Staging Madness: Nogaku vs. Kyogen

mental health 6 bannerJust before boarding my flight to Japan (this time for a two-month internship in Kumamoto prefecture – update will follow!), I would like to share another part of my Master’s thesis on mental health stigma with you. If you are new to this series of blog posts, feel free to check out part 1, 2, 3, 4, 5 first before getting into this one. Part 6 is dedicated to the performance arts, nōgaku and kyōgen in particular, and how these represented “madness” in premodern Japan.


Nōgaku indicates two theater forms developed from Sarugaku during the 14th century, Nō 能 and Kyōgen 狂言. Nō is a musical performance art that presents famous tales and legends by making use of masks and a limited amount of props on stage. performances are full of symbolism and often feature supernatural elements. One leitmotiv in several Nō pieces is monogurui 物狂[1], a theatrical element representing “madness”. It can be said that Nō plays of the monogurui type are constructed around a central concept of “possession” as a sacred phenomenon[2]. Monogurui has multiple meanings: it does “not only indicate the condition in which one loses mental equilibrium, but also refers to (a) a person in such a condition or (b) such a display of madness in a performance[3]”.

noh1

a Nō performance – blogs.yahoo.co.jp

A state of monogurui is caused by a psychological crisis and is in many cases expressed in the form of a “mad dance”. In this instant of “madness”, the protagonist, in almost all plays of monogurui Nō a woman, reveals her suppressed feelings. According to Zeami, “madwomen” (kyōjo 狂女) were the ideal material for an interesting play, because “women are mysterious beings by nature”[4]. Two triggers of monogurui can be identified: spirit possession (tsukimono 憑物), or excessive affection because of the loss of a loved one (omoi 思ひ)[5].  From an objective point of view, the “madwoman” as represented in Nō, tormented by a spirit or by immense grief, has a reason to act insane. The “mad dance”, the climax of monogurui, functions here as a visual representation of mental suffering and as a dramatic tool to evoke sympathy from the audience[6]. This indicates not only a high level of spirituality, but also a strong influence of Buddhism and Shintoism.

For example, in Lady Aoi (Aoi no Ue 葵上), a play loosely based on the possession scene in The Tale of Genji as described in a previous post, the evil spirit that possesses Lady Rokujō and haunts Aoi, is exorcised by sacred prayers. After her soul has been cleansed of jealousy, Lady Rokujō is capable of reaching enlightenment. In the pictures below, the anger of Lady Rokujō is expressed through her transformation into a demon. Although the play is named afer her, Lady Aoi never appears on stage: she is represented by an empty kimono. Hence, the focus is on the possessed Lady Rokujō throughout the play.

Other examples of Nō plays featuring monogurui are Mii-dera Temple三井寺, Hanjo 班女, Hyakuman The Dancer (Hyakuman 百万), The River of Cherry Blossoms (Sakuragawa 桜川), The Reed Cutter (Ashikari蘆刈), Sumidagawa River隅田川, Flower Basket (Hanagatami花筐), and Pining Wind (Matsukaze 松風) [7] . Monogurui in Nō resembles in many aspects the mono no ke concept from the Heian period. Both target “weak” women, are caused by psychological instability, are dramatic techniques to enable the protagonist to freely express their otherwise suppressed feelings, and bear a strong connection with religion and spirituality. Nevertheless, it is important to keep in mind that this embellished idea of “madness” is one dominantly perceived on stage or in literature; “during the Middle Ages, such behavior would certainly have been a frightful sight in real life[8]”.

sumidagawa

Sumidagawa 隅田川 is a well-known example of a “madwoman’s play” – Wikiwand

The second theatrical form of Nōgaku, Kyōgen, does not use masks nor music. The plays are comical sketches, traditionally staged between Nō plays. As much as Nō is connected with spirituality, Kyōgen is intrinsically linked with “earthiness”, with its performance in vulgar language and satirical representation of daily events in common people’s life. Although the expression of “madness” is not as obvious as in Nō, there are multiple plays in which the characters act unconventionally, or are called “crazy” by others. “Madness” in Kyōgen is irrational; no clear incentive is given. Its absurdity, “playful lunacy [9]” in a sense, is staged not to evoke compassion, but laughter.

The representation of “madness” in Kyōgen appears to be closer to mental disorders in real life[10], an impression supported by the fact that the word kyōgen actually means “mad words”. Another significant observation is that the word monogurui 物狂 designates the Japanese reading for 狂 (kuru-i), while kyōgen狂言prescribes the Sino-Japanese pronunciation for the same character狂 (kyō). Moreover, when “madness” is directly expressed in a Kyōgen play, the word bukkyō 物狂 is mostly used, which is the Sino-Japanese reading for 物狂. For example:

  • なう、そなたのなりは物狂や、何事ぞいなう。(Nau, sonata no nari ha bukkyō ya, nanigoto zo inau.) From Mr. Dumbtarō (Dontarō 鈍太郎). translation: “Come now, you look like crazy, how scandalous!”
  • のう、物狂物狂や、何とわらわが名などが付けらるるものじゃ。(Nō, bukkyō ya bukkyō ya, nani to warawaga mei nado tsukeraruru mono ja.) Translation: “This is madness, it’s madness, what for a name am I getting now” From Bikusada Gets Named (Bikusada 比丘貞)
  • 「なうなうおぢやれ,物いはう」「ああ物狂や」(“nau nau odjare, mono ihau” “aa bukkyō ya”) Translation: “Here here, come on in, let us talk!” “You’re insane!” From The Second-Class Master Blindman and the MonkeySaru Zatō 猿座頭). [11]

The speaker in this play directly criticizes the appearance or action of the other or the “crazy” situation they are in, a nuance completely absent in Nō theater. Both forms of Nōgaku have a different interpretation of “madness”, which can be observed in the different terminology they utilize. Although spelled the same, when read Monogurui, it is used in the sacred, ritual and highly stylized context of Nō, while the pronunciation bukkyō is associated with Kyōgen, the theater form strongly connected with the ordinariness and vulgarity of everyday life [12]. A similar distinction between the two readings of bukkyō/monogurui can also be found back in other text dating back to roughly the same time Nōgaku was in vogue. While mongurui appeared almost exclusively on stage and in a ritual or religious context, bukkyō is a common description of “madness” in everyday life, used to express the speaker’s feelings of annoyance and vexation towards the aberrant behavior of someone else [13].

shasekishu

Foreword to the Sand and Pebbles – Wikimedia Commons

For example, in the work Sand and Pebbles (Shasekishū 沙石集, 1283), “mad” people are referred to as bukkyō no mono 物狂の者. Sand and Pebbles is a collection of Buddhist parables by Mujū Ichien無住一圓, “small talk reflecting the lifestyle and feelings of the general populace in the far Eastern region at that time[14]”. The influence of Kyōgen is visible in the plain and popular reciting style as well as in the humorous notes. The Rise and Decline of the Minamoto and Taira Clans (Genpei Jōsuiki 源平盛衰記, 14th Century), an extended version of The Tale of the Heike, uses bukkyō as to indicate aberrant behavior (bukkyō no hito ni te,…物狂の人にて、…[15]). A last example is from the Kenmu Code (Kenmu Shikimoku建武式目). One article promulgating “matters that should be economized” argues that wearing luxurious and flashy clothes should be strictly regulated. Such inappropriate attire is called “extreme madness” (sukoburu bukkyō 頗る物狂) and thus heavily criticized[16].

 

Kyogen (1)

Manzo Nomura, a famous Kyogen actor – Asia Society

One scholar mentions that during the Japanese middle ages, the difference between sane and insane was only a matter of the cultural value attached to these concepts. Nevertheless, he warns, what was once tolerated in ancient society was now being identified as “madness”[17]. In short, there existed different interpretations of “madness”, and two of these interpretations (one highly stylized as an art form, one criticized and laughed at in daily life) were acted out on stage in Nō and Kyōgen.

Footnotes & References

[1] Zeami expressed in his theoretical work The Flowering Spirit (Fūshikaden風姿花伝) his preference for this type of Nō: “it is the most fascinating form of Sarugaku theater.” Matsuo, Kōichi 松尾恒一. From Ritual to Art. Mania, Possession and Jest. 儀礼から芸能へ. 狂騒・憑依・道化 (girei kara geinō he. kyōsō・hyōi・dōke) Kadokawa Series 54. Tokyo: Kadokawa Gakugei Publishing, 2011, p. 110. [2] Oda, Susumu 小田晋. Japanese Sources on Madness日本の狂気誌 (Nihon no kyōkishi). Tokyo: Kodansha, 1998, p. 130. [3] Savas, Minae. “Feminine Madness in The Japanese Noh Theatre.” Ohio State University, 2008, p. 55. [4] Sugisawa, Haruko 杉澤陽子. “A Study of ‘Monogurui Noh’” 能の物狂いについての研究 (Nō no monogurui ni tsuite no kenkyū) in The Bulletin of the International Society for Harmonization of Cultures & Civilizations融合文化研究 (Yūgō bunka kenkyū) 7 (June 2006): 66–81, p. 72. [5] Savas, Feminine Madness, p. 53. [6] Hosokawa, Ryōichi 細川涼一. The Japanese Middle Ages of Deviance – Madness, Perversity and the Demon World 逸脱の日本中世―狂気・倒錯・魔の世界 (Itsudatsu no nihon chūsei – kyōki・tōsaku・ma no sekai) Tokyo: JICC Press, 1993, p. 21. [7] “Monogurui Nō” 物狂い能 in Digital Daijisen『デジタル大辞泉』Tokyo: Shogakukan, 2012. and “Noh Plays DATABASE”. [8] Matsuo, From Ritual to Art, p. 112. [9] “Asobi kuruu” 遊び狂う. Kitagawa, Tadahiko 北川忠彦. “Self-oblivion in Kyōgen”狂言の忘我性 (Kyōgen no bōgasei) in Tenri University Japanese Literature Research Room天理大学国文学研究室 (Tenri daigaku kokubungaku kenkyūshitsu), 20 (March 1976): 63–75, p. 71. [10] Ibid., p. 72. [11] Directly retrieved from a collection of kyōgen plays, original text. Translation by me. [12] Oda, Japanese Sources on Madness, p.132-134. [13] Yokoi, Kiyoshi 横井清. “A Memorandum of The Matter of Madness” 狂気のこと覚え書き (Kyōki no koto oboegaki), Tradition and Modernity 伝統と現代 (Dentō to gendai) 44, 1977. [14] “Shasekishū” 沙石集 in Encyclopedia Nipponica 日本大百科全書(ニッポニカ) (Nihon daihyakka zensho (nipponika)). Tokyo: Shogakukan, 1994. [15] The full sentence is物狂の人にて、悪き様にや御目に懸候はんずらん (bukkyō no hito ni te, waruki yō ni ya ome ni ken sōrohan zuran), translated as “No doubt it would be mad of me to ask a pardon for myself, but I see nothing wrong with asking one for you.” Tyler, Royall. The tale of the Heike, 2012, online version chapter 10. [16] Hosokawa, Middle Ages of Deviance, p. 19. [17] Ibid., p. 14.

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Gift-Giving in Japan

bannerFor the course Economic Anthropology last year, I wrote a paper on the relation between the Japanese gift culture and the capitalist market system. In retrospect, I believe this topic might interest my readers, so I have selected and adapted the most informative bits on gift-giving in Japan (and how much money you should spend on it) to share with you on Nippaku. Enjoy! 


Just as he was leaving the morning room he had turned around and said: “When is the wedding? I would like to give a present, but since I have no money, I am afraid I can’t.” – in Kokoro by Natsume Soseki

Similar to other gift traditions all over the world, wedding presents make up for an important part of Japanese gift culture, encompassing not only a substantial amount of money but also requiring specific knowledge and skills on how, when and to whom one should present a wedding gift. This happens usually in the form of cash and is at least 10,000 Yen (around 80 euros – I will use Euro as the currency of reference from now on). Close family members are expected to give up to tenfold that amount. The character in Natsume’s novel making the quote stated above, a poor student, is clearly not able to afford an appropriate wedding gift and can, therefore, not comply with social norms. Katherine Rupp (2003), who describes in great detail the complexity of gift-giving in Japan based on her fieldwork observations, immediately points out the economic consequences of this abundant gift culture: “people invest substantial amounts of money in gift-giving. (…) Gift-giving is very important, not only at personal and household levels but on national and macroeconomics level as well. For example, ochūgen and oseibo, summer and winter gifts, provide 60 percent of annual profits of most Tokyo department stores” (p. 1).

traditional gift

traditional gift wrapping – madameriri

The economic burden of compulsory gift-giving is felt by many Japanese people and has recently come to complement an erosion of ‘traditional’ gift giving among the younger generation(s). This makes it all the more remarkable that never before, so much money was spent on gifts: The report by the Yano Research Institute (2016) on Japan’s domestic gift market mentions increased retail sales of almost 73 billion Euro in 2015, 102% of gift sales in the previous year. The report further points out that less formal gifts are purchased, and more commodities circulate in the form of casual gifts. Thus, instead of spending money on presents that are linked with obligatory gift-giving, the Japanese now prefer buying presents for their loved ones, less restrained by social conventions.

From ancient times, Japan has known a formal gift-giving culture based on  customs and traditions with a focus on ceremonial occasions, but against the social background of a decreasing birthrate, an aging population, the nuclearization of the family, and a weakening of neighborhood and kinship ties, compulsory and formal gifts such as chugen and seibo, wedding presents, ceremonial gifts, return gifts for funeral offerings and Buddhist memorial services, are decreasing. Yet, at the same time, giving gifts as an expression of gratitude, affection, respect and love towards people one is close to such as one’s parents, children and friends, is playing a big role and has become a way to facilitate communication. Regardless of the formality of the present, the existence of ‘casual gifts’, adapted to recent times, can also be observed. It is believed that these will become a factor of market growth in the near future. (my own translation – Yano Research Institute, 2016: 2)

Save for the trending ‘casual gifts’, this so-called ‘formal gift-giving culture’ is related to a rigorous wrapping etiquette, to such a degree that the packaging divulges the occasion. Hence, the content becomes subordinate to the presentation and the act of giving in se – in such a degree that in some, often business-related cases, presents are never opened and passed onto others in a continuous chain of gift-giving. Especially within the industry, business meetings and lucrative transactions go hand in hand with a whole series of gifts and ‘donations’, balancing on the verge of what Westerners would consider as bribery. Physicians usually receive a ‘token of appreciation’ (expensive gifts or a substantial amount of cash) in advance of medical procedures and during winter or summer gift season, challenging the physician with the fact that “the space between a giver’s gratitude and a receiver’s obligation can be narrow and murky” since accepting could unintentionally lead to biased treatment of the patient in question (Takayama, 2001: 139). Again, it should not surprise that all these donations generate enormous economic profit, confirming that “not only do individual Japanese people spend a lot of time, worry, and money on gift-giving, but [that] gift-giving is also a crucial part of the overall workings of the macro-economy” (Rupp, 2003: 2). Below, an overview will be provided of Japanese gift-giving customs and their (economic) significance in today’s society.

matcha baumkuchen

This matcha baumkuchen won first prize for best Japanese gift last year.

TYPES OF GIFT-GIVING IN JAPAN

Writing my bachelor paper on Japan’s wrapping culture, I familiarized myself somewhat with the complicated etiquette surrounding gift-giving on several occasions, but putting it in practice during my one-year stay there turned out to be a different matter. As an exchange student, I quickly realized how little I had to be concerned with giving adequate presents in Belgium. Luckily in Japan, foreigners, as well as children and young adolescents, are often forgiven in that respect. The wife of a Japanese composer (an elderly couple with a traditional mind-set I acquainted and whom I used to visit regularly), offered me the following explanation, while reluctantly accepting the box of Belgian chocolates I had brought her as a thank you gift for the invitation (temiyage 手土産): “young people do not have much money, so you really shouldn’t have bought that for us. You should just receive the presents from older people until you are earning enough money to treat other people”. It appears that this gift-giving obligation for the Japanese evidently involved a lot of expenses and effort. Below, I give a non-exhaustive overview of the main gift rituals currently performed in Japan and their economic consequences.

nihon no okurimono

Catalogue of Japanese presents featuring regional products of every prefecture.

Souvenirs

Omiyage (お土産, written with the character for ‘earth’ and the character for ‘produce’, thus meaning ‘products from the land’) are souvenirs, usually local foodstuffs such as sweets and cookies that have a connection with the place visited. Every region in Japan has its own specialty (meibutsu名物). Mantell (2012) suggests that the local production of omiyage can contribute to the community’s identity and pride. Because of this link with the travel destination, homemade souvenirs are to be avoided. Upon return, omiyage are distributed among colleagues at the work place and given to family members and friends. In the research office where I had my desk while studying in Japan, foodstuffs were regularly brought in and placed on the shared table, accompanied by a note of the returned traveler offering everyone to serve themselves.

omiyage uji

Omiyage for sale in Uji.

The ‘hunt’ for souvenirs is expensive and time-consuming, certainly taking into consideration that even a one-day trip involves omiyage. As such, some people “hide travel plans from friends and neighbors so as not to have bring back presents from trips” (Rupp, 2003:1). This is especially the case when omiyage are strongly experienced as giri (義理, ‘social obligation’; Krag, 2014: 69), yet souvenirs can also express gratitude and indebtedness for ‘holding the fort’ whilst away, the strengthening of social ties, or a desire to share the travel experience (Park, 2000:86-7).

According to the Japanese government’s latest white paper on domestic tourism (2016), the Japanese population spent more than 21 billion euros on shopping alone, which surpasses the travel expenses for food and drinks (p. 251). Although it is not entirely clear how many of the purchased goods were bought as souvenirs and not for own use, Tsujimoto e.a. (2013) point out that in 2010, 72.4% of shopping expenses went to food products that were not consumed during the trip (p. 226), and 97,5% of the goods indicated as omiyage were foodstuffs, mostly sweets. It is customary to pay between 8 and 48 euros on omiyage for each person; Tsujimoto e.a. calculated an average of 47 euros in total spent on souvenirs per trip (p. 238).

Seasonal Gift-Giving

* Ochūgen and Oseibo

There are two gift-giving season in Japan, rooted in ancestral offering traditions: during summer in July (ochūgen お中元) and during winter between 13 and 20 December (oseibo お歳暮). These gifts are sent out to personal and business relations such as to superiors, clients, doctors, teachers, landlords and – in a lesser degree – family members, as an expression of gratitude for taking care of them. Again, mostly foodstuffs are given, and similar to omiyage, regional products are popular. Rupp (2003) lists, for example, watermelons, canned fruit, curry sauce, eggplants, cheese and other specialties (p. 29). Household products are frequently sent as well. Important to note is that both gift seasons coincide with the semiannual bonus many Japanese employees receive, amounting to at least two months’ salary (Lebra, 1976: 98). Hence, summer and winter gifts are heavily advertised as slightly more expensive gift sets or basket in stores all over Japan. Online and in most department stores, it is possible to have the gift delivered directly at the receiver’s doorstep, wrapping and gift card included.

ochugen

Popular ochugen gifts. The site also mentions how much money should be spent based on the type of relation between giver and receiver, somewhere between 3,000 and 10,000 yen – Rakuten

According to the Yano Research Institute (2016) gift report, ‘casual’ gift-giving has also pervaded the domain of seasonal gifts. As a result, the demand for presents that convey one’s feelings towards close friends and family, has increased, along with the emphasis on the act of ‘giving’ in itself (p. 2). This in contrast to the ‘courtesy’ gifts rooted in tradition that are less frequent today, especially among the younger generation. Nevertheless, due to the increased sales of ‘casual’ gifts, expenses nationwide accrued to almost 8 billion euros for ochūgen, and 6.5 billion euros for oseibo. Compared to the previous years, this is only a ‘slight’ decrease of 30 to 40 million euros. Shopkeepers tend to respond to the demand for more personal gifts by allowing customers to assemble an original gift basket instead of offering pre-packaged gift sets.

* Doll Festival and Children’s Day

hina matsuri

Full set of Japanese dolls, displayed for the Doll Festival.

Among the ‘five seasonal festivals’ (五節句 gosekku), Doll Festival (雛祭りhina matsuri), or Girls’ Festival, and Children’s Day (子供の日kodomo no hi), or Boys’ Festival, bear the most economic consequences. During the former, traditional dolls are displayed on a staircase-like structure every year. As is the custom, these dolls are purchased by the maternal grandparents (if not already in family possession) at the birth of their first female grandchild. Due to the high cost of these dolls (prices for a full set start at 680 euros and go up to more than 10,000 euros), it is not uncommon anymore that other family members chip in as well. The family of the mother is also responsible for presents such as carp banners and warrior dolls for their grandson on Boys’ festival. Yet recently, it has become normal that other relatives and friends give presents as well.

Business Gifts

Business gifts are more frequent in Japan than in Europe (Mba, 2012). Apart from seasonal gifts, omiyage and New Year cards, it is customary to exchange gifts at the end of a (first) business meeting or on formal occasions. The value of the gift mirrors the company’s hierarchy: high-ranking employees receive the most expensive items (Alston & Takei, 2005: 55). Business gifts are elaborately wrapped items that are never opened in presence of the donor. Underlying these gifts is a complex etiquette, defining how the gift should be presented, what items are to be avoided and how the gift should be received in an appropriate manner. For those who want to play it safe, department stores and high-end chains promote a series of commodities in varying price ranges as ‘ideal’ business gifts.

business gift

Business gifts on the website of Shinise Mall

Religious Offerings

Shintō ceremonies (e.g. purification of a house) involve offerings to ancestral spirits, and cash money given to the officiating priest. These offerings include sake and food such as rice, fish and vegetables (Rupp, 2003: 13). When visiting a Buddhist grave, incense and flowers are often placed on the stone. In traditional households where ancestors are daily commemorated by means of a small altar or shrine in the house, ‘unusual’ specialty food are offered first to the ancestors. The food is placed on the shrine and “when the ancestors have finished (Smith, 1974: 136)”, it is removed and eaten by the family. On Japanese New Year’s Day (oshōgatsu お正月), it is common to offer traditional food such as sake and soup with rice cakes first to the ancestors.

offering to ancestors

Offering of fruit to ancestors during obonNandaikinjo

During the religious observances of ohigan (お彼岸, equinoctial Buddhist services lasting one week in Spring and Fall) and obon (お盆 festival to honor the ancestors’ spirits, held in July or August), the Japanese return to their hometowns and visit family graves. They bring along food for ancestral offering (often luxury fruits such as melons, but also wine and sweets, depending on the culinary preference of the deceased) which is afterwards consumed during the family meal. By doing so, they are permeated by the power of the spirits (Rupp, 2003: 127). Since ancestral offerings and the dinner celebrations connected to these often involve ‘unusual’ or luxury foodstuffs, prices are evenly extravagant. People pay easily up to 100 euros for a gift melon. Incense and flowers are sold as expensive obon sets, yet there is always a choice between a wide range of prices.

‘Modern’ Forms of Gift-Giving

* Christmas Presents

Despite the fact that less than 1% of the Japanese population considers itself a Christian, Christmas is a well-celebrated occasion, albeit a non-religious version adapted to Japanese culture and society and especially among younger couples. Contrary to Belgian habits, Christmas Eve in Japan is reserved for lovers, while New Year’s Eve is spent in company of family members. In families with young children, toys are sometimes given, but never to adults (Rupp, 2003: 144). Christmas decoration, on the other hand, is widespread.

‘Imported’ celebrations such as Christmas and Valentine’s Day (cf. infra), revolve around excessive advertisements, high consumption and a (rather Western) portrayal of romanticism. It is common for a couple to go on a date to a high-end restaurant, exchange luxury goods such as jewelry, scarves and handbags for women, and watches, wallets and pens for men, and spend the night at an expensive hotel. The standard Christmas meal at home is fried chicken and a strawberry cream cake, which has to be pre-ordered months in advance due to its popularity. Note that, in contrast to traditional celebrations, food consumed on Christmas is almost never homemade and thus store-bought.

xmas

You would think this is an ad for Valentine’s presents but it’s not: these are gifts deemed appropriate for Christmas – Rakuten

The popularization of Christmas from the 1930s on, was a commercial opportunity for stores to extend sales after the oseibo boom. Papp (2016: 67-68), referencing a report by Ishii, mentions that in post-war Japan, Christmas was seen as a symbol of modernity, and hence as a shortcut to ‘happiness’, generated by industrialism and consumerism. Another point worth mentioning is that, in most cases, men pay for the whole evening and always give a present to their wives or girlfriends, while women are not ‘obligated’ to give something in return (cf. infra). This indicates a break with more traditional gift-giving customs.

* Valentine’s Day and White Day Gifts

Also introduced in post-war Japan, February 14th is a celebration that mirrors the Western tradition, but has its own Japanese interpretation. Different is that Valentine gifts are exclusively chocolate, are presented only by women, and are not solely given in a romantic way. On the contrary, only a small part of the chocolates is given to loved ones. Valentine’s Day was launched by a chocolate manufacturer and became a nationwide celebrated holiday by the 1970s (Rupp, 2003: 146). It was promoted as the only day women could express their love, and the fact that in other Valentine-celebrating countries men also gave presents, somehow got lost in translation. As a result, Valentine’s Day today is more about boosting men’s confidence than about romance. Minowa e.a. (2011: 52) speak of the “gender asymmetric nature” of the Valentine Day’s gift-giving ritual.

 

Although a recent and foreign gift-giving tradition, Valentine’s chocolate quickly incorporated ‘traditional’ elements such as a connection with giri, or social obligation (Davis & Ikeno, 2011): women in the workplace and at school felt obliged to give their co-workers and superiors Valentine’s chocolate in order to avoid accusations of favoritism (Buckley, 2009) and to preserve harmonious relationships. This type of chocolate, often store-bought and less expensive, is giri choko. When the gift is meant to convey a feeling of affection, it is called honmei choko (本命チョコ ‘favorite chocolate’). These chocolates are far more expensive than giri choko and in some cases homemade (DIY-kits are also sold at stores). Recently, women have started to hand out tomo choko (友チョコ‘friend chocolate’) to their female friends. This year’s Valentine’s Day generated 1.1 billion euros of revenue (3% more than last year), with most chocolate companies earning half of their annual sales in February (Japan Times, 2017). A Japanese woman spends around 80 euros on Valentine chocolate every year.

white day2

Ad for White Day candy gifts – Amazon

White Day on March 14th is the male response to Valentine’s Day and originated in the 70s as a commercial stunt by the National Confectionery Industry Association to boost sales in the month following February. Originally it was launched as Marshmallow Day, but marshmallows turned out to be an unsuccessful product and the name was changed. On this day, Valentine gifts are reciprocated in the form of white presents: white chocolate, candy, handkerchiefs, flower, cookies, jewelry and underwear (acceptable even for work relations). Rupp (2003: 149) points out that many men do not make a return gift, and in the case of giri choko, it is the wife of the Valentine’s recipient that concerns herself with providing the office women with White Day presents. These gifts are usually at least twice as high in value than the original gift, yet sales are not as high as for Valentine’s Day. As will be explained later, not returning a gift or returning twice the amount would be inappropriate in other gift-giving settings, but ‘hybridized’ holidays allow for divergence of standard norms.

* Mother’s Day and Father’s Day Presents

From the 1970s on, Mother’s Day and Father’s Day as ‘imported’ holidays have been celebrated in a similar fashion as in the West. Department stores anticipate this gift-giving by putting specific items on display. In 1966, Respect for the Aged Day was introduced on 15 September, today celebrated in the third week of September. The elderly receive gifts from their relatives such as flowers, clothing and food. It has been a custom for the government to present centenarians with silver sake cups on this day, although last year it was decided to send out cheaper cups, since silver ones for the more than 65,000 centenarians proved to be too costly to manage (Japan Times, 2016).

mothers day

Results of a survey on Mother’s Day gifts in Japan, asking what they received and what presents made them most happy. Flowers are number one in both cases. – Ringbell

It is indicative that for ‘imported’ gift-giving traditions, the word purezento (プレゼント, the Japanese pronunciation of the English word ‘present’) is used rather than Japanese words for ‘gifts’ such as okurimono (贈り物). Purezento bears a more individual and western connotation and is less formal. Today in Japanese society, many people prefer to give more personalized items to close friends (the so-called ‘casualization’ of gift-giving) instead of gifts that are rooted in social obligation. For example, only sending Christmas gifts and not oseibo (Rupp, 2003: 145).

Cash Gift-Giving

* Wedding Gifts

wedding envelope

Decorated envelope for a cash wedding gift – Rakuten

As was touched upon in the introduction of this blog post, wedding gifts mainly consist out of money. The decorated envelopes (shūgi-bukuro 祝儀袋) with cash – new bills – are handed over at the reception desk, specifying whether it is for the groom or for the bride, or are delivered at home in case the giving party is not invited to the wedding or cannot attend. The amount of money should mirror the relationship with the recipients, as well as the wealth status of the donor. College friends and neighbors, for example, give around 160 euros, family members usually give more. Special envelopes with tied cords in auspicious colors are purchased for the occasion. Since a considerable amount of gift money as compensation for costs can be expected, “this custom (…) has led to more and more extravagant receptions, all to the delight of the companies that sell wedding packages and the luxury hotels where such receptions are often held” (Mak, 1998: 30). Indeed, the Japanese wedding industry, including the many return gifts that are sent to all guests (cf. infra) is worth 20.1 billion euros today (Yano Research Institute, 2017).

* Funeral Gifts

koden

envelope for ‘incense money’ – Amazon

‘Incense money’ (香典kōden), ranging between 24 euros and 800 euros per person,  is given at funerals or wakes in special envelopes (Suzuki, 2000: 84). In contrast to the crisp new bills presented at a wedding, incense money should be old. Again, the amount of money is dictated by relationship and status. For more traditional wedding gifts as well as funeral gifts, the gender of the recipient or deceased plays a role: less money is given in the case of a woman. Mourners additionally send white flowers with their name attached. The incense money covers only around half of the funeral costs, since return gifts are made to every donor. Annually, roughly 2.7 billion Euro is spent on ceremonial gifts at funeral services (Karan & Gilbreath, 2005: 176).

Symbolic gifts

Small traditional gifts often have a symbolic meaning. It is customary, for instance, to present new neighbors with long, thin noodles since these symbolize longevity. Boxes with noodles especially for such occasions are sold at department stores and are differently wrapped and priced than noodles purchased for own consumption. Noodles in their plastic supermarket wrapping would also be inappropriate for ochūgen, for example. As a betrothal gift, a set of store-bought items that symbolize good luck, longevity and good health, often accompany an envelope with around 8000 euros from the groom’s family – or around three times his monthly salary (Rupp, 2003: 86-88).

otoshidama

Lucky kid just received her New Year’s money – K-pedia

New Year cards (年賀状nengajō) in auspicious colors depicting the Zodiac sign of the new year are sent out to relatives, friends and teachers but also to co-workers and business connections. New Year’s presents from parents to children (otoshidama お年玉), on the other hand, is a sum of money and must be given in a special envelope. It may appear that gift-giving in Japan always calls for an occasion, but susowake (すそ分け‘dividing the edge’) is one type of gift purchased simply because the other might like or need it, and has no symbolic meaning attached. Hence, there is no social obligation to return (Rupp, 2003: 29).

Return gifts

The returning of gifts is an essential but fairly more complex part of the Japanese gift-giving tradition. Since gift-giving is an act of giri, and since giri requires reciprocation, a gift naturally calls for a return gift. The moral obligation to give, to receive, and to return gifts is as much a part of traditional Japan as it is of the archaic societies with which Marcel Mauss (1954) concerned himself in his famous essay on the gift. (Lebra & Lebra, 1986: 162)

return gifts

Some popular return gifts – Kinogift

Technically, every gift should be returned with a counter-gift of half its value. Returns in cash are inappropriate, even if the original gift was money (Rupp, 2003: 192). How much a gift costs, can be estimated from the wrapping that has the name of the shop on it where it was purchased. Some high-end department stores are famous for carrying expensive gift items, and often where a gift comes from tells more about its value than the actual contents. Traditionally, gift-giving is the task of the wife and she, herself purchasing gifts frequently, has gained the knowledge to estimate its value and reciprocate in a fitting manner. To make things easier, department stores stick code tags on gifts that tell you its worth. It might be surprising that today as well, Japanese women are the ones responsible for the year-around exchange of gifts,  but seeing as how Japanese gender norms are still solidly entrenched in contemporary society – distinctly more so than in the West – gift-giving continue to be a woman’s job. Rupp, too, describes some situations in which wives, never husbands, were blamed for an ill-chosen gift.

kurumadai

Cute “car money” envelopes – Creema

At weddings and funerals, attendees and those who sent money in advance receive a bag full of return gifts. For weddings these include auspicious food, long-lasting objects, souvenirs of the happy event and sometimes an envelope with money that covers the transportation cost for people who come from far away. Additionally, newly weds spent a lot of time and money during their honeymoon gathering more return gifts. For funerals, traditionally salt, sake, sugar, objects made of thread and other items for purification are bagged. Although estimated to be half of the value of the cash gift, some people end up receiving more than they have given. In some regions, return gifts for incense money are only reciprocated after a certain period of time, and are calculated to match half of the value of the presented cash.

Nevertheless, there are exceptions: return gifts for birth presents are only half to one-third the value of the initial gift. Matchmakers (the couple through which the wedding was arranged) are lavished with more return gifts and money than any other person. White Day, serving as a reciprocity opportunity, prescribes that men, if they do give something, return gifts of at least twofold the Valentine gift’s cost. Rupp (2003: 150) points out that this reaffirms men as the superior party in their relationship with women. In fact, all ‘imported’ holidays have to be seen outside the framework of traditional gift-giving and return gifts. Christmas gifts, for example, are not reciprocated.


This was a short overview of the most common types of gift-giving in Japan. I think we can conclude that the Japanese give a lot of presents on many occasions and that a lot of money is spent in the process. Yet, it strengthens relationships and is a crucial part of Japan’s social landscape.

References here

Hundred Posts on Nippaku: Time for Celebration!

nippaku100While uploading my previous blog post, I noticed that it was the 99th one I posted on Nippaku. When I started this blog almost 5 years ago, just for fun, I would never have believed I would reach 100 – or even continue writing, since this is just one of the many side projects I’m keeping myself busy with! I certainly have to thank you for that, my dear followers who thought my writings were interesting enough to stick around, and the many friendly strangers who check out old and new articles everyday. If someone comments on one of my posts, it really makes my day – I received so many lovely comments on my about page! I know that I don’t post regularly, but I try to make up for it by putting a lot of effort and time in every article I write. Sometimes I switch it up a notch and go with something personal or practical, but for the most part my blog features my own research, so that’s probably what you can expect in the future as well! A short overview of the highlights thus far:

nippaku 100.1 cut

Old picture of a young me advertising my favorite blog

my first blog post To Start With Me now: *Reading what I wrote as an 18-year old and thinking “how cute”*.

the most fun post to work on For The Land of Chocolate and Beer, I actually ventured out to Bruges and interviewed Japanese tourists on the street!

your favorite blog post  Living in Japan: Pros and Cons I guess this one is a very down-to-earth description of my experiences living in Japan that appeals to those who want to know more about daily life over there.

my favorite blog post Haiku with a Cup of Tea I enjoy translating poetry or literature, showcasing my creativity and doing research, and in this post I could do all of that! I would love to do something similar in the future.

the blog post most commented upon Japanologie aan de KU Leuven: wat houdt dat nu precies in? My only post in Dutch, meant as a practical guide for students with questions about my university’s Japanese Studies program. I still receive questions about this post from time to time and am very pleased to hear that so many people are interested in studying Japanese!

The biggest surprise I had two big surprises, actually. The first time was when I reviewed a documentary on Tokaido and received a “thank you” from the director himself, the second time was when a Japanese professor whose work I had referred to throughout my master’s thesis commented under “about” on my post about Iwakura and Gheel! These comments really boosted my confidence.

insights 99

And now, time to celebrate my hundredth post! This wouldn’t be Nippaku if I didn’t write something informative about Japan, so let’s examine – very shortly, I promise – how celebrations are held over there. There exist many festivals in Japan, often rooted in religious traditions. Apart from these, the Japanese also like a good party, although a very different one from the parties I am used to at home. And then you have the “imported” stuff like Christmas, festive occasions that have been adapted by and hybridized into Japanese culture, hence developing its own unique Japanese traditions.

Traditional Festivals (Matsuri 祭り)

Some festivals have their roots in Chinese customs but were “imported” centuries ago, and underwent a lot of changes since then. Other festivals are local celebrations that developed out of religious observations and are connected to a certain town, district or even ward, always linked to a Shintoist shrine or Buddhist temple. During my time in Japan, I witnessed nationwide celebrations such as Tanabata 七夕, Obon お盆 and New Year’s Day (oshōgatsu お正月), and around three matsuri in Kobe. I took pictures, but the quality is a little crappy, so if you’re looking for some great photos with explanation of the most popular festivals in Japan, I recommend you this site.

 

A typical local matsuri, annually held and dedicated to the local shrine or temple, is organized by the neighborhood’s community and involves a considerable investment of time and money. Apparently, a matsuri expresses the unity of men and deities and offers a means to purify oneself, but functions at the same time as an opportunity to display power, status, friendship and a sense of community. Above all, festivals are social events: the festivities are always preceded by ritual offerings to the shrine, besides donations,  yet this part of the festival is the least frequented by the party-goers. One religious element, however, featuring as the central piece of the evening is the omikoshi お神輿, a shrine, palanquins or float, which is carried through the streets by locals dressed in a similar uniform, usually a happi coat (法被) of some kind. The shrine bearers chant wasshoi with every step they take: wasshoi actually refers to the expression wa wo shou 和を背負う, “carrying peace/harmony on one’s shoulders”. The chanting is accompanied by upbeat traditional music and synchronized dancing.

 

Sometimes, festivals feature parades with lots of cute mascots dancing around. For the entertainment part of the matsuri, there are food stalls as well as games for the kids (and adults with a young spirit). During summer, fireworks will – literally and figuratively – be the highlight of the evening. This type of festival actually resembles what we call “kermis” in Dutch. And of course, you cannot leave a festival without having tried lots of different foods: typical for matsuri are stalls (屋台) that sell taiyaki タイ焼き (fish-shaped fried batter stuffed with sweet bean paste, chocolate or custard), yakisoba 焼きそば (fried noodles with toppings), kakikoori かき氷(shaved ice with colorful syrup) and other yummy snacks. Look how happy I am eating a slice of pineapple covered in chocolate.

 

“Hybridized” festivals

Of course, the Japanese also celebrate Western holidays such as Christmas and Valentine’s Day, albeit in their own way. These celebrations are no public holidays, so people go to work or school as usual that day. But that doesn’t make these holidays less special. I have always found it fascinating how the Christmas tradition has taken shape in Japanese society (of course there is equally much debate on the true meaning of “Christmas” nowadays in the West) and I am ready to baffle you with some amusing facts on this topic. Did you know that the Japanese “traditionally” eat a bucket of Kentucky Fried Chicken, followed by a strawberry sponge cake with whipped cream? KFC played it really smart when they launched their “Christmas Chicken” campaign back in 1974 (turkey is difficult to come by in Japan), and due to the success of their advertisements, fried chicken became the standard meal that every Japanese wants to eat on Christmas. You have to pre-order your bucket weeks in advance! Moreover, Christmas is a day to be spent with lovers. So, for taking your loved one on a date, Christmas would be the most romantic time – restaurants and hotels are fully booked as well. It is no surprise, then, that stores sell tons of expensive jewelry and clothing as Christmas gifts. This was all new for me, since there is not much romance going on during my Christmas Eve, which I spend at home with my family like many other Belgians.

kfc christmas

KFC “Party Barrels” for Christmas, now open for reservation.

So what about Valentine’s Day, the day people in the West consider to be the most romantic one of all days? The Japanese celebrate it with a lot of chocolate. Not only do they buy or make chocolate for friends and family, they also give giri choko 義理チョコ(“obligatory chocolate”) to co-workers and bosses. But careful! On Valentine’s Day, only women give chocolate to men. Among school girls, there is also a tradition of “confessing one’s love” (告白 kokuhaku) – everyone who has ever read or watched anime/manga will probably be familiar with this phenomenon. Men can reciprocate with a present a month after that, on White Day, but this is not necessarily white chocolate (anything white and girly will do, even lingerie). The introduction of Valentine’s Day and its male counterpart White Day should be understood against the backdrop of succesful commercial attempts to increase sales in post-War Japan: Feb 14th was promoted by a chocolate manufacturer, White Day (originally called “Marshmallow Day”, but this name didn’t catch on) was introduced by the National Confectionery Industry Association. Hence, “extravagant consumption” and gift-giving is a good way to describe Japanese people’s activities during these holidays.

japan valentine day chocolate

the Belgian chocolate brand Godiva is extremely popular in Japan. – picture from The Japan Times

Parties

On a more personal level, you have the birthday celebrations, welcome and goodbye parties and so on. I must confess that I was not a huge fan of the big parties I attended, despite all the organization that went into it (sorry, my Japanese friends). In the first place, these parties start really early, around 5pm (I am used to parties that start from 10pm or later), but there is also food (not only snacks!), so it could be something like an early dinner party. You are expected to come at 5pm sharp and not just drop in at whatever time you like, and when the schedule says the party is over (for example around 8pm), then it’s really over and everyone just starts to clean up. The problem was that when I had some alcoholic drinks, I would be pretty worthless and unproductive for the rest of the evening so I would have preferred to go out after I had finished my daily tasks (I usually study until late at night). Playing games was fun, though.

party2

Notice the name tag and the front desk in the left corner?

About this “schedule” I mentioned, I mean that there was some kind of program that was announced beforehand: something like 5pm arrival and speeches / 5.15pm conversation game / 6pm dance choreography / 6.30pm bingo / 7.30pm group picture / 8pm clean up and leave. The problem I had with these kind of Japanese parties is that it did not allow for being spontaneous. You were forced to get to know other people (there was some kind of game) and enjoy yourselves through these organized activities, as if you wouldn’t manage to do so otherwise.

party3

Group picture at a Halloween Party (you can see a poster with the “timetable” of the evening)

But maybe I’m just a little picky when it comes to partying, because not all parties were like that. I remember one “wine party” with the research department, apparently a tradition of the faculty to celebrate the Beaujoulais Nouveau  Day in Japan. We could casually converse, eat and – above all – drink wine, without keeping to a schedule which was really fun! When somebody burst out into a dance, it was a spontaneous move (yes that happened). It was also nice to have some parties in the international dormitory where I lived. We had our Christmas party there, birthday parties and my goodbye party.

goodbye party

Another type of party is nomikai 飲み会 (“drinking party”) or konpa in a university context. Nomikai do not always celebrate something, but are often held at the end of the semester, for example, in an izakaya (Japanese pub) with an “all you can drink and eat” formula, and exist for the sake of deepening friendship bonds or strengthening work relations. I had several nomikai with the Shorinji Martial Arts Club that I joined, with co-workers and with friends. You could say that for me, it was more like a tabekai (“eating party”) since my love for food has no boundaries and I wasn’t a big fan of getting myself so drunk that I couldn’t walk properly anymore (sadly, many Japanese students are in this state after a nomikai). Anyway, I hope that I have proven to you that Japanese people like to party and celebrate! Let’s do this again when I have written my 200th post.

Mad Monks & Medieval Medicine

 20160623_193100This blog post covers another part of my thesis, the fifth post already in this series of “mental health in Japan”. For those who have missed the previous posts, it is not too late to catch up: an introduction to the topic focussing on mental health stigma can be found here, and posts dedicated to ancient records of “madness” in Japan here and here. Today, we go back to medieval times to discover how “madness” was perceived in a Buddhist context, as well as in relation to the newly developing study of medicine.

Buddhist Notions of “Madness”

During the Kamakura and Muromachi period, Buddhism played a prominent role, which is reflected in the literature of that time[1]. One representative example is An Account of My Hut (Hōjōki方丈記, 1212) by Kamo no Chōmei. The essence of this short story, “the world is a hard place to live”, corresponds with the Buddhist concept of impermanence. The following two fragments contain a reference to “madness”.

Yes, take it for all in all, this world is a hard place to live, and both we and our dwellings are fragile and impermanent, as these events reveal. And besides, there are the countless occasions when situation or circumstance cause us anguish. (…) Dependence on others puts you in their power, while care for others will snare you in the worldly attachments of affection. Follow the social rules, and they hem you in; fail to do so, and you are thought as good as crazy.[2]

“Chomei, (…) while trying to become a pure monk, your heart remains tainted by impurity. By living in a ten-foot hut in imitation of the Jomyo Buddhist layman Yuima, even if you are given the benefit of the doubt, you have not realized the practice of Shuri Handoku. When you perhaps do by chance, doesn’t your karma’s punishment worry you? Or again, by reckless judgment, not becoming more intelligent you grow worse by this, grow crazy. What do you think?”[3]

Kamo_no_Chomei

Kamo no Chomei

“To be(come) crazy” is a translation of the verb kyō suru 狂する. It should not surprise that the Chinese reading of 狂 is employed here, as Buddhism was imported from China via Korea. Although this “new” religion differentiated from the traditional folk belief and Shintoism primordially present in Japan, we can discern a pattern of hare and ke here (for a concise explanation of these concepts, see this post).

Living in this world brings many hardships. For example, if you did not follow the conventions, you were believed to be “mad”. In other words, behaving abnormally on days this was not allowed (ke days) was perceived as “madness”. On the other hand, eccentricity was also thought to be a suiting characteristic of a monk in seclusion: Chōmei strives towards reaching a state of nirvana by isolating himself in a tiny hut in the mountains, following in the footsteps of other Buddhist monks. To break all ties with society is an unconventional decision indeed, but this Buddhist practice (the hare element) was regarded as a way to reach spiritual awakening in medieval Japan. The result for Chōmei, however, turns out differently. He fails to attain enlightenment, and the only state achieved is one of mental derangement, or “madness”.

Comparable to talented artists, monks or other religiously engaged people had a special status connected with hare and were, therefore, permitted to express a certain degree of “madness”. This privilege allowed them to manipulate the actions of others. For example, the Buddhist scholar Zōga-hijiri 増賀聖 could not stand the secularism of his sect and escaped the monastery unpunished by pretending he was insane[4]. Another problem that urged for fabricated madness was the immense popularity famous monks enjoyed. It was strictly forbidden in Buddhism to express any form of arrogance or pride based on an elevated status, learning or wealth[5], which forced some distinguished monks to act like madmen in order to keep the many admirers away.

gyoki

Gyoki

A famous example from the Nara period is Gyōki 行基, who, according to various sources, “appears as a wandering shamanic figure who used his superhuman powers to instruct peasants and unlicensed monks” but displayed “suspicious behavior”[6]. As feigning madness appears to have been an effective means to isolate oneself, a state of mental derangement was perhaps tolerated among monks, but others were certainly not exempt from certain forms of stigmatization.

The impact of Buddhism on the treatment of individuals with a mental disorder was not limited to written suggestions alone. Omata Waichirō points out that during the medieval period, a handful of religious institutions, Buddhist temples as well Shintoist shrines, offered provisions for the mentally disordered, such as Chinese herbal medicines treatment and moxibustion in the former, and incantations and exorcism sessions in the latter[7]. As a result, people with a mental disorder undertook pilgrimages to “places of healing” such as Iwakura (see pictures below) that provided specialized treatment. Nevertheless, Hashimoto argues that such provisions were still exceptional in medieval Japan, and that most temples and shrines started to develop facilities for the mentally ill only late in the Edo period or at the beginning of the Meiji period[8]. Important here is that people with a mental disorder were, just like those afflicted with physical illness, gradually being regarded as subjects of treatment. Moreover, it appears that religion and the first attempts towards psychiatric care are significantly entangled, as will be explained in the part below.

Footnotes and references

[1] Sekiguchi, Tadao 関口忠男. “The Tale of the Heike and Buddhist Thought”平家物語と仏教思想 (Heike Monogatari to bukkyō shisō), Records of Lectures on Buddhist Culture 仏教文化講演会記 (Bukkyō bunka kōenkai ki), Ryūkoku University, Kyoto (2007):287-301, p. 287 [2] McKinney, Meredith, Kenkō Yoshida, and Chōmei Kamo. Essays in Idleness and Hōjōki, 2013.  [3] Washburn University.  [4] Hori, Ichirō, Joseph M. Kitagawa, and Alan L. Miller. Folk Religion in Japan: Continuity and Change. Paperback ed., 4. Haskell Lectures on History of Religions, N.S., 1. Chicago: Univ. of Chicago Press, 19, p. 103. [5] Arrogance, or Sanskr.: Māna慢, is mentioned as one of the “ten modes of contemplation” in Mahayana Practice of Cessation and Contemplation (Makashikan摩訶止観), a Buddhist work on meditation compiled in China around 594 that influenced Buddhism in Japan immensely. [6] Augustine, Jonathan Morris. Buddhist Hagiography in Early Japan: Images of Compassion in the Gyoki Tradition. Routledge Studies in Asian Religion. London: Routledge, 2012, p. 3 and 11. [7] In 1278, a corner of the Gokurakuji temple 極楽寺 in Kamakura was reserved for lepers, next to a general sanatorium. In 1394, treatment focusing on those suffering from mental disorders was started at the main temple of the Jōdoshin sect, the Kōmeisanjuninji 光明山順因寺 in Okazaki. The oldest therapy recorded is the waterfall treatment at Daiunji temple 大雲寺 in Iwakura, Kyoto during the Heian period. From the Kamakura period on, treatment as practiced in Iwakura lost its magical and supernatural character and was mainly concerned with natural therapy. Omata, Waichirō 小俣和一郎. The History of Psychiatry 精神医学の歴史 (Seishin igaku no rekishi). Tokyo: Daisan Bunmeisha, 2005, p. 82-83. [8] Hashimoto, Akira橋本明. “The History of Psychiatric Care in Places of Treatment – From ‘Places of Healing’ towards ‘Generalized Places’”治療の場をめぐる精神医療史―「癒しの場」から「普遍化された場」へ」(Chiryō no ba wo meguru seishin iryōshi – ‘iyashi no ba’ kara ‘fuhenka sareta ba’ he) in “Madness” the Time Produces時代がつくる「狂気」(Jidai ga tsukuru “kyōki”), edited by Serizawa, Kazuya芹沢一也. Psychiatric Care and Society series no. 825, 49-84. Tokyo: Asahi Shimbun Publishing Co., 2007,  p. 55.

A Change in “Madness” Perception Due to Secularization

Although a religious interpretation remained the major driving force behind daily life, the secularization of the Japanese medieval society was imminent. This secularization was further enhanced by the appearance of medicine studies[9]. It is too early to speak of a medical science, since medical treatment for mental disorders as was first developed in Japan was either based on Chinese herbal medicine or yin yang theories.

1299319453_kaibutsu_ehon_12

Mono no ke of Lady Aoi in The Tale of Genji

Remarkable is the fact that traditional phenomena such as mono no ke and spirit possessions continued to exist under the form of monotsuki 物憑きand were integrated in practical medicine. Among the various categories of monotsuki, possession by a fox spirit (kitsunetsuki 狐憑き)[10] became by far the prevailing explanation for deviant behavior of commoners from the Edo period on. Hyōdō illustrates the co-existence of medicine and traditional notions of “madness” by giving examples of doctors and yin yang masters who were arrested on grounds of their alleged manipulation of fox spirits to possess others[11]. She argues that all those who studied medicine were believed to hold the power to exorcise evil spirits as well, and were, therefore, also thought capable of having people possessed. Consequently, medical disorders, regarded as “diseases” caused by spiritual forces, were now treated with herbal medicines.

Kitsunetsuki

kitsunetsuki

An early work illustrating that “madness” in its new form of fox possession was no longer evidently regarded as a sacred and ritual phenomenon, is Jottings of a Fool (Gukanshō愚管抄, 1220). The writer, Buddhist priest Jien, argues that the wife of servant Nakakuni is not possessed by the spirit of the deceased Go-Shirakawa but by an evil fox[12]:

Certainly there have been many such cases [of shrines being built to pacify a vengeful soul]. But has Go-Shirakawa’s soul become vengeful because of something done by Retired Emperor Go-Toba? And should the deceased Go-Shirakawa’s soul be considered a manifestation of the Great Hachiman Bodhisattva and honored as an ancestral Kami of the Imperial House? Have there been signs of miraculous power? Have not such things occurred because people have believed what persons-possessed only by foxes (yakan) and demons (tengu)-have said? (…) If Nakakuni and his wife have said what was in their own hearts without being at all possessed by foxes and badgers, they should of course be punished, even with exile. But we should not conclude that they have done this simply because they are strange. [13]

Jien further advocates that “the wife of Nakakuni has attuned herself to the words of mad people such as miko, mediums, dancers, sarugaku players, even coppersmiths and the fellow,” and that, since she was simply ill, the couple should “not be listened to and should be put in isolation to drive out the fox spirit”[14]. Jien attributes the wife’s “madness” to fox or badger possession (tanukitsuki 狸憑き) but denies its connection with hare, as opposed to the eccentricity of those called “the mad”, people involved with spirituality and arts[15]. Nakakuni and his wife are not explicitly punished due to the acknowledged mental condition, but a rejection of their “madness” as an expression of hare contributes to a stigmatizing attitude of isolation, as is visible in Jien’s suggestions.

As the field of medicine in Japan was substantially based on an already established tradition of Chinese medicine, new terminology and perceptions of “madness” emerging in Japan were heavily influenced by theoretical literature on medicine imported from the Chinese mainland. The Chinese vision on mental disorders is reflected in Japan’s first medical book, Ishinpō 医心方 (984) by Tamba Yasuyori 丹波康頼. In chapter three, Tamba theorizes about mental disorders, referring to them as chūfūtenbyō 中風癲病. A mental disorder is defined as an illness transmitted by a cold (chūfū 中風) causing a corruption of either yin or yang in the body[16]. The same theory is presented in Dongui Bogam 東医宝鑑 (1613), an influential Korean work[17] by Heo Jun, which proves that chūfūtenbyō remained the dominant theory until well into the 17th century. Significant for research on stigmatization is the fact that the early medical explanation for mental disorders bears striking similarities with the traditional notion of possession, in the sense that both interpretations consider the cause of the disorder to be external.

ishinpo

Ishinpō

Chūfū or Fubyō 風病 is somewhere else exemplified by “the Man with a Cold” (Fubyō no otoko 風病の男) on the Scroll of Illnesses (Yamai no Sōshi 病草紙, 12th century). The scroll contains drawings of various diseases and anomalies, accompanied by a description or entertaining anecdote. This particular painting depicts a man who is playing go with two ladies, but suddenly catches a “cold” (fubyō), upon which his eyeballs and limbs start to shake. His face is contorted, he is not able to sit properly and appears not capable to articulate properly, which is an amusing sight for the two ladies[18]. A suggestion is that the man suffers from cerebral apoplexy.


Left: Anonymous, “The Man with a Cold” in The Scroll of Illnesses, 26.0 x 30.9 cm, 12th century, Kyoto National Museum. Right: detail of the same work. – source: “Yamai No Soshi (Diseases and Deformities)” – eKokuhou.

The fact that the two women start to laugh reveals their discriminating attitude, although it must be said that throughout the Scroll of Illnesses more ailments and deformities are depicted  – as ridiculed by other people. Another point worth mentioning is that mental disorders[19] are actually incorporated in this work, which proves that they were also regarded as illnesses, albeit somewhat peculiar. Furthermore, the word fubyō, “cold” is used, referring to the theory explained above. The idea that afflictions of the brain were caused by external forces would last till the Edo period, when mental disorders were contrarily viewed as internal problems[20].

Additionally, throughout the scroll, not one supernatural explanation is given. There is an obvious breach with the traditional linkage of “insanity” to religion or spirituality. Instead, the drawings show scenes of daily life, of common people suffering from diseases and anomalies, and of other people’s reaction on the afflictions depicted. In other words, the absence of a hare connection and the strong presence of ke elements suggest “impurity” or kegare. This enhances stigma, as can be seen in the reaction of the two ladies on the seizure of the go player. That’s it for today! In a next blog post, we will look at how “madness” was portrayed in the performing arts of medieval Japan and how this is again linked to the concepts of hare and ke.

Footnotes and references

[9] Omata, History of Psychiatry, p. 35, 56-57. [10] The first description of kitsunetsuki in Tales of Times Now Past (Konjaku Monogatari今昔物語), dates back to the late Heian period. [11] Hyōdō, Akiko 兵頭晶子. Mental Disease and Japanese Modernity: From the Possessed Mind/Body to the Diseased Mind/Body精神病の日本近代―憑く心身から病む心身へ (Seishinbyō no nihon kindai – tsuku shinshin kara yamu shinshin he), Trans-boundary Modern Times 越境する近代 (Ekkyō suru kindai) nr. 6. Tokyo: Seikyūsha, 2008, p. 71. Hyōdō refers to Nishiyama, Masaru西山克. “The Middle Ages of Mediators – Emperial Authority during the Muromachi Period and Fox Handlers”媒介者たちの中世―室町時代の王権と狐使い (Baikaitachi no chūsei – muromachi jidai no ōken to kitsunedukai) in Cities and Professionals都市と職能民 (Toshi to shokunōmin), edited by the Study Group on Medieval cities中世都市研究会 (Chūsei toshi kenkyūkai), Vol. 8. Tokyo: Shinjinbutsu ōraisha, 2001. [12] Bathgate, Michael. The Fox’s Craft in Japanese Religion and Folklore: Shapeshifters, Transformations, and Duplicities. Religion in History, Society & Culture 7. New York, NY: Routledge, 2004, p. 98. [13] Jien, Delmer Myers Brown, and Ichirō Ishida. The Future and the Past: A Translation and Study of the Gukanshō, an Interpretative History of Japan Written in 1219. Berkeley: University of California Press, 1979, p. 169-70. [14] Own translation. [15] Hosokawa, Ryōichi細川涼一. The Japanese Middle Ages of Deviance – Madness, Perversity and the Demon World 逸脱の日本中世―狂気・倒錯・魔の世界 (Itsudatsu no nihon chūsei – kyōki・tōsaku・ma no sekai) Tokyo: JICC Press, 1993, p. 18. [16] Two types of mental disorders are distinguished: a corruption of yin leads to ten illness (tenbyō 癲病), an attack on yang causes kyō illness (狂病). Nishimaru, Shikata 西丸四方. Reading Classics on Psychiatry 精神医学の古典を読む (Seishin igaku no koten wo yomu). Tokyo: Misuzu Shobo Co., 1989, p. 59. [17] This work was written in Chinese characters and thus understandable in China as well in Japan, where it was published and read in its original form. [18] The inserted orginal passage reads: ちかごろ、男ありけり。風病によりて、ひとみつねにゆるぎけり。厳寒にはだかにてゐたる人の、ふるひわななくやうになむありける. [19] Other examples are “The Insomnious Woman” (Fumin no onna 不眠の女) and “The Woman with Eyes for the Birds” (torime no onna鳥眼の女), depicting a schizophrenic or neurotic woman who lets crows peck her eyes. [20] Tatsukawa, Shōji 立川昭二. “Fūbyō, chūbyō and apoplexy – “The Man with a Cold” in Scroll of Ilnesses” 風病・中風・脳卒中―「風病の男」『病草紙』(Fūbyō・chūbyō・nōsotsuchū – “fūbyō no otoko” Yamai no sōshi) Emergency Life-saving救急救命 (kyūkyū kyūmei), Life and Cultural History 18, May 2007, p. 18-19.

Throwback Time

Time flies! It’s already been over a year since I came back from my one-year stay in Japan. I’ve grown pretty nostalgic these days, thinking back to all the good stuff, and maybe forgetting a little bit about the things I liked less. I am planning to go back soon to do fieldwork for my research, but in the meantime I have saved some eye candy for you from my last trip, showing you what exactly I can’t wait to go back to. Now, let’s begin our stroll down memory lane.

The nature

Many people who have travelled to Japan will tell you that excursions outside the vibrant cities are certainly worth the trip. Especially for this journey, my family brought a nice camera – spot my brother in action among the sunflowers. As you can also see from the pictures below, we travelled around Japan during summertime. Being totally surrounded by nature was overwhelming, in particular because we Belgians aren’t really used to that much green (and the weather was also extremely hot for our standards).

The Japanese island is for 70% mountainous and for over 60% covered with forests, which results in sparse low-leveled, but densely populated areas popping up in between vast woods, rivers and mountain ranges. Lots of nature to explore, in other words. Below you see some of the “99 island” (Kujukushima 九十九島), a bamboo forest, a view of Kyushu’s countryside and colorful koi fish.

But even in metropolis centres, you can find quiet, green spots among the many touristic attractions. Below are two pictures from Kobe (the ropeway up to Rokko Mountain and the Nunobiki waterfalls) and two from Kyoto, displaying a magnificent temple garden and a proud heron in the garden of Nijo castle.

The culture

Well, isn’t this my favorite part about Japan! Living in Kobe, I was situated close to the cultural and historical heart of Japan. You probably know that I am more into (let’s call it) the ‘traditional’ stuff. Hence, the tourist in me is more drawn towards castles, temples, medieval art and so on. That doesn’t mean I don’t value modern cultural phenomena – on the contrary, I think they’re fascinating research material! Since this post is trying to be as visual as possible, the pictures below can seem a little cliché in that sense, since they depict mostly ‘the classics’. For the reason that I’m into ‘traditional’ stuff, I actually never visited Tokyo during my round trip (oh, the shame). Of course I would recommend it to everyone, but personally I do not really feel attracted to the hyper-modern, current capital of Japan (the previous ones I love, though – Nara, Kyoto, you name it). But one day, I’ll go to Tokyo, for sure! *pinky swear*

Besides the extraordinary craftsmanship, I love the abundance of colors, yet at the same time serenity of temples and palaces. Kyoto was great (how many temples can you visit in one day?) and as a Buddhist geek, I thoroughly enjoyed all the religious references in Japanese culture such as the many Buddha statues. During our journey, we often stumbled across unplanned festivals and other celebrations, for example the Gozan fire festival. On the other pictures, you can see the beautiful white Himeji castle and the ‘floating’ torii of the Itsukushima shrine on Miyajima island.

Typical for smaller Japanese towns is that they specialize in a certain product which then attracts a lot of shopping tourists. That is the case, for example, in Uji, a town close to Kyoto and  famous for its matcha – but also known for its prominence in The Tale of Genji and its stunning Byodo-in temple. Another example is Arita, famed for its ceramics and pottery. Also, when nature and culture come together, great stuff happens. Like, deer in Nara. Or the Korakuen garden in Okayama.

Japanese architecture, traditional or modern, keeps fascinating people. Take for example the huge main temple in Nara (with my parents posing in front of it), the innovative water architecture of Osaka city station, the golden pavilion in Kyoto or the modern office constructions you see everywhere in big cities.

And last but not least, let’s talk arts. Japan is known worldwide for its origami, ikebana, kimono designs and performing arts such as puppet theater, kabuki and noh. These arts are constantly developing and modernizing, yet maintain their ‘traditional’ character. In Hiroshima, we saw ‘1000 folded cranes’ and a Kagura performance. On Shikoku, I was so lucky to watch puppet theater (they were so kind to pose with us for a picture), and kimonos were a common sight in Kyoto.

The Food

Apart from culture and history, food is also a big interest of mine. The Japanese cuisine is very different from the Belgian one, and this also influenced my taste palette and culinary preferences. I have been a vegetarian for some time now, so there are lots of Japanese dishes out there that I never tried – I had to make an exception for the unavoidable dashi (fish stock), though. Yet, I was often surprised about the availability of vegetarian dishes, and the willingness of the chefs to adapt to the (vegetarian) customer’s needs. Japanese people eat a lot of vegetables, tofu is everywhere and I enjoyed some great vegetarian meals, like the ones below. On one or two occasions, I had a fancy vegetarian set meal, and the Buddhist, vegetarian food on mount Koya was also a pleasant experience.

Okonomiyaki, a savoury pancake with a filling of choice, proved to be the perfect alternative for pizza. Back in Belgium, I also had to get used to the idea that there is no concept such as izakaya here: places where you can drink alcohol and order lots of food at the same time. You could say I mostly went to izakaya together with friends or colleagues to drink, but I always ended up stuffing my face with delicious foods. Not that I didn’t drink at all – sake was love at first sight.

Sushi is, of course, always a good choice. Try kaiten-zushi (conveyer belt sushi) for a lot of fun and a full stomach! If I didn’t have time to prepare a lunch box on a busy school day, I used to buy onigiri (rice triangles) or inarizushi (seasoned rice in a marinated tofu skin) at the supermarket. Other standard meals I often ordered in restaurants include udon noodles with tofu or don (rice) dishes with egg. From time to time, I treated myself to some curry: I like the Japanese ones with vegetables as well as the curry set menus at Indian restaurants.

An example of how my taste buds adapted to Japanese flavors, is the fact that I started prefering Japanese sweets over western, much sweeter and sugary desserts. There have been many days lately that I crave mochi! Also, matcha is a gift from the gods – I love all kinds of desserts stuffed with it (don’t the phoenix matcha pancakes from Uji look amazing?). Another favorite snack of mine is red bean paste, especially in manju, like the ones from Miyajima shaped like leaves on the left. I also cannot express enough how tasty mitarashi dango are (am I the only who feels like this?): Japanese rice dumplings with sweet soy sauce. Yummy!

The people

Japanese people and me went along pretty well! I always felt at ease because they would try to make me feel welcome as much as possible, be considerate and show me the utmost respect. It was a reassurance that the Japanese would never make fun of me or embarrass me – at least not in my face. Most conversations are pretty predictable (no sarcastic remarks or surprises from people you don’t know very well) which also helps you to follow and respond better by anticipating the rest of the conversation. One thing that is not supposed to be annoying but actually is when you live there for a while, is the complimenting: hearing time and time again how good your Japanese is and how baffled they are by your knowledge about Japan (“Even I as a Japanese didn’t know that!” – but then again I am the one majoring in Japanese studies and not you, and I am not an expert in Belgian history either, is what I would have liked to reply), can get a little tiring.

They often say that Japanese people do not have a sense of humor, but I don’t think that’s true. Of course, the slapstick on Japanese television doesn’t crack me up either, but contextual jokes and puns were as funny in Japan as anywhere else. Another pro is that politeness is prioritized over personality – being rude doesn’t make you cool. And with people you want to befriend, you can discover a whole new personality behind this polite “façade” (tatemae). I believe I’m not a very warm person and a little distant myself when I don’t know another person very well, so I could relate.

In general, Japanese people were kind and always willing to help me. I experienced this while studying and researching at uni, as well as in the Shorinji martial arts club I was a member of. From my first day in Japan, I received a lot of help and friendship from the Japanese at my faculty. The professors, unlike in Belgium sometimes, were supportive and respectful towards their students. During shorinji training as well, I  was never left on my own. The more experienced “fighters” taught the newbies, and I learnt a lot from practicing together. Because I was mainly focused on my research, I wasn’t the most social one in the group but I had a lot of fun in my free time.

I could go on and list up many other experiences I had during my stay there, but I think it’s best to go back to Japan and make more memories! In the meantime, I will write a couple of new blog posts with a more academic content. Feel free to share your memories in the comment section below!

The Perception of Mental Disorders in Ancient Japan

20160623_193344.jpgAs mentioned before, several parts of my Master’s dissertation (“The Stigmatization of People with a Mental Disorder in Premodern Japan: Research from a Cultural Historical Perspective”) will be posted on Nippaku. Click here to check out the first introductory part! Another history post related to this topic that might be of interest to you is this one about the similarities and differences between the Belgian city of Gheel and the Japanese hamlet of Iwakura. Today, we will go as far back in time as the eighth century to discover how people with a mental disorder were regarded and treated during the Nara and early Heian period.


“Madness” as a Privilege of the Shaman

The oldest notion of “madness” can be traced back to shamanism, a spiritual practice that originated in the Paleolithic period[1]. The Japanese form of shamanism, mikoism, was shaped with the diffusion of shamanism in Central Asia, although there are as many differences as similarities[2]. In the hunter-gatherer society, it was believed that the animals they hunted down for food could reincarnate. A Siberian fortune teller, or shaman, descended into the world of the sacrificed animals to predict by means of their bones whether this was the case or not. The shaman also wore animal hair and skin to adopt animalistic features. In order to psychologically immerse himself in the underworld, the shaman drank extracts of poisonous mushrooms, uttered incantations, danced fanatically until he or she eventually fell down on the ground and entered a state of apparent death. The poisonous substances triggered a state of altered consciousness, interpreted as “madness” and today known as a mental disorder caused by narcotics or alcohol. The fact that the character for “mad” (狂) in Japanese has the radical for dog or animal (犬)[3] can be traced back to this shamanistic practice.

shaman-national-geographic

Picture from an article in National Geographic, depicting a Mongolian shaman. The text says “shaman, the one chosen by the spirits” – http://natgeo.nikkeibp.co.jp/nng/article/20121120/331216/

With the emergence of sedentary agricultural societies, shamans continued to play an important role by predicting successful harvests. The harvest was a matter of life or death, and shamans were often appointed as king or queen of newly-formed states. Although they combined a spiritual responsibility with a political role, shamans still carried a strong link with “madness”. During times of war, the king or queen, “raging with anger” would lead the troops. “Anger” expresses just like “madness” a strong affective change[4]. In the shamanistic society, the privilege of being “mad” inferred a supernatural statute, and was only granted to shamans, or kings and queens.

Footnotes[1] Omata, Waichirō 小俣和一郎. The History of Psychiatry 精神医学の歴史 (Seishin igaku no rekishi). Tokyo: Daisan Bunmeisha, 2005, p. 21ff. [2] Fairchild, William P. “Shamanism in Japan.” Folklore Studies 21 (1962): 1, p. 105. [3] Kamada, Tadashi鎌田正and Toratarō Komeyama米山寅太郎 “狂.” (kyō) in New Kanji Forest新漢語林, Taishūkan Shoten, 2011.

Early Accounts of Mental Disorders

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The oldest extant manuscript (眞福寺本shinpukuji-hon) of the “Kojiki” – Wikimedia Commons

The oldest preserved Japanese law documents that gives an account of the treatment of mentally disordered citizens, is the Taihō Ritsuryō (701). According to this premodern law system, mental disorders were divided into three categories[5] based on the severity of the disorder. Citizens suffering from the two most severe disorders, were registered as fukakō (不課口) or fukuwa (不課), and discharged from corvée. The law also stipulated that people with a mental disorder of the most severe type should receive nursing care[6]. Moreover, the punishment for crimes committed by individuals with a mental disorder was slightly reduced[7]. Although it remains unclear whether these provisions were actually realized, we can see that during the eighth century, the law system did not prescribe the proactive banishment or persecution of individuals with a mental disorder but pursued a policy of social integration.

Records of Ancient Matters (Kojiki古事記, 712), the oldest literary work in Japan, comprises another description of the reaction to “madness”.

Then His-Swift-Impetuous-Male-Augustness said to the Heaven-Shining-Great-August deity: “Owing to the sincerity of my intentions I have, in begetting children, gotten delicate females. Judging from this I have undoubtedly gained the victory.” With these words, and impetuous with victory, he broke down the divisions of the rice-fields laid out by the Heaven-Shining-Great-August deity filled up the ditches, and moreover strewed excrements in the palace where she partook of the great food. So, though he did thus, the Heaven-Shining-Great-August deity upbraided him not, but said: “What looks like excrements must be something that His Augustness mine elder brother has vomited through drunkenness. Again, as to his breaking down the divisions of the rice-fields and filling up the ditches, it must be because be grudges the land they occupy that His Augustness mine elder brother acts thus.” But notwithstanding these apologetic words, he still continued his evil acts, and was more and more violent. As the Heaven-Shining-Great-August deity sat in her awful weaving hall seeing to the weaving of the august garments of the deities, he broke a hole in the top of the weaving-hall, and through it let fall a heavenly piebald horse which he had flayed with a backward flaying, at whose sight the women weaving the heavenly garments were so much alarmed they died of fear.[8]

susanoo

Susanoo, here in a sober state, saving a princess from a dragon – Wikimedia Commons

His-Swift-Impetuous-Male Augustness, otherwise called Susanoo, drank too much out of excitement and started to act like a “madman”. His sister the Heaven-Shining-Great-August deity, or Amaterasu, forgave him the first time, attributing his vicious behavior to a mental change caused by alcohol. However, when Susanoo threw a skinned horse through the roof, Amaterasu was terrified and hid herself into a cave.

The “madness” here illustrated can be further explained by the hare and ke dichotomy theorized by Yanagita Kunio in A History of the Meiji and Taisho periods: Social Conditions 明治大正史 世相篇 (Meiji taishō shi  sesō hen, 1930). Hare, “the sacred”, refers to something formal, festive, ritual, public and extraordinary whereas ke, “the secular”, alludes to the profane, mundane, private and everyday life. Based on Yanagita’s thesis, the suggestion here is that people who lost the ability to discern between hare, the sacred and ke, the profane, behaved as was only permitted on hare days, and were, therefore, labeled as a “mad”.

Susanoo, for example, was so proud of his accomplishment that he started drinking alcohol and acting violently, this in contrast with his sister and the other women, who were dealing with their daily activities. His actions were seen as “defilement”, kegare, in a ke context, whereas it would have been perceived as a sign of spirituality in a hare context. Although Susanoo was heavily punished for his vicious acts in the end, it should be noted that Amaterasu first shows some mercy regarding his mental condition.

Footnotes[4] Perhaps best illustrated in the English language, where the word “mad” covers those two connotations. [5] Zenshichi残疾, haishichi癈疾 and tokushichi篤疾.[6] Hashimoto, Akira橋本明. The history of psychiatric care in Japan. Were there rights for “mental patients”? – Gleaners in the history of psychiatric care in Europe.日本の精神医療史. “精神病者”の権利はなかったのか?―ヨーロッパ精神医療史の落穂拾い― (Nihon no seishin iryōshi. “seishin byōsha” no kenri ha nakatta no ka? – yōroppa seishin iryōshi no ochibohiroi), 2002.  [7] Omata, History of Psychiatry, p. 48.[8] Chamberlain, R. H. The Kojiki. Seattle: PublishingOnline, 2001, p. 32-33.

“Mad” People and Religion

One way to discover elements of (non-)stigmatization in a certain period in time, is by looking at the terminology used for individuals with a mental disorder and the positive, neutral or negative connotations these words bear. In Chronicles of Japan (Nihon shoki 日本書紀, 720)[9], Shoku Nihongi続日本紀 (797)[10] and Saimeiki 斎明記[11], the word tabure 狂is used to describe “madness”. Tabure has a double meaning: on the one hand, it is connected with the word tawamure 戯れ, meaning nowadays “jest”, “flirtation” or “joke”, and indicates a deviant social behavior, such as in the story about Susanoo’s ravage. On the other hand, tabure is derived from the phrase tamashii ni fureru 魂に触れる, “to touch the soul”, and refers to spirit possessions, as was practiced in Shintoism[12]. Accordingly, “mad people” were called taburebito狂人. This term appears neutral, even positive in combination with a context based on hare. Notwithstanding, only one word existed to point out “mad people” at that time, so it could in se also express strong disapproval of others’ deviant social conduct.

An example of taburebito used to condemn those not in their right mind, can be found in Veritable Records of Three Reigns in Japan (Nihon sandai jitsuroku日本三代実録, 901). An imperial edict from the year 866 warns that “in the case lunatics would conspire to destroy the state, all deities will quickly resurrect”[13]. This criticism is directed towards the conspirators of the Ōtenmon incident of the same year[14]. Those who would harm the state and therefore also its fundament, the emperor, officially the descendent of the gods, must be crazy. Taburebito is used here to argue that rebellion against the political institution or emperor is pure “madness”[15].

800px-ban_dainagon_ekotoba_-_fire_and_people_d

People running to the burning Otenmon Gate, painted scroll from the 12th century – Wikimedia Commons

Around the Nara period, the Sino-Japanese reading of the character for “mad”, kyō 狂, came into use. Kyō is not as old as the Japanese reading tabure and bears in addition a slightly more negative connotation: it is used to direct social criticism towards people behaving differently from what convention prescribes, especially when the motive or reason for this demeanor is known[16]. In other words, Kyō roughly overlaps with the first meaning of tabure, but has an additional element of criticism.

yamabushi

Yamabushi – Wikimedia Commons

Another characteristic of “madness” in Ancient Japan lies in the connection between taburebito and the practice of mountain worship (sangaku shinkō山岳信仰). With the development of an agricultural society on the flatland, mountains were held to be the abode of kami and became objects of worship[17]. They were, therefore, forbidden ground for normal villagers. On hare days, kami descended from the mountains to the village, and the “madness” originating at sacred heights was temporarily transferred. People who entered the mountains were thus regarded as “madmen”. Especially on ke days, this kind of deviant behavior represented a breach or escape from everyday interpersonal relations[18].

At the same time, however, mountains were supernatural places where an encounter with the gods became possible, and attracted for that reason people wandering around in search of spiritual enlightenment[19]. Taburebito who used to do so on normal days were regarded as “close to the gods” and gained a special status. Their aberrant conduct was not judged on a personal level but in a religious context, in the sense that their connection with kami was predestined and necessary for a smooth communication with the supernatural world. In the footsteps of shamans and miko, taburebito played an important role in mediating between the two worlds. Considering that “madness” was strongly connected with hare, we can conclude here that an interpretation of non-stigmatization can be applied.

Footnotes: [9] E.g. tabure gokoro no mizo 狂心渠 “the ditch of madness”, an enormous water construction ordered by empress Saimei (chapter 26). [10] E.g. tabure madō 狂迷 “go astray in madness” (16th emperial edict). Frellesvig, Bjarke, Stephen Wright Horn, Kerri L. Russell, and Peter Sells. The Oxford Corpus of Old Japanese. [11] Actually a part of the Nihon Shoki. Saimeiki gives an account of the feigned “madness” (itsuwari tabure) of prince Arima.[12] Oda, Japanese Sources on Madness, p. 15, 17-18. [13] Original text: 若狂人乃國家乎亡止謀留事奈良波。皇神達早顯出給比 (若し狂人の国家を亡さむと謀る事ならば皇神達早く顕出し給ひ).  [14] Although it is unclear who actually conspired against who, the incident started with the main gate of the royal palace (Ōtenmon) burnt down. Several accusations were made, but in the end Fujiwara no Yoshifusa seized the power, executed his political enemies and was promoted as Regent. [15] Dismissing those who rebel against the emperor and imperial family as “madmen” is not only limited to this period, but is a recurring phenomenon throughout Japanese history, also referred to as a side effect of the “chrysanthemum taboo菊タブー(kiku tabū, chrysanthemum refers to the imperial house)”. For an overview of such incidents in modern Japanese history, see Inoue, Shōichi井上章一. Madness and Royal Authority 狂気と王権 (Kyōki to ōken), Tokyo, Kodansha, 2008. [16] Oda, Japanese Sources on Madness, p. 15. [17] Yano, Kazuyuki. “Sacred Mountains Where Being of ‘Kami’ Is Found.” 16th ICOMOS General Assembly and International Symposium: Finding the Spirit of Place – between the Tangible and the Intangible. Quebec, Canada, 2008, p. 1. [18] Oda, Japanese Sources on Madness, p. 27-28. [19] Yanagita, Kunio. Mountain Village Life. Tokyo: Heibonsha, 1961.

“Madness” in Buddhism

During the 6th century, Buddhism was introduced in Japan and later adopted as the official religion. The monk Keikai edited 116 Buddhist stories from the Nara period and earlier in the Nihonkoku (Genhō Zenaku) Ryōiki日本(国現報善悪)霊異記 (822)[20]. In this compilation there are several stories dealing with mental disorders, but remarkable is that this “madness” is often reported as punishment for a crime committed towards Buddhism. For example, it is described how one man harbors ill feeling towards Buddhism and tries to lock up a Buddhist monk begging for money. The monk escapes and recites incantations, upon which the man loses his mind and starts running around like crazy.

nihon_ryoiki_raigoin

The Nihon Ryōiki – Wikimedia Commons

It is likely that the introduction of Buddhism from mainland China via Korea brought along a change in the perception of “madness” in Ancient Japan. In contrast with the positive connotations attributed to taburebito in Shintoism and folk religion, “madness” here is in nothing related to supernatural beings, but perceived as a punishment on a personal level, a prevalent understanding of “illness” as “evil” in several religions around the world. “Mad” people do not contribute to society or gain a special status in a Buddhist context. They are marked with a mental disorder as proof of their “defiant” behavior and categorized as impure together with criminals, debtors et cetera. In such cases, the Sanskrit word ummatta is used to express “insanity”. Nevertheless, there was legal and social consideration towards people with a mental disorder, for example, monks who developed a mental illness were not accountable for crimes against the Buddhist law[21]. On the other hand, religious experiences such as possessions, illusions or hallucinations are not unusual in Buddhism[22]. These experiences are temporary, caused externally and mystically significant, but unlike Shintoism and folk religion in Japan, Buddhism differentiates between experiences with a spiritual connection and other “madness”, or ummatta. This perception views ummatta as devoid of religiosity (hare) and is more likely to encourage the stigmatization of individuals with a mental disorder, rather than the generalizing notion of “madness” in Shintoism does.

Footnotes: [20] This work is translated by Watson, Burton as Record of Miraculous Events in Japan: The Nihon Ryōiki. Translations from the Asian Classics. New York: Columbia University Press, 2013.[21] Koike, Kiyoyuki. “Mental disorders from a Buddhist View, especially those within the Nikaya, the Vinaya Pitaka and the corresponding Chinese translations” in Indian and Tibetan Studies Research, 7 & 8, p. 178.[22] Oda, Japanese Sources on Madness, p. 55-56.

Next post in this series: Old Stories of Madness

UNESCO World Heritage in Japan

unesco_blue_logoAfter a few research-based posts, I felt like presenting a more visual topic this time. And what better eye candy is there besides some of Japan’s most beautiful and culturally inspired places? Hence my topic: The United Nations Educational, Scientific and Cultural Organization (UNESCO) World Heritage. In this post, I will show you which places in Japan have been granted a world heritage status since the Japanese acceptance of the convention in 1992. Because I visited some of these places myself, I hope to share a few of my own pictures here as well (all pictures are mine, unless mentioned otherwise). Currently, the list includes 16 cultural and 4 natural sites in Japan.

To be included on the World Heritage List, sites must be of outstanding universal value and meet at least one out of ten selection criteria. – site UNESCO

Such criteria include, for example, being a representation of human creativity, an interchange of human values, a cultural tradition or a development in design, art or technology. Or, the site in question must be an outstanding example of technology, landscape or architecture that plays a significant role in human history and culture. Natural world heritage, on the other hand, should represent outstanding natural phenomena, significant biological and geological processes or the major stages in the history of our earth.

CULTURAL WORLD HERITAGE IN JAPAN

Buddhist Monuments in the Horyū-ji Area (1993)

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Wikimedia Commons

I can’t believe I couldn’t find a decent picture of the Horyū-ji temple 法隆寺 from when I visited Nara. The main hall, entrance gate and pagoda date back to the early seventh century and are among the world’s oldest wooden buildings.

Himeji-jō (1993)

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Himeji-jō 姫路城 is an excellent example of early Japanese castle architecture. It looks very sophisticated with its white walls and elegant rooftops. This fourteenth-century castle was remodeled and expanded in 1581 by the famous “unifier” Toyotomi Hideyoshi.

Historic Monuments of Ancient Kyoto (Kyoto, Uji and Ōtsu Cities) (1994)

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The Temple of the Golden Pavilion (kinkaku-ji 金閣寺) is one of the most popular attraction in Kyoto. This gaudy piece of architecture was originally the villa of a rich statesman but was purchased by shogun Yoshimitsu and converted into a Zen Buddhist temple. In a novel of the same name by Mishima Yukio, an acolyte burns down the temple. This story was based on true events.

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Other famous historic monuments in Kyoto include the Kiyomizu-dera “clear water” temple 清水寺 founded in 778. You cannot see it on the picture above, but the temple is located on a hill and therefore supported by tall pillars on one side. Not a single nail was used in the construction of the temple.

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This famous stone garden is part of the Zen Buddhist Ryōan-ji temple (“Temple of the Dragon at Peace” 龍安寺). The placement of the stones is intended so that one is unable to see everything from one place.

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I thought Byōdō-in 平等院 in Uji was truly a magical place. Again, this building was originally a villa and later transformed into a Buddhist temple. The central Phoenix Hall is surrounded by a pond and appears to be floating due to its reflection in the water. This hall and the phoenix statue on top of it are depicted on the 10 yen coin and the 10,000 yen bill.

Historic Villages of Shirakawa-go and Gokayama (1995)

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I have never been to Toyama or Gifu but I would love to visit these traditional villages. Characteristic are the big houses with slanted roofs, an architectural style known as “prayer-hands construction” (gasshō-zukuri 合掌造り).

Itsukushima Shinto Shrine (1996)

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Itsukushima 厳島, often called Miyajima (“shrine island” 宮島), is located not far away from the bay of Hiroshima. The key shrine on the island, Itsukushima Shrine, is particularly famous because its gate and main building are built in the sea. Looking at the picture above, you can see how far the water reaches at high tide, which gives the illusion of a floating gate.

Hiroshima Peace Memorial (Genbaku Dome) (1996)

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Also in Hiroshima you can find the Atomic Bomb Dome (genbaku dōmu 原爆ドーム) as part of the Hiroshima Peace Memorial Park. This ruin was originally the Prefectural Industrial Promotion Hall and is the only building near the hypocenter that survived the atomic bombing  of August 6, 1945.

Historic Monuments of Ancient Nara (1998) 

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Oh deer, we’re in Nara! This cutie was so kind to pose for us in front of the Tōdai-ji’s ( “Great Eastern Temple” 東大寺) Great Southern Gate (Nandaimon 南大門), reconstructed at the end of the 12th century since the original structure from the 8th century had been destroyed by a typhoon. On the gate is written “Daikegonji”  (大華厳寺), an alternative name for the Tōdai-ji temple.

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The main “Big Buddha” hall (Daibutsuden 大仏殿) of the Tōdai-ji is an impressive construction of wood and houses an enormous bronze statue of a sitting Buddha (picture below). The 16 m high statue was completed in 751 and literally contained almost all of the bronze available in Japan at that time.

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Shrines and Temples of Nikkō (1999)

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Another destination on my Japan bucket list is Nikkō (日光) in Tochigi prefecture. Futarasan-jinja 二荒山神社, Rinnō-ji 輪王寺 and Nikkō Tōshō-gū 日光東照宮 were designated as UNESCO world heritage at the end of last century. On the picture you see the main hall of Nikkō Tōshō-gū, a Shintō shrine dedicated to Japan’s first shogun Tokugawa Ieyasu.

Gusuku Sites and Related Properties of the Kingdom of Ryūkyū (2000)

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The Ryūkyū kingdom (15th – 19h century) ruled over the islands south of the main island of Japan. The remains of many gusuku (“castle” in Ryukyuan) on Okinawa such as Shuri castle 首里城 in the picture above have been listed as world heritage. Fun fact: the gate of this castle is depicted on 2,000 yen bills. Read more about its history in my blog post Money Matters.

Sacred Sites and Pilgrimage Routes in the Kii Mountain Range (2004)

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I photographed this belfry on mount Kōya ( Kōyasan 高野山), the center of Shingon Buddhism. It belongs to the Garan (“temple” 伽藍), the main temple complex founded by Kūkai. Other sacred sites and pilgrimages include places in Yoshino, Omine and Kumano.

Iwami Ginzan Silver Mine and its Cultural Landscape (2007)

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Since I did not know about this place, I was curious about the story behind this silver mine in Ōda: apparently, during the 17th century, its output accounted for one-third of all the silver in the world! The mine was active for almost four centuries until its closure in 1923. The heritage site also includes three castles that protected the mine, ports for export, transportation routes and various other sites that bear an important connection to its history.

Hiraizumi – Temples, Gardens and Archaeological Sites Representing the Buddhist Pure Land (2011)

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The city of Hiraizumi 平泉 plays an important role in Japanese history as the home of the ruling Fujiwara clan during the Heian period. It developed quickly into a city of sophistication and splendor for 100 years, rivaling Kyoto as the place to be. As soon as the Fujiwara were overthrown, Hiraizumi became forgotten, but many buildings remain well-preserved even today. It is said that Hakusan Shrine 白山神社 (picture) was the structure first built in Hiraizumi in 717.

Fujisan, sacred place and source of artistic inspiration (2013)

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This iconic view is so well-known that I should not need to expand further. Sakura, Fuji-san 富士山and shinkansen: Japanese scenery in a nutshell. I am, however, very much surprised that it took so long before Fuji Mountain was recognized as world heritage.

Tomioka Silk Mill and Related Sites (2014)

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This mill in Gunma prefecture is Japan’s oldest modern silk factory and still in its original state today. The government established the mill in 1872 as a model factory to industrialize modern machine silk reeling imported from France.

Sites of Japan’s Meiji Industrial Revolution: Iron and Steel, Shipbuilding and Coal Mining (2015)

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A collection of more than 20 sites illustrate Japan’s rapid development as a modern and industrialized country in the Meiji period. An example is Thomas Glover’s house on a hill in Nagasaki, looking out over the city. Thomas Glover, a Scottish merchant, played a crucial role in the modernization of Japan by introducing Western technology.

The Architectural Work of Le Corbusier, an Outstanding Contribution to the Modern Movement (2016)

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Besides many buildings in other places of the world, Le Corbusier designed the National Museum of Western Art in Tokyo. This museum is the only work of Le Corbusier situated in the Far East.

NATURAL WORLD HERITAGE IN JAPAN 

Shirakami-Sanchi (1993)

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The Shirakami mountains (Shirakami sanchi 白神山地) is an immense unspoilt forest situated in Akita and Aomori prefectures. The forest is highly protected and visitors without permission cannot enter the heritage site.

Yakushima (1993)

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Yakushima 屋久島 is an island located in the south of Kyūshū and is particularly famous for its ancient cedar forest. Some of the trees are more than thousand years old. Because of its subtropical climate and boundless rainfall, Yakushima also has plenty of waterfalls, such as Ōko no Taki you see in the picture above.

 

Shiretoko (2005)

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Of course, the Northern island of Hokkaidō has some natural heritage material as well. In the Shiretoko National Park (Shiretoko kokuritsu kōen 知床国立公園) you can find wildlife such as bears, foxes and deer. During wintertime, drifting sea ice can be seen from there.

Ogasawara Islands (2011)

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The last world heritage site on our list is a chain of remote vulcanic islands known as the Ogasawara Islands 小笠原諸島, also called Bonin Islands. People live only on the two main islands, “father island” (Chichijima 父島) and “mother island” (Hahajima 母島). Next to beautiful beaches such as the Kominato beach and Kopepe beach, the Ogasawara Islands offer a warm climate, unexploited forests and a unique vegetation.

Have you visited one of these places? Let me know!

 

Haiku with a Cup of Tea

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First of all, I must admit that I am not a huge haiku fan: I love reading poetry, but I prefer long poems, just like I usually read thick books. That being said, from time to time I enjoy browsing through some haiku collections. Last year I received the Dutch translation of Classic Haiku, a compilation of some of the most famous haiku categorized by master. Among these names, my favorite haiku writer is definitely Kobayashi Yatarō (1763-1828), known by his pen name Issa 一茶. Issa literally means “one (cup of) tea” and refers to the serenity of the Japanese tea tradition 茶道 (sadō) but also to the emptiness of life, as can be observed in the disappearing froth on a cup of matcha tea. Throughout this post, I will visually serve you five haiku by Issa and five types of Japanese tea. Enjoy!


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Issa wrote more than 20,000 haiku. His style is characterized by a simplicity and childish admiration for the outside world. “Lower” creatures such as flies, frogs, snails etc. are often the topic of his poems, in contrast to more traditional kigo 季語 (seasonal words) other famous haiku masters employ. Issa introduces the sentimentality and banality of everyday life into his poetry.

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Issa was not exactly a lucky man. When his mother died, he was forced by his “evil stepmother” to leave the house, his first two wives and all of his children died, and when he at last managed to secure a part of his family’s property, his house burnt down. Shortly after that, he died in the storehouse next to the house that had survived the fire. Despite his misery, Issa succeeds in capturing the beauty of nature with empathy for every living being. He also often mixes in personal feeling. Therefore, his poetry is considered to be more “humane”.

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Issa’s poetry is often humorous, and in many cases verging on satire. He uses a colloquial tone, plain language and sometimes local dialects. This results in very down-to-earth poetry that is accessible to all kinds of readers.

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Similar to Bashō a century before, Issa was the wandering type of poet. After having studied the art of haiku under Nirokuan Chikua in Edo, he became a Buddhist priest and travelled around Japan for about ten years. Apparently, Issa looked like a beggar, was extremely poor and lived off the earnings of others. His situation is reflected in  humorous self-portraits and haiku mocking his own condition. He wrote from the perspective of people at the bottom of society and created a new poetic style that differed greatly from previous haiku masters.

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Facts for Fun

  • On hot days in Japan, everybody drinks chilled tea and I loved to check out new kinds of tea during my time spent there. My favorite cold tea is jūrokucha 十六茶, a mix of sixteen different teas (the more the better!), followed by hōjicha ほうじ茶 (roasted green tea) and iced barley tea (mugicha 麦茶). The last one is offered for free in many shops. [List of Japanese teas here.] When it is hot in Belgium, I usually make lots of Oolong tea and put it in the fridge. So refreshing!

References

  • Lowenstein, Tom, John Cleare, and Susanne Castermans-Nelleke. Klassieke haiku’s: de mooiste Japanse poëzie van Bashō, Buson, Issa, Shiki en hun navolgers. Kerkdriel: Librero, 2015.
  • Ueda, Makoto, and Issa Kobayashi. Dew on the Grass: The Life and Poetry of Kobayashi Issa. Brill’s Japanese Studies Library, v. 20. Leiden ; Boston: Brill, 2004.
  • Database Issa poetry [in Japanese]
  • Haikuguy [in English]
  • All translations and pictures are mine. For the translations of the Japanese haiku I chose to stick to the 5-7-5 rule.
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Part of my tea collection: matcha, genmaicha, jasmine tea, Chinese milky oolong tea and sencha.

150 Years of Japan-Belgium Relations

150_fb_sharingAs some of you perhaps already know, this year we celebrate 150 years of friendship between Japan and Belgium (so 150 years Nippaku 日白, actually). In this post, I will give a short overview of the events leading to the signing of the treaty and some (early) history that both countries share.

It all started in 1866 when a Treaty of Amity, Commerce and Navigation was signed. Belgium was the ninth Western state the Japanese shogunate entered such a treaty with. The Japanese were particularly attracted by Belgium’s technology, e.g. the railroad industry and glass techniques, and institutional organisation, such as law and the central bank system (the Bank of Japan was actually founded in 1882 based on the Belgian model). It is also suggested that the Meiji constitution was indirectly influenced by the Belgian one. The visit from the younger brother of the shogun, Tokugawa Akitake (1867), Japanese students (1871) and the Iwakura mission (1873) are proof of that interest. Belgium, on the other hand, believed that Japan was a promising new market.

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1866 Treaty –  belgiumjapan150.jp/150-years

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Count de Mountblanc with a Japanese retainer.

Ironically, it was a French journalist that suggested in 1847 that Belgium should send a military expedition to Japan in order to pursue foreign trade (“gunboat diplomacy”). Although the project was firmly rejected and the interest in Japan was almost non-existing at that time, the appearance of American Commodore Matthew Perry in 1853 who forced the Japanese to sign a treaty, impressed the Western countries greatly. Thus, Belgium used the opportunity to sign a similar treaty on 1 August 1866. Count Charles Descantons de Mountblanc established the first official contacts and negotiations were undertaken by Auguste t’Kint de Roodenbeke. Despite the title “Treaty of Amity, Commerce and Navigation” 修好通商条約, it was clearly an unequal/semi-colonial one: it included extraterritoriality (foreigners in Japan were exempted from local jurisdiction) and denial of the right for Japan to determine the import tariffs. The foreign ministers in the following years would devote a big deal of their time on revising these unequal treaties.

The amount of export from Belgium to Japan was around ten times the amount of import, but trade between the two countries in general was limited for a long time. The policy Belgium adopted to encourage marine trade brought a change: now the shipping company Nippon Yūsen made a stop at the port of Antwerp on its way to London. The line was inaugurated in 1896.

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Old map of Japan. “Indiae Orientalis Insularumque Adiacientium Typus”. f. 63 of Abraham Ortelius. in Theatrum orbis terrarum […] Antwerp, 1575. Collection KU Leuven.

Informal connections between Belgium and Japan, however, go back much further in time and originally rooted in religion. The first “Belgian” avant la lettre to ever set foot in Japan was Jesuit missionary Theodoor Mantels in 1588. The arrival of the second Belgian, missionary Ludovicus Frarijn, in 1620 was rather short-lived since he was burnt alive two years later. A third unlucky missionary, Lambert Trouvez, befell the same fate. This was due to the ban on Christianity promulgated in 1587.

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Float with Belgian tapestry at Gion festival – blog.goo.ne.jp/kenken1948

Flemish art, mainly inspired by religious figures, reached Japan at an early stage. During the sixteenth century, copper engravings and such were sent to Japan and China as a visual means of spreading Christianity. For example, some Brussels tapestries dating from that period are still used today to decorate the floats at the Gion festival in Kyoto.

During the “splendid isolation” (sakoku 鎖国, ca. 1633-1853) period, the Low Countries (including The Netherlands and Belgium of today) was the sole Western country Japan maintained a relationship with. [Check out my post on Jacob de Zoet if you want to know more about this topic!] Via the VOC (East India Company) various books written in Dutch or Latin were imported and exerted considerable influence as new sources of knowledge on technology, medicines etc. In order to understand the members of the VOC residing on the island of Dejima, and read the books they brought along, the Japanese started to learn Dutch (the so-called rangaku 蘭学, “Dutch learning”).

13293122_10208766063484840_1783271670_nOne work that played a crucial role in the development of rangaku is the Cruydt-Boeck (“herbal book”, 1554) by Rembert Dodoens, a botanist and physician from Mechelen. Shogun Tokugawa Yoshimune (r. 1716-1853) was curious about its contents and ordered a translation. Problem: no one could read Dutch well enough. It took ten years to offer the shogun some sort of summary, and the complete translation in Japanese was ready only two hundred years after the original publication date. Nevertheless, its translation laid the groundwork for a flourishing study of Dutch in the first half of the nineteenth century. We know, for example, that Hiraga Gennai was an avid collector of Dutch works such as Dodoens’s.

201933Vice-versa, the enormous influence of Japan on Belgium during the late nineteenth century can not be overlooked. The treaty of 1866 set in motion the cultural exchange we now call “japonisme/Japonism”. The Belgian bourgeoisie and nouveaux riches became obsessed with Japanese fine arts and decorative arts, such as fans, kimono, paintings, woodcut prints, nature motifs, ceramics, textiles etc. The VOC had imported Japanese objects as curiosities before, but these objets d’art really became fashionable around the 1880s. International exhibitions played an important part in the diffusion of Japanese culture, as did  the magazine Le Japon Artistique by art dealer Siegfried Bing.

The impact of Japanese art is visible in neo-impressionism, decorative art, symbolism and Art Nouveau. Examples of Belgian artists influenced by Japonism are Théo Van Rysselberghe, Fernand Khnopff, James Ensor, Alfred Stevens (pictures below), Henri Van de Velde and Victor Horta. [A Dutch example is Vincent Van Gogh, post here.] They were attracted by elements such as simplicity, two-dimensionality and asymmetry. In short, a style completely different from traditional Western painting. Japanese elements are also present in fin de siècle literature for example the work of the Destrée brothers, Max Elskamp or Émile Verhaeren. Nevertheless, there is the critique that artists influenced by Japonism hardly made any distinction with chinoiserie and had a rather superficial idea of Japanese arts.

Inversely, there were also Japanese artists influenced by their visit to Belgium. The poet Kaneko Mitsuharu and European-style painter Kojima Torajirō, for example. The former read work of Flemish authors and interacted with the Belgian artistic society during his stay in Brussels. The latter’s work, as you can see below, is obviously influenced by pointillism or neo-impressionism (luminism in Belgium). Kojima studied in Ghent and was acquainted with Emile Claus. Furthermore, he brought many European works back home. Nowadays, these are displayed at the Ohara museum of art in Kurashiki, the oldest museum featuring Western art in Japan.

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Japanese tower in Brussels. – picture by author

Other things that indicate a link between Japan and Belgium are 1) the Japanese tower in Brussels. King Leopold II had the plan to establish a district in North East Brussels full of majestic buildings from different cultures. Besides a Chinese pavilion, he required the building of a Japanese tower. Although the bottom part was a piece from the 1900 world exhibition in Paris, the rest of it was designed by Belgian and French architects. Hence, the tower is far from an accurate representation of a pagoda. The number of roofs, the structure and the interior design are way off the mark. It is more a reflection of how the West saw Japan than a real effort to understand Japanese culture. What is more, King Leopold lost all interest in the tower once it was completed. 2) there is a second Manneken Pis, the iconic statue of a urinating boy, in  Tokushima. The statue was a gift from the Belgian embassy. But that is not the only replica: apparently there is also a Manneken Pis in Itami, Hamamatsu and Tokyo.

Concerning diplomacy, bilateral relations intensified during the 1960s after a difficult start in the postwar period. Japanese companies sought access to the European market for investments. Nowadays, Belgium’s most important export product to Japan is pharmaceuticals, while Japan mainly exports cars to Belgium and Europe in general. It is also known that there are close ties between the imperial Japanese family and the Belgian royal family. Both families frequently make official or private visits, for example in the vintage photograph below.

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1992. © Collection of queen Fabiola – more pictures on royalementblog.blogspot.be/search/label/Japon [in French]

Although I would love to go into more detail about this fascinating topic, I fear this post might become too long. In case you would like to know more, check out the referenced materials!

References

Japanese Poetry and Nature

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Sakura-themed coffee I enjoyed earlier this spring in Japan.

Japanese culture is often said to have a special connection with nature. Japanese aesthetics are therefore characterized by this “traditional love of nature”[1]. It is true that Japanese people, young and old, participate in several festivals and annual observances celebrating the beauty of nature, such as viewing cherry blossoms in spring or admiring the bright foliage in fall. Daily life also reflects those seasonal associations: cooking, house decorations, clothing and even greetings are systematically adjusted to weather, fauna and flora.  But do the Japanese really have an inherent affinity with nature, more than other people worldwide? For one of my classes at Kobe University, I read parts of Haruo Shirane’s book titled “Japan and the Culture of the Four Seasons: Nature, Literature, and the Arts” (2012). Shirane provides an interesting theory on how this myth was developed throughout Japanese history. In this post, we will look into the connection between nature and poetry.

shiraneThose who know waka 和歌, Japanese poetry, will certainly agree that nature plays a central role in many poems. Haiku 俳句, for example, a still popular poetry genre of poetry nowadays, requires a seasonal word. The connection between nature and poetry is very clear from the fact that “the imagery of Japanese poetry for more than a thousand years was drawn almost exclusively from the natural phenomena of the four seasons[2]”. Hence, nature became a literary device through which human emotions were expressed. To illustrate this, I have tried to closely translate (with the same syllable structure) a tanka 短歌, or short poem, from the Collection of Ten Thousand Leaves (Man’yōshū万葉集), the oldest Japanese poetry anthology. This poem is actually part of a long poem (chōka 長歌) praising Yoshino in spring, a place close to Asuka, the capital at that time.

三吉野乃                            み吉野の                  In fair Yoshino,
象山際乃                            象山の際の              between the Kisa-mountains,
木末尓波                            木末には                  where in the tree tops
幾許毛散和口                    ここだも騒く              you can hear their loud noises,
鳥之聲可聞                        鳥の声かも               the voices of singing birds.
(no. 924 by Yamabe Akihito)

A more poetic translation by Earl Roy Miner[3]:

From among the branches
of the trees upon Mount Kisa’s slopes,
the flocks of birds
fill the lovely vale of Yoshino
with their free and joyous songs.

And a translation by Haruo Shirane[4]:

In beautiful Yoshino’s
Kisa Mountains,
in the tops of the trees
how many, how noisy,
the voices of birds.

Shirane explains that Yoshino symbolized the current political order, but that later on, it would gain fame for its beautiful cherry blossoms and snow scenery. Thus, Yoshino became a place with a poetic essence (utamakura歌枕): only the name of “Yoshino” sufficed to evoke a seasonal association, i.e. spring.

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One side of “Folding Screen Depicting Yoshino and Tatsuta”. Although only blossoms and a river are painted on this screen, the scenery can immediately be associated with the poetic place of Yoshino. – 17th century, Museum of Hakone

New for me was Shirane’s argument that the nature embedded in Japanese visual and material culture was not taken directly from primary nature, but was in fact a reference to poetry[5]. In that sense, seasonal associations were originally developed by Japanese poetry and were only then passed onto other genres. As a result, classical paintings with a seasonal theme were not a direct reflection of nature, but rather inspired by the waka tradition that flourished among the urban nobility. Proof is the frequent combination of textual and visual elements, in which an image representing elements from nature or seasonal topics was further embellished by the well-chosen characters from a famous waka poem. From the few characters, a technique called scattered writing (chirashigaki 散書), one could guess what poem was depicted. Examples are clothing designs, paintings and screens, like the one below.

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Painted screen depicting flowers and birds of the four seasons, with scattered writing of waka by Shōkadō Shōjō. – 17th century, http://bunka.nii.ac.jp/

During the Heian period (794-1185), poetry was limited to the nobility, and it is therefore somewhat ironic that the people who barely set foot out of their palaces, wrote thousands of poems about the nature they had isolated themselves from. Moreover, inside they were surrounded by seasonal elements and references to nature’s beauty.

Since Heian aristocratic women rarely went out, screen and partition paintings, decorated with small sheets of waka, became, along with the garden, a surrogate for nature. The women often composed poems not on the actual small cuckoo that they heard in the garden, but on the hototogisu painted on a screen painting or partition. – Shirane (2012), 64.

Shirane calls this “secondary nature” (nijiteki shizen 二次的自然), a culturally constructed nature that resembles in no way the real, raw nature. Hence, it should not come as a surprise that classical poetic motifs were strictly codified. A canon of nature images came into existence: all seasonal elements with their own established associations, set combinations and temporal and physical location. For example, April was represented by the lesser cuckoo (hototogisu ホトトギス) and Deutzia flower (unohana卯の花) in the canonized Poems on Flowers and Birds of the Twelve Months (1214) by Fujiwara no Teika (1162-1241). Plants, flowers and animals that did not make the waka shortlist were left unsung for centuries. For example, the only four-legged animal was the deer, associated with loneliness, since birds and insects were more fancied among high-class society.

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“Fragment of Rough Sketch of Deer and a Poem” by  Hon’ami Kouetsu – 17th century, Gotoh Museum

Another example is the fact that the most popular seasons to write about were spring and autumn, while in reality summer and winter are the dominant and lengthy seasons. This is perhaps linked to the idea that the Japanese finds identification with nature based on the transience that applies to both man and nature[6]. In that sense, cherry blossoms and bright foliage are representative elements of “fleeting nature” in a “fleeting world”. When poetry diffused to the lower classes during the Edo period, the genre of haikai 俳諧, humorous poetry, gained popularity. Other, even vulgar topics such as cat love (neko-koi 猫恋), were introduced, along with a different perception of the seasons. As a result, new seasonal words were created, greatly varying from the traditional waka-based canon. The focus on nature, however, remained strong, and is still visible in the Japanese culture of today.

In case you would like to know more, I highly recommend the work of Dr. Shirane. Also interesting are two of his presentations on YouTube:


References

[1] Saito, Yuriko. “The Japanese Appreciation of Nature” in The British Journal of Aesthetics 25, no. 3 (1985): 239–51, p. 239.
[2] Asquith, Pamela J., Arne Kalland, Japan Anthropology Workshop, and Nordic Institute of Asian Studies, eds. Japanese Images of Nature: Cultural Perspectives [Seventh Meeting of the Japan Anthropology Workshop Held in April 1993 in Banff, Alberta]. Repr. Man and Nature in Asia 1. Richmond, Surrey: Curzon, 2004, p. 23.
[3] Miner, Earl Roy. An Introduction to Japanese Court Poetry. 1. publ. 1968. Stanford, Calif: Stanford Univ. Press, 1975, p. 68.
[4] Shirane, Haruo, ed. Traditional Japanese Literature: An Anthology, Beginnings to 1600. Translations from the Asian Classics. New York ;Chichester: Columbia University Press, 2008, p. 92-93.
[5] Shirane, Haruo (2012). Japan and the Culture of the Four Seasons: Nature, Literature, and the Arts. New York: Columbia University Press, p. 57.
[6] Saito, The Japanese Appreciation of Nature, p. 248.