very representative. In this paper, we will take Kumazawa’s Confucianism as an object of study and explore ecological wisdom in his Confucianism, taking his mountain and forestry thought as an example to understand its contemporary value.

Use of “Genji Monogatari” seen in Kigin Kitamura’s Confucian Women’s classics lessons ：Focusing on “Kana Retsujoden” and “Ominaeshi Monogatari”

In 1655, eight volumes of “Kana Retsujoden仮名列女伝” were published, and the episodes of this book became overwhelmed by the population. The author, Kitamura Kigin 北村季吟, is a Japanese scholar in the early Edo period and a master of classical annotations such as “Genji Monogatari Kogetsu-shō源氏物語湖月抄”.</br>In this article, first of all, I would like to take up the part of the text, “Kana Retsujoden” and “Genji Monogatari源氏物語”, and compare and examine the two works to show in detail the translation intention of Kigin. In addition, in this article, I would like to mention “Ominaeshi Monogatari女郎花物語”(1661), which is considered to be a the same auther like “Kana Retsujo-den,” centering on “Genji Monogatari”. Using “Genji Monogatari” as a clue, I have been considering the use of Genji found in Kigin’s two Kana-zoshi(仮名草子) works “Kana Retsujoden” and “Ominaeshi Monogatari”. As a result, it was found that Kigin regards “Genji Monogatari” as a book for female lessons.

Heresy and Liminality in Shingon Buddhism: Deciphering a 15th Century Treatise on Right and Wrong

Traditional historiography of Japanese Buddhism presents the Muromachi period as an era of triumph for Zen, and of decline for the previous near-hegemony of Esoteric Buddhism. However, for the Shingon school, the period from the late Middle Ages to early Edo period was rather a phase of expansion, especially in the more remote locales of Eastern Japan. Focusing on a text authored during the fifteenth century, this article will analyze how this idea of the outskirts or periphery was integrated with the process of creation of orthodoxy in local Shingon temples. In doing so, it will shed new light not only on the evolution, but also on the epistemological role of discourse relating to heresy, and on their role in the legitimation of monastic lineages.

에도시대 여자 머리장신구 특성에 관한 연구

This study analyzed the sociocultural meaning and characteristics of various women’s hair accessories decorated in hair bun(髷) of the Edo period according to the classification of types. The development of women’s hair accessories in the Edo period was related to the development of Kabuki fashion, brothel, and the development of the publishing industry due to the expansion of educated people and the pursuit of pleasure according to social and cultural material abundance. Also, it was accelerated through the Sankin-kōtai(参勤交代制). Hair accessories in the Edo period were divided into four types, headband ornaments, combs and hairpins, symbol ornaments, and auxiliary ornaments. In addition, the characteristics of four types were analyzed. The detailed research results are as follows. First, hair bun accessories were broadly classified into Motoyui(元結) and headdress cloth. In the early Edo period, Motoyui, a paper material, was used for economy and practicality for tieing hair buns. Later, gold and silver foil papers were used, and Emotoyui(絵元結) was developed, and colorful headdress fabrics made of crape(縮緬) were used. Second, as the combs and hairpins became diversified and materials became luxurious, the form became more prominent, and the style became splendid. Kushi(櫛) developed into a thick, large comb called Okushi. There is a primary type of hairpin, Kogai, and Kanzashi includes Hanakushi and Bira-bira kanzashi. Third, it was considered that the symbolic ornaments revealed the status of the Edo period. Hirabitai(平額) worn by women in the royal family and royal family is typical, and there were Ichidome(位置止) and Kanokodome(鹿の子止), which were worn by Geisha and became popular. Fourth, as an auxiliary ornament, Kamoji(髢) means a wig, and it was seen that it plays a decorative role to enlarge and enhance the image.

A study on the evolution of landscape expression techniques of Ikenobo Rikka

Ikenobo is considered the origin of Japanese Ikebana. Rikka is considered one of the major flower arrangement styles of Japanese Ikebana. This style first appeared in the 16th century (late Muromachi period) and underwent major developments during the 17th century, illustrating and reflecting the views of the landscape. This research references the ideas and various terminology of the landscape expression techniques in Landscape Architecture, which classified the approaches of landscape expression in Rikka works into four categories: "Symbolic Analogy", "Borrowed Landscape", "Miniaturized Landscape", and "Other techniques". Landscape expression techniques in Rikka work were analyzed according to these categories, based on the study of records in Kadensho and Kasho from Muromachi-period till present. This research also delved into the records of Hanagatae paintings and photos of typical Rikka works from early Edo period until present for the analyzation. In addition, this research discusses the connections and differences in landscape expression techniques of Landscape Architecture, which is based on real land, while Rikka is not. To further dive into the research of landscape expression techniques of Rikka, it is necessary for the research to be based on comparing Rikka with Landscape Architecture. This is a topic for future research and discussion.

Ethnoarchaeology of Introducing Agriculture and Social Continuity among Sedentarised Hunter–Gatherers: The Transition from the Jomon to the Yayoi Period

This study was conducted to elucidate the introduction of agriculture and social continuity from the Jomon to the Yayoi period, from an ethnoarchaeological perspective. The Yayoi period has been divided into two types: a broad spectrum economy that relied on many kinds of resources, such as rice, millet, and nuts, and a selective economy that specialised in rice and wild boar. However, it is not clear how the livelihoods shifted from the Jomon to the Yayoi period. In this study, ethnohistorical materials were examined first. Ethnohistorical reference materials gathered worldwide have revealed three relationships between hunter–gatherers and farmers: coexistence, fusion, and assimilation. Focusing on fusion, this study examined situations of hunting, gathering, and fishing, as inferred from ruins of the Late and Final Jomon period, and assessed their relationships with agriculture using ethnohistorical reference materials of the Early Edo period. There were not many social changes caused by the introduction of field farming; however, the introduction of paddy rice cultivation had different effects on society depending on the level of investment in obtaining water from streams and springs and creating irrigation features.

다이묘 차(大名茶) 차실(茶室)의 평면 구성 비교 분석

Purpose: To entirely understand the characteristic of Japanese tea room, it is needed to grasp the spiritual and aesthetic points inherent in the way of tea activities. After the death of Sen Rikyu, the initiator of Wabi- cha and Soan tea room, the flow of the way of tea activities(Chado) in early Edo period was being kept by the Daimyo-cha influenced by Sen Rikyu. Main purpose of this study is focused on the comparative analysis on to the composition in floor plan of Daimyo tea room in Early Edo Period. Method: To analyze the composition of tea room in Daimyo-cha, the method to composite tea room determined by the number of tatami, placement of Toko and Ro etc was adopted. Main examples selected in this study are En-nan, Jyo-an, Mittan and Korin-an which made by Huruta Oribe, Oda Urakusai, Kobori Enshu and Katakiri Sekishu individually. Result: This study reveals that the composition of tea room in Daimyo-cha has a common characteristics in showing small size tea room(koma) under the 4.5tatami and adopting daime formation in host seat though the appearance in Toko and Ro are different pattern case by case. This result is enough to show the relationship between Sen Rikyu and Daimyo-cha in wabi-cha sprit and make a turning point from koma style tea room to shouin style tea room and sukiya architecture suitable for Edo and modern period.

일본여성의 전통스포츠문화 연구 : 하네츠키(羽根突き)와 추천(鞦韆)을 중심으로

The study aims to review the origin, characteristics, development, and cultural and social aspects of Hanetsuki and Syusen (swing), which were widely enjoyed by Japanese women as part of their traditional culture. It is unclear exactly when Hanetsuki emerged in Japan, but it was carried out as a shamanistic activity to prevent calamity and to wish for a long and healthy life when welcoming the new year. Hanetsuki in the early Edo period was mainly enjoyed by the upper social class and both men and women played it together; it was gradually spread to the general public later on. From the middle of the Edo period, Hagoita, which refers to a racket today, has been sold with colorful patterns and faces of famous Kabuki actors on them; Japanese people began to give and receive Hagoita as a gift for the new year’s day wishing to drive away evils. Since then, it took root as a women’s play. Since the 1920s, Hanetsuki has been adopted as a school material on traditional women’s play in modern schools and was encouraged as a physical activity for female students. Until the 1960s, women in average families enjoyed Hanetsuki in yards or gardens as a new year’s event, but today it is only passed down as a custom in which people exchange Hagoita as gifts.BR In ancient times Syusen was spread from China to Korea, and then to Japan, which then settled as a female sport related to Hansik (105th day after the winter solstice). Entering the Edo period, girls began to enjoy Syusen as one of the annual events. As the Japanese society modernized, Syusen was encouraged to be included as one of the physical activities in school curriculums. It was spot-lighted as a type of sports material for women, shifting from a traditional play, following the changing demand of the time. Today, there are only little swings installed in the corner of school playing fields or town parks.

‘일본문화론’의 관점에서 본 야마모토 시치헤이의 『일본자본주의의 정신』

The Spirit of Japanese Capitalism(日本資本主義の精神), published by Yamamoto Shichihei(山本七平) in 1979, has been treated mostly focusing on Suzuki Shosan(鈴木正三) and Ishida Baigan(石田梅岩). For instance, it has been often said that the spirit of Japanese capitalism originated by Shosan in the early Edo period, was widely spread throughout the whole country by Baigan and his ‘Sekimon󰠏shingaku’(石門心學) in the late Edo period, producing ‘Japanese philosophy of diligence’ and as a result setting forward the accumulation of wealth through the hard work and frugality among farmers, craftsmen and tradesmen, etc. In sum, they say this book shows that the thoughts of Shosan and Baigan are the original forms of the spirit of Japanese capitalism. Of course, this point is of importance. Still, the perspective of so󰠏called ‘Nihonbunkaron’(日本文化論) or ‘Nihonjinron’(日本人論) might be of much notice, too. Because we can say that The Spirit of Japanese Capitalism must be a book which has described Nihonbunkaron based on work ethic of Shosan and Baigan. The purpose of this essay is to reexamine The Spirit of Japanese Capitalism for its total understanding from the perspective of Nihonbunkaron. In so doing, I will pay special attention to several aspects such as Yamamoto’s views on the dual structure of functional group and community, the relationship between Japanese Capitalism and religion, with analyzing main cultural codes such as Shigoto(仕事), Kuki(空氣), Seken(世間), Makoto(誠), Wa(和), and Nihonkyo(日本敎).

Records of birds in the Tsugaru region in the early Edo period: About records of hawk hunting and cranes

Records of birds in the Tsugaru region in the early Edo period: About records of hawk hunting and cranes

Goryeo-chawan Based on ‘Kobori Enshu Chakaikishusei’

Goryeo-chawan is a general name for Korean tea bowls used in Japanese tea ceremony. There are three major categories of Goryeo-chawan: tea pots chosen from Korean daily life, tea pots made in Korea which were ordered from Japan, and tea pots made by Korean potters who moved to Japan. In this study, we examined the Goryeo-chawan used for Daimyo tea, focusing on the tea ceremony record named ‘Kobori Enshu chakaikishusei’ in the early Edo period. Thirty kinds of Goryeo-chawan were used, and the two tea bowls used most among them are the Totoya and the Ido tea bowls. The tea ceremony of Kobori Enshu can be considered in three stages. In the creation period, Totoya tea bowls and Shima Korean tea bowl were used, with Korean tea bowl, which retained the influence of Senno Rikyu. During the establishment period, the height of bowl stand was slightly high, and the shape was slightly distorted, but there are many elegant tea bowls in design. Since it was time to ensure the dignity of Shogun Tokugawa, they tried to enhance the authority of Daimyo tea by selecting and using the existing Korean tea bowls with sophisticated designs that matched the new era. In latter years, Seto tea bowl was used twice as much as Korean tea bowl, but Goryeo-chawan was often used in Sukiya, which is a space of Wabi tea. The research showed that in the early Edo period, due to the change of the times, Goryeo-chawan had a unique design as a “Kireisabi” tea bowl of Daimyo tea and was honored as a tea bowl suitable for a new era. As a condition, there is a history of connecting Sennorikyu s legitimacy, a little emphasis of the Kairagi on the tea bowl, selecting various designs and unique patterns, and also they assigned the special meaning among the tea bowls to increase their special value.

Honganji-ha Shūgaku Development in the Early Edo Period: The Shinshū doctrine of Chikū, the second Nōke

Honganji-ha Shūgaku Development in the Early Edo Period: The Shinshū doctrine of Chikū, the second Nōke

The Instruction Book of Kemari “Chusenjitsuyuki” in the Early Edo Period; from Research toward the Restoration of a Commoner’s Kemari of Uiro School

The Instruction Book of Kemari “Chusenjitsuyuki” in the Early Edo Period; from Research toward the Restoration of a Commoner’s Kemari of Uiro School

The Historical Development Of Ikebana

This article is an attempt to focus on the origin of ikebana, tatehana (standing branch or flower) style and to examine the process of the historical development of ikebana. First, we pay attention to the fact that the treetop of a big tree is brought into the house and is put up in a flower vase and decorated in the tokonoma (wall niche) even today after having been cut in the rituals of the mountain divinity, then we will examine what kind of effect the belief in big trees had on the formalization of tatehana style, established in the Muromachi period (1338–1573). We will examine how the tatehana style was formalized, how the tatehana style developed into rikka (standing branch or flower) style, established in the early Edo period (17th century), how seika or shoka (standing branch or flower) style in the latter part of Edo period (18th century) evolved from rikka style through the historical development of ikebana. Finally, we will conclude that this is ikebana

The Beginning of the Topic of Poem in the Early Edo Period

The Beginning of the Topic of Poem in the Early Edo Period

近世初期風俗画にみる小袖意匠( ファッション・デザインとメディア)

近世初期風俗画にみる小袖意匠( ファッション・デザインとメディア)