Showing posts with label Hosokawa tadaoki. Show all posts
Showing posts with label Hosokawa tadaoki. Show all posts

Tuesday, 21 July 2015

Miyamoto Musashi, A Life in Arms


A review of William De Lange's account of the life of Miyamoto Musashi.

Of all Japanese swordsmen, Miyamoto Musashi is the best known, and his life story has been told in one form or another any number of times, both in print and on the screen. Many of these retellings have been coloured by Yoshikawa Eiji’s fictional account, a blend of fact, creative interpretation and fiction, which continues to exert its influence, and this is despite the years that have passed and the increased availability of documentary evidence of various aspects of Musashi’s life.

Much more of this is available in Japanese than in English, although in the past ten years or so, there have been a couple of notable works in English which sought to dig deeper into his life, and although both of these took some trouble to use historical sources, the Yoshikawa story was floating there as a shadow in the background – a kind of template from which to begin.

Perhaps this is not surprising as the story is so well-known, and Yoshikawa himself researched the subject quite deeply… of course, as a novelist, he was more interested in the story than in strict historical accuracy, but in tying together the available accounts, favouring those that fitted his story while ignoring those that didn’t, he created a work that has become common background knowledge and a starting point for almost everyone in the field.



A new biography, Miyamoto Musashi, A Life in Arms by William de Lange, comes at Musashi’s life from a different perspective. Based directly on historical documents, it gives us us quite a different picture of Musashi’s life. De Lange has already published two volumes giving translations of two of the principal source documents on Musashi’s life,(reviews here and here) but this is something different. Drawing on these, as well as numerous other sources, he builds up a new version of the swordsman’s story, enlarging here, filling in there, and covering much ground that will be totally new for many.

In any work of this kind, much must be left to the judgement and imagination of the writer, and de Lange handles the details and conflicting storylines drawn from these sources with assurance, weaving them together to form a narrative that is both fresh yet also faintly familiar. Parts of the story do, indeed, form some part of the familiar tale – Musashi’s visit to Kyoto and the duels with the Yoshioka family, the visit to the spear wielding monks of Hozoin and the duel with Sasaki Kojiro – but it adds detail to these and fleshes out Musashi’s time after this in far greater detail than most accounts – I found the information on his time in the Akashi/Himeji region and his relationship with various small lords of the area particularly interesting, showing the degree of fame and influence he had obtained at a reasonably young age, and also lending ammunition to the opinion that he was fighting on the side of the Tokugawa forces both in 1600 and 1615 (although more direct evidence of this is also presented) as all these daimyo were firmly in the Tokugawa camp.
 
Meiji Period portrait of Musashi prepared
for battle. Shimada Bijutsukan, Kumamoto
The story that emerges is, in many ways, more nuanced than previous tellings. We see Musashi as a man in some demand, a swordsman who has built a reputation, partly through his service on the battlefield and the connections he made in military campaigns, but who remains determined to retain his independence. Building on his connections, including his father, with whom he stayed close until the latter’s death, he became well-known and sought after, teaching and providing a variety of other services in the military line, including looking after the heir to Lord Ogasawara during the Shimabara campaign. He was well respected, that much is certain, and mixed with the high and mighty, but like a well-respected academic who refuses tenure, he never entered permanent service.

It is the part of the biographer to offer his/her own views and insights into the motivations of his subject, although it is understood that these are, to some extent, interpretation, not fact. In this case, de Lange was working from documents that provided little or no direct indication of Musashi’s inner life, and so he has had to apply his own interpretation more liberally than would be necessary  for many other subjects. Some of these are quite insightful and provide a fresh and interesting take on the subject. He deals in some depth with Musashi’s relationship with his father, and speculates that Musashi’s refusal to become a feudal vassal owes much to the effect this state had on his father, who was ordered to execute one of his own students for a minor lapse in protocol. The subsequent sense of shame and guilt, he suggests, overshadowed the rest of his life, and engendered in Musashi a determination not to make himself beholden to any such authority himself.

At other times, although perhaps necessary for the sake of the narrative, the mixture of facts drawn from historical documents and feelings placed in the mind of the protagonist can be a little jarring, and momentarily calls into question the line between the two. Those familiar with the author’s previous books will be aware that there are plenty of contradictions between these (and other, later) accounts, and although the author has generally steered a good course between them, in this account he chooses those which suit the narrative, rather than arguing the case for his choice; if you are familiar with some of these other possibilities, their omission can, at times, seem rather glaring, but what the book sacrifices in terms of completeness, it gains in clarity. This is a minor point, however, and the well-referenced text generally clarifies the sources of most of the information.

Given the choice to rely so heavily on historical accounts. it is not surprising that the book sometimes feels a little sparse, despite its 159 pages of text and another 95 of back matter – it is not the author’s place to embroider the evidence too heavily – but that is a small price to pay for a book that lays out this hard-to-come-by information so clearly. It is certainly a valuable book, and one that has grown on me with subsequent readings. True, there are one or two places where I would question the author’s interpretation, but that does not lessen it’s value, and I would whole-heartedly recommend it to anyone with more than a passing interest in the area.



Saturday, 10 September 2011

More Kumamoto - more Musashi

Poster advertising the current display at the Eisei-Bunko Gallery



Kumamoto - more of Musashi in the Prefectural Collection 

The Shimada Museum was the first stop on this whirlwind tour of Kumamoto, but not the only one. I was interested in seeing sites connected with Musashi, but more than that, it was artefacts that interested me. Time was short, so I chose the Prefectural Museum as my next stop. This had the added attraction of being situated in the castle grounds.

Kumamoto-jo (Kumamoto Castle) 
I am not exactly a castle buff, but the promise of the sight of one never fails to bring me eagerly to a train window - even the post-war reproductions are impressive: they have a unique beauty, often towering over the surrounding buildings. Just the foundations or a single tower still have an impressive grace. 


Living in Kyoto gives me access to several castle views with a minimum of effort. Nijo Castle is situated in the city itself, and one of the train lines running from Kyoto to Osaka gives you views of three castles inn the journey between the two cities. Then of course, there's Himeji Castle not so very far away - generally reckoned to be the most graceful of all the surviving castles in the country. As well as all of these, there are a few other castles that I have visited or seen in my travels around the country, so I can say I have seen a fortification or two.

Kumamoto Castle was a completely different experience from these. For a start, it's grounds are huge, and unlike Osaka castle, for example, which is surrounded by the modern high-rises of the city, it stands apart from everything in a grassy park which contains or is close by several other related facilities. The other thing that stood out immediately was that, unlike the castles in Kansai, which are almost all white, it is clad in dark, weathered wood, giving it a very different feel.


Eisei-Bunko… The Hosokawa Collection
So, my first stop in these grounds was not the castle, but another museum. To be more precise, the Kumamoto Prefectural Museum, which also houses the Kumamoto Gallery of the Eisei-Bunko Collection.

The Eisei-Bunko Collection is the result of some several centuries of careful acquisition, patronage and preservation by the Hosokawa family. As well as Kumamoto, there is an Eisei-Bunko Museum in Tokyo. In addition, parts of the collection go on tour from time to time, both nationally and abroad. Of course, as the Hosokawas were also Musashi's patrons, it is no surprise that several of Musashi's works of art are held in the collection. However, as the displays are not permanent, you never know what you will find on any particular visit. 

Nothing of Musashi's on this particular visit, although a touring exhibition of the collection's treasures is coming to Kyoto next month (lucky me) so I have another chance to see more of the collection. For anyone wishing to visit the museum in Kumamoto, my advice is go! Although there are only two rooms in the Eisei-Bunko Gallery, the standard of the collection is superb, and it is likely the you will see the work of artists seldom exhibited elsewhere. I was introduced to the work of the Yano school - I am only an interested amateur, perhaps, but I had seen none of their work before, as I recall, and the standard was clearly equal to that of the more famous Kano School. 

There was more of the Yano School next door in the Prefectural Museum proper. (It is possible to see only the Eisei-Bunko Collection.. for the grand price of 400 yen, or get a ticket allowing entry to the main part of the museum as well). 

Kumamoto Prefectural Museum
A very pleasant place, with the sensible placement of the child-centred exhibition on the B1 floor to quickly syphon off the deluge of parents and small children from the coffee shop/restaurant on the ground floor. The food was very nice, the staff friendly, and the view across the park towards the castle was perfect.

Anyway, back to the art. There were three galleries for the permanent collection - however I assume this really refers to a regularly changing display of works from the permanent collection - if I went back in 6 months time I probably wouldn't see the same things as I did this time. One had 'traditional' works from the Muromachi through the Edo period; the second displayed work from the Meiji period through till roughly pre-WWII; the last had 'modern' and western art. 

Overall, the quality of works on display was very high. The western artists included Picasso, Matisse, Renoir, Durer, Rembrandt, Bougereau - all represented by good pieces… a wood cut and an etching in the case of Durer and Rembrandt. The 2nd gallery included some excellent lacquerwork by artists that I had been researching previously, but whose work I hadn't seen before.

The general, the swordsman and the lady - calligraphy and character
The 1st gallery contained some interesting works, all linked with Kumamoto. Once again, some very fine paintings from the Yano School, and some mounted calligraphy from some famous people, including Kato Kiyomasa, the daimyo who built much of Kumamoto castle, Hosokawa Gracia, the wife of Hosokawa Tadaoki (who was Musashi's patron) famous for being a Christian, and the model for the Mariko character in James Clavell's Shogun, and Musashi's Dokodo, another version of which I had already viewed in The Shimada Museum, an hour or so previously.

I find the calligraphy of famous people is quite fascinating - one fancies there are all kinds of secrets to be revealed by a careful study. Whether or not this is true, I don't know, but comparing the styles of people you know something about is an interesting exercise.

See what you make of these (answers at the bottom of the page). They were written by the three people above:
Miyamoto Musashi, Kato Kiyomasa and Hosokawa Gracia, and each of them displays quite different characteristics. Are they just aesthetic, or do they reflect the characters of the writers? (They are all letters, by the way).



 



What you might be looking for are the strong, unaesthetic characters brushed by Kiyomasa, a man of action used to controlling armies, running campaigns and building castles;  Musashi, also a man of action, whose life had depended upon his judgement of fine tolerances, and instantaneous explosion of force, but who combined this with a contemplative, intellectually searching mind; Hosokawa Gracia's style is different yet again, displaying the aesthetic demands required by one of her class and accomplishments.

Just for the sake of comparison, here are some pieces by Hosokawa Tadaoki himself, and another by his wife Gracia, writing in a different style.


Hosokawa Tadaoki from the Waseda University Library Collection - (click on the image to get a better view)



Gracia Hosokawa from the National Diet Library
As you can see - there was variation even within the writing of a single person. For calligraphers, there is much to be learned from looking at these kinds of pieces. I have been around calligraphers quite a bit, and studied for long enough to realise i didn't have the time to practice enough to make it worth my while continuing, and I feel that, even without understanding the words, you can get something from them - a glimpse into someone's character in quite an intimate way.

Musashi's Dokodo,
from Kumamoto Prefectural Museum

Even simple things give you some feeling of the humanity of these famous figures from the past. In Musashi's Dokodo at the Prefectural Museum, it is easy to see the attention he gave the characters, even as he was on his death bed, and the strength and precision they retained. You can also see how he charged his brush before each new precept, unlike in a letter, where the ink would gradually run out and the brush dipped in again wherever it happened to occur in the letter, mid sentence or no.

And the castle...?
Well, the castle will have to wait... but it was there that Musashi lived while he was a guest of Hosokawa Tadaoki.. so I'll say some more about it next time.

Answers (with links to the sites they came from):