We are extremely fortunate to have as our guest, professional UK photographer Paul Moss, who has provided us with a beautifully illustrated and informative guide to Kyoto's Jidai Matsuri.
Not only are the photographs stunning in their own right, but Paul has detailed with clarity the historical procession which moves through Kyoto every October, so that we can see at a glance the key points of history in the ancient capital.
I'm sure you will agree that this is a wonderful article: we are very grateful to Paul.
About Paul
A languages graduate (Spanish, French and German) I spent the vast majority of my working career as an international sales manager, travelling extensively throughout Europe, the Americas, Africa, the Middle East and Far East, although during those times, not once did I have the opportunity to visit Japan.
Keen on photography from childhood, I was always interested in photographing people and places, and eventually was persuaded to turn professional, using the name Black Camera Photography (www.blackcameraphotography.co.uk), specialising in the 3 Ps- Portraits, Parties and Prom Nights.
Separately, I developed a keen interest in those unique aspects of Japan that set it apart, be it temples and shrines, samurai castles and the mysterious world of the karyūkai - the “flower and willow world” of the geisha and which I have had the privilege to photograph on my various visits to Japan since 2017.
Jidai Matsuri – An Introduction
Throughout its history, Japan has seen more than forty-five locations designated as its capital, the capital traditionally being defined as where the Emperor, together with his Imperial Court, resides.
So it was thus in 784 when Emperor Kanmu transferred the capital from Heijō-kyō, the site of present-day Nara, to the Nagaoka-kyō Palace, located in nearby Mukō. But because of this location’s humid climate and reputation as a potential source of disease, the Emperor relocated his capital in 794 to Heian-kyō (tranquility and peace capital), the city which we now know as Kyōto (capital city).
In the ensuing centuries, the power of several aristocratic and militaristic family clans, most notably the Fujiwara, Taira and Minamoto and their attendant samurai armies, progressively reduced the powers of the Emperors and created enmities between the various factions culminating in the Genpei War of 1180-1185 which brought the Heian period to a close.
Following this defeat of the Taira, Minamoto no Yoritomo seized power and declared himself shōgun, officially sei-i tai shōgun, or commander-in-chief/generalissimo. The Kamakura shōgunate he had established continued after his death in an accident in 1199, but was eventually toppled in the Kenmu Restoration under Emperor Go-Daigo in 1333.
During what was now the Muromachi period, the power of regional warlords or daimyō progressively increased, threatening that of the shōgun to whom they were nominally subordinate, and the inevitable military confrontations between separate states for supremacy and control led to a period of civil war.
The Ōnin War in this period caused the destruction of some two thirds of Kyōto, destroying residences of both the aristocracy and samurai, as well as temples and shrines.
However, by the late 16th century, under the leadership of a prominent daimyō, Oda Nobunaga, reunification of the country began to be realised, and which was successfully continued by his successor, Toyotomi Hideyoshi.
On his death in 1598, his son and heir, Toyotomi Hideyori, was still a child, thereby creating a power vacuum into which stepped Tokugawa Ieyasu to challenge Toyotomi Hideyoshi’s generals. An overwhelming victory at the Battle of Sekigahara in October 1600 underscored Tokugawa Ieyasu’s rise to prominence and in 1603 he was appointed shōgun by Emperor Go-Yōzei.
Thus came into being the Edo period in Japanese history, Tokugawa Ieyasu having established his personal seat of power in 1591 in a small fishing village known as Edo, today’s Tōkyō.
From 1605 onwards, Edo became the centre of political and administrative power as the de facto capital of Japan, although the historical capital of Kyōto remained the de jure capital, being still the seat of the Emperor.
In that year, Tokugawa Ieyasu retired from the position of shōgun in favour of his son, Tokugawa Hidetada, but as Ōgosho (cloistered or retired shōgun) remained effectively the ruler of Japan until his death in 1616.
The Tokugawa family continued to rule until a growing resentment of the shōgunate led to its overthrow by an alliance of daimyōs and the Emperor.
On 9 November 1867, at a ceremony in the Ninomaru Palace at Nijo Castle in Kyōto, Tokugawa Yoshinobu, the 15th and last Tokugawa shōgun, ceded power to the Emperor, thus marking the end of the Edo period and the beginning of the Meiji era.
The full Meiji restoration, however, was not completed until January of the following year and the official decision to move the capital to Edo, now Tōkyō (eastern capital) was confirmed in 1869.
In 1227 the Heian Palace, hitherto the original Imperial Palace of Heian-kyō and which served as the Imperial residence and administrative centre throughout the Heian period (794-1185), was totally destroyed in a fire.
In 1895, Heian-jingū, a partial reproduction of the Heian Palace, was built as part of events to celebrate the 1100th anniversary of Heian-kyō as capital of Japan and was subsequently retained as a shrine in memory of Emperor Kanmu who brought the capital to Heian-kyō. In 1940, Emperor Kōmei was included in the list of dedication, being Emperor when the capital was moved to Edo.
To add colour and context to the celebrations, a procession representing the people of each era of Kyōto’s history, dressed in historical costumes of the various periods, was added.
This festival, known today as Jidai Matsuri (Festival of the Ages), is held on 22 October each year, the day on which the capital was transferred to Kyōto, and commences in the grounds of the former Imperial Palace and processes through the city’s streets before reaching the Heian-jingū shrine.
To ensure total authenticity, every single costume and ceremonial item that features in the present Jidai Matsuri is the result of hours of dedicated research and made from materials, threads and dyes using techniques of the period.
The procession, however, begins with representations from the Meiji Restoration and then works backwards through the periods thus:
Meiji Restoration period (c.1868)
Edo (1600-1868)
Azuchi Momoyama (1568-1600)
Muromachi (1338-1573)
Yoshino (1333-1392)
Kamakura (1192-1333)
Heian (794-1185)
Enryaku (782-806)
Jidai Matsuri – an Illustrated Guide
Meiji Restoration period
When the last shōgun, Tokugawa Yoshinobu, in the face of much discontent of his handling of foreign affairs from both nobles and samurai, ceded power to the Emperor, it was in the hope that the House of Tokugawa would survive and be a part of future governments. However, when an Imperial decree, instigated by the Satsuma and Chōshū clans, abolished the House of Tokugawa, Yoshinobu instigated
a military campaign in an attempt to regain power, thus triggering the Boshin War.
Following the Honorary Festival Commissioners (1) at the head of the Jidai Matsuri procession, the distinctive sounds of the Meiji Restoration Imperial Army are heard from the Drum and Fife Corps accompanied by soldiers (2) representing those from a village west of Kyōto who joined the Imperial Army to help put down Yoshinobu’s rebellion against the new government.
Katsura Kogorō (3) of the Chōshū clan and Saigō Takamori (4) of the Satsuma clan were both party to the Satsuma-Chōshū Alliance that united the hitherto rival clans against the Tokugawa to restore the Emperor to power.
Maki Izumi (5) was involved in an earlier attempt by Chōshū forces to seize Kyōto but the attempt was thwarted and those involved fled.
Several court nobles who initially fled Kyōto but who later became government leaders include Yoshimura Toratarō (6) a samurai from Tosa aligned with the sonnō jōi (“revere the Emperor, expel the barbarians”, pro-Imperial anti-Western influence) movement and Prince Konoe Tadahiro (7) a member of one of the five most aristocratic families.
Edo period
Although the Tokugawa shōgunate had established its base in Edo, Kyōto remained the seat of the Imperial Court, and therefore on the occasion of important Imperial functions, it was customary for the shōgun to send deputies to the capital to pay his respects.
The accompanying procession (8) was a spectacle to behold, often involving as many as 1700 people travelling on foot from Edo to Kyōto.
Procession of Edo period Ladies
Imperial Princess Kazu-no-Miya (9) was the sister of Emperor Kōmei (deity of the Heian Shrine) and reluctantly married Tokugawa Iemochi, the 14th shōgun, following family and political pressure. Here she appears dressed in a pre-nuptial jūnihitoe - “twelve-layer robe”, typical of those worn at Court.
Ōtagaki Rengetsu, (10) initially the daughter of a samurai family, was adopted into the Ōtagaki family while young. In later life, after burying two husbands, four children, her adoptive mother and adoptive brother, she gave up her position as lady-
in-waiting at Kameoka Castle and became a nun at Chion-in temple aged just 33.
Despite her Buddhist life, Rengetsu (“Lotus Moon”) became famous for her various artistic skills, considered one of the best 19th century waka poets. She was also a skilled potter, painter, calligrapher, dancer, tea ceremony host and martial artist.
Ike-no-Gyokuran (11), who was the daughter of Kaji (see 13), became an established painter, along with her husband Ike no Taiga, and was an equally renowned calligrapher and poet.
Nakamura Kuranosuke-no-Tsuma (12) married Nakamura Kuranosuke, a wealthy businessman, and it is believed she won outstanding fame in the style contests which were held at that time.
Kaji (13) was the proprietress of a tea house in Gion, near the Yasaka Shrine, known primarily as a writer and publisher of poetry.
Tayū were the beautiful artist-entertainers who held the highest rank in the Shimabara red-light district of Kyōto and Yoshino Tayū was regarded as one of the three most elegant and cultured tayū of her time.
Renowned for her intellect as well as her looks, Yoshino Tayū was said to be skilled at poetry, koto, flute, flower arranging, calligraphy and more.
Izumo-no-Okuni (15) was a descendant of the Tokugawa and a maiden at the Grand Shrine of Izumo, where she was adept at ritual dance and song. Whilst in Kyōto to garner funds for the shrine, she became known for performing songs and dance by the Kamogawa River and at Kitano Tenmangū shrine, where she employed and taught other women her new style of acting, subsequently evolving into what we now know as kabuki.
Azuchi Momoyama period
Toyotomi Hideoshi was originally a servant of peasant origins under the daimyō Oda Nobunaga, eventually succeeding him and unifying Japan during the Sengoku Jidai – Warring States period. In 1596, Toyotomi Hideoshi’s heir, Toyotomi Hideyori, made his first formal visit to the Emperor, riding in an ox-drawn cart.
Following ten years of upheaval resulting from the Ōnin War, Kyōto was a troubled capital. Beyond, Oda Nobunaga was conquering various provinces to bring them together under a single, unified banner.
After requests from Emperor Ōgimachi to assist in its reconstruction, Oda Nobunaga marched upon Kyōto, entering the city in October 1568.
Although he would later become the country’s leader under the name of Toyotomi Hideoshi, Hashiba Hideyoshi (18) is represented in the Jidai Matsuri when he was a general in Oda Nobunaga’s army. Originally a simple sandal-bearer foot soldier known then as Kinoshita Tōkichirō, he rose through the ranks to become a trusted general, skilled in negotiations and sieges.
A senior retainer of Oda Nobunaga, Niwa Nagahide (19) took part in most of the clan’s battles, distinguishing himself in that of Kannonji in 1568, oversaw castle construction and eventually married Nobunaga’s adopted daughter. For his loyalty, he was rewarded with Echizen and Kaga provinces, thus becoming a daimyō.
Known as the first great unifier of Japan, Oda Nobunaga (20) demonstrated his potential at an early age, outflanking both his uncle and younger brother for control of the Oda clan. Gaining significant prestige and power following his defeat of Imagawa Yoshimoto in the battle of Okehazama with but a fraction of his enemy’s forces, Oda Nobunaga continued to accumulate ever more power, subjugating rival
warlords and putting down peasant and religious insurrections against him, thus uniting many of Japan’s provinces under his rule.
Betrayed by his lieutenant Akechi Mitsuhide, Oda Nobunaga was killed in what is known as the Honnō-ji Incident at the temple of that name in Kyōto in 1582.
Takigawa Kazumasu (21), a samurai and retainer of the Oda clan, fought alongside Oda Nobunaga in many battles, eventually being given the title of Kantō kanrei (Shōgun’s deputy in the East).
After Nobunaga’s death, Takigawa was among those who initially opposed Hideyoshi inheriting their lord’s legacy, but ultimately acknowledged Hideyoshi’s supremacy after being defeated defending Kameyama Castle.
Originally a retainer of Oda Nobunaga’s younger brother Nobuyuki, Shibata Katsuie (22) was defeated by Nobunaga in the Battle of Inō in 1556. Although Nobunaga executed his younger brother, he spared Katsuie out of respect for the man’s loyalty.
Shibata Katsuie then swore fealty to Nobunaga, serving him well in later battles, particularly during the Siege of Chōkō-ji Castle in 1570.
Muromachi period
The Muromachi shogunate procession (23) is indicative of the warrior culture, depicting light battle armour and other styles of dress of the samurai warrior class prevalent at the time of the 14th century Ashikaga shogunate.
Hosokawa-shi (24) was an assistant to the shōgun, responsible for all government affairs.
The procession showing aspects of Muromachi daily life (25) is made up of dancers, flautists, drummers and young children in ritual clothing who provided the various styles of entertainment to the citizens of Kyōto at this time.
Image (26) shows a group re-enacting the Fūryū Odori, a dance popular among the people of Kyoto in the Muromachi era.
This Fūryū Odori consists of an inner row of musicians and an outer row of dancers, with a large paper umbrella at the centre.
Yoshino Period
This part of the procession shows the triumphant entry into Kyōto of the samurai leader Kusunoki Masashige (27) when he assisted the return to the capital in 1333 of Emperor Go-Daigo after his exile by the shogunate for plotting against them.
Kusunoki Masasue (28) was a samurai warlord during the Nanboku-chō period, and the younger brother of Kusunoki Masashige. He died alongside his brother during the Battle of Minotagawa in 1336. He is famous for his last words: Shichishō Hōkoku! - Would that I had seven lives to give for my country!
Ladies from the Middle Ages 1180 – 1600
In the history of Japan, the time period known as the middle-ages is very long. The following two groups, the Ōhara-me and Katsura-me, wear costumes typical of their occupations at that time.
Ōhara-me (29), or the women of Ōhara to the north of Kyōto, would come to the city to sell firewood and charcoal, carrying the bundles on their head.
For Katsura-me (30), the women of Katsura to the west of Kyōto, it was the custom to wrap a white cloth around their head, covering their hair, whilst selling goods such as fish and candies.
Yodogimi (31) or The Lady of Yodo Castle, was the younger sister of Oda Nobunaga who later became the wife of Toyotomi Hideyoshi and in 1593 gave birth to Toyotomi’s sole biological male heir, Hideyori.
After the death of Toyotomi Hideyoshi, Yodogimi and her son based themselves at Osaka castle from where they attempted to revive the power of the Toyotomi clan. Besieged by Tokugawa Ieyasu in 1615, both were said to have committed suicide as the castle burned.
Lady Shizuka (32), also known as Shizuka Gozen, was a shirabyōshi, a court dancer known for performing in male attire to the accompaniment of Buddhist prayer songs and imayō poetry. It is said she achieved fame when her dancing brought forth rain after 100 Buddhist monks and 99 other dancers had failed to do so. It was during one of her performances that she came to the attention of Minamoto no Yoshitsune,
the legendary warrior, who became her lover.
Kamakura period
Yabusame is a form of archery practised on horseback and this scene depicts an event during the Jōkyū War in 1221 when Emperor Go-Toba gathered a force of soldiers at a shrine, disguising themselves as yabusame archers, in order to defeat the Hōjō family. The Emperor’s attempt to overthrow the Kamakura shōgunate proved unsuccessful and he died later in exile.
Fujiwara period
From the middle of the Heian period onwards, the influence of Tang China began to wane as Japan’s own national style began to mature, including the mode of dress. At the same time, the Fujiwara family came to dominate Court positions, both militaristic and intellectual.
Court nobles (34) and Fujiwara family ministers make a formal visit to the Imperial Court.
Ladies from the Heian period
From 894 onwards, Japanese culture began to develop an identity of its own, some of it manifested in the change seen in the attire of women throughout the period.
Tomoe Gozen (35) was a female samurai (onna musha) in the 12th century, whose exploits in the Genpei War, the conflict between the Taira and Minamoto clans, are recounted in the Heike Monogatari.
Known for her exceptional skill with both bow and sword, she was celebrated for her bravery and prowess in battle. She is depicted here with a naginata, the weapon favoured by many onna musha of the time.
Tomoe Gozen fought fiercely in the Battle of Awazu alongside her lord and lover, Minamoto no Yoshinaka, in 1184 where, according to chronicles, she led her troops with unparalleled courage. In one account, she is said to have singlehandedly decapitated an opposing samurai, showcasing her combat skills and resilience.
Yokobue (36) was a low-ranking lady-in-waiting to the Empress Taira no Tokuko and fell in love with an Imperial Palace guard named, Takiguchi no Tokiyori, whose father forbade them from marrying.
Torn between his love of Yokobue and duty to his father, Takiguchi no Tokiyori sought solace by becoming a monk at a temple in Arashiyama. Some accounts say that Yokobue, distraught and heartbroken, also took the tonsure.
She is seen here on her way to visit her erstwhile lover.
Tokiwa Gozen (37) was the wife of Minamoto no Yoshimoto, leader of the powerful Minamoto clan. Following the Heiji Rebellion in 1160 in which Yoshimoto’s attempted coup against the Emperor was foiled by the rival and loyalist Taira clan, Yoshimoto was killed and Tokiwa Gozen was forced to flee with her children.
Here she is depicted returning to Kyōto to beg for the release of her mother, captured during the rebellion. She is accompanied by her two children and a third at her breast (just visible).
Murasaki Shikibu (38), “Murasaki” meaning “purple”, a nickname for Court, and “Shikibu” or “Ministry of Ceremonies” after her father’s rank at Court, was an 11th century noblewoman who served as a lady-in-waiting and is reputed to be the author of the world’s first novel, The Tale of Genji – Genji Monogatari.
Some sources suggest her true name may have been Fujiwara no Takiko, however the truth remains unsubstantiated because at that time, written documents referred to women by the names they used at Court or their relation to the men in their lives.
Sei Shōnagon (39), the daughter of Kiyohara no Fukayabu, was a mid-rank noblewoman who resided in the Imperial Court as a lady-in-waiting to Empress Teishi, the first wife of Emperor Ichijō.
During her time there she compiled a collection of essays, anecdotes, poems and descriptive passages about Court life, published as The Pillow Book in 1002.
A Pillow Book is a collection of notebooks or notes which have been collated to show a period of someone’s life. In Japan, this genre is generally referred to as zuihitsu.
Ki-no-Tsurayuki-no-Musume (40) was the daughter of 10th century poet, Ki no Tsurayuki and is seen here in a mid-10th century costume.
Ono-no-Komachi (41) is believed to have served at the Imperial Court although accounts differ as to her rank. Her reputation as an unparalleled beauty and skilled poet, however, appears to have been universally acknowledged.
Included among the Rokkasen (Six Poetry Immortals) of her period and designated as one of the Thirty-Six Immortals of Poetry in 1112.
Wake-no-Hiromushi (42) was an 8th century noblewoman from a respected Buddhist family well known for their loyalty in serving the Emperor. She initially served Retired Empress Kōken but became a nun with the name Hōkin-ni following the death of her husband.
When a disastrous famine struck the capital and left numerous children abandoned, Wake-no-Hiromushi is said to have taken in over 80 orphans and brought them up as her own. Such merciful deeds served as the foundation for orphanages in Japan.
Kudaraō Myōshin (43) was the wife of a powerful government Minister of the Right and trusted confidante of Emperor Kanmu, becoming Chief Lady-in-Waiting at the Imperial Court. Her costume here is representative of the Chinese-influenced formal attire of the Nara and early Heian period.
Enryaku Period
This period began c.781 with the reign of Emperor Kanmu who moved the capital to Kyōto in 794.
This procession depicts the victorious return of General Sakanoue Tamuramaro and his army from conquering the tribes of Emishi people in north-eastern Japan. After the death of Emperor Kanmu, Sakanoue no Tamuramaro (45) served subsequent Emperors militarily and with distinction.
Following his conversion to the worship of Kannon, the Goddess of Mercy, the hall he had built later became Kiyomizu-dera temple.
Shinko-retsu (46) marks an important aspect of the Jidai Matsuri in that it features two omikoshi or portable Shinto shrines, containing the holy spirits of the Emperors Komei and Kanmu, being carried towards the finale of the festival at the Heian Shrine.
Preceding the omikoshi are gagaku musicians who play ritual festival music together with young children in bugaku costumes (47).
Shirakawa-me (48) are women from the Shirakawa River basin below Mt. Hiei who traditionally grew and sold flowers. The women in the procession are depicted bearing on their heads baskets of flowers to be given as gifts at the Imperial Palace.
Processing through the streets of Kyoto, the Festival nears its conclusion as it passes under the towering 24.2m tall torii on Jingu-Michi dori reaching its ultimate destination at the Heian-Jingu shrine (50).
I'm sure you'll agree, this is a stunning piece of work by Paul, and of huge value to all of us who love Kyoto history and hope to attend Jidai Matsuri. Thank you Paul, for allowing us to admire your beautiful photos.
Cathy x
All photographs are by Paul Moss, and are the copyright of Black Camera Photography: http://www.blackcameraphotography.co.uk/
Sources
Stephen Turnbull, Samurai Women 1184-1877.
Chris Glenn, The Battle of Sekigahara.
A.L. Sadler, Shōgun.
Danny Chaplin, Sengoku Jidai.
Jidai Matsuri Official Guide
Kyoto City Tourism Association
Miss Myloko
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