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Introduction to Heian Culture. Life and Values of Japanese Court Life Around 1000 CE. Heian was the ancient name for Kyoto. It was here that the leaders of Japan( in about the years 700 to 1000) were taking elements of Chinese society and “reinventing” them as uniquely Japanese.
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Introduction to Heian Culture Life and Values of Japanese Court Life Around 1000 CE
Heian was the ancient name for Kyoto. It was here that the leaders of Japan( in about the years 700 to 1000) were taking elements of Chinese society and “reinventing” them as uniquely Japanese.
A Map of Ancient Heian Like ancient Chinese cities and the most recent capital of Nara, the planners of Heian followed the conventions of a grid patterned city with a low wall around it. A broad avenue lead to the palace of the Temmu (heavenly leader.)
Heian was a city built for the Emperor and his court. It nestled in mountains known for their beauty.
Connecting with nature, being sensitive and appreciative of it, was a key value of Heian society Colors, textures, and shapes … meshed with Chinese elements
The capital itself was situated in beautiful country, encircled on three sides by thickly forested hills and mountains, often delicately wreathed with trails of mist; in the autumn evenings one could hear the deer’s cry in the distance and the desolate call of the wild geese overhead; the landscape abounded in streams and waterfalls and lakes; and into its green slopes and valleys the countless shrines and monasteries blended as if they too had become a part of nature. (Morris, p. 34)
What was considered beautiful, and what was valued as skilled and sophsiticated were tied to Taoist, Confucian, and Buddhist philosophies. Here a lady of the court is dressed and valued for her ablity to blend the colors of her many-layered kimonos.
Courtly refinement and aesthetic sensitivity were reflected in the daily dress and manners of the elite. Both men and women’s clothing and adornment were subject to conventions of the day. Women wore an elaborate costume of up to twelve inner and outer layers of cloth. Natural white teeth were colored black with a solution of iron and powdered gallnut soaked in vinegar (temporary teeth blackening remains as a part of the process of becoming a geisha entertainer in Kyoto today). Hair was decorated with ornaments and worn as long as possible – even to the ground. White powder was applied to the face and neck and light rouge on the cheeks. Eyebrows were plucked and misty dark blotches were painted high upon the forehead. Lips were painted red like tiny flower buds.
Taoist Connections to Nature flowed in Japanese society and it’s art.
Compare this classic Chinese print with the block print of winter in Heian
Mono no aware • Another important aesthetic element, that evolved was the concept of mono no aware, or “sensitivity to things.” Enhanced by the natural beauty of Japan, the value or the society was based on the idea that the heart/soul is stimulated by images of the sublime in nature. Thus, a falling cherry blossom or an autumn leaf circling in a pool creates subtle and indescribable feelings that can only be expressed by poetry or other arts.
Role of Women in the Heian Culture • Elite women were educated in calligraphy, poetry, music, and customs such as incense preparation, which allowed them some intellectual equality with men of their class. Although most upper class women spent their days in secluded leisure at home, possibly engaging in embroidery and dyeing cloth, women of the court like Sei Shonagon, had somewhat more public lives. Interactions between the sexes (other than close family members and lovers) were rarely direct. Communication, when necessary, was often through carefully crafted letters delivered by go-betweens or servants. Elite men led much more public lives, involved in politics and the running of their estates.
Primary Sources from women of the Heain Court give us a window into their culture. • A thousand years ago a lady-in-waiting in the imperial court at Heian Kyo (modern-day Kyoto) dipped her brush into the well of her inkstone and watched the bristles swell with ink. She lowered the brush onto the paper spread in front of her and moved her hand rapidly: • Haru wa akebono . . . In spring, the dawn. The sky, dyed in morning light, slowly brightens and purple clouds stretch across the mountains. . . . • She guided the brush up and down the page: • Natsu wa yoru . . . In summer, the night. I need not write of the nights lit by the moon, but of the moonless nights, the fireflies' lights crossing in the darkness. . . . • A bristle worked itself loose. She perched it onto the left edge of the inkstone and continued: • Aki wa yugure. . . In autumn, the evening. The setting sun burnishes the edges of the mountains and the birds fly home. . . . A trembling line of wild geese flies into the distance and disappears. . . .
