The Confucian Swordsman I

Kano Eitoku - Scholars playing weiqi (go in Japanese)

Preamble
Confucianism often gets a bad rap - in its Japanese context it is characterised as a form of not so enlightened paternalism, intent on preserving the hierarchical authority and keeping women and peasants in their place.

The trouble is, that even as I read decidedly anti-Confucian works like the Tao of Pooh (or was it the Te of Piglet?), I couldn't help sympathising with the Confucians - the ideals ascribed to them, though a little outdated, seemed to me more attractive than the muddle-headed approach of the bear with very little brain. Nobility, loyalty, humanity - they don't sound too bad.

Meanwhile, Zen, of course, has received a lot of attention with regard to it's role in various arts and ways. Too much attention, many would say. This is not to deny that it did have influence in a number of fields, but perhaps not as much as its supporters would like to have us believe. Part of the problem is that many disciplines share the same vocabulary and related or analogous concepts. So, while Zen is cool, (Daoism even more so), Confucianism is straight-laced and conservative - anything that sounds interesting is habitually ascribed to Zen, and anything connected with hierarchy, paternalism or empty theorising, is blamed on Confucianism.

A little balance?
In terms of Japanese martial arts, Draeger had some interesting things to say about neo-Confucianism, chiefly dwelling on the role of the Wang Yangming school (O-Yomei in Japanese), with its emphasis on action, on the main figures of the anti-government movement which culminated in the overthrow of the Tokugawa government in the 1860s. For Draeger, an ex-marine, the philosophies of action seemed attractive (he was also a populariser of the theory of Zen influence in Japanese martial arts), but he didn't touch on the deeper influence of neo-Confucian thought in the disciplines themselves. However, even his description O-yomei neo-Confucian sounded suspiciously like a Zen substitute.

The first work available in English that did look at this issue on its own terms was a translation of the Tengu Geijutsuron (a translation from German into English, as it happens - although William Scott Wilson's far better version is now available). The title, Zen and Confucius in the Art of Swordmanship alerted the reader to the subject matter, although rather misleadingly, threw Zen into the mix- probably out of habit. Unfortunately, for the sake of our understanding, the original writer seems to have lacked the authority of a real master of the sword. An enthusiast he may have been, but he appears to have only partially understood some of the deeper aspects of the art. That his work was criticised by his near contemporaries, and on quite specific points, also attests to its popularity and influence on other writers.

It does, however, provide an interesting counterpoint to the better informed works, and can be usefully read with them.


So, why look at neo-Confucianism anyway?
Firstly, because it did influence classical Japanese martial arts, and this influence has stayed with them, in one way or another until the present day. Gaining an understanding of these influences can help us understand a little more of the arts themselves.

Secondly, Neo-Confucianism offers an interpretive framework that is firmly rooted in its own time, and yet is also fairly accessible to us in the present day. Its thinking is recognisably rational and, more-or-less, logical, rather than mystical or religious, and it seeks to explain with reference to the everyday. A number of writers used it as such, knew what they were doing, and so provided us with authentic perspectives of these martial arts when they were in a very different state than today. The terms and the analogies they use may be unfamiliar, but they are open to analysis and exploration, making the study of works written from this perspective to be quite rewarding. They appeal to our understanding, but the best of them stand as something more than theoretical interpretations.

Finally, due to their concern with life and living, they situate the practice and ideals of martial arts within daily life, providing a perspective on issues that are still very relevant to practitioners today.

The Prince and the Greengrocer

This is the poster from the current exhibition at the Kyoto Sen-Oku Hakuko-kan, the home of the Sumitomo Collection in Kyoto (They have a Tokyo branch, too). The show consists mainly of paintings from the Ming and early Ching dynasties, although you might be forgiven for thinking that the image on the poster had slipped in from elsewhere. What were the Chinese literati doing painting cute puppies anyway?

Despite it's amazingly contemporary look, it was actually painted over 400 years ago by the painter known as Bada Shanren. An album of his smaller paintings is one of the treasures of the collection, and is usually exhibited in the early autumn, with a different painting being on show every few weeks as the leaves in the album are turned over.

Bada Shanren is classified as an eccentric (at the very least), and was regarded as certifiably crazy by his contemporaries. Whether he genuinely suffered from mental illness or was just faking it to avoid persecution from the incoming Manchu rulers (he was a member of the Ming royal family) is something tht we cannot know for sure, although modern opinion seems to tend more to the latter view. He entered a monastery, where he lived for more than forty years, before emerging to live as a wandering painter.

Bada Shanren - Sumitomo Collection

His work is characterized by the simplicity of its elements, coupled with a strong expressiveness and, to our modern eyes, a certain cuteness and whimsical humour which perhaps served to cover, as well as express, the bitterness he is known to have felt towards the new rulers of China.

In Japan, he is best known for these simple compositions, but other collections have works that are larger and more complex, and which give a better idea of the range of his abilities.

It is hard not to be struck by the similarities to works by Ito Jakuchu, a Japanese painter also labelled as an eccentric, but with a very different background. Jakuchu was the son and heir of a prosperous greengrocer in Kyoto, but found little sense of achievment in his work and gave it up to his brother to become a full-time painter. It was his love of the natural world which inspired him, not hate of an invading regime.

Comparing works such as Bada Shanren's Two Eagles (above) with many of Jakuchu's paintings of chickens (a typical example below, but here are others where the composition is much closer),  the similarities, both in the composition and brush use are inescapable. Bada Shanren characteristically made extensive use of short, choppy horizontal brushstrokes - I had long noticed the slightly jarring effect of these in Jakuchu's work - but whether or not he was familiar with the Chinese painter's work, I don't know. I have never seen any mention of it, but given that he lived in Kyoto, the capital, and was well-connected in the art world, particularly with centres of artistic connisseurship such as Shokoku-ji, make it possible.

Another painting on display, by Niu Shihui (1625-1672) bore even more Jakuchuesque qualities - this was less surprising after I discovered he was Bada Shanren's brother, who shared his monastic life, and hatred of the Qing. Interestingly, he signed his name so it looked like 'Never bowing down in my lifetime'. This is, of course, taking nothing away from Jakuchu's stature as a painter - the use of models was standard practice in all schools of painting of the time.

A typical Jakuchu cockerel

Looking at works by Jakuchu, and later, the larger ones by Bada Shanren, a couple of points struck me as particularly interesting. As always with art, viewing the actual pieces is a very different experience from seeing reproductions in books. Over the years, I have seen pieces by Jakuchu many times. perhaps to the point of becoming slightly blasé about them.

This time, however, I had been looking at a room of exquisite sumi-e landscapes, mainly from the Muromachi period, mostly small in scale, but including a 6 panel screen by Kano Masanobu, founder of the Kano School. I had left the Jakuchu pieces, till last, so as not to interfere with my appreciation of the other pieces.

When I got to them, I was surprised to find they displayed an invisible depth that I hadn't appreciated before. It was an odd sensation, almost like an optical illusion, like the after image you get from looking at something bright for a while and then shifting your gaze to something darker. But it was not a sensation of the eyes, but of the mind. In that white space behind the clear graphic images of rocks, birds, insects and plants was a definite sense of the subtle, modulated greys of a traditional sumi-e landscape. Not really visible, but a definite sense of possibilities, rather like the sense of an unknown but present world you get when reading a fantasy novel, before the author fully fleshes out the world for you.

It was a pleasant surprise for me, because a similar image is often used to describe the effect of empty space in Zen paintings. I had always dismissed these as rather abstract intellectual descriptions (as many of them are, I think), but perhaps there is something to them after all.

2 Chickens by Jakuchu - in the Hosomi Collection

The other point worthy of note is the level of skill necessary to make images of this sort. It both is and isn't difficult. Many zenga, for example, which are exemplary of the simplicity of this type, are less than fully satisfying as works of art. Their often praised spontaneity is common-place to many professional artists, and what is remarkable is that these works were regarded as sufficiently important to be preserved and treasured. In fact, in many cases, they were popular among foreign collectors before they were recognized here.

Jakuchu and Bada Shanren were different and display a high level of technical skill (especially in Jakuchu's case), and much of this is technical control of the medium, involving the ability to elicit depth from the ink line which it is almost too easy to produce a superficially dramatic effect, owing simply to the fluidity with which the ink flows off the brush, and the contrast it produces on white paper. Indeed, it can be so easy, that to produce depth and meaning for oneself is more difficult than creating a memorable or pleasing image for the viewer.

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):

Top: Kato Kiyomasa

Middle: Gracia Hosokawa

Bottom: Miyamoto Musashi

Shimada Bijutsukan - the grail of Musashi seekers

A close-up of the most famous portrait of Musashi. Even here
there's much you don't see. (Original photo here.)

Just last week I finally took my long awaited trip down to Kyushu, where one of my primary aims was to visit the Shimada Bijutsukan, which keeps a handy collection of stuff related to Miyamoto Musashi.

Kumamoto, where the museum is, was the city where Musashi spent the last few years of his life as a guest of the Hosokawas. Kyushu itself was, possibly, also an area where he had spent quite some time earlier in his life. If we are to believe the account in the Bushu Denraiki, he was involved in fighting here during the Sekigahara campaign, rather than at Sekigahara itself (which is the more common version of events). Sekigahara, by the way, is located somewhere between Kyoto and Nagoya, far away from Kyushu. Musashi's father was also down in Kyushu, and it is thought Musashi visited him.

Kyushu was also far way from the centre of power in Edo - by this time in his life it seems that Musashi had given up whatever ambitions he may have had with regard to fame and power, and so had no particular reason to remain in Honshu.

Shimada Bijutsukan
The Shimada Museum is only a short taxi ride from the main station, but already it feels like the outskirts of the city - I guess it is really, as the main station is on the western edge of the city rather than in the centre. I had imagined it to be in a more built-up area, but it's a mere stone's throw from the mountains, in a sleepy residential street with wide grass verges and little expectation of a taxi dropping by if you might need one.

It has a nice entrance-way, opening onto a courtyard of what used to be the Shimada family villa, with a very underused looking tea shop to the left and the main gallery straight ahead. It looked more like an off-season pension - friendly but needing a bit of yard work - than the repository of irreplaceable art treasures.

Of course, I was there for the exhibits, so I didn't linger outside for too long, but went inside, paying my entrance fee and heading straight for the Musashi gallery, which was a smallish room with display cabinets along the walls and one in the centre. It wasn't large, but there was more genuine Musashi memorabilia gathered there than in any other place I had seen - (which wasn't saying much, as it's seldom that more than a couple of pieces are assembled in any other venue).

Photos were out of the question, of course, but from memory, there were two of his own sumi-e works (a small landscape and a goose in flight), his famous self-portrait, a mounted section of notes written for Gorin no Sho, two swords in (probably) modern mountings, a bokuto said to be a version of his cut down oar as used for his duel with Sasaki Kojiro, but actually made in the Meiji period, a sword reputed to be Sasaki Kojiro's, several other portraits of Musashi including the famous one of him when he was a teenager, one of his namako tsuba, a version of his Dokodo, a version of Gorin no Sho (although it looked rather too modern to be one of the originals) and a case with some early Showa period comics and books etc. There could possibly have been one or two other things, but that was about it.

Someone  (not me) disregarded no photography signs to take this.

Only a small room, but it was worth the visit. Unfortunately, the glass cases got in the way of examining the swords and made it very difficult to see the koshirae in any detail (though they were clearly fine examples of Higo - that's Kumamoto area - koshirae). Looking at the paintings was quite enlightening and, as nearly always, seeing the originals was a very different experience from looking at reproductions in books or on websites. You are far more able to understand the skill and technique of the artist when you see the originals.

In a typical reproduction such as
this, the upper and lower inner
garments look the same colour -
in the actual painting, the upper is
clearly grey, the lower, white. The
detail of the pattern on the red haori
is not visible either.

I was especially struck by several features of this painting that simply do not show up on any of the reproductions I have seen. It is usually described as a self-portrait, and despite it being in a different style from Musashi's sumi-e works, there is no particular reason for doubting it. What is almost certain, however, from seeing it close up, is that Musashi had studied painting from a teacher - there are some specific techniques, particularly the pattern on the red robe, that it is very unlikely Musashi would have used (or could have used?) without instruction. Wilson barely touches on this in The Lone Samurai, and assumes Musashi signing his name in the register of Hosokawa's court artist of the Yano school was a mere formality - I question this and, as the Yanos were artists of the highest quality (as I saw in this visit) think it highly likely Musashi did take formal instruction with them. (By the way, Wilson is about the only writer who deals with Musashi's art seriously, and he is pretty good on it, so I recommend reading his book).

Of course, in Gorin no Sho, Musashi says he had no teachers, but he also says that was the first time he had written about the principles of his style, which seems to discount Heiho sanjugokajo (35 Articles on Strategy).

As with most such places, there were English titles to the exhibits, but the explanations were in Japanese. Unfortunately, they were mainly for the casual visitor, so they tended to shy away from dates and definite details and dealt in generalities. Were the koshirae of those swords supposed to have been Musashi's? Or based on some description of his koshirae? It didn't say. If this was the dokodo, what about the one I saw at the Prefectural Museum later that day? Were there two copies? And what about that suspiciously modern modern looking Gorin no Sho?

There were other galleries in the museum - it seems to show quite a lot of modern craft on a regular basis, and have seasonal exhibitions of 'samurai' related art... a big show of swords and koshirae, by modern makers, when I was there, but I didn't have time to take this in properly.

Of course, I recommend it - for Musashi afficianados, especially. A word of warning - be prepared for problems in getting away from the museum - a long walk or a long wait for the bus are likely prospects unless you are lucky. I was lucky, and while waiting for the bus in 33 degree sunshine and no shade, hailed  one of the few passing taxis and was whisked away to further sites of interest - Kumamoto castle and the Prefectural Museum.

Musashi's Monkey design Part 2

Recently, I found this picture of Musashi's monkey, which has finally allowed me to understand what the piece looked like.

It is actually an origane (soritsuno, kaeritsuno are some of the alternative names) - a small hook that fastened onto the underside of the obi (sash) and kept the sword from moving around too much. They were not used universally - presumably to the owner's taste, and were more common on wakizashi than on longer swords. 

Unfortunately, the photo is not very high quality (it looks like it's from an old auction catalogue), but it is still possible to see the overall design. At last, here was Musashi's monkey!!

What I had originally seen was this:

From Victor Harris's Go Rin no Sho
Left: the origane; right: kurigata. Note the crescent moon just visible at the bottom

From the picture below you can see how the two parts were fitted on the saya - and from this angle, would appear as in the above photo, with the monkey reaching towards the left.

A wakizashi showing positioning of the kurigata and origane (as it appears
to be made of horn, a kaeritsuno in this case). (Original source)

Being an origane, it is only small to start with, and consistent with its purpose, which is to slide over the bottom of the obi, its contours are smoothed out - perhaps this is what suggested to Musashi the form of a sinuous, long-armed monkey. From the top view in Victor Harris's book, it was not possible to see the long, relaxed curve of the monkey's arm, but the side view shows this very nicely. One might be tempted to read something into this about the importance of certain attributes in swordsmanship. After all, his tsuba also portray creatures known for their smoothness and suppleness, and the gibbon is, of course, particularly noted for the liquid quality of its movement.

Despite the function of the proverb in Zen, which is to illustrate the folly of the monkey's action (thus making it the only motif I can think of, off the top of my head, used in sword fittings which depicts an animal not to be admired), I am sure Musashi would have depicted it as embodying the qualities he found so important in swordsmanship.

The Autumn Monkey

Musashi also made a well-known written reference to monkeys.

In both Heihosanjugokajo and Gorin no Sho, Musashi writes of the 'shuko', which is written as 'Autumn monkey' and clearly refers to a monkey that does not stretch out its arms.
"Te wo dasanu kokoro nari"... 'Do not stretch out your arms', he says.

A Japanese macaque, by the painter and gifted lacquer
artist Shibata Zesshin (1807-1891)

Clearly he is not talking about gibbons, but the native Japanese monkey, which is a kind of macaque. Compared to the gibbon, these are, indeed, short-armed. The term, autumn monkey is still a little puzzling. Philology is an inexact discipline, so I am not sure there is really an answer to this. I have read one theory that suggests it refers to the behavior of the pregnant or nursing female during the autumn - normally monkeys dash forward and snatch food at arms length, but during this time, females are more cautious and only take food that doesn't necessitate such smash-and-grab tactics.

It certainly seems reasonable, but I don't know enough about the habits of the Japanese macaque to confirm this. It does have a seasonable mating period (unlike the gibbon) so there may be some truth to this.

Japanese macaques are widespread across Japan, and Musashi would undoubtably have been familiar with them, and probably have observed them at fairly close quarters. I have seen them on the outskirts of Kyoto myself. It is quite clear to an observer, that when they move, they move with the whole body - they rarely sit and stretch their arms out for food, but move their whole body to get it. Their arms retain a characteristically greater degree of curve than a human's. It may be this that made them so characteristically 'short-armed' rather than any peculiarities of the mating season. Philologically speaking, it seems just as likely that autumn was the period when they were most likely to show up in the fields to steal the ripening fruit from the farmers, or an allusion to their red faces.

Whatever the reason, it seems likely that it's usefulness as an example is strengthened by an awareness of the symbolism of 'the monkey reaching for the moon'. If reaching out gets you dead, then you shouldn't reach out. I imagine this meaning was uppermost for Musashi and those associated with him, while later generations took it primarily at face value, as suggested by the Zen story, as a warning against striving for illusory goals and earthly pleasures.

The monkey(gibbon) reaching for the moon as a motif
The use of this theme in art seems to have been comparatively well-established in Musashi's time - it is difficult to date when it was first adopted as a motif for the bushi class. Works featuring this motif have been attributed to Sesshu (1420-1506), and certainly Sesson (1504-1589) used it in several major works. The tsuba maker Kaneie may have been the first to have adopted it for sword furniture. The name Kaneie was, in fact, used by a line of famous tsuba makers rather than a single person, the first generations of whom established a new pictorial style of tsuba decoration, which included the use of designs inspired by famous painters, such as Sesshu.

Tsuba by 2nd generation Kaneie

This particular Kaneie was the 2nd generation of the line. Rumor has it that he was also a student of the sword, and also possibly a student of Musashi, (although I have seen no proof of this). He was originally based in Fushimi, later moving to Higo (present day Kumamoto) where Musashi lived in his later years, so it is certainly possible that he studied with Musashi. This is the kind of oral lore that is passed down through sword lineages and makes up much of the colour and breadth of traditional teaching.

It is an interesting connection, and certainly made me look a little harder at his tsuba - despite the delicacy of the designs, they have a robust quality which I think a swordsman would value. Fushimi was the one-time residence and administrative centre of Toyotomi Hideyoshi's rule, with many of the most important men of the realm gathered there (and Kyoto just a few kilometres up the river). Hideyoshi's promotion of the arts would have meant that Kaneie was in the right place to see plenty of fine examples of the finest painters of the time, including the Kano family and Hasegawa Tohaku.

The motif was not uncommon on swords during the Edo era, but by then it was, I presume, used without any particular reference to swordsmanship. Here is a nice example from this website:

Finally, I couldn't finish without including this contemporary painting by Enoki Toshiyuki entitled 'Autumn Monkey' in which he combines the autumn theme and the monkey reaching for the moon. 

Musashi's Monkey Design Part 1

Not by Musashi, but Mu Qi, a Chinese painter
of the Song Dynasty. 

I have a particular fondness for gibbons, so I was very pleased to be able to add another piece to a mystery that has puzzled me for quite a few years now - what is that strange sword fitting, attributed to Musashi, shown in Victor Harris's Go Rin No Sho?

Miyamoto Musashi's artwork is well known - but as with any artist, many of his works are far more familiar to us than others.

His paintings, especially of the shrike sitting on a branch, are often reproduced and, of course, his tsuba design has become extremely popular with manufacturers of reproduction swords. A quick search on google will produce an overwhelming number of these. However, there are many of his works that are far less well-known.

Elusive or exclusive? 
Many of these are in private collections or small municipal museums, and are, in many cases, not on permanent display or not available for public viewing at all.

Perhaps this is a good thing - it may aid the preservation of fragile works, and is, to some extent, a carry-over of the original use and purposes of these works of art. Many works are owned and kept by temples and shrines, and are still used as part of their devotional practices. The yearly Gion festival in Kyoto features large wheeled floats that are decorated with Gobelin tapestries and many other extremely valuable artworks of various ages and provenances. (Within the last few years, the older tapestries have been replaced with replicas, but still, for hundreds of years, these 17th century tapestries were paraded around the city on a yearly basis, suffering the vagaries of the rain, heat and high humidity). This is art being used, as part of life, and it may, in many ways, be better than the preservation of objects in the sterile setting of a museum, as part of the heritage industry.

(Of course, I am also a greedy consumer of that heritage industry, and welcome the chance to see art in the comfortable and accessible setting of a museum, removed from the location and context for which it was originally designed.)

But some works remain elusive. Art collecting in Japan still partakes of the exclusive, the secretive, and the elitist. There is nothing wrong in this per se, but it does make it a world of closed doors and hidden treasures. However catching a glimpse of these can be a pleasure in itself.

Musashi's Monkey
Of all of Musashi's works, perhaps the most elusive has been one of the first I ever saw. This was one of several examples of koshirae (sword fittings) he designed; a monkey stretching for the moon.  The original - and for a long time, the only - pictures I had seen of this piece were, as I mentioned above, in Victor Harris's Go Rin No Sho, but despite being good quality photographs, they didn't really show the piece clearly, and it was quite difficult to imagine what it looked like. The two photos actually show two different pieces of a set, a top view of the monkey, and of the kurigata, but neither is easy to identify if you are not familiar with this sort of thing.

Reaching for the Moon
The theme is a familiar one in Japanese art - a long-armed monkey (a gibbon, really) reaches for the reflection of the moon in pool. Although it is not exactly common, it is also not especially unusual as a theme for sword fittings. Here is an example from the Boston Museum of Fine Arts:

Hakuin Ekaku

The theme comes from Buddhism, and thus from China, and has been popular a popular one with artists. Even without the moon, gibbons have been a popular theme - Mu Qi, the Chinese painter, set the bar very high with the painting shown at the top of this post; Hasegawa Tohaku's gibbons are also very fine - he surely saw Mu Qi's work as it is owned by Daitokuji Temple in Kyoto - Tohaku lived and worked in the city - and a little later, Hakuin Ekaku brushed some playful versions that have become some of the best known illustrations of the story.

The story was popular in the Zen tradition - the symbolism is clear, and can be elaborated in detail, but simply stated, it represents the futility of desire: the monkey is reaching for an illusion, a reflection of the truth. As soon as it touches the water, the reflection will be gone. No matter how hard it tries, it can never grasp the truth (in this way).

Kano Minenobu

An older version of the story makes the dangers more apparent. One night, upon waking, a monkey noticed the reflection of the moon in the pool far below. Thinking that the moon had fallen in and they would all be plunged into permanent night-time darkness if it sank, the monkeys organised a chain to reach down and grab it. Alas, the branch broke, and they fell in and drowned.

For an artist to depict this theme requires a little humility - it can apply to so many areas that it is difficult not to see something of oneself in the monkey... after all most of us are striving for the baubles of life, believing they will give us happiness. Perhaps it this aspect of personal identification that has most artists'  monkeys looking so cute.

So what does Musashi's monkey look like? I will post pictures in part 2.

(N.B. although I use  the terms interchangeably here, the 'monkey' is really a gibbon - and gibbon's are not actually monkeys. I know this, and it would have annoyed the hell out of me in years gone by, but as it is usually translated as monkey, I will let it pass.)

Ryozen Historical Museum - Ryoma and the Shinsengumi

Ishi-chan, the museum mascot.
What have things come to!?

At last I got round to visiting the Ryozen Museum.

I had put it off for a long time as I had heard that a lot of the information about the exhibits was in Japanese and I'd always felt it was a bit pricey for what I was likely to get out of it.

Now that my Japanese is better and my background knowledge of the period has also improved, I felt ready to brave it.

The museum is on the far eastern edge of Kyoto, tucked behind the scenic Higashiyama tourist trail, up a fairly steep slope. It's not difficult to find, but you aren't likely to pass that way by chance, unless you have a thing for graveyards and instinctively head away from the crowd.

It was an interesting visit, but there are a few caveats for anyone interested in going themselves. Firstly, the museum is dedicated to the Bakumatsu Period, which is comparatively little known amongst non-Japanese, even among those with an interest in Japanese history - it features a large cast of characters, some of whom are quite famous (while others, equally important, are not) who were involved in a complex series of events that developed and came to fruition in a remarkably short period of time.

Not surprisingly, most of the sources are in Japanese, but even those in English (some of which are excellent) can be confusing, reflecting the chaotic nature of the period itself. The museum concentrates on several of the big names and big incidents (the Ikedaya, the Shinsengumi, the death of Sakamoto Ryoma), but it has lots else besides, including artifacts belonging to or associated with some people I had never heard of.

This would not be problematic if there were explanations in English, but unfortunately, this is not the case. Not that I'm complaining - one shouldn't expect there to be, but visitors beware. As in most museums, the items on display have the title in English, but the explanatory text is only in Japanese. What is a pity, however, is that there is no catalogue. I would have been happy to buy one and work my way through the entriesat my leisure - in real time, it required a bit more time  and patience on the part of my companions than they were willing to give, so rather than bore them stupid as I peered at the explanations, making notes and sketches, I resolved to come back on my own next time.

The items on display were quite mixed, including swords, armour, banners, letters, paintings and photographs - enough physical memorabilia to be interesting to those who would have trouble reading Japanese, but perhaps not so interesting if you really didn't have a clue who the Kondo Isami or Sakamoto Ryoma were. However, I was glad of the chance to see them.

Kondo's armour: http://www.ryozen-museum.or.jp/

Kondo Isami's practice bokuto (wooden sword) and keikogi (practice jacket) with the embroidered skull on the back, were interesting to see - the bokuto itself was fairly standard in size, although the wood looked quite dense, but the tsuba was unusual in its thckness, this must have altered the balance quite a bit, and may have been a means of increasing the weight of the whole thing, or a matter of balance. There was also one of the heavy bokuto the Tennen Rishin Ryu (practiced by Kondo and Hijikata) sometimes use, as a hands-on exhibit which the public are allowed to touch and feel the weight of (it was fixed so it couldn't be swung, so it wasn't really possible to get a proper feel for what it would be like to wield it) - it felt extremely heavy. Also on display were Kondo's mail armour jacket and Hijikata Toshizo's sword. This was interesting - despite the generally received opinion that shorter swords were handier when it came to action (as expressed by Ryoma, among others) it was fairly long, and broad in the blade, with a long tsuka (hilt). The sword he favored later (by Izumi no kami Kanesada) is in the Hijikata Museum in Saitama (and is, indeed, shorter) but this one is similar in length to one Kondo mentioned in a letter in which he wrote about Hijikata's swords {this sword is 2 shaku, 6 sun, 9 bu (81.5cm): the one mentioned in the letter was 2 shaku, 8 sun (84.8)}. Also on display were the swords of Katsura Hayonosuke, one of which was used to kill Ryoma (and which I wrote about in a previous post).

This shows the two dioramas - from the museum
pamphlet.

Another interesting part was the model corner - there were two scale models - one showed the attack on the Ikedaya, and the other Ryoma's death. They were both very nice models (complete with figures) and made it much easier to envisage these two incidents as they might have been. There was also a '3d' film explaining the death of Ryoma... it was really a narrated walkthrough of the model, but I didn't have time for that.

It seems that the exhibits change from time to time, but I suspect the more interesting and well-known ones remain fairly constant. Overall, recommended for history buffs, but if you're not so familiar with the period, you might find better places to spend your time.