Japanese Art and Culture

A Teacher’s Sourcebook for
Japan e s e A r t & C u l tu re
Featuring the Japanese Art Collection
of the Peabody Essex Museum
Salem, MA
Why Learn About Japanese Art and Culture? 1
Table of Contents Timeline of Japanese History 2
Religion and Spirituality in Japan 3

Shinto 3
Buddhism 16
Japan and the West 23

Christianity in Japan, 1549—1640 24
Westerners in Japan During the Edo Period, 1640–1867 26
Commodore Perry and Japan 30
Japan and New England: Connections and Pathways 34
Glossary 38
Works Consulted 43
Works of art on front cover

clockwise from left: Find Out More 44
View of Mount Fuji

Meiji era (1868–1912); late 19th century
Hand-colored albumen photograph
Collection of Peabody Essex Museum
Amida, Buddha of the Western Paradise, or the

Pure Land
Kamakura period (1185–1336); 12th century
Wood, gold leaf, and crystal
Gift of William Sturgis Bigelow
E18195
Gakubiwa (lute for gagaku performance)

Edo period (1615–1867); 17th–18th century
Various hardwood, leather, silk, ivory, and brass
Museum Purchase.
E1874
What comes to your mind when you hear the word “Japan”? Images of
sword-wielding samurai and kimono-clad women ? Scrumptious sushi
with a hint of spicy wasabi? Or perhaps anime-cartoon characters with
giant sparkly eyes? What about
the contemplative tea ceremony?
Or Sony gadgets and Toyotas?
Why Learn about Japanese Art and Culture?
An economic powerhouse that
rivals the United States? Japan is indeed all of the above and a lot more!
Ask your students what associations they may have with Japan.
Four major islands, Honshu, Kyushu, Shikoku, and Hokkaido, plus the
Ryukyu Islands and about 7,000 additional islands, make up Japan. As of
2001, the population of the country was about 127.3 million, making it the
ninth most populous nation in the world. It is, however, barely the size of
California and thus one of the most densely populated countries. Most of
the people live in metropolitan centers such as Tokyo, Yokohama, Nagoya,
Osaka, Fukuoka, and Sapporo.
Mountains and forests cover 70 percent of Japan’s geography. The tallest

mountain, Fuji (12,385 feet), has a distinct conical shape and is considered
an auspicious symbol of Japan. Thousands of Japanese climb the mountain
each year during the months of July and August when it is open for
travelers. It is a pilgrimage that many hope to make once in their lifetimes,
as a spirit or kami resides there, according to native Shinto beliefs. This
sourcebook will provide information about both the indigenous religion of
Shinto and the imported religion of Buddhism and how they are integral
to the cycles of daily life in Japan.
The four seasons are distinctly felt in most areas of Japan. Nature and
seasonality affect the culture in profound ways, and this is reflected in the
nation’s religion, art, and cuisine. Imagery associated with the seasons is
common in Japanese art, and poetic descriptions of natural elements are
often found in haiku. Among the lesson plans in the section following the
sourcebooks are two lessons on haiku that will emphasize being in tune
with nature and one’s surroundings.
The Peabody Essex Museum’s collection of Japanese art and culture is the
earliest and among the largest in the United States. The first objects were
brought back from Japan by Salem sea captains who traveled to the nation
for trade purposes about 200 years ago. In addition, Edward Sylvester
Morse (1838 –1925), one of the first directors of the museum, was influential
in the growth of the collection and generating interest in Japanese art. Key
objects from Peabody Essex Museum’s collection of more than 20,000
works have been carefully chosen for this sourcebook to assist educators in
teaching about Japan.
1 Japanese Art & Culture

ca. 10,500 – ca. 300 bce Jomon period
ca. 300 bce – ca. 300 ce Yayoi period
ca. 300 – 552 Kofun period
552 – 645 Asuka period
Timeline of Japanese History 645 – 710 Hakuho period
710 – 794 Nara period
794 – 1185 Heian period
1185 – 1333 Kamakura period
1333 – 1573 Muromachi or Ashikaga period
1336 – 1392 Nambokucho period
1573 – 1615 Momoyama period

C
1615 – 1867 Edo or Tokugawa period
1868 – 1912 Meiji era
1912 – 1926 Taisho era
1926 – 1989 Showa era
1989 – present Heisei era
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Japanese Art & Culture 2

Religion and Spirituality in Japan
S hinto and Buddhism have been practiced in Japan alongside each

other for many centuries. Shinto is indigenous to Japan and is
related to Izanami and Izanagi, who are considered the creators
of the Japanese isles. Buddhism came to Japan from India via China and
Korea in the 6th century.
Due to the intrinsic characteristics of Shinto and Buddhism, each came

to serve distinct functions within Japanese culture. For example, since
the idea of purity and cleansing is paramount in Shinto belief, a plot of
land will be blessed by a Shinto priest prior to construction or a new car
will be blessed at a Shinto shrine. Since Buddhist doctrine emphasizes
reincarnation and the afterlife, funerals in Japan almost always follow
Buddhist rituals.
SHINTO
The Creation Story of Japan
In the beginning, there was chaos. Soon the sky and heaven separated, and
the first gods and goddesses were born. Brother and sister gods Izanami
and Izanagi were instructed to create an island nation by stirring the
oceans with a jeweled spear. The isles of Japan were created from the brine
that dripped from the spear.
After this Izanagi and Izanami consulted together saying,

“We have now produced the Great-eight-island country, with the mountains, rivers, herbs, and trees.
Why should we not produce someone who shall be lord of the universe?
They then together produced the Sun Goddess . . . called Amaterasu.
From Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697,
trans. W.G.Aston, (Tuttle Publishing, 1972) p. 18.
Amaterasu, the sun goddess, was deemed the supreme deity and ruler of
the universe. It is said that “The resplendent luster of this child shone
throughout all the six quarters [north, south, east, west, above, and
below].” The moon god, Tsukiyomi, was created to rule the night, and the
storm god, Susano-o, ruled the seas (Aston, p.18).
Amaterasu and Tsukiyomi ascended to the sky, but the ill-tempered

Susano-o wreaked havoc on the land. He destroyed Amaterasu’s rice fields
and covered her residence with excrement. Amaterasu, enraged, retreated
to a cave, which resulted in total darkness both in the heavens and on
earth. The other gods and goddesses tried to entice her out of the cave by
using a sacred mirror, holding festivities, and performing sacred music
and dances. Finally, Amaterasu emerged, and light, harmony, and order
were restored.

Ninigi, Amaterasu’s grandson, was sent from the heavens to rule the earth.
He brought with him three sacred objects: a bronze mirror (symbol of
Amaterasu and of purity), a sword (symbol of courage), and a necklace
of curved beads (to ward off evil spirits). Japan’s first emperor, Jimmu
(ca. 600 bce), is believed to be Ninigi’s grandson, thus establishing the
members of the Japanese imperial family as direct descendants of the sun
goddess. The three sacred objects became symbols of imperial rule; the
sacred mirror is housed at the family shrine of the imperial lineage, Ise
Shrine.
S HINTO Key I d e a s
■ Shinto is indigenous to Japan. Some of its shamanistic aspects are related to those
practiced in Korea.
■ The term “shinto” literally translates to “the way of the gods.”
■ It is believed that kami (deities or spirits) can reside within natural landscapes, such
as a waterfall, cave, rock, or tree. Shinto is a reflection of the respect for nature in
everyday life.
■ The goddess Amaterasu is the principal deity of the Shinto pantheon. The first
emperor of Japan, Jimmu, is believed to be a descendant of Amaterasu’s grandson,
Ninigi. Members of the imperial family of Japan are therefore considered to be direct
descendants of Amaterasu. Following Japan’s defeat in World War II during the U.S.
Occupation, Emperor Hirohito renounced this heavenly lineage, proclaiming that he
and members of the imperial family were “ordinary humans.”
■ Shinto rites are often conducted for the purification or blessing of a person,
place, or thing.
■ Annual rituals and festivals, usually associated with the agricultural cycle, are held at
Shinto shrines.
■ The Buddha is considered a kami according to Shinto belief. Conversely, the various
kami are believed to be manifestations of the different Buddhas and bodhisattvas.
■ Shinto was originally focused on nature worship and headed by Amaterasu, the sun
goddess. Shinto scriptures did not exist until after Buddhism reached Japan in the 6th
century, when Buddhist teachings of sutras contained texts and images.
■ Shinto shrines are sometimes located within Buddhist temple grounds. For example,
a kami can reside in a particular waterfall within the grounds of a Buddhist temple,
and a Shinto shrine may be erected for this kami in front of the waterfall.
■ Traditionally, weddings were conducted at Shinto shrines. Many couples today prefer
to marry in chapels in Western dress.

Torii gates separate the mundane world from sacred grounds.
Vermillion is believed to be a color that wards away evil.
Upon entering the sacred grounds of a

Shinto shrine, one should cleanse the
mouth and hands.
Western wedding
Still shot from A Changing Heart by Emmy award-
winning independent filmmaker Leigh Devine. In the
Shinto wedding documentary, Devine examines how attitudes toward
A couple in a Shinto wedding. Integral to marriage have changed in Japan since the 1950s,
the ceremony is the san san kudo (three when most marriages were arranged by parents and
three nine) ritual, which symbolizes the matchmakers.
marital union. Three sakazuki, or flat sake
cups, are filled and stacked. The groom
takes three sips from each cup. The ritual
is repeated by the bride, his parents, and
her parents.
PHOTOGRAPH COURTESY OF
MINISTRY OF FOREIGN AFFAIRS, JAPAN © 2004

Mirror with Bells Mirrors play an important role in Shinto, often representing the physical
Kofun period (5th−6th century) embodiments of deities. The mirror symbolizing Amaterasu is enshrined
Bronze at Ise, one of the most important Shinto shrines in Japan. These mirrors
Gift of Edward Sylvester Morse are smooth and reflective on one side and ornamented on the other. A
E4102 circular mirror, as well as a sword and a curved-jewel necklace, were
considered sacred regalia and symbols of imperial rule.
Mikoshi, or portable shrines, are used to symbolically parade deities

through neighborhood streets during festivals. Often occurring in the
summer months, these festivals usually involve the carrying of portable
shrines by mostly male members of a locale. Shrines may be plain or
elaborately decorated with colorful textiles and other ornamentation. The
hanging of white zig-zagged sheets of paper on the shrine designate the
space within as sacred and symbolizes the presence of a deity.
Festivals, or matsuri, are held at shrines throughout Japan in honor of

gods and goddesses and as prayers for protection, a good harvest or to
commemorate historic events. These festivals are integral to the annual
calendar and play a prominent role in bringing members of a community
together.

JEFF DYKES
Mikoshi (portable shrine)
Showa era (1926 –1989); 1977 – 1978
Painted and lacquered wood, brass and silver-
copper alloy, straw, and paper
Haneda Mikoshi Preservation Society
E300158
Specialists of the Haneda section of Ota City, Tokyo, instructed Japanese

students in constructing this portable shrine. It was presented to the
Peabody Essex Museum in 1996 to commemorate the twelfth anniversary
of the friendship between the Ota Folk Art Museum and PEM. Ota City
and Salem have been sister cities since 1991.
This portable shrine, or mikoshi, was presented to the Peabody

Essex Museum in 1996 and was carried from the Salem
Common to the museum. This photograph captures the
unique way that men carry the portable shrine in the coastal
town of Haneda: It is not held horizontally flat; the men take
turns bending at the knees to emulate the undulating waves
of the sea.
PHOTOGRAPH COURTESY OF KEIKO THAYER

GOING TO OMATSURI
Izumi Tanaka, Yokohama, Japan
Omatsuri (festival) in my neighborhood is held at the local Shinto shrine,

Hie Jinja where I actually attended preschool. The road leading to the
shrine, probably a mile or so in length, would be closed off in the evenings
for three days during the omatsuri, where stalls of all kinds of vendors
would line up. Everybody in the neighborhood came out for omatsuri.
Although I would surely climb the steps to the shrine to give my little
osaisen and pray for blessings, what I mostly remember or associate with
my memories of omatsuri was the vendors.
Scooping goldfish, kingyo sukui, was my favorite of all. You buy a little
paper-lined scooper for ¥10 or so and scoop as many goldfish out of a tub
of water as you can before the scooper gets saturated and tears. That was
always thrilling.
Then there were all those food items! Takoyaki (octopus balls),
okonomiyaki (Japanese-style pancakes with veggies and meat), and
yakisoba (fried noodles) are all associated with omatsuri for me. And there
was always cotton candy or mint suckers shaped like all kinds of popular
characters for dessert.
I would dress up in my yukata (cotton summer kimono) to meet my

friends to cruise up and down the street sampling all these goodies. As the
omatsuri in my neighborhood took place in early August while we were
out of school, it was fun to run into some friends from school I hadn’t
seen all summer.
These are my memories of omatsuri from Japan.

JEFF DYKES
Shimenawa (tied rope)
Meiji era (1868–1912); 19th century
Straw
Attributed to Gift of Edward Sylvester Morse
E57789
The origins of shimenawa go back to when the sun goddess, Amaterasu,

created chaos by retreating into a cave in response to storm god Susano-o’s
poor behavior. It is said that when she was finally enticed to emerge from
the cave, a straw rope was placed across the entrance to the cave to prevent
her return. Shimenawa demarcate sacred areas, which can be as large as a
whole shrine complex, as small as a household shrine, or a component or
area within nature such as a rock or a waterfall.
Shimenawa sizes vary depending on their purpose and placement. At the

new year, they are placed at entryways to homes following the cleaning of
the house, metaphoric of sweeping away all the evils and negativity of the
past year. The size of the shimenawa shown here indicates that it probably
hung at the entryway to a house or was placed on a household shrine as
part of New Year decorations. This shimenawa has a stack of miniature
bales of rice, symbolizing prayers for a good harvest in the coming year.

Small votive plaques called ema (horse pictures) were originally created as
substitutes for actual horses and presented as offerings at Shinto shrines.
JEFF DYKES
In the beginning, the plaques were images of horses, but over time, the
tablets pictured a variety of human desires and aspirations. Ema are
painted on wood, and the simple structure emulates the slightly peaked
roof and supporting pillars of Shinto shrine architecture.
Today, one can purchase an ema and decorate it with drawings and
writings expressing wishes for good health, marriage, children, success in
business, passing entrance examinations, wealth, and so on. The ema is
then left hanging at a designated spot at the shrine. A dragon is painted
on this ema because it was made in 1988, which was a year of the dragon
according to the Chinese calendar.
Ema (votive plaque)

Showa era (1926–1989); 1988
Polychrome on wood
Gift of Beth and John Grimes
E77238
People visit a Shinto shrine and write their wishes

on ema, especially at the beginning of a new year.

JEFF DYKES
Kamidana (household shrine)
Taisho era (1912–1926); Early 20th century
Wood, paper, and metals
Gift of Mr. and Mrs. John E. Thayer, given in
memory of Takeji and Takino Fukuhara
(Mrs. Thayer’s parents)
E74020
The kamidana is a simple unpainted structure that echoes Shinto shrine

architecture. Although originally built as temporary structures for
festivals, today they have become permanent fixtures in many households.
Kamidana enshrine talismans that represent local protective deities or
those purchased on pilgrimages to famous shrines. The fishing rod and fish
help identify the figure on one of the talismans of this kamidana as Ebisu,
the god of fishermen and one of the “Seven Lucky Gods and Goddesses.”
The other talismans are for Amaterasu, the sun goddess, and for a specific
shrine.
This kamidana is adorned with other common features, such as sakaki tree
branches in plain white vases and white offering dishes. Daily offerings of
rice, fruit, fish, and wine are made at the kamidana. When making such
offerings, one would clap twice, bow, and silently speak to the deity, just as
when visiting a Shinto shrine. The initial clapping of hands is believed to
get the attention of the deity.
Many Japanese homes will have both a kamidana to honor the local
protective god and a Buddhist altar for ancestral worship. They are often
located in two separate parts of the house: The kamidana can be in the
kitchen to express prayers for a good harvest and an abundance of rice;
a Buddhist altar honoring ancestors can be placed at the side of a room
where family members spend time together.

Memories of New Year’s Day
Masaru Shima, Tokyo, Japan
My memories of New Year’s Day from childhood have always been warm,
cheery ones to share with a large group of people. As a child, I was sent to my
mother’s home each year, where extended families gathered for the festivity,
filled ourselves with specially prepared foods, all fresh and local, and stayed
awake throughout New Year’s Eve. We discussed resolutions for the coming
year and updated each other on the past year’s occurrences.
Just past midnight, when we heard the shire’s bell toll, or joya no kane,
we would all sit up to bow to each other and say, “Akemashite omedeto
gozaimasu” (happy New Year). Then we’d prepare to go out with heavy coats
and flashlights (or torches) and visit the local shrine together. On the way, we
would meet familiar faces from the neighborhood, talk loudly
and merrily in the dark streets, wish each other a happy New
Year, and hear mingles of voices repeating the same words
from different directions in the dark.
The small shrine, which was normally quiet, became flooded

with people during these hours, and the narrow stone steps
in the woods seemed to last forever in the cold winter day.
Everyone greeted each other even on the steps—no wonder
it seemed forever to get through the path. At the shrine, while
queuing to get to the main altar, my aunt would always remind me to think
of what I wanted to say to the kamisama (god) and give me a few osaisen
(offering coins) to leave as offerings for the deity. Being a small child, I was
excited to be awake so late at night, to see so many people outside, and also
to be able to receive an omiki (libation) before the exit of the shrine. This was
a special treat that was offered indiscriminately to everyone who came to
hatsumode (first visit to shrine), from young to old and it made me feel like a
grown-up to be part of the community.
After coming home, the adults would return to their sake cups and continue
the festive night with more food and drink. I used to always try to stay up with
them despite my drowsiness to see the hatsu-hinode (the first dawn of the
year) to send another prayer to the deities and my ancestors.
It was one time of the year when I felt close with distant family members
and locals who had known my mother as a child, like paying homage to my
mother’s childhood and connecting to my own roots.

Shinto’s Presence in Sumo
Gerald Marsella, Beverly, Massachusetts
(Resided in Tokyo, Japan, from 1985 to 1993)
I was an avid sumo fan when I lived in Japan in the 1990s. Not only did
I know who all the wrestlers were, their ranks, styles, and other things,
but the myriad points of tradition sumo carries—things intrinsically
Japanese about it—fascinated me. Some of those [traditions] have Shinto
philosophy at their roots.
Directors of the Japan Sumo Association, all

former wrestlers themselves, file into the
grounds of the main hall of Meiji Shrine for an
offertory yokozuna ring-entering ceremony.
PHOTOGRAPHS COURTESY OF GERALD MARSELLA
One example is the purification of wrestlers and the ring in which matches
take place. There is a whole series of actions that both wrestlers go through
before they fight, and Shinto is behind several of them. Upon arriving at
the ring for a match, the wrestlers take a mouthful of water, rinse it around
in their mouths, and spit it into a bucket. This is to purify their bodies.
They then take salt (with right hand only) and throw it into the ring, to
purify the space where they will battle. They will do this several times
before actually wrestling, because following each throw, they square off in
the ring to size each other up and try to gain the psychological upper hand.
This prelude to the match tends to be intensely boring to many Westerners

but entertaining and engaging to many Japanese. While much
about the way a wrestler behaves before the competition begins
is codified, throwing the salt is one small place where personality
and mental approach to the match come out. Some men take
just as much salt as they can hold in the grouped tips of their
fingers and spray it quickly and smartly over the ring in a sort
of side-handed flick with a look of concentration on their faces.
Others toss a light handful onto the ring with a noncommittal
expression.
There are those, though, who make their use of salt a trademark of their Hokutoumi Nobuyoshi, Japan’s 61st yokozuna,
professional persona. I remember one wrestler, Mitoizumi, who was well performs an offertory ring-entering ceremony
over 6 feet tall and close to 300 pounds, a big guy. At each of the several salt at Meiji Shrine.
intervals, he would grab the largest handful he could manage and pitch it
into the air over the ring with a fierce, intent look on his face. This never
failed to get great cheers from the spectators, regardless of the fact that they
knew he’d do it every time.

Another aspect of Shinto presence in sumo is the rope tied around the
waist of wrestlers occupying the sport’s highest rank, the yokozuna. It is a
highly exalted slot to hold, not only in sumo but also in Japanese society.
If a man is elevated to yokozuna, it is because he has proven he’s not only
the best there is in terms of winning matches but much more. He has
plumbed the depths of his physical and mental strength, enduring a long
and arduous path to consistent, dependable excellence. He has competed
against himself under the toughest possible circumstances and has won.
And somewhere in that process, he has perfected wrestling techniques
and also developed the mind-set to be merciless in the ring yet a good
sportsman. He knows himself, and his calling, to a depth few ever do. In
short, he has become the embodiment of the spirit of sumo.
The rope worn by a yokozuna signifies his rare and precious

accomplishment, the spark he carries. It is an all-white modification of the
shimenawa one sees at Shinto shrines, made specifically for the man who
will wear it by his underlings. The men make the rope in the yokozuna’s
presence, wearing white gloves. The intended owner is the only one who
ever actually touches the rope. He wears it for his ring-entering ceremony
on each day of a tournament, when it is put on him and tied tightly by
the men who made it. The paper strips that hang from it are inserted and
removed each time he wears it. Each January, the shimenawa is burned,
and a new one is made.
Whenever a wrestler is promoted to yokozuna, one of his first public

activities is a ring-entering ceremony performed at Meiji Shrine in Tokyo.
The spirit enshrined here, that of the emperor who reigned from 1868–1912,
has also been designated the patron kami of sport. The new yokozuna pays
his obeisance before his first match. The event typically takes place in
early to mid-afternoon and only lasts a few moments. Still, the grounds
of the shrine fill from morning onward with people who want to see the
yokozuna, and news crews tape the event.
During the time I lived in Japan, there were four new yokozuna, and I went
to Meiji Shrine to see each of them. As I learned how crowded it gets, I’d go
earlier in the day until I reached the point of taking the entire day off work
and standing there from 8 or 9 am just to make sure I had a good vantage
point. The yokozuna would come with an entourage comprised of the head of
the Japan Sumo Association, his own coach, and all of the other stable heads.
(Wrestlers live and train together in a dormitory-like setting called a “stable”
in English; each stable is run by a former wrestler, who is the last word there
in coaching.) They arrive in formal black and gray traditional attire and
attend a ceremony in the main building for the blessing of the rope.
oooooooo
A sumo match in progress.
While this is going on, those of us outside, crowded into areas stanchioned
off by the police, can hardly see anything. When the ceremony finishes
and they all file out, the wrestler and his attendants (a yokozuna has at least
eight low-ranking wrestlers to attend him) enter a side building to change.
Eventually, the new yokozuna comes out in his ceremonial wrestling apron
and the modified shimenawa, flanked by two lower-ranked wrestlers
wearing similar aprons, as ceremonial attendants. When the man of the
hour draws close to the main shrine, the attendants stay back a few paces,
and he performs the ring-entering ceremony. Then he turns around, the
attendants rejoin him, and they pace out of the main courtyard just as
proudly and stately as they had come in two minutes previously.
For all their brevity, though, these events were potent to me as they were
chances to see these great wrestlers at close proximity — much closer than
the seats I could afford in the arena for the actual matches. At times,
I could even smell the oil that holds the wrestler’s hair in the topknot
dictated by tradition.

BUDDHISM
T he Buddhist faith originated in India in the sixth century bce. Over

the centuries, Buddhism spread throughout Asia, and today, it is
practiced around the world. Buddhism was about 1,000 years old when it
was introduced to Japan via China and Korea. According to the Chronicles
of Japan, King Song Myong of Korea presented the Japanese Emperor
Kimmei with a gilt-bronze sculpture of the Buddha Shakyamuni, several
sutras, and other objects. In the following decades, monks, nuns, a
sculptor, and a temple architect from Korea brought additional images and
scriptures.
In Japan, Buddhism was assimilated with preexisting Shinto beliefs.

For example, Shinto deities became seen as manifestations of different
Buddhas. Shinto beliefs, including the creation stories of Japan, were
recorded in text form for the first time. This was inspired by the fact that
Buddhism was a well-organized religion with many sculptures, ritual
objects, images for worship, and texts.
Today there are over 80,000 Buddhist temples in Japan and more than 90
million Japanese people who practice some form of Buddhism. Mahayana
Buddhism has been especially popular in Japan since the 8th century.
There are many branches of Mahayana in Japan, such as Jodoshin,
Nichiren, and Zen Buddhism. Different kinds of buddha are worshipped
in Mahayana, such as Amida of the Western Paradise and Yakushi, the
healing Buddha. The historic Buddha or Siddhartha Gautama is known as
Shaka in Japan.
The Story of Shakyamuni, the Historic Buddha

Siddhartha Gautama (ca. 563–483 bce) lived in northwestern India or
present-day Nepal. Prior to his birth, his mother, Queen Maya, dreamt
that a white elephant with six tusks touched her with a white lotus flower
that contained a brilliant jewel at its center. This was considered a sign
that a great son would be born to her. A few days later, Queen Maya was
walking in a garden when she began to feel the earth move. Siddhartha
was miraculously born from her right side as she held onto a flowering tree
branch for support.
As a child, Prince Siddhartha enjoyed a life of wealth and comfort. He

was not quite content, though, and pondered life. According to tradition,
when he was about 29, he came upon an old person, a sick person, a dying
person, and a corpse. He was in despair over the suffering he witnessed.
Upon meeting a wandering ascetic who described his spiritual quest,
Siddhartha decided to leave his family in search of the truth. He wanted to
find out what could be done to avoid suffering in the world.

Siddhartha renounced his status, deserted the material pleasures and
luxury of palace life, and began life as an ascetic. He cut off his long black
hair, removed his royal jewelry, and changed to a simple saffron robe. With
a begging bowl in hand, he began his new life as a spiritual seeker.
Under a pipal tree (ficus religiosa) in the town of Bodhgaya, Siddhartha sat
in meditation for many long days. The evil king Mara tried to subvert him
in many ways: by tempting his thoughts, sending warriors and beautiful
maidens to distract him, and affecting his senses. Siddhartha was able
to resist all forms of temptation brought on by Mara. After 49 days, he
reached enlightenment, or nirvana, at dawn on a day that followed a full
moon in the month of May. At that moment, he touched the earth with his
right hand, signaling the earth to witness the event. He became known as
the Buddha, or the enlightened one.
Siddhartha never meant to deify himself. Rather, his message was that
anyone who followed his teachings could reduce his or her own suffering
living in the world and stop the cycle of rebirth through meditation.
The Teachings
The Buddha gave his first sermon after reaching enlightenment at Deer
Park in India:
There is a middle path, a path which opens the eyes and bestows
understanding, which leads to peace of mind, to the higher wisdom,
to full enlightenment. What is that middle path? Verily it is this noble
eightfold path; that is to say: Right views; Right aspirations; Right speech;
Right conduct; Right livelihood; Right effort; Right mindfulness; Right
contemplation.
This is the truth concerning suffering. Birth is attended with pain, decay is
painful, disease is painful, death is painful, union with the unpleasant is
painful, separation from the pleasant is painful. These six aggregates which
spring from attachment are painful.
This is the truth concerning the origin of suffering. It is that thirst

accompanied by starving after a gratification or success in this life, or the
craving for a future life.
This is the truth concerning the destruction of suffering. It is the destruction

of this very thirst, the harboring no longer of this thirst.
And now this knowledge and this insight has arisen within me. Immovable
is the emancipation of my heart. This is my last existence. There will now be
no rebirth for me.
From The Sacred Books of the East, vol. 21, The Saddharma-pundarika, or the
True Lotus of the Law, translated by H. Kern, edited by F. Max Muller
(Motilal Banarsidass, 1965), p. 161.

BUDDHISM Key I d e a s
◆ Mahayana Buddhism was founded in India in the 1st century. Emphasis

was placed on personal devotion and merits, and Buddhahood was
attainable by all. One did not have to enter into monastic life to obtain
freedom. Mahayana Buddhism is practiced mostly in Japan, China, and
Korea.
◆ In Mahayana, there are bodhisattvas that can also help us reach

enlightenment. Bodhisattvas postpone their own absolute enlightenment
to remain on earth to protect and help others achieve salvation or
enlightenment.
◆ Theravada Buddhism is practiced today in Sri Lanka, Burma, Thailand,

Cambodia, and Laos. The teachings of Theravada Buddhism are
considered by many to be closest to those of the original Buddha. It
emphasizes a monastic form of devotion and a renunciation of the
material world.
◆ The Indian patriarch Bodhidharma founded Zen Buddhism, known in

Chinese as Chan and Son in Korean. It was introduced in Japan around
the 13th century. One can achieve enlightenment in Zen Buddhism
through meditation.
◆ The Buddha’s death is called parinirvana, or final nirvana. It is the

moment when he departed from his physical form and was released from
the cycle of birth and rebirth forever. He was 81 at the time.
◆
◆ Buddha summarized life as The Four Noble Truths, which state that:
1. There is no escape from suffering in this world.
2. Suffering is caused by desires.
3. One must seek an end to suffering.
4. One must follow the Eightfold Noble Path in order to end this
suffering.
◆ The Eightfold Noble Path includes: right views, right intentions, right
speech, right actions, right livelihood, right efforts, right mindfulness, and
right concentration.
◆ Karma, or the law of cause and effect states that both good and bad
actions from previous lives and this life predetermine the next life within
cycles of death and rebirth.

Amida, Buddha of the Western Paradise, or the Pure Land
It was predicted that, upon the historical Buddha’s physical death, his
teachings would undergo three periods of degeneration, with the final
phase in the year 1052. This belief led to the popularity of the Buddha
Amida, especially among the nobility during the Heian period (794–1192).
According to Amidism, reciting and believing the devotional phrase
“namu-Amida-butsu” (adoration to Buddha Amida) gave followers entry
to the Pure Land or Western Paradise. Images of Amida were produced
in great quantities at this time. The True Sect of the Pure Land (Jodoshin-
shu), is the largest Buddhist denomination in Japan today.
Some of the 32 common attributes of the Buddha can be seen in this

sculpture of Amida:
JEFF DYKES
◆ The Buddha has curly hair in the form of snail shells.
◆ The ushnisha or protruberance on the Buddha’s head symbolizes his

vast knowledge and wisdom.
◆ The urna or tuft of hair on the Buddha’s forehead illuminates the world.
◆ He has elongated earlobes, a reminder that he was once a prince who

wore heavy royal earrings and that he renounced his wealth and
status in search of truth. They also imply that he can hear all cries for
salvation.
◆ The downcast eyes show the Buddha in a state of meditation.
◆ The Buddha wears a simple monk’s robe.
◆ The Buddha’s hands are always in mudra or symbolic positions. This

Amida’s mudra conveys that he is a teacher delivering the dharma.
◆ He is seated on a lotus, a symbol of the Buddhist faith itself. This

beautiful flower grows from muddy, murky waters. The white flower
is a metaphor for the purity of the Buddhist faith, and the murky
waters represent the impurities of this earthly realm. The lotus is also
symbolic of the soul’s purity and the ability of an individual to attain
enlightenment despite the negative environment of the world.
Amida, Buddha of the Western Paradise, or the
Pure Land
Kamakura period (1185–1336); 12th century
Then he thought, “These locks of mine are not suited for a mendicant. Wood, gold leaf, and crystal
There is no one else to cut the hair of a future Buddha, so I will cut it Gift of William Sturgis Bigelow
off myself with a sword.” Then, taking his sword in his right hand, and E18195
holding the plaited tresses, together with the diadem on them, with
his left, he cut them off. So his hair was thus reduced to two inches in
length, and curling from the right, it lay close to his head. It remained
that length as long as he lived, and the beard the same. There was no
need al all to shave either hair or beard any more.”
From Buddhist Birth Stories, translated by T.W. Rhys Davids.

(London: 1880), p. 86.

The Bodhisattva Jizo
Bodhisattvas are beings who have achieved enlightenment but vow to
postpone their own parinirvana so that they can help those in this world
attain salvation. The worship of the bodhisattva Jizo (or Ksitigharbha in
Sanskrit), is especially popular in Japan as he is the guardian for travelers
and, most importantly, of children. Jizo, known for his compassion, also
possesses the special power to rescue beings sent to hell.
Traces of gold leaf can be seen on the surface of this sculpture. Numerous
sculptures and paintings from the period were ornamented in elaborate
ways, reflecting the patronage of Buddhism by the wealthy and powerful.
Jizo’s physical attributes include a shaved head, a decorative monk’s robe,
and a staff with three rings. In the left hand, the figure would have been
holding a wish-granting jewel in the form of a small ball with a pointed top.
Plain, stone sculptures of Jizo can be found all over Japan, from
cemetary and temple grounds to city streets and rustic roads.
They are almost always clothed in handmade bibs and baby
bonnets, because people pray that Jizo will save deceased
children from the torments of hell.
PHOTOGRAPH COURTESY OF ROBERT M. WOOLLACOTT
The Bodhisattva Jizo

Kamakura period (1185–1336); 1279
Wood, gold leaf, lacquer, bronze, and crystal
Gift of Charles Goddard Weld, E12068

JEFF DYKES
Parinirvana of the Buddha
Edo period (1615 – 1867);18th – 19th century
Hanging scroll; ink and color on paper
Gift of Mrs. Walter Austin
E36339
When the Blessed One died, of those of the

Parinirvana of the Buddha brethren who were not yet free from the
Commonly known as the “death of the Buddha,” this painting illustrates passions, some stretched out their arms
the Buddha’s entrance into Nirvana, or his final release from the cycle of and wept, and some fell headlong on the
rebirth. It is said that the Buddha passed away at the age of 81 in north ground, rolling to and fro in anguish and
central India amidst a grove of sala trees on a cloudy evening with a full thought: “Too soon has the Blessed One
moon. died! Too soon has the Light gone out of
the world.”
The Buddha is depicted lying on his right side facing north. His begging
bowl can be seen on the left, hanging off one of the sala trees. His mother,
But those of the brethren who were
Queen Maya, and her attendants have arrived from the heavens on a cloud.
free from the passions bore their grief
The Buddha is surrounded by a variety of beings ranging from bodhisattva collected and composed at the thought:
to guardian kings and sages. Even demons and animals have gathered for “Impermanent are all component things.”
this occasion. Enlightened beings such as bodhisattva are supposed to
comprehend that this is not a sad occasion but a transition. In the painting, From The Sacred Books of the East, vol. 2,
however, even the bodhisattvas cannot hide their feelings of grief and loss. “The Maha-Parinibba-Sutta,” translated by
T. W. Rhys David, edited by F. Max Muller
Parinirvana paintings of this type have been especially popular in Japan
(Clarendon Press, 1981), p. 119, T374.
since the 14th century. It is one of the three moments of the Buddha’s
life which are celebrated—his birth, enlightenment, and the final passage
or Parinirvana. Today in Japan, the Parinirvana of the Buddha is mostly
celebrated in Zen Buddhist temples. A painting of this type would be used
for such celebrations, which are held on the anniversary of the Buddha’s
death on the 15th day of the second or third month of the lunar year.

Memories of Buddhism in My Life
Keiko Thayer, Ozu city, Shikoku
For most Japanese, Buddhism is associated with death. Funerals and

memorials on anniversaries for the deceased are held at temples and in
homes.
Those are sad and tearful times. Therefore temples for many Japanese
children are not joyous places. And unless you are student of Buddhism
and becoming a monk, ordinary people will not visit temples the way
Christians may go to church every Sunday.
However, there is one occasion that I can think of in the spring each year
that children look forward to. It is the Buddha’s birthday celebration, or
Busshoe. It is also known as the Flower Festival or Hanamatsuri, because
many places of Japan are decorated by cherry blossoms in full bloom at
this time of year.
On this day, every Buddhist temple observes the baptism of the Lord
Buddha, called Kanbutsue. In the temple courtyard, a miniature temple
called Hanamido (Flower temple) is temporarily built over a statue of the
infant Buddha about 8 to 12 inches tall. It is beautifully decorated with
different flowers.
The infant Buddha is represented standing in the floral basin pointing

to heaven with his right arm and to the earth with his left, because the
moment when he was born, it is said that he stood up and walked seven
steps saying, “I am the only lord in heaven and under heaven.” The faithful
will visit the statue and pour sweet tea, or amacha, over it. Then each will
receive a small bottle of tea to bring home and share with family members,
for it is believed to have medicinal values.
When I was growing up in a small town in southern Japan, I did this

with my family and friends, and these are very sweet memories of my
childhood related to Buddhism.

Japan and the West
J apan’s first direct contact with the West began in the middle of
the 16th century when Portuguese maritime explorers reached
the small island of Tanegashima off the coast of Kyushu. Soon
thereafter, the Jesuit leader Francis Xavier (1506–1552) arrived in Japan
via China to commence missionary activities. Other Europeans such as
the Spanish, Dutch, and English also visited Japan in the late sixteenth
and early seventeenth centuries. Just as in China, these Europeans came
to be known as namban, or “southern barbarians,” based on their sailing
patterns of reaching Japan from the south.
When the warlord Toyotomi Hideyoshi (1536–1598) succeeded in unifying
Japan, Christian activities in Japan slowed down. By the beginning of the
Edo or Tokugawa period (1615–1867), Christianity was deemed a threat
and banned. Especially after decades of warfare, the government was
concerned with any potential threats to the stability of the nation. A series
of edicts were passed, including the National Isolation Policy in 1639, which
stated that the only foreigners allowed to trade with Japan were the Dutch,
Chinese, Koreans, and people from the kingdom of Ryukyu. The Dutch
were the only Westerners granted this exclusive agreement, as they were not
interested in proselytizing and were there for the sole purpose of trade.
Around 1800, French troops led by Napoleon were at war with the British,
and this created complications for the Dutch. The Dutch were French allies
and British warships were on the lookout for Dutch vessels. Therefore, in
order to maintain their monopoly as the only Western nation trading
with Japan, the Dutch commissioned ships from neutral countries such as
the United States to go to Japan. Several American ships were chartered
between 1797 and 1809 under these circumstances. Salem captains James
Devereaux and Samuel Derby led two of them—the Margaret and Franklin.
Although only the Dutch were officially allowed entry to Japan, there
were Russian, British, and American vessels that reached Japanese waters
anyway. Some reached Japanese shorelines inadvertently, while others
such as the Russians sought trade relations with Japan. By the time the
American Commodore Matthew Gailbraith Perry and his fleet came to
Japan in 1853, the Japanese were becoming aware that keeping their doors
closed might not be in their best interest. Perry returned several months
later in 1854 and successfully procured the Treaty of Kanagawa with the
Japanese, and the two ports of Shimoda and Hakodate were open for trade.
The arrival of Commodore Perry and his fleet resulted in a flurry of related
woodblock print and painting production by Japanese artists. Images of
the Americans and the unusual commodities they brought were made
to document the momentous event. Japan entered into a period of rapid
modernization that was in essence, synonymous with Westernization.

C H R I S T I A N I T Y I N J A PA N 1549–1639
C hristianity was introduced to Japan in 1549 by the Portuguese Jesuit

missionary Francis Xavier (1506–1552). For the first ten years or
so, his activities were limited to the southern domains in Kyushu, where
Westerners usually landed. As the proselytizing extended into central
Japan, the number of Japanese Christians increased. By 1582, there were
approximately 150,000 Christian adherents in Japan.
The Japanese interest in Western Christians was twofold—on one level,

they were the faithful. On another level, the daimyo (lords) of Kyushu saw
the Christians as a great resource for trade. Many Japanese converted to
Christianity to secure trade relations with the Jesuits. For example, the
daimyo who presided in the port of Nagasaki was a converted Christian
who opened that city for trade in 1570.
In a matter of decades, however, Christian activity was brought to a halt.
Although the Japanese wanted to continue trading with the Portuguese,
their successful Christian proselytizing was seen as a threat by the
Japanese central government. Also by this time, the Spanish Franciscans
were competing with the Portuguese Jesuits for a foothold in Japan,
further creating alarm for the Japanese central government.
Six missionaries and 20 of their converts were crucified in 1597, offsetting

four decades of Christian conversion. The first anti-Christian edict was
issued in 1587, and executions of both Japanese and western Christians
continued for the next five decades.
Tabernacle This tabernacle is patterned after a southern European model

Momoyama period (1568–1603); ca. 1600 but was created in Japan. Sculptural representations of the
Wood, shell inlay, lacquer, and copper Virgin Mary and Jesus would have been housed in such a
Museum purchase structure. Although the object is of European inspiration, its
E76704 decorations are distinctly Japanese. For example, the bird-and-
flower inlay motif is similar to those found on other Japanese
lacquer objects of the time.

Despite the European subject matter and style of painting,
this altarpiece was used in Japan. Jesuit missionaries needed
devotional images and icons for use in services. These objects
were also presented as gifts. For example, it is known that
Queen Catherine of Portugal sent a painting of the Virgin
Mary and Jesus as a gift to a daimyo (lord) in Japan in 1561.
In 1583, the Italian Jesuit painter Giovanni Niccolo (1560–
death dates unknown) established the Academy of Saint Luke
in Nagasaki. There, he taught Japanese converts Western art
techniques such as oil and fresco painting, engraving, and
the use of the printing press. One can see the combination of
Western and Japanese techniques in this altarpiece. The work
was created using Western tempera paints, and the decoration
of the frame is in the elegant and beautiful Japanese lacquer
Altarpiece with a Painting of Mary and Jesus
of the period.
Momoyama period (1568–1603); ca. 1600
Wood, tempera, lacquer, and shell inlay
Museum purchase
AE85752
Popularly known as a namban screen, this painting depicts Portuguese and Namban Screen (Arrival of the Southern
Spanish traders and missionaries arriving at Nagasaki Harbor. This type Barbarians)
of screen was generally produced between the 1570s and 1640, when the Edo period (1615–1867); early 17th century
Portuguese were trading with Japan. Six-panel folding screen; ink, color, and gold-leaf
on paper
Screens such as this one often came in pairs; the left screen would
Museum purchase
depict a ship sailing from a foreign land such as China. The right screen
E200727
would show a foreign ship arriving at Deshima in Nagasaki Harbor. The
Westerners are depicted larger in size than the Japanese, and their foreign
facial features are exaggerated.

W E S TE R N E R S I N J A PA N During the Edo Period, 1640–1867
A series of official edicts from 1639 banning travel to or from Japan led
the country to a policy of isolation. Once the edict was finalized, the
only Westerners allowed to conduct trade with Japan were the Dutch, who
were confined to the man-made island Deshima in Nagasaki Harbor.
Although the Westerners had limited mobility during their time in

Japan, many Japanese people were curious about who they were and
what they brought. For example, there were officially sanctioned artists
that specialized in painting the lifestyles of the Dutch in Deshima for
documentary purposes.
Once the ban on imported European books was lifted in 1720, Western
sources became available to some Japanese artists, who were enamored
with what they saw. They were exposed to images that revealed a totally
different way of drawing by using, for example, single-point perspective
and shading to create an illusion of three-dimensionality. Some Japanese
artists experimented by integrating aspects of these Western techniques
into their own work.
Around 1800, several American ships sailed to Nagasaki Harbor in lieu of

the Dutch. Captains Devereux and Derby of the Franklin and Margaret,
respectively, brought back objects from Japan, which are now among
the collections of the Peabody Essex Museum. These items were created
specifically on commission to meet the tastes and needs of the American
captains.
Map of Japan, Iaponiae Insvlae Decriptio

Abraham Ortelius (1527–1598),
Antwerp; printed in Paris in 1595
Compiled by Luis Teixeira (1564–1604), from
Theatrum Orbis Terrarum
Copperplate
Donald Angus Collection
M18008
This is an example of one of the earliest maps of

Japan produced in the West. Cartographer Luis
Teixeira never traveled to Japan or Asia, but he
used previous examples as his source to make
this map. Three of the four main islands can be
seen—Honshu in yellow, Shikoku in green, and
Kyushu in pink. Hokkaido, known as Ezo, was not
a part of Japan at that time and is thus left off the
map. Korea is in green to the left and is shown as
an island rather than as a peninsula off the coast
of China.

Kawahara Keiga (1786–after 1860)
View of Nagasaki Harbor and the Frigate Cornelia and Henriette
Edo period (1615–1867); 1840
Panel; ink and color on silk
Museum purchase
M20148
This painting gives a birds-eye view of Nagasaki Harbor, where foreign

vessels were required to enter Japan. The largest boat in the bay is the
Dutch frigate Cornelia and Henriette. To the left of it is Deshima Island,
where foreigners were confined during their stays in Japan.
The painter uses Western techniques to depict the harbor as realistically

as possible. The image is contained within a border, and the title is
written across the bottom in script, following in the tradition of European
landscape prints. Although the pigments used are Japanese, Keiga has
applied them in large areas of color that cover the entire surface of the
image. He has incorporated the horizon and cumulous clouds above,
features not normally seen in Japanese landscape painting.
Kawahara Keiga was a Nagasaki painter known for his interest in painting
in Western styles. He was employed by the German physician Philipp
Franz von Siebold (1796–1866)and often painted scenes of the doctor’s daily
life at Deshima.

The family depicted in this painting is probably that of Jan Cock Blomhoff
(1779–1853), one of the directors of the Dutch trading post at Nagasaki.
Foreign women were not allowed to reside at Deshima, but we know that
Blomhoff’s wife and children did travel to Japan with him in 1817. They
departed from Japan after a four-month stay while Blomhoff continued to
reside in Japan until 1823.
Jo Girin (1784–death dates unknown)

Painting of a Dutch Family
Edo period (1615–1867); ca. 1817
Framed painting; ink and color on paper
Museum purchase
E82661
Tray
Edo period (1615–1867); 1801
Wood, lacquer, shell inlay
Collected by Samuel G. Derby
E82670
Captain Derby of Salem commissioned Japanese artists to create this large

tray showing the American eagle. It seems, however, that the Japanese
artists were unfamiliar with the eagle and created a bird resembling a dove
instead.
The Western ship captains typically remained in Japan for approximately

six months while waiting for the tides to shift in order to sail back to
Sumatra. During that time, the captains placed orders with Japanese
artists for specific objects.

JEFF DYKES
Foreigners had to stay within designated areas of Deshima during their Detail from a handscroll depicting the Dutch
stays in Japan. This image is a detail from a set of two handscrolls that settlement at Nagasaki
depict the Chinese and Dutch settlements. Japanese artists were interested Edo period (1615–1867); 18th century
in visually recording the differences in lifestyles that they observed Detail from a handscroll; ink and color on silk
between the two cultures. Museum purchase
E300414B
The work presents a glimpse into the lives of the Dutch while they were
at the settlement. In the room at the right, we see some men gathered at
a table for a meal. The men have taken off their hats and have hung them
on the walls. In the adjoining room, a samurai has joined the men for a
beverage, and everyone is enjoying Western music. Chairs, tables, dishes,
utensils, and instruments brought from Holland are visible in the scene.

CO M M O DO R E PE R RY A N D J A PA N
S everal American vessels had sailed to Japan before Commodore

Matthew Perry. Chartered American merchant ships and whaling
vessels reached Japanese shores on occasion as well. However, Perry’s
arrival was quite different, since he was sent on a mission by President
Millard Fillmore (1800–1874) specifically to open trade negotiations with
the Japanese.
Informed by the Dutch, the Japanese were aware of developments in the

West, especially in regard to military and naval technology. The Japanese
were quite alarmed at the unexpected arrival of Perry’s fleet of four
warships in Uraga Bay, relatively close to the capital city of Edo (current-
day Tokyo). The ships were spewing black smoke from their steam engines
and thus came to be known as “the black ships.”
The Treaty of Kanagawa was signed between the Japanese and the
Americans on Perry’s second trip to Japan in 1854. Two ports, Shimoda
and Hakodate, were opened, and the first U.S. consul was sent to Japan.
Japanese artists were quick to respond to this landmark occasion by
producing numerous woodblock prints of Perry, his crew, and the vessels.
Artists also painted these subjects in a documentary manner, including
items such as a steam engine that was given to the Japanese as one of the
gifts presented in formal ceremonies between the two nations.
After Japan was open again for trade with other countries, the Meiji
government aggressively pursued the modernization of Japan, which was in
essence synonymous with Westernization. Westerners were invited to Japan
as advisers to assist in areas such as transportation, communication, and
education. To encourage trade, many spectacular works of ceramics, textiles,
lacquerware, and metalwork were made and displayed at world expositions.
Commodore Perry’s Flagship, Powhatan

Edo period (1615–1867)–Meiji era (1868–1912);
ca. 1854–1870
Hanging scroll; ink and color on paper
Museum purchase
M15244
Perry was aboard the flagship Powhatan on his

second journey to Japan. The Japanese, noticing
the difference between this type of vessel and
others that had previously sailed in to Japan,
painted its likeness with meticulous attention
to details on the ship such as its smokestack,
paddlewheel, and iron hull.

This type of woodblock print of Perry would have circulated among
the curious residents of Edo, since only a handful of people would have
actually seen the commodore and his crew. The characters located across
the top read from right to left, “A North American Figure” and “Portrait
of Perry.” The artist, perhaps rendering a Westerner for the first time,
exaggerated Perry’s features—the oblong face, down-turned eyes, bushy
brown eyebrows, and large nose.
A North American Figure/Portrait of Perry

Edo period (1615–1867); ca. 1854
Woodblock print; ink and color on paper
Museum purchase
M17145
A B C
A True Picture of North American Portrait of an American True Picture of Adjutant General Adams
Adjutant General Ban Sukeyoshi (dates not recorded) Edo period (1615–1867); ca. 1854
(H.A. Adams) Edo period (1615–1867); ca. 1854 Ink and color on paper
Edo period (1615–1867); ca. 1854 Ink and color on paper Museum purchase
Woodblock print; ink and color Museum purchase M17146
on paper M17140
Museum purchase
M17147
H.A. Adams served as a vice envoy to the U.S. president and was the
adjutant general for Perry’s sojourn in Japan.
In addition to woodblock prints, numerous sketches of the Americans on

Perry’s expedition were made. In some cases, it is not known who rendered
these sketches; even when they bear an artist’s signature as in B, many are
by artists that we know nothing further about. Often, such images were
created by artists who had not met the actual men. For example, in image
A, the figure looks like a combination of a Japanese and a Western man:
almond-shaped eyes, curly flowing hair, and a long, pointed nose.

“Temple of Ha-Tshu Man-Ya-Tshu-Ro at Shimoda”
(Shimoda Hachiman Shrine)
From the three volume set Narrative of the Expedition
of an American Squadron to the China Seas and Japan, 1856
Sarony & Company, after illustration by William Heine
Lithograph
Ink on paper
M23016
Perry’s trip to Japan was documented as a report and presented to the

American Congress in 1856. Although there were several personal journals
that were kept during the expedition, Perry required them all to be turned
in for fear that accounts would vary. Perry initially requested that the
popular Salem author Nathaniel Hawthorne prepare a manuscript, but he
declined. In the end, three volumes based on accounts by Perry and his
officers were published with illustrations by William Heine, the official
artist who accompanied the expedition.
American Consul on His Way to Edo

Edo period (1615–1867); ca. 1857
Ink and color on paper
E37827
This painting depicts the entourage of Townsend Harris, the first U.S.
consul in Japan, making the journey from the port of Yokohama to the
capitol, Edo (current-day Tokyo). When the foreigners arrived at Nagasaki
Harbor, they were required to make the sojourn to Edo to meet the shogun.
It is difficult to tell at first glance that this entourage is indeed that of an
American, as the accompanying men are all Japanese. The flag bearing red
stripes is perhaps a Japanese rendition of the U.S. Stars and Stripes. The

title of the image, American Consul on His Way to Edo, is written in the
cartouche at the bottom right. Above it, in the white circle, is an eagle, the
symbol of the United States.
Important people would have been carried in palanquins followed by

their gifts and luggage. Similar entourages of local Japanese lords were a
common sight along the roadways, as these individuals were required to
make annual visits to the capitol during the Edo period.
The first delegation of Japanese officials visited the United States in

1860. They were sent by the Tokugawa shogunate to negotiate the
Treaty of Amity and Commerce. Harper’s Weekly published a number
of illustrated articles related to the visit, including ones devoted to the
delegation’s meetings with President Buchanan at the White House and the
welcoming reception at the Willard Hotel. Just as the Japanese woodblock
prints satisfied the curiosity about Americans in Japan, these articles
disseminated information about the Japanese to American readers.
Tommy, the Favorite of the Ladies, June 23, 1860

from Harper’s Weekly
1860
Engraving
Phillips Library Collection
Cloisonne vase
Meiji era (1868–1912); ca. 1892
Cloisonne and enamel
Gift of Eleanor Webster
E83908
This exceptionally large and beautiful

vase was on view at the World’s Fair in
Chicago in 1893. Many world expositions
were held in cities such as Paris and
Chicago in the late 19th century. The
Japanese government enthusiastically sent
ceramics, metalwork, lacquerware, and
textiles to these expositions to encourage
trade with the Western world.

Japan and New England
Connections and Pathways
T he Peabody Essex Museum has an unusually long history with

Japan. The objects collected by the captains of the East India
Marine Society, the founders of the museum, form the earliest
collections of Japanese art in this country (see Japan and the West p. 23).
Edward Sylvester Morse (1838–1925), director of the museum until his
death, is almost a household name in Japan. Since 1996, Ota city of Tokyo,
and Salem, Massachusetts, have been sister cities, and a student exchange
program for middle schoolers takes place every summer.
Morse was one of the first Americans to visit Japan when the country
became accessible to foreign travelers. He made his initial trip in 1877 as
a biologist in search of a specific type of brachiopod, or lamp shell. In his
autobiography, Japan Day by Day, he says of this initial trip, “Finally the
boat grounded, and I jumped out on the shores of Japan tickled enough to
yell, which I mildly did.” (Japan Day by Day, p. 2)
In Morse’s day, the port of entry for foreigners was Yokohama. While
Morse was on a coastal train ride from Yokohama to Tokyo, he noticed
some clay hills or shell mounds from his window. What he discovered
were ancient discarded shells, bones of small animals, tools, and pottery—
traces of Jomon culture (10,000 bc –300 ad). He is respected in Japan today
as the “father of modern archaeology.”
There are two great collections of Japanese art in Massachusetts: one at the
Peabody Essex Museum and the other at the Museum of Fine Arts, Boston.
Both museums owe their collections of Japanese art in large part to
Morse. While in Japan, he collected more than 20,000 works representing
Japanese art and material culture that are now in the Peabody Essex
Museum.
During his second trip, Morse’s physician advised him to take daily walks
to alleviate stress. One day while on a walk, he came upon a ceramic in
the shape of a shell. His purchase of this object, with help from other
donors, led to the gathering of a large collection of Japanese ceramics. Five
thousand works of ceramics are now in the Museum of Fine Arts, Boston;
the Peabody Essex Museum has a collection of more than 2,000 ceramics.
Hand warmer
Meiji era (1868–1912); 1878
Glazed stoneware and brass
Collected by Edward S. Morse
E2654

Exchange students from the middle schools of
Ota come to Salem every summer. The students
are seen here participating in the Japanese obon
dancing event held at PEM at the end of July.
Elaine Fong of Odaiko New England is playing the
taiko drum.
Morse’s legacy lives on with the sister city exchange program between Ota
city of Tokyo and Salem. The shell mounds that Morse discovered are in
Ota, and a stone monument has been erected at the site in his honor. Every
summer at the end of July, a group of 29 teenagers, one representing each
public middle school in Ota, arrives in Salem. They live with host families
with children of similar ages and experience a week of American life.
American students from the area, in turn, go to Japan in early August.
Edward S. Morse, May 1901

Mrs. Komai and Edward S. Morse,

June 22, 1923

Charles Goddard Weld traveled to Japan in 1885 with his friend, Charles A.
Longfellow, son of the famed poet Henry Wadsworth Longfellow. Both had
their backs tattooed: dragons on Weld’s back and a carp on Longfellow’s.
Weld was also a great supporter of Morse and purchased and donated
many works on Morse’s behalf.
Morse was influential in stirring interest in Japan among key Bostonians

who were instrumental in building the collection of Japanese art at
the Peabody Essex Museum and the Museum of Fine Arts, Boston. He
recommended Salem native Ernest Fenollosa to the faculty of the newly
established Tokyo University. Inspired by one of Morse’s lectures, the
Boston physician William Sturgis Bigelow traveled with him to Japan
in 1882. Morse, Bigelow, Fenollosa, and Weld, among others, gathered
together a large collection of Japanese art for the Museum of Fine Arts.
Dr. Charles Goddard Weld (1857–1911) with

daughter Mary
Dr. Charles Goddard Weld with tattoo on back


Matsuki Bunkio(1867–1940), 1891
Uta Matsuki (dates not recorded), ca. 1898
Collection of Peabody Essex Museum Matsuki Bunkio was barely 21 when he left Japan
for San Francisco. He made his way cross-country
Matsuki’s sister Uta was also in Salem. She is photographed to Salem, where he called upon Morse. There,
here next to a large bronze lantern that is in one of the Matsuki settled down and attended Salem High
Peabody Essex Museum’s gardens today. School as he helped Morse learn Japanese.
Matsuki went on to become a successful Japanese
art and antiques dealer with stores in Salem and
Boston.
Manjiro Nakahama was only 14 years old when he and his friend
were shipwrecked 300 miles off the coast of Japan. He became
the first Japanese to set foot in America when he was rescued
by an American whaling boat captain and brought to New
Bedford, Massachusetts. This was a time when Japanese citizens
were prohibited from leaving the country, and therefore Manjiro
would have faced persecution if he had returned to Japan.
Nakahama took the name John Manjiro, learned English, and

studied navigation and shipbuilding while in New Bedford.
Manjiro returned to Japan eventually. Policies had changed with
the arrival of American commodore Perry, and Manjiro’s English
language skills were useful in many diplomatic situations.
Manjiro Nakahama (1827–1898), 1875

Photograph courtesy of Dr. Hiroshi
Nakahama

Amaterasu. The sun goddess, and one of the most important deities of the
Shinto pantheon. It is believed that her grandson was the first emperor of
Japan. She is enshrined at Ise Shrine.
Amida (Sanskrit: Amithaba). Lord of Infinite Light who presides over the
Western Paradise according to Pureland Buddhism.
bosatsu (Sanskrit: bodhisattva). An enlightened being within the

Glossary hierarchy of Buddhism who, with boundless compassion, postpones his or
her own final salvation to save others.
Buddha. The historic Buddha was the Indian sage Siddhartha Gautama
(ca. 563–483 bce), also known as Sakyamuni or the “sage of the Sakya
kingdom.” As Buddhism developed, the term “Buddha” evolved to include
other awakened beings who had achieved perfect enlightenment, such as
Amida of the Pureland sect of Mahayana Buddhism.
Buddhism. One of the world’s major religions, founded by the historical

Buddha, or Siddhartha Gautama, in about the 6th century bce. Buddhism
came to Japan via China and Korea about 1,000 years later.
dharma. The law or truth of Buddhist doctrine; also refers to the teachings
of Sakyamuni Buddha.
ema. Literally means “picture horse.” Votive wood plaques that originally
depicted horses in lieu of using real ones as offerings. Today, other images,
such as the 12 animals of the Chinese zodiac, are depicted on one side of
these plaques. On the other side, people write wishes, especially during New
Year celebrations, and the plaques are hung at designated areas at shrines.
Ise Shrine. Considered the most sacred of all shrines in Japan; dedicated
to the sun goddess Amaterasu. It is also the family shrine for the Japanese
imperial family.
Izanagi and Izanami. The brother and sister creators of the Japanese
isles, according to the creation myths in Kojiki and Nihon shoki (see
definitions).
Jizo (Sanskrit: Ksitigarbha). This bosatsu or bodhisattva is revered in

Japan as the savior of beings in hell, travelers, warriors, and especially
children. He is usually shown in the guise of a young monk with a shaven
head, carrying a staff and wish-granting jewel.
kami. Usually translated as “deity” or “god,” the Japanese term for spirits
and divinities, which can include mythological and religious figures,
powers, and places within nature.
kamidana. Shinto altars for the home. Shrines sell amulets which are
placed in kamidana at home for worship. Offerings of fresh leaves, water,
and sake are traditionally made on the first and 15th of each month.
Kojiki (Record of Ancient Matters). Completed in 712, along with the

Nihon shoki, it is the source for Japanese history, legends, and customs.

lotus. An aquatic plant that grows from the muddy bottom of a river or
pond and blossoms above the water with large pink or white flowers. A
symbol of purity, goodness, and rebirth in Buddhism and a metaphor for
people to emerge from negativity.
Mahayana Buddhism. Founded in India in the 1st century ce, Mahayana

Buddhism placed an emphasis on personal devotion and merits, and
Buddha-hood was attainable by all. Mostly practiced in north and east Asia
in countries such as Tibet, China, Japan, and Korea.
Mara. Known as the evil one, Mara tried to seduce the historical Buddha
away from his spiritual enlightenment with visions of beautiful women
and temptations in different forms. Mara exists in the realm of desire.
matsuri. Shinto festivals that are held throughout the year. The term is
derived from the word matsuru, which means “to worship.”
Maya. Mother of Buddha.
mikoshi. Portable shrines used to symbolically house deities during

matsuri, when they are carried out of their home shrines and joined with
neighborhood festivities.
mudra. Symbolic hand gestures seen in images of Buddhas and some

bodhisattvas that represent qualities such as teaching, fearlessness, and
giving. Mudras are also used in some religious practices and sacred dance
traditions.
nehan (Sanskrit: nirvana). State of enlightenment or Absolute Reality,

attained when all illusions and desires are extinguished.
Nihon shoki or Nihongi (Chronicles of Japan). Together with Kojiki, it

is one of the primary sources of Japanese history, legends, and customs,
compiled during the first half of the 8th century.
parinirvana. Literally meaning “beyond nirvana,” it is the final nirvana, or
death. It is not a sorrowful event but a release from the cycle of death and
rebirth.
shimenawa. Bundled and twisted cords of rice straw placed over entrances
of shrines, altars, household shrines, and other areas designated as purified
or sacred. They are used for various festivals, especially during the New Year
celebrations. Strips of white paper called shide can also be hung from them.
shogatsu. These important New Year celebrations usually last from

January 1 to 5 at most shrines. People make their first shrine visits during
this period to pray for health and prosperity throughout the year.
sutra. Sacred Buddhist texts that are based on Buddha’s teachings.
torii. Placed at entryways of Shinto shrines, they mark the boundary

between the sacred and the mundane. They can be made of plain wood or
painted a vermilion color, which is believed to have power to ward away
evil spirits.

urna. A tuft of hair between the eyebrows that is one of the 32 symbols of a
Buddha. The feature can also be seen on bodhisattvas and other deities.
ushnisha. The protruberance or cranial bump on the Buddha’s head

that is a symbol of his great wisdom, spiritual power, and complete
enlightenment.
Zen (Chinese: Chan; Korean: Son). A sect of Mahayana Buddhism that

emphasizes meditation to reach personal enlightenment. It was founded by
the Indian patriarch Bodhidharma in the 6th century and introduced in
Japan by the monk Eisai (1141–1215).
Japan and the West
Batavia. Current-day Jakarta on the island of Java, Indonesia. During the

17th century, it was the Dutch East India Marine Company’s stronghold
for trading with China and Japan.
Commodore Matthew Galbraith Perry (1794–1858). Sent by U.S. President

Millard Fillmore (1800–1874) to open trade negotiations with the Japanese,
Perry and his fleet of “black ships” first arrived in Japan in 1853. The Treaty
of Kanagawa was signed on his second trip the following year.
daimyo. Lords of the different domains of Japan from the mid-15th

century onwards.
Samuel Derby. U.S. captain of the ship Margaret, chartered by the Dutch
to sail to Nagasaki in 1801.
James Devereaux. American captain of the ship Franklin, chartered by

the Dutch to sail to Nagasaki in 1799. The Franklin was the first American
ship to return with cargo from Japan in 1800. Many of the objects brought
back to Salem were presented to the East India Marine Society and are on
display today at the Peabody Essex Museum.
Deshima or Dejima. Man-made island built in Nagasaki Harbor; the only

place where Dutch traders were allowed to trade with Japan from 1640
onward. Their residences and activities were limited to the island, except
when they had to make the obligatory trip to visit the shogun in the
capital, Edo.
East India Marine Society. An association of captains and supercargoes

established in 1799. Members had to have sailed around either Cape
Horn or the Cape of Good Hope to faraway lands such as Africa, Asia,
and Oceania. The captains shared information about sailing routes and
business transactions at the various ports. They brought back objects from
these lands that constitute the earliest accessioned works in the Peabody
Essex Museum collections.
Edo or Tokugawa period (1615–1867). See Tokugawa period.

kurobune or black ships. Term given by the Japanese to coal-fired
American ships, spewing black smoke and painted black, led by
Commodore Perry. Four ships — the Mississippi, Plymouth, Saratoga, and
Susquehanna — sailed into Uraga Harbor off the Kanagawa coastline of
Japan in 1853.
Meiji period (1868–1912). The 45-year reign of the Japanese Emperor

Meiji. After being ruled by the Tokugawa family members during the
preceding period, power in name was restored to the Emperor but actually
held initially by a group of elite oligarchs. The first decades of the Meiji
Restoration were marked by the rapid modernization or Westernization of
Japan.
Nagasaki Harbor. The only place in Japan where foreign Chinese, Korean,
Ryukyuan, and Dutch ships were permitted to sail during the Edo or
Tokugawa period.
namban. Literally meaning “southern barbarians,” the term was first used
for the Portuguese and Spaniards who arrived in Japan in the 16th century.
The term is also used to describe screen paintings that depict Westerners
arriving in Japan around 1600 and works of art produced with Western
artistic influences.
National Isolation Policy (sakoku seisaku). A series of edicts issued between

1631 and 1639 that established Japan as closed to the rest of the world.
The Japanese were not allowed to travel out of the country, and the
only foreigners allowed to trade with Japan were the Chinese, Koreans,
Ryukyuans, and Dutch. The policy abruptly came to an end with the
arrival of Commodore Perry in 1854.
Giovanni Nicolo (1560–death dates unknown). Italian Jesuit painter who
established the Academy of Saint Luke in Nagasaki. He taught Japanese
Christian converts Western art techniques such as oil and fresco painting,
engraving, and the use of the printing press.
samurai. Warriors of preindustrial Japan. During the Edo period

(1615–1867), the samurai were at the top of a four-tier class system. By this
time, they were no longer warriors engaged in battles but were instead
bureaucrats. They became learned men who practiced martial arts as an
avocation and cultivated artistic pursuits such as painting and calligraphy.
shogun. Term for the effective leader of Japan from the Kamakura period
or the late 12th century to the Meiji period in 1868. Head of the most
powerful military family of the day, the shogun acted in the name of the
emperor, who was mostly a figurehead.
Tokugawa or Edo period (1615–1867). A period of unprecedented peace

in Japan, when a succession of leaders of the Tokugawa family lineage
ruled the country. Known as a time when Japan was closed to the world,
the Japanese were not allowed to travel abroad, and trade was limited to
China, Korea, the Kingdom of Ryukyu, and the Dutch. The Dutch were
the only Westerners with the agreement, since they were not promoting
Christianity and were only interested in trade. The capitol during the
period was in Edo, or current-day Tokyo.

Toyotomi Hideyoshi (1536–1598). One of the three military rulers of
the late 16th century, whose efforts led to the unification of the country
and the establishment of the Tokugawa or Edo period (see definition).
Like many of the other samurai rulers, Hideyoshi came from humble
origins and rose to power. Although he originally supported Christianity,
he came to consider it a threat. He prohibited Christianity in 1587, and
expelled Jesuit missionaries from Japan. Hideyoshi was instrumental in
the development of cultural pursuits such as the wabi tea ceremony. Also
infamous for leading two invasions of Korea in 1592 and in 1598.
Treaty of Kanagawa. A treaty signed in 1854 between Commodore Perry
and the Japanese that opened the ports of Shimoda and Hakodate.
Consequently, the first U.S. consul, Townsend Harris, was sent to Japan.
Francis Xavier (1506–1552). Portuguese leader from the Society of Jesus

who was the first to start Christian missionary activity in Japan. He lived
in Japan from 1549 to 1551.

Aston, William George, trans. Nihongi: Chronicles of Japan from the Earliest
Times to A.D. 697. Rutland, Vermont, and Tokyo, Japan: Charles E. Tuttle
Company, 1972.
Bechert, Heinz and Richard Gombrich, eds. “This World and the Other Power:
Contrasting Paths to Deliverance in Japan,” in The World of Buddhism. New
York: Thames and Hudson, 1984, pp. 212-230. Works Consulted
Earhart, H. Byron. Religion in the Japanese Experience: Sources and
Interpretations. Encino and Belmont, California: Dickenson
Publishing Co. Inc., 1974.
Earhart, H. Byron. Religions of Japan: Many Traditions Within One Sacred Way.
San Francisco: Harper, 1984.
McArthur, Meher. Reading Buddhist Art: An Illustrated Guide to Buddhist Signs

and Symbols. London: Thames and Hudson, 2002.
Varley, Paul. Japanese Culture. Honolulu: University of Hawai’i Press, 2000.
Japan and the West
Mason, Penelope. History of Japanese Art. New York: Harry N. Abrams, 1993.
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of Japanese and American Exchange. Tokyo: Edo-Tokyo Museum, 1999.
Sullivan, Michael. The Meeting of Eastern and Western Art. Berkeley: University
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Blumberg, Rhoda. Shipwrecked! The True Adventures of a Japanese Boy. New

York: Harper Collins Children’s Books, 2001.
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of Japanese and American Exchange. Tokyo: Edo-Tokyo Museum, 1999.
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Washington Press, 1996.
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Spiritual Roots. New York: Kodansha International and Harper Row, 1980.
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Its Teachings and Schools. Wheaton, Illinois: Quest, 1973.
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A Teacher’s Sourcebook for

Table of Contents Timeline of Japanese History 2

Religion and Spirituality in Japan 3

Japan and the West 23

Japan and New England: Connections and Pathways 34

Works of art on front cover

View of Mount Fuji

Amida, Buddha of the Western Paradise, or the

Gakubiwa (lute for gagaku performance)

Mountains and forests cover 70 percent of Japan’s geography. The tallest

1 Japanese Art & Culture

ca. 300 bce – ca. 300 ce Yayoi period

ca. 300 – 552 Kofun period

552 – 645 Asuka period

Timeline of Japanese History 645 – 710 Hakuho period

710 – 794 Nara period

794 – 1185 Heian period

1185 – 1333 Kamakura period

1333 – 1573 Muromachi or Ashikaga period

1336 – 1392 Nambokucho period

1573 – 1615 Momoyama period

1868 – 1912 Meiji era

1912 – 1926 Taisho era

1926 – 1989 Showa era

1989 – present Heisei era

Japanese Art & Culture 2

S hinto and Buddhism have been practiced in Japan alongside each

Due to the intrinsic characteristics of Shinto and Buddhism, each came

After this Izanagi and Izanami consulted together saying,

Amaterasu and Tsukiyomi ascended to the sky, but the ill-tempered

3 Japanese Art & Culture

■ The term “shinto” literally translates to “the way of the gods.”

Japanese Art & Culture 4

Upon entering the sacred grounds of a

5 Japanese Art & Culture

Mikoshi, or portable shrines, are used to symbolically parade deities

Festivals, or matsuri, are held at shrines throughout Japan in honor of

Japanese Art & Culture 6

Specialists of the Haneda section of Ota City, Tokyo, instructed Japanese

This portable shrine, or mikoshi, was presented to the Peabody

PHOTOGRAPH COURTESY OF KEIKO THAYER

7 Japanese Art & Culture

Omatsuri (festival) in my neighborhood is held at the local Shinto shrine,

I would dress up in my yukata (cotton summer kimono) to meet my

These are my memories of omatsuri from Japan.

Japanese Art & Culture 8

The origins of shimenawa go back to when the sun goddess, Amaterasu,

Shimenawa sizes vary depending on their purpose and placement. At the

9 Japanese Art & Culture

Ema (votive plaque)

People visit a Shinto shrine and write their wishes

Japanese Art & Culture 10

The kamidana is a simple unpainted structure that echoes Shinto shrine

11 Japanese Art & Culture

The small shrine, which was normally quiet, became ﬂooded

Japanese Art & Culture 12