A History of the Japanese People Part 36

MANNERS AND CUSTOMS OF THE HEIAN EPOCH

GENERAL SUMMARY

THE period we are considering is a long one which owes its unity to the sole fact that the capitol was at Kyoto. It is, therefore, unsafe to generalize on its manners and customs. But we may say with a degree of accuracy that the epoch was marked by an increasing luxury and artificiality, due largely to the adoption of Chinese customs.

The capital city was built on a Chinese pattern and the salient characteristics of the Court during the period named from the new capital are on the Chinese pattern too. The Chinese idea of a civil service in which worth was tested by examinations was carried to a pedantic extreme both in administration and in society. In these examinations the important paper was in Chinese prose composition, which was much as if Latin prose were the main subject to prove the fitness of a candidate for an English or American administrative post! And the tests of social standing and the means of gaining fame at Court were skill in verse-writing, in music and dancing, in calligraphy and other forms of drawing, and in taste in landscape gardening.

Ichijo was famed as a musician and a prose writer, and Saga as a calligraphist. The Ako incident (see p. 240) ill.u.s.trates the lengths to which pedantry was carried in matters of administration. And the story of the ill-success at the capital of the young soldier Taira Masakado, contrasted with the popularity of his showily vicious kinsman Sadab.u.mi (see p. 253), ill.u.s.trate what Murdoch means when he says that the early emperors of the Heian epoch had an "unbalanced craze for Chinese fashions, for Chinese manners, and above all for Chinese literature." Remarkable though the power of the j.a.panese people always seems to have been to a.s.similate foreign culture in large doses and speedily, it is hardly to be expected that at this period, any more than at a later one when there came in a sudden flood of European civilization, the nation should not have suffered somewhat--that it should not have had the defects of its qualities.

LUXURY OF THE COURT

Of Nimmyo's luxury and architectural extravagance we have already spoken, and of the arraignment of prodigality in dress, banquets, and funerals in the famous report of Miyoshi Kiyotsura (see p. 246).

Indeed, we might almost cite the madness of the Emperor Yozei as being a typical, though extreme, case of the hysteria of the young and affected court n.o.bles. Two of the Fujiwara have been pilloried in native records for ostentation: one for carrying inside his clothes hot rice-dumplings to keep himself warm, and, more important, to fling them away one after another as they got cold; and the other for carrying a fan decorated with a painting of a cuckoo and for imitating the cuckoo's cry whenever he opened the fan.

CONVENTION AND MORALITY

If the men of the period were effeminate and emotional, the women seem to have sunk to a lower stage of morals than in any other era, and s.e.xual morality and wifely fidelity to have been abnormally bad and lightly esteemed. The story of Ariwara Narihira, prince, poet, painter and Don Juan, and of Taka and her rise to power (see p. 238) has already been told; and it is to be noted that the Fujiwara working for the control of the Throne through Imperial consorts induced, even forced, the Emperors to set a bad example in such matters. But over all this vice there was a veneer of elaborate etiquette. Even in the field a breach of etiquette was a deadly insult: as we have seen (p. 254) Taira Masakado lost the aid of a great lieutenant in his revolt because he forgot to bind up his hair properly before he received a visitor. At Court, etiquette and ceremony became the only functions of the nominal monarch after the camera government of the cloistered ex-Emperors had begun. And aristocratic women, though they might be notoriously unfaithful, kept up a show of modesty, covering their faces in public, refusing to speak to a stranger, going abroad in closed carriages or heavily veiled with hoods, and talking to men with their faces hid by a fan, a screen, or a sliding door, these degrees of intimacy being nicely adjusted to the rank and station of the person addressed. Love-making and wooing were governed by strict and conventional etiquette, and an interchange of letters of a very literary and artificial type and of poems usually took the place of personal meetings. Indeed, literary skill and appreciation of Chinese poetry and art were the main things sought for in a wife.

ENGRAVING: ARIWARA NARIHARA (Poet and Painter)

AMUs.e.m.e.nTS

The pastimes of Court society in these years differed not so much in kind as in degree from those of the Nara epoch. In amus.e.m.e.nt, as in all else, there was extravagance and elaboration. What has already been said of the pa.s.sion for literature would lead us to expect to find in the period an extreme development of the couplet-tournament (uta awase) which had had a certain vogue in the Nara epoch and was now a furore at Court. The Emperor Koko and other Emperors in the first half of the Heian epoch gave splendid verse-making parties, when the palace was richly decorated, often with beautiful flowers.

In this earlier part of the period the gentlemen and ladies of the Court were separated, sitting on opposite sides of the room in which the party was held. Later in the Heian epoch the composition of love letters was a favorite compet.i.tive amus.e.m.e.nt, and although canons of elegant phraseology were implicitly followed, the actual contents of these fict.i.tious letters were frankly indecent.

Other literary pastimes were: "incense-comparing," a combination of poetical dilletantism and skill in recognizing the fragrance of different kinds of incense burned separately or in different combinations; supplying famous stanzas of which only a word or so was given; making riddles in verse; writing verse or drawing pictures on fans,--testing literary and artistic skill; and making up lists of related ideographs. The love of flowers was carried to extravagant lengths. The camera Court in particular organized magnificent picnics to see the cherry-trees of Hosho-ji and the snowy forest at Koya.

There were spring festivals of sunrise at Sagano and autumn moonlight excursions to the Oi River. The taste of the time was typified in such vagaries as covering trees with artificial flowers in winter and in piling up snow so that some traces of snowy landscapes might still be seen in spring or summer. Such excess reminds the student of decadent Rome as portrayed by the great Latin satirists.

Other favorite amus.e.m.e.nts at Court were: gathering sweet-flag in summer and comparing the length of its roots, hawking, fan-lotteries, a kind of backgammon called sugoroku, and different forms of gambling. Football was played, a Chinese game in which the winner was he who kicked the ball highest and kept it longest from touching the ground.

Another rage was keeping animals as pets, especially cats and dogs, which received human names and official t.i.tles and, when they died, elaborate funerals. Kittens born at the palace at the close of the tenth century were treated with consideration comparable to that bestowed on Imperial infants. To the cat-mother the courtiers sent the ceremonial presents after childbirth, and one of the ladies-in-waiting was honoured by an appointment as guardian to the young kittens.

ENGRAVING: SKETCH OF "SHINDENZUKUBI" (Style of Dwelling House of n.o.bles in the Heian Epoch)

MUSIC AND DANCING

With the growth of luxury in the Heian epoch and the increase of extravagant entertainment and amus.e.m.e.nt, there was a remarkable development of music and the dance. Besides the six-stringed harp or wagon, much more complex harps or lutes of thirteen or twenty-five strings were used, and in general there was a great increase in the number and variety of instruments. Indeed, we may list as many as twenty kinds of musical instruments and three or four times as many varieties of dance in the Heian epoch. Most of the dances were foreign in their origin, some being Hindu, more Korean, and still more Chinese, according to the usual cla.s.sification. But imported dances, adaptations of foreign dances, and the older native styles were all more or less pantomimic.

ARCHITECTURE AND LANDSCAPE GARDENING

Except in the new capital city with its formal plan there were no great innovations in architecture. Parks around large houses and willows and cherry-trees planted along the streets of Kyoto relieved this stiffness of the great city. Landscape-gardening became an art.

Gardens were laid out in front of the row of buildings that made up the home of each n.o.ble or Court official.

Convention was nearly as rigid here as it was in Court etiquette. In the centre of this formal garden was a miniature lake with bridges leading to an island; there was a waterfall feeding the lake, usually at its southern end; and at the eastern and western limits of the garden, respectively, a grotto for angling and a "hermitage of spring water"--a sort of picnic ground frequented on summer evenings. The great artist, Kanaoka, of the end of the ninth century worked at laying out these rockeries and tiny parks. A native school of architects, or more correctly carpenters, had arisen in the province of Hida. There was less temple building than in the Nara epoch and more attention was given to the construction of elegant palaces for court officials and n.o.bles. But these were built of wood and were far from being ma.s.sive or imposing. As in other periods of j.a.panese architecture, the exterior was sacrificed to the interior where there were choice woodworking and joinery in beautiful woods, and occasionally screen-or wall-painting as decoration. There was still little house-furnishing. Mats (tatami), fitted together so as to cover the floor evenly, were not used until the very close of the period; and then, too, sliding doors began to be used as part.i.tions.

The coverings of these doors, silk or paper, were the "walls" for j.a.panese mural paintings of the period. As the tatami came into more general use, the bedstead of the earlier period, which was itself a low dais covered with mats and with posts on which curtains and nets might be hung, went out of use, being replaced by silken quilts spread on the floor-mats. Cushions and arm-rests were the only other important pieces of furniture.

COSTUME

In the Heian epoch, Court costume was marked by the two characteristics that we have seen elsewhere in the period--extravagance and convention. Indeed, it may be said that Chinese dress and etiquette, introduced after the time of Kwammu were the main source of the luxury of the period. Costume was extreme, not alone in being rich and costly, but in amount of material used.

Princely and military head-dresses were costly, jewelled, and enormously tall, and women wore their hair, if possible, so that it trailed below their elaborate skirts. Men's sleeves and trousers were cut absurdly large and full; and women's dress was not merely baggy but voluminous. At a palace fete in 1117 the extreme of elegance was reached by ladies each wearing a score or so of different coloured robes. In this period the use of costly and gorgeous brocades and silks with beautiful patterns and splendid embroideries began.

Women at Court, and the Court dandies who imitated them, painted artificial eye-brows high on the forehead, shaving or plucking out the real brows, powdered and rouged their faces and stained their teeth black.

ART

Ceramics did not advance in the Heian epoch, but in all other branches of art there were rapid strides forward. The development of interior decoration in temples, monasteries, and palaces was due to progress on the part of lacquerers and painters. Gold lacquer, lacquer with a gold-dust surface (called nashi-ji), and lacquer inlaid with mother-of-pearl were increasingly used. Thanks in part to the painters' bureau (E-dokoro) in the palace, j.a.panese painters began to be ranked with their Chinese teachers. Koze Kanaoka was the first to be thus honored, and it is on record that he was engaged to paint figures of arhats on the sliding doors of the palace. The epoch also boasted Fujiwara Tameuji, founder of the Tak.u.ma family of artists, and Fujiwara Motomitsu, founder of the Tosa academy. The sculpture of the time showed greater skill, but less grandeur of conception, than the work of the Nara masters. Sculpture in wood was important, dating especially from the 11th century. Jocho, possibly the greatest of the workers in this medium, followed Chinese models, and carved a famous Buddha for Michinaga's temple of Hosho-ji (1022).

Jocho's descendant Unkei was the ancestor of many busshi or sculptors of Buddhist statues; and Kwaikei, a pupil of Unkei's brother Jokaku, is supposed to have collaborated with Unkei on the great gate-guardians of the Todai-ji temple. It is important to note that, especially in the latter half of the Heian epoch, painters and sculptors were usually men of good family. Art had become fashionable.

Two minor forms of sculpture call for special attention. The decoration of armour reached a high pitch of elaboration; and the beautiful armour of Minamoto Yos.h.i.tsune is still preserved at Kasuga, Nara. And masks to be used in mimetic dances, such as the No, received attention from many great glyptic artists.

ENGRAVING: RAKAN (BUDDHIST DISCIPLE) (Carving in Stone at Horiuji)

AGRICULTURE

In the year 799, cotton-seed, carried by an Indian junk which drifted to the coast of Mikawa, was sown in the provinces of Nankai-do and Saikai-do, and fifteen years later, when Saga reigned, tea plants were brought from overseas and were set out in several provinces. The Emperor Nimmyo (834-850) had buckwheat sown in the home provinces (Kinai), and the same sovereign encouraged the cultivation of sorghum, panic-gra.s.s, barley, wheat, large white beans, small red beans, and sesame. It was at this time that the ina-hata (paddy-loom) was devised for drying sheaves of rice before winnowing. Although it was a very simple implement, it nevertheless proved of such great value that an Imperial command was issued urging its wide use. In short, in the early years of the Heian epoch, the Throne took an active part in promoting agriculture, but this wholesome interest gradually declined in proportion to the extension of tax-free manors (shoen).

TRADE

The story of trade resembled that of agriculture prosperous development at the beginning of the era, followed by stagnation and decline. Under Kwummu (782-805) and his immediate successors, ca.n.a.ls and roads were opened, irrigation works were undertaken, and coins were frequently cast. But coins were slow in finding their way into circulation, and taxes were generally paid in kind. Nevertheless, for purposes of trade, prices of staples were fixed in terms of coin.

Thus in the year 996, a koku (about 5 bushels) of rice was the equivalent of 1000 cash (ik-kan-mon); a koku of barley was valued at 2500 cash, and a hiki (25 yards) of silk at 2000 cash. Yet in actual practice, commodities were often a.s.sessed in terms of silk or rice.

Goods were packed in stores (kura) or disposed on shelves in shops (machi-ya), and at ports where merchantmen a.s.sembled there were houses called tsuya (afterwards toiya) where wholesale transactions were conducted on the commission system.

The city of Kyoto was divided into two parts, an eastern capital (Tokyo) and a western capital (Saikyo). During the first half of every month all commercial transactions were conducted in the eastern capital, where fifty-one kinds of commodities were sold in fifty-one shops; and during the second half the western capital alone was frequented, with its thirty-three shops and thirty-three cla.s.ses of goods. After the abolition of emba.s.sies to China, at the close of the ninth century, oversea trade declined for a time. But the inhabitants of Tsukushi and Naniwa, which were favourably located for voyages, continued to visit China and Korea, whence they are reported to have obtained articles of value. Other ports frequented by foreign-going ships were Kanzaki, Eguchi, Kaya, Otsu, and Hakata.

SUPERSt.i.tION

Turning to the inner life of the people in the Heian epoch, we may say with little fear of exaggeration that the most notable thing was the increase of superst.i.tion. This was due in part at least to the growth in j.a.pan of the power of Buddhism, and, be it understood, of Buddhism of a degraded and debased form. The effort to combine Buddhism and Shinto probably robbed the latter of any power it might otherwise have had to withstand superst.i.tion. Although men of the greatest ability went into the Buddhist monasteries, including many Imperial princes, their eminence did not make them better leaders and guides of the people, but rather aided them in misleading and befooling the laity. Murdoch in speaking of the beginning of the 12th century says: "At this date, Buddhism in j.a.pan from a moral point of view was in not a whit better case than was the Church of Rome between the death of Sylvester II and the election of Leo IX." An interesting parallel might be drawn between j.a.panese and European superst.i.tion, as each was consequent on the low standards of the clergy of the times. The famous report of Miyoshi Kiyotsura, to which we have so often alluded, spoke in no measured terms of the greed and vice of the Buddhist priests. And the character of these hireling shepherds goes far to explain the gross superst.i.tion of the tune. We have told (p. 274) the story of the abbot Raigo and how the Court was forced to purchase from him intercessory prayers for the birth of an heir,--and of the death of the heir in apparent consequence of Raigo's displeasure. Near the end of the ninth century one Emperor made a gift of 500,000 yen for prayers that seemed to have saved the life of a favourite minister. Prayers for rain, for prolonged life, for victory over an enemy, were implicitly believed to be efficient, and priests received large bribes to make these prayers. Or they received other rewards: the privilege of coming to Court in a carriage was granted to one priest for bringing rain after a long drought and to another for saving the life of a sick prince in 981.

As men got along in years they had ma.s.ses said for the prolongation of their lives,--with an increase in the premium each year for such life insurance. Thus, at forty, a man had ma.s.ses said in forty shrines, but ten years later at fifty shrines in all.

In this matter, as in others, the influence of the Fujiwara was great. They were in a close alliance with the priests, and they controlled the Throne through consorts and kept the people in check through priests and superst.i.tions.

With the widespread belief in the power of priestly prayer there was prevalent a fear of spirits and demons. Oda received a promise in a dream that he would become Emperor. In the next generation the Emperor Daigo exiled Sugawara Michizane to Kyusml, where the exile died in two years. Soon afterwards the Emperor fell sick; and this, the disaster of 930 when a thunderstorm killed many n.o.bles in the Imperial palace, and the sudden death of Michizane's accusers and of the Crown Prince were explained as due to the ill-will of the injured man's spirit. His t.i.tles were restored and everything possible was done to placate the ghost (see p. 244). To an earlier period belongs the similar story of Kwammu and his efforts to placate the spirit of his younger brother whom he had exiled and killed. Kwammu, fearing that death was coming upon him, built a temple to the shade of this brother. A cloud over the palace of another Emperor was interpreted as a portentous monster, half monkey and half snake, and one of the Minamoto warriors won fame for his daring in shooting an arrow at the cloud, which then vanished. Equally foolhardy and marvellous was the deed of Fujiwara Michinaga, who alone of a band of courtiers in the palace dared one dark night to go unattended and without lights from one end of the palace to the other.

When the new city of Kyoto was built, a Buddhist temple was put near the northeast gate to protect the capital from demons, since the northeast quarter of the sky belonged to the demons; and on a hill a clay statue was erected, eight feet high and armed with bow, arrows and cuira.s.s, to guard the city. So implicit was the belief in the power of this colossal charm that it was said that it moved and shouted to warn the city of danger.

ENGRAVING: EARTHEN-WARE HOUSE FOR ORNAMENT

EDUCATION

There was, of course, no organized system of schools in this period, but education was not neglected. A university was established in the newly built capital, and there were five family schools or academies for the youth of the separate uji. A school and hospital, founded by Fujiwara Fuyutsugu in 825, received an Imperial endowment. At almost exactly the same time (823) the Bunsho-in was founded by Sugawara.

The Sogaku-in was founded in 831 by Arihara Yukihara. In 850 the consort of the emperor Saga built the Gakkwan-in for the Tachibana family; and in 841 the palace of Junna became a school. And there was one quasi-public school, opened in 828, in the Toji monastery south of the capital, which was not limited to any family and was open to commoners.

ENGRAVING: NETSUKE (Hand-carvings in Ivory)

ENGRAVING: ARCHERY IN OLD j.a.pAN

CHAPTER XXIV