week 9

With the first reading this week, we learned about the Mongol invasions of Japan in the 13th century. This has become very influential because of divine intervention in the form of “kamikaze” (divine winds that saved Japan from defeat). It’s revealed through modern scholarship that the invasions are over-exaggerated and mythologized as time went on. Although the Mongols succeeded in logistical winnings: crossing the ocean from Korea and the Chinese mainland, their invasion forces were likely much smaller than commonly believed and there was no divine intervention. The Japanese warriors were able to hold their own against the Mongols in the battles but the Kubilai Khan’s desire and motivation to conquer Japan is still unclear; the historical reality of these invasions gives you a look into the military capabilities of both the Mongols and the Japanese at the time.The Mongol Empire, which once controlled most of Asia, had designs on Japan. Diplomatic records show that Kublai Khan (the Great Khan) attempted to establish relations with Japan, but Japan refused to respond to the Khan’s overtures. This allowed Kublai to establish control over Korea, the neighboring country. Japan considered Korea an automatic ally, as the two countries shared many similarities, like their military strength. However, the Mongols managed to impose their diplomatic objectives on Korean officials, which prevented Korea from acting with any autonomy. After crushing the Korean rebellion, Kublai ordered an invasion of Japan, but Japan’s warriors were able to repel the Mongol forces. Japan’s ability to resist the Mongols was due to many factors: superior naval technology, weather, and the willingness of Japan’s samurai to die in battle.The size of the armies involved in the invasions of Japan by the Mongols in 1274 and 1281 is not accurately known (there are no official records of the composition of the Japanese forces). Chroniclers of this time were dramatic with the numbers and gave unreliable estimates. Scholars tried to come up with reliable estimates based on surviving administrative documents, like the duty reports and guard duty registers. They range from 2,300 to 6,000 Japanese warriors fighting against the Mongols. Guard duty registers say that only a small number of gokenin (housemen) were mobilized from each province, and few were accompanied by more than five men. The ruling strata of Kyushu and their immediate retainers is estimated to consist of around 750 men. Evidently, a full force of two to three thousand Japanese defenders is more ideal than an army of five thousand troops because of how well coordinated and tactful they were. Mongol estimates of Japanese forces as consisting of 102,000 men are considered to be exaggerated, and it is likely that only two to three thousand Japanese defenders fought against a similar number of Mongols in 1274. The need for mobilizing an army and building an extensive wall in Kamakura made the tensions worse within Japanese society. This crisis revealed an opportunity to advance and it led to some generals and provincial constables to ignore the commands of their family ‘chieftains’. The 1281 Mongol invasions also created an increase in anti-foreign sentiment, and the defenders’ desire for revenge were also increased by the occupation of the outlying islands. The Japanese desired to punish those who they had perceived as aggressors rather than choosing to attack all foreigners (which is better) but personal and familial goals caused them to risk their lives in battle instead of fighting to defend Japan. These actions weren’t strong/widespread enough to be very impactful with trade that continued between Japan, Koryo, and the rest of the Asian continent throughout much of the Yuan era.

I really enjoyed looking at the updated scrolls of the Mongol invasion in different time periods and how it changed to be in a different order. Mongol Empire invasions were motivated by the need to conquer Japan in 1274 and 1281. The scrolls available at the Princeton University Digital Library provide artistic insight into these events. It shows scenes from the Mongol invasions, including battle scenes, Mongol and Japanese soldiers, and illustrations of weapons, armor, and horses. I found it interesting how these scrolls have very vivid detail with the weapons (bows/swords), armor, gore, distinctive clothing, and headgear with little flaps (which I assume would protect against the sun and weather). The Japanese soldiers have more of a traditional type of samurai armor and swords/spears. I liked the battles on the sea, especially the one from the 19th century. The scrolls show both sides engaging in intense naval battles, with ships firing arrows and soldiers boarding the enemy vessels. With the scrolls, you are able to visualize the tactics and strategies used by the Japanese in defending against the Mongol invasions. The “kamikaze”  tactic involved crashing their ships into the enemy vessels, which successfully disrupted the Mongol invasion and forced them to retreat👍Overall, these scrolls give a good glimpse into the battles and naval fights that had taken place during the late 13th century. 

kamikaze during mongol invasions; naval battle (defeat of mongol fleet).
source

Conlan, Thomas. In Little Need of Divine Intervention: Takezaki Suenaga’s Scrolls of the Mongol Invasions of Japan. Cornell East Asia Series, 113. Ithaca, N.Y.: East Asia Program, Cornell University, 2001.

“The Mongol Scrolls”. In Sources of Japanese Tradition, Vol. 1: From Earliest Times to 1600, compiled by Wm. Th. de Bary, Donald Keene, George Tanabe, and Paul Varley, 282-83. Second edition. Introduction to Asian Civilizations. New York: Columbia Univ. Press, 2001.

extra credit image- footnote

source

This image is a portrait painting of Kublai Khan (on the left) and his wife/empress, Chabi (on the right), from the Yuan dynasty. These portraits are both in the National Palace Museum in Taibei and created in 1294 by an artist, Anige, from Nepali and a part of Kublai Khan’s court. They are painted with colored ink on silk in a mixture of traditional Chinese (imperial portraiture) and Nepali art styles. The Mongols held the traditional Chinese and Nepali, Himalayan art style in high esteem and value in order to represent them as successors of the Han Chinese emperors. Kublai Khan was fascinated by Buddhism and had Anige design and create many art pieces, sculptures, and temples; after the Mongol invasion of China and the Song court being taken over, the Imperial Academy of Painting was put to an end so Anige was hired. Anige was an artist and architect that also goes by Araniko or Aniko. His most famous work is the White stupa at Miaoying Temple 1 in Beijing, which has “religious merit that contributed to Kublai’s military victory and other achievements”.

1 White stupa at Miaoying Temple: although this is the greatest work by Araniko, this also has historical significance as a peacemaker between Nepal and China. It was created during the Yuan Dynasty and has symmetry and architectural designing inspired by Buddhism (symbolizing stability). 姗娜 . “The White Stupa of the Miaoying Temple, Beijing.” Your Online Guide to Government Services in China, https://govt.chinadaily.com.cn/s/202204/13/WS62569414498e6a12c1229e2a/the-white-stupa-of-the-miaoying-temple-beijing.html#:~:text=The%20White%20Stupa%20of%20the%20Miaoying%20Temple%20was%20the%20greatest,friendship%20between%20China%20and%20Nepal. 

Chaffin, Cortney “Art under the Mongols”, https://smarthistory.org/reframing-art-history/art-under-the-mongols/. Smarthistory, March 26, 2023.

week 8

I wanted to focus on the epic poem, The Jetavana Temple. This song incorporates ideas about the short human life and the downside of power and wealth. It teaches the Buddhist ideal that all things will eventually change and die out. These lyrics are melancholy and I feel like you start to reflect on mortality. This begins describing the Jetavana Temple bells, which ring to mark the passing of all things. The image of the bells could be a type of reminder of our short lives and the inevitability of death. The twin sal trees, white in full flower, are used to symbolize the power of men, which is evidently brought to nothing by death. The song then describes different historical figures who were brought down by their own arrogance and pride (like for example, Zhao Gao of Qin, Wang Mang of Han, Zhu Yi of Liang, and Lushan of Tang). These individuals are compared with others who were more humble and wise and recognized how short life is, keeping in mind to not cling to material items. Taira no Kiyomori, who was a powerful nobleman and former official in Japan, accomplished many, and his lineage was traced back to a humble start. It’s emphasized that power and wealth was fleeting and how even the most powerful and wealthy people have the same fate as all living beings. The Jetavana Temple song is a strong reminder of our short lives and the importance of humility and wisdom in the face of impermanence. The song creates a sense of introspection and makes you reflect on your own mortality and the fleeting nature of human existence.

This overarching theme of impermanence is also found in the other reading we had, like in the sound of the Gion Shoja bells and the truth revealed by the fading color of the sakura flowers. This theme correlates with the Buddhist concept of impermanence and emphasizes the transience of life and worldly things. Another theme is the shift of power and wealth, like with the story of the Taira clan and their leader, Kiyomori. It focuses on how those who are proud and arrogant will eventually have a downfall. The dancers are envious towards Gio’s success and the spiteful comments made towards those who changed their names to include “Gi”, which highlights the negative effects of jealousy and resentment. There is also kindness in the story of Hotoke and her reception at Kiyomori’s house. It shows how it is important to have compassion and empathy towards others (especially towards those who are vulnerable or less fortunate).

Another theme is the power dynamics and gender roles during the Heian period. Sadly, there is no power that women had during this time period. Hotoke, a woman who was dismissed by Kiyomori, was called back to sing and dance for him and despite her reluctance, she was still forced to perform -_- It shows that Kiyomori had full control over the situation and the women involved. Also Gio, who was Kiyomori’s mistress, lost her position and was fired with absolutely no say in the matter. It was so sad that she grieved alone and had all that unwanted attention from other men. There were just very limited options available for women during the Heian period in Japan.

this is the jetavana temple, which has a reddish-brown block type of architectural structuring.
source

The Tale of the Heike, translated by Royall Tyler. New York: Viking, 2012.

Genji & Heike: Selections from The Tale of Genji and The Tale of Heike, translated by Helen Craig McCullough. Stanford: Stanford University Press, 1994.

week 7

The topics last week were interesting and the folktales led me to look outward to what was happening to Japan during this period. There are many differences in how literature and art had evolved. My favorite piece of art was the Frolicking Animals scroll within the Tale of Genji. The reason why I was intrigued by it was due to its idyllic nature. While we have seen other pieces, which featured these themes (about court life, and its chill/pleasant atmosphere), I have never seen this done with animals. It was captivating to see as they are personified and do daily chores and play. There is a calm vibe that embodies the piece, lending itself to feeling domestic and peaceful. In one of the articles, there was a depiction of animals that is very soft, and they take on human qualities in order to help better emote. The rabbits, frogs, and other animals all coexist with one another, and the different species all denote their social class. The animals which are in play imply that they are of higher status as they do not have to work, and the animals carrying heavy loads, vegetables, and farming equipment are of the lower class who are hard at work. Yet even though they are meant to show the differences in social class, they all carry the same ideal and blissful appearance. This piece was created sometime during the beginning of the Kamakura period. Due to the period in which it was created, I was wondering if this piece could possibly be used as a political tool in creating peace and stability between the separate social classes. Art has been a notorious tool in order to spread propaganda (i mean in broad terms, not denoting the negative nature). The leadership within the Heian period I think was quite messy: Masakado’s rebellion, Taira No Kiyomroi and his authoritarian leadership, the Genpei wars and retaliation to Kiyomori, Minamoto Yoritomo’s succession, Taira no Makasado, etc. As the Heian period came to a close and the Kamakura period emerged, it’s not such a far stretch to believe that this art piece was an attempt to reconcile the instability which troubled Heian. To leave the political and social strain behind in the old period, and to create a more peaceful and harmonious period 😀 The animal’s ability to find a way to coexist with one another sends the message to citizens that there is a way to find stability in life, which did not exist during the Heian period.

[i found this art piece that was inspired by the frolicking animal scroll which i thought was cute]

http://www.metmuseum.org/art/collection/search/826905 source

Friday, Karl. “The Dawn of the Samurai.” In Japan Emerging: Premodern History to 1850, edited by Karl F. Friday, 178-188. New York, NY: Routledge, 2018.

“Scrolls of the Frolicking Animals”, attributed to Toba (1053–1140).

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