Heian Women - 1

Women of the Noble Class in the

Dawning Era of Heian Japan (794-1192) and their Influence upon

Japanese Cultural Identity

For Pentamere Regional A&S

2017

Pentathlon Entry

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Appendices

Appendix A: Periods of Japanese History

Appendix B – Great Families of the Heian Period

Appendix C: Heian/European Comparative Timeline

Appendix D: Primary Sources: Literature of the Heian Era

Appendix E: Poem from The Pillow Book memorized by Modern

Japanese children

Appendix F: Paintings and Reproductions throughout the ages of

Heian Culture

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“In spring, the dawn – when the slowly paling mountain rim is tinged with red, and wisps of faintly crimson-purple cloud float in the sky.

In summer, the night – moonlit nights, of course, but also at the dark of the moon, it’s beautiful when fireflies are dancing everywhere in a mazy flight. And it’s delightful too to see just one or two fly through the darkness, glowing softly. Rain falling on a summer night is also lovely.“ (Sei, 2006, page 1)

Introduction

The above quote was my first step into the research of the

Heian era. Introduced to it by a friend who had gone to school

for a year in Japan, Makura no Soshi (“The Pillow Book”), written

by, Sei Shōnagon and Murasaki Shikibu’s Tale of Genji brought to

me a wealth of knowledge and even more fascinating questions.

Given such rich cultural information, as a researcher and

anthropologist it fed my desire to know more, and allowed me to

really get into the nuances of court life as well as glimpses

into the everyday life of the people of Heian Japan. Sometimes,

one of the hardest things to learn of an ancient or medieval

culture is the details of daily life. Here, however, we are

gifted with primary resources, from the noble, upper class women

of the time, where they detail the clothing, the societal

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structure and protocol, what they ate and drank, how they

communicated, their relationships, and all entailed diverse

variety varieties of daily interactions. For years,

anthropologists and historians have bemoaned that much of history

was written by men focused on law, war and building things. Yet,

it is often the domestic arts that truly give us insight into how

a person livedpeople live.

We absorb Mmany of the influences in our lives that shape who

and what we become are absorbed from our physical environment,

our local and familial culture, the education we are given,

religious faith we are part of, our politics, etc. It is this

study of what makes us human, however, and the people in our

lives that we mimic and grow close to or away from, that cements

our habits and culture identity. Many of these influences are

gender based; we learn different things from the men and women of

our lives. But, as I studied Heian society, I marveled at the

influence of these women, and found myself asking “Can the

societal thirst for change be strong enough that one part of a

subculture be a force so strong that it changes an entire

community and cultural identity?”

More importantly, as I continued with my research and

discovered more about these women, can a group of women, who for

all pictorial description are seen as submissive and subverted;

never allowed to be seen, always weighed down by their fashion,

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and often considered commodities in a business transaction.

Despite this, can they also be shown through the written word as

forward thinkers and the designers of long lasting traditions?

History and their own words say yes, they can indeed.

In Heian society the women of the noble class are front-

runners of education, and literature. They have freedom of

marital choice and given their written contributions to Japanese

society, have an intelligent wit and wisdom to share. For a brief

moment in early Japanese history, these noble women contributed

greatly to a complete change of national identity, Japan’s very

sense of self, all the while they were also being kept secluded

and apart from many other parts of socio-political interactions.

These women, during a time when the Japanese were trying to throw

off the Chinese influence and cultural trappings, helped create a

culture so vast, elegant, and rigid that aspects of that culture

have lasted for 1221 years, so far.

As a complete overview of the impact of women in Heian Japan

could easily fill hundreds of pages, I have chosen for this paper

to review the three most important areas of influence upon

Japanese culture at the time: Fashion and Beauty; Letters, Poetry

and Literature; Sex and Marriage. Each grouping intersects the

others in such a way that it is impossible to talk about any of

them, without touching upon the rest and all three have aspects

that carried over even unto today, over 1200 years later,

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creating one of the most influential and impacting cultural

shifts ever documented in history.

Heian Japan, A Brief Introduction

First, however, understanding the socio-political climate of

Heian Japan is important, particularly in how it pertains to the

women of the noble class. The Japanese first began to develop a

personalized identity, separate from China soon after the Capital

was moved from Nara to Heian-kyo, what is now modern day Kyoto,

in 794. Prior to this period, the Japanese observed Chinese

customs and cultural nuances in all aspects of their life. They

traveled back and forth from the island to the continent, wore

Chinese styled clothing, Buddhism was followed, specifically the

Tendai and Shingon formsbeing primary and both out of China, and

much of custom and protocol was both the written and spoken word

were Chinese. (See Appendix A for Periods of Japanese History)

With the rise of the Heian Era, the desire to break away from

China brought forth a wide variety of changes within the cultural

identity of Japan including, but not limited to: extravagant

expressions of self in religion, clothing and accessories; court

politics and governing; language and the development of kana

(Japanese script); marriage and family. This change was effected

by the noble class, a small number of about 5000 people out of

the almost 5 million inhabitants of Japan. It was politically,

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the rise of the Fujiwara Clan in power, one of the four great

aristocratic families, also called The Kuge. The Fujiwaras were a

family with an infamous level of governing power. The Fujiwara’s

comprised over 90% of the governmental offices, the Era often

dubbed the “Fujiwara Regency”. And while it was considered a time

of great peace for the nation, there was much political intrigue

within the courts (Aoki, 1974; Morris, 1994).

By 1000 C.E. Fujiwara no Michinaga, considered one of the most

powerful men in Japanese history, could enthrone or dethrone an

Emperor at will (Morris, 1994). The Fujiwara clan, you see,

married their daughters to the Emperors, of whom the average age

was 5, so as to maintain control of the Empire. In his 62 years

of life, Fujiwara no Michinaga was father to four empresses,

grandfather to of three, and uncle to two.

The life of a woman of the court in Heian Japan was a

dichotomy of freedom and strict societal rules. For the most

part, Heian Japanese society was still matrilineal although by

the 12th century, the end of the Heian era, this slowly began

shifting decidedly Patralineal. Property was passed along the

female family line. Kinship during the Heian era was bilateral,

thus one’s political and social status was as a much based upon

one’s mother and her family as one’s father’s family (Goodwin,

2007).

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Heian Japan was full of an over abundance and indulgent

elegance, strict social rules, yet also encouraged everyone to

pause and enjoy the moments of exquisite beauty. The fascinating

interactions between the men and women of the time through

fashion and beauty, literature and poetry, and intimate

relationships were greatly influenced by the women of the era and

their preferences.

Fashion and Beauty

This era period of Japanese history is notable by its visual

impact. , an area of life that theDuring the Heien era women had

the most influence upon their the social aesthetics of society at

the time. They dictated what was beautiful in all things,

including poetry, wardrobe, the arrangement of their homes and

gardens. e and Such a profoundthat influence has continued to be

important within Japan today, as many of the Heian precepts of

beauty are still considered the height of society today. Beauty,

in all things, was considered of utmost importance: in language,

the written word, the spoken word, the costume, gardens, and in

the very essence of the culture. Mono no aware, a term coined in

the 19th century by Motoori Norinaga in regards to the Heian

concept of beauty, best describes the Heian thoughts of beauty.

“Beauty is precious, because it is brief” (Hooker, 1999). The

term aware during the Heian era represented sensitivity to things

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ranging from beauty to sadness, life,

love or death.

In the letters, diaries, literature

and poetry, the fashion stands out and

is the most obvious and most

scrutinized aspect of Heian beauty

personified. While the men, too, had

splendid robes to wear, their color

options and individuality was

constrained by the sumptuary laws and

their rank (Bryant, 2004). The

womenHowever, howeverthe women wore

juni-hitoe

(called

karaginu mo, with formal court layers,

and which allowed a huge canvas upon

which to express their individuality and

fashion sense.

Moreover, Ffor the women’s clothing,

the colors for of the many robes that

they wore came to be combined into

discreetly named combinations known as

irome no kasane, and within these

combinations they were able to show individuality. This sensitive

Reproduction of Heian lady in full court dress, Kariginu-Mo(Photos by Griffin, 2008, Costume

Museum, 2009)

11th Century Detail, Palace Interior, of Tale of Genji, by Murasaki Shikubu(Tokugawa Museum, 2017)

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layering of colors developed into a full and subtle bloom over

the course of 400 years. Very little in the emerging style was

Chinese. , iIn fact, of the 12 items of clothing usually worn,

only two, the Karaginu (Chinese jacket) and mo (and apron skirt

train), retained a Chinese style, but with the new Japanese

influence of color, pattern and design. As an actual mode of

dress, kasane fashion passed away with courtly society, save

except for high court ceremonies and festivals, but its influence

on kimono style has had echoes down even to present day (Dalby,

2001).

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The names of the layered colors are woven throughout Heian

culture not only in the clothing, but also in poetry and

literature—serving to pull together nature, season, person and

incident into a poetic whole.

“First we could see the fans come into sight, then the sprout-green robes of the gentlemen from the Emperor‘s Private Office. It was a splendid sight. The men wore their underrobes in such a way that the white material stood out against the green of their outerrobes, and I was reminded so much of the saxifrage blossoms in their green hedge that I almost expected to find a little cuckoo,” (Sei, 1991, pg. 198).

The karaginu-mo embodied many of the most important values in

Heian Japan. The painstakingly selected colors of the many layers

symbolized elements from the natural world, such as the natural

beauty of the maple tree or the iris. Each color scheme was only

to be worn during the appropriate season or special occasion,

such as certain festivals.

“Inside the blinds, we gentlewomen sat with our cherry-blossom combination Chinese jackets worn draped loosely back from the shoulders. Our robes were a fine blend of wisteria and kerria -yellow and other seasonal combinations, the sleeves all spilling out on display below the blinds that hung from the little half-panel shutters” (Sei, 2006, pg. 18).

To wear the a color out of season, or even to get the color

wrong for one of your layers, was to invite mockery from other

women and brought embarrassment upon the woman who erred (Morris,

1994).

Reproduction: Heian Period (late 8th-12th Century),

Kyoto Costume Museum, 2010

Reproduction Nara Period (7th&8th Century) ,

Kyoto Costume Museum, 2010

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At the same time, that it reflected much admired, simple

natural beauty, it was an expressionalso expressed of wealth and

power. Japan‘s social hierarchy was complex, rigid, and defined

nearly every element of a person‘s life. The fullness of the

robes, the sheer number of layers of fine silk, whether quilted

or embroidered, stamped or dyed, and even the wideness width of

the sleeves all demonstrated the wealth of the woman wearing the

juni-hitoe. Her court rank determined what colors her robes could

be, how the textiles could be decorated, dyed or woven, and what

outer layers were allowed. These were a vast change from the

closed, tight jacket and pant or skirt worn previously during the

Nara era (Dalby, 2001; Noma, 1983).

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The Heian mystic of beauty, the flash of clothing and color,

illicit meetings in the night and women hidden behind translucent

screens as gentlemen walked by was supported driven by the

absolute beauty of a woman‘s hair and the rarity of seeing her

face (Dalby, 2001, 2004). Thus, the pale skin, high dark

eyebrows, and red bow lips were very important, ironically it was

also the most guarded aspects of a woman’s beauty; even lovers

did not always see their ladies’ faces (Morris, 1991). A pale

face, smooth and unblemished was the height of beauty. They first

shaved off their eyebrows or waxed them over, and then would

clean their faces with ground up beans, and then apply rice flour

as a lightener. Mixing the rice flour with a good deal of water

into a thin paste, they would then apply it as foundation is

today (Dalby, 2005). Then they would take the thumb and

12th Century Scroll of The Tale of Genji depicting the Imperial Palace.Showing the long black hair and dark eyebrows of the ladies of the court

Tokyo National Museum, 20

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forefinger and dip it into black ink or khol. They would then

press their two fingers into a shallow “V” and quickly press the

shape to the upper forehead at least an inch above the natural

eyebrow line or painted in thin straight lines (Dalby, 2005;

Morris, 1991).

Lips were reddened with beni, the juice from the benibana or

safflower, that was also used as a fabric dye (Dalby, 2005).

During the Heian era only the lips were reddened. Both in earlier

and later periods the same dye was used to pink the cheeks, but

this was not done during this time.

Beautiful hair was another fundamental part of a woman‘s

beauty. “The hair of the Heian beauty was straight, glossy, and

immensely long. It was parted in the middle and fell freely over

the shoulders in great black cascades; ideally, when a woman

stood up it reached the ground” (Morris, 1994). It was never worn

up; at most, it was tied back in a simple pony tail at the nape

of the neck (Shikibu, 2003; Dalby, 2005). While it is rare to

find descriptions of almost every other physical detail, most

commentary reserved for comportment and dress, the descriptions

of women’s hair is overwhelming and abundant.

Given that a woman’s face was her ultimate beauty, seen mostly

by other women or her family, and as such, both hair and face

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were subjects of criticism and complement in many of the works of

literature written at the time.

"'Ugh!‘ said one of the maids. ‘Those eyebrows of hers! Like hairy caterpillars, aren't they? And her teeth! They look just like peeled caterpillars‘" (Morris, 1994, pg. 205).

Sei Shōnagon remarks many times throughout The Pillow Book

about the length and beauty of someone's hair (Sei, 1991). In

fact, Sei writes very critically of her own hair:

"I, an old woman who had long since seen her best years and whose hair had become so frizzled and disheveled that it no longer looked as if it belonged on her head" (Sei, 1991, pg. 94).

And as a last, somewhat puzzling aspect of Heian beauty to our

more modern sensibilities, Heian women blackened their teeth.

This blackening, Ohaguro, was done by using an oxidized iron

mixture, applied daily and considered one of the very most

important parts of a Heian woman’s toilette at the time (Dalby,

2005).

So, much like the robes, the Heian people took to very extreme

concepts of beauty. The higher the rank, the paler the skin

needed to be and the more elaborate the robes became.

In Japan today, the clothing worn often at events of state for

the royal family gives homage to the Juni-hitoe (later called

Kariginu Mo) worn by the women of the noble class in Heian Japan

(Dalby, 2001). (See Appendix F for more images depicting Heian

influences and styles)

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Letters, Poetry, Nikki(Diaries) and Literature

13th Century illustrated manuscript of “The Pillow Book” by Sei Shōnagon(Library Congress Digital Collection, 2017)

In order to understand the development of Heian cCulture, and

thus the dawn of Japanese culture, one needs to understand the

sources available. One of the incredible things about the Heian

era is the availability of primary sources that we have access to

for study: diaries, books of poetry and literary works.

AlreadyToday, the imprint of the women in the Heian era leaps

has lept into the forefront of the research. In no other time

period prior to the 16th Century, did an entire class of women

create such eloquent and illuminating literature and poetry as

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did the Heian noble women, and certainly not in such a publicly

acceptable manner. While there were a few women poets and

novelists in Europe during the same era, early medieval society

did not encourage it. (See Appendix C for comparative timeline)

In fact, in many European societies, the freedom to read and

write did not really become acceptable until a woman was widowed,

particularly if she was of the royal or noble class (Bittle,

2002). This almost obsessive desire to chronicle their lives has

made the works created by Heian woman vital resources in the

preservation of Japanese early history. Calligraphy, music and

poetry comprised much of the Heian woman’s education and with

these she was considered able to hold her own with men and other

women alike (Morris, 1994).

“First you must study penmanship. Next you must learn to play the seven-string zither better than anyone else. And also you must memorize all the poems in the twenty books of the Kokin Shū” (Kaneko, 1927, pg. 95)

During the time that Murasaki Shikibu was writing The Tale of

Genji, almost all of the works being published were written by

women. This was true for most of the Heian Era. Men did write

diaries, poetry and other works, however they were not published

in period to the extent of the writings of the women. In part

this could have been because women had the use of kana (Japanese)

and as it was a phonetic depiction of the spoken language they

were more able to express things poetically through words.

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Written Chinese remained the official language of the Heian

imperial courts, used exclusively by men for everything except

poetry and communication with women.

“Letters are commonplace enough, yet what splendid things they are! When someone is in a distant province and one is worried about him, and then a letter suddenly arrives, one feels as though one were seeing him face to face. Again, it is a great comfort to have expressed one's feelings in a letter even though one knows it cannot yet have arrived. If letters did not exist, what dark depressions would come over one! When one has been worrying about something and wants to tell a certain person about it, what a relief it is to put it all down in a letter! Still greater is one's joy when a reply arrives. At that moment a letter really seems like an elixir of life…” (Sei, 1991, pg. 207).

Sei Shōnagon immediately brings to us such an important part

of day to day life in Heian japan. Women and men at court

exchanged letters constantly. Because they were not really

allowed to speak in public, women were often shielded from

society by screens; most communication between women and men was

done via letters. They could spend hours trading ‘notes’ back and

forth beneath a silk drape: “the Gentleman on his cushion on the

Veranda and a gentlewoman safely ensconced behind her blind or

curtain close by” (McKinney, 2006).

Within letters like the ones that Sei Shōnagon describes

above, poems often played a central role. The diaries are filled

with poetry. People even exchanged poetry and letters within the

confines of their own homes (Arntzen, 1997).

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The poetry of the Heian Era was written in Kana (Japanese).

The preferred form of poetry, for both men and women, was called

tanka, or short poem. These poems contained 31 syllables,

arranged in lines in a pattern of 5/7/5/7/7 syllables per line,

and frequently entwined themes of love and nature, moods and

seasons. Deep traditional images associated with different months

become incorporated into the poetry (Arntzen, 1997; Gerber,

2007).

Composing or reciting poetry on the fly was an essential skill

in court. Failing to respond in a timely fashion, or responding

with inferior poetry, could lead to the breakdown of

relationships, whether between lovers, friends, family, or

political associates (Derby, 2005; Gerber, 2007). People even

exchanged poetry and letters within the confines of their own

homes (Arntzen, 1997).

“Presently the messenger, looking so self-important that people could not help laughing, swaggered over to the carriage that Yoshichika had indicated and spoke to the lady inside. ‘No doubt she’s busy with a poem,’ someone joked, as the messenger stood there waiting. ‘Come, Captain Sanekata, why don’t you reply?’ It was amusing to see how everyone, from the most dignified High Court Noble down to the ordinary people standing out in the open, was watching the carriage with mounting impatience. At last the man began walking off—had she given him a message?—only to be summoned back by a wave of the lady’s fan. It occurred to me that she may have made a mistake in the wording of her poem. But after taking such a long time? This was certainly not the proper way to do things” (Sei, 1991, pg. 57-58).

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Poetry was the food for romance, and many a romantic

encounter started with a poem. In fact it was common for a Heian

woman to choose her current lover by how pleased she was by his

poetry (McKinney, 2006). Poor and ill-timed poetry correspondence

left one vulnerable to ridicule, while timely and clever poetry

could bring a person much respect and favor at court (Sei, 1991).

“Even so, you do lose respect for someone who doesn’t produce any response to your tasteful seasonal references. It also dampens the spirit when you’re leading a heady life in the swim of things and you receive some boring little old-fashioned poem that reeks of the longueurs of the writer, whose time hangs heavy on her hands” (Sei, 2006, pg. 25).

Ladies of the court carried small books or loose paper with

them, often tucked into the breast of their robes or inside their

sleeves, on which they would write poems for

exchanges. Great care was taken in the

presentation, as well as the content, of the

poems. The calligraphy itself was an art form.

The paper was carefully chosen to reflect the

season and the mood of the poem, and natural

items such as a branch or flower would be

included if appropriate to both the season and

the poem (Derby, 2005).

Poetry evolved quickly during the Heian Era into prose and

elegant turning of words that became great works of fiction.

Women in Heian Japan wrote long epic stories and memoirs. Such an

Reproduction: Letters and poems, folded, were often

tucked into their robes.(Photos by Griffin,

2008, Costume Museum, 2009)

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integral part of their society, writing also became a way for

others to see into the lives of the noble class and for the

authors to express opinions and desires, otherwise limited to

them in more political venues.

The Nikki (diaries) provided us with an inside look to the

culture of the noble society of Heian Japan that preserved it for

researchers today. (For examples, see Appendix D)Some of these

Nikkis were collected and written as a day to day chronicle. On the

other hand, one of the most important works of the time, The Kagero

Nikki was written more as a memoire. The Kagero Nikki, written later

in the life, was penned by the wife of Fujiwara Kaneie (929-990 C.E.),

a man in the highest of ranks and positions of Heian Society,

describing her life, marriage and many of the events of court that she

witnessed.

“I SHALL not touch upon the frivolous love notes I had received from time to time. Now the Prince was beginning to send messages. Most men would have gone through a suitable intermediary, a lady in waiting perhaps, but he went directly to my father with hints, possibly half-joking at first, that he would like to marry me; and even after I had indicated how inappropriate I found the idea he sent a mounted messenger to pound on my gate. I scarcely needed to ask who it was. With the house in an uproar, I finally had to take the message, though I would have preferred to refuse it. My women only became noisier.” (Kagero, 2011, pg. 4)

The gift of these words, allows us to see how society worked

in the Heian era. Letters, exchanged even for courting, her

feelings about such a match, and the implication that she did

indeed have a choice in the matter, irrelevant of whom her suitor

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might be, give us a unique inside look at Heian culture that

would otherwise have been lost because it was conducted in

private exchanges. And while we may have to be careful of how

much is fact or fiction in the Nikki, this strange blend opens

the doors and lets the reader peer the common and ordinary

aspects of the people, making them very real, instead of

‘supernatural beings’, untouchable and incapable of being

understood (Jardin, 2003).

The Kagero Nikki is set apart for this reason from all the

Nikki that followed it, and its influence stretched past the

Nikki to many other forms of literature as well. Other notable

Nikki were The Sarashina Nikki and Murasaki Shikibu Nikki . Both

women were nieces, in fact of Lady Kagero, as was Sei

ShōnagonShōnagon. Murasaki wrote in great detail about the birth

of her Empress’ children, and The Sarashina Nikki gives us a much

younger view of the Heian court, starting as a young girl in the

country. Sarashina goes into great detail of describing her

surroundings as she travels from the country to the Capital.

“Outside of my new house [a rude temporary, thatched one] there is no fence nor even shutters, but we have hung curtains and sudaré. From that house, standing on a low bluff, a wide plain extends towards the South. On the East and West the sea creeps close, so it is an interesting place. When fogs are falling it is so charming that I rise early every morning to see them. Sorry to leave this place” (Morris, ed. 1971).

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We learn from her many things about being part of court, but also of

living life away from it.

Perhaps the two most important pieces of Literature from the

Heian Era, Makura no Soshi (The Pillow Book) and The Tale of Genji

were written by two women, Sei Shōnagon and Murasaki Shikibu

respectively. Both works not only give us detailed glimpses into

the life lived by women (and men) in Heian Japan, but also have

had a long lasting impact upon Japanese Society.

Sei Shōnagon’s Makura no Soshi more commonly known as “The

Pillow Book” is a collection of ‘Random Notes’ that Shōnagon

wrote over the period of years that she was Lady-in-Waiting to

Empress Teishi (977-1000), beginning when she joined Teishi’s

court around 993, and coming to an end, most likely, with

Teishi’s death (McKinney, 2005; Morris, 1991; Bittle, 2002). Her

book, published in its final form in 1002, has a very upbeat vibe

to it, even though her life and position at court were extremely

tenuous as Teishi spent most of her time as Empress trying to

keep her position in the palace (McKinney 2006). Shōnagon seemed

to have kept her “Pillow Book” completely absent of the trauma

and drama going on in court during her time there, even though at

the time, the Fujiwara’s were in battle trying to get the

Emperor’s attention with new wives, that would leave Teishi in a

unglamorous position and Shonagan’s future would become tenuous—a

Heian Women - 24

position she quickly found herself to be in upon Teishi’s death

(Morris, 1991, McKinney, 2006).

Instead of writing about court drama and the darker sides of

things, Shōnagon wrote lists of her favorite things, described

the beauty and wonder of the world in which she lived and made

fun of things that annoyed her. Her lists give researchers some

of the most important insight into Heian Japanese court life

because they are so very specific.

“[27] Things that make you feel nostalgic –

A dried sprig of aoi. Things children use in doll play. Coming across a torn scrap of lavender-or grape-

coloured fabric crumpled between the pages of a bound book.

On a rainy day when time hangs heavy, searching out an old letter that touched you deeply at the time you received it.

Last year’s summer fan” (Sei, 2006, pg. 29).

Murasaki Shikibu was the lady-in-waiting to Empress Shoshi

from 1006-1010. Her diary covered 1008-1010, and The Tale of

Genji was written approximately around 1000 and is widely

considered the very first novel published in the world (Morris,

1994; Hemple, 1983; Shikibu, 2001). The Tale of Genji is not a

widely political novel; instead it is more a romance, with more

female characters than male, and full of emotion, passion,

sorrow, pride and fully dimensional characters who take you on a

journey of the life of women at court (Arntzen, 2005).

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Genji was also a wild soap opera, given to high drama, extreme

descriptions and vivid elegant prose and poetry. Within it, we

find a great many details about Heian court protocol,

interactions between men and women, poetry within poetry and

first hand descriptions of the palace.

“Koremitsu passed the flower to Genji on a white fan. A little girl of the house handed it to him. As he finished his visit to the nurse, he asked for a torch, and shone its light on the fan on which the evening face had rested. It was permeated with a lady's perfume, elegant and alluring. On it was a poem, “I think I need not ask whose face it is, so bright, this evening face, in the shining dew.” (Murasaki, 2000, pg. 3)

The day of the serpent in the Third Month is a good day to wash away one's worries. He summoned a soothsayer to perform the purification. When he pushed the large doll bearing sins into the river, he could see himself in it. He prayed to heaven proclaiming why a blameless person like me had to be punished. Suddenly the sky turned black and the lightning and a thunderstorm came and would not stop. (Shikibu, 2000, pg 5).

Murasaki held a very high place in the Heian court and

was in some ways more in favor than her predecessor, Sei

Shōnagon. She seemed to have a more intimate knowledge of

the goings on within court by the men of society, or she

just was more willing to write about it.

Because of the great breadth of works written during

the Heian Era, we are today given a direct point of view of

the day to day lives of these women and the people they

interacted with. The influence of these works continues even

Heian Women - 26

to modern day, where many of the poem are memorized by

school children, and used in romantic encounters. Such

incredible written works, also display yet another aspect of

the dichotomy of the lives of Heian Woman; we know almost

none of their actual names. The names used are nicknames as

Muiasaki means purple and purportedly was gifted to her upon

her entrance to court because her father’s house had a field

of wisteria nearby, court ranks as Sei Shōnagon’s name is

her rank within Teishi’s and her father’s name, The Lady

Kagero was known only as Mother of Michitsuna, and Lady

Sarashina is named for the province in which she lived her later

life. Without these literary marvels, the very existence of most

of these women and many of their counterparts would have faded

away with time.

Marriage and Intimacy in the Heian Era

While Heian women were confined to their homes much of the

time, hidden behind screens from all other women and their male

family, they did go out into the world on spiritual pilgrimages

and to see festivals from draped carriages or veiled umbrellas.

They also held many rights that were not seen by the vast

majority of women in the rest of the world (and in later eras of

Japan) until the 20th century (Morris, 1994, Wallace, 2005).

Heian Women - 27

The women of the Heian era had an unusual freedom within the

law, particularly daughters of the Provincial-Governor class

(High Nobles). Daughters wereextremely well provided for, often

given property, an income and all the rights that come with the

ownership, and it is thought that this might be one of the

reasons so many of the well known female writers and poets of the

time like Murasaki and Sarashina were part of this class (Morris,

1994).

As they had their own household and incomes/allowances, they

could earn money, or inherit it, and if they did gain an

inheritance, it did not become the property of their husbands.

Marriage in Heian society was not that of a romantic nature, but

rather, it was often a business agreement and the marriage

contracts were more often a business transaction; the new husband

would come and go from the wife’s household. A Heian woman could

begin or end a marriage contract of her own free will. Men could

have multiple wives, and unlike other parts of the world at the

time, women were allowed to have lovers, albeit discretely

(McKinney, 2006; Jardin, 2003). Women were not expected to remain

chaste before marriage, nor was there condemnation of women

having sexual relationships outside the contract of marriage,

especially if their lover was a man of higher rank (Morris,

1994).

Heian Women - 28

Married couples did not always live together, particularly

when young, the women usually remained in their parent’s home or

a home that they inherited from a relative, and the man would

come to, or move in with the woman and her family. As is common

with matrilineal societies, any children were raised by the wife

and her family (Goodwin, 2007; Morris 1994). There were positives

and negatives to this arrangement, of course. Women could easily

be completely abandoned by their husbands, but this unusual

marriage arrangement also allowed the wife a significant amount

of freedom in the raising of her children and from her husband’s

control (Goodwin, 2007).

Marriage in Heian Japan was not always permanent either. As

mentioned before, women were not expected to be chaste prior to

marriage, nor were they always expected to remain monogamous

during marriage as long as they were discrete. Technically only a

man could petition for divorce, however, “a wife or her family

could pressure the husband for a separation; there was no

unconditional ban on remarriage for divorced woman or widows”

(Goodwin, 2007).

Marriage, in essence, helped raise a woman’s family within the

political climate. Often when a father had a son, he despaired of

what to do with him, for if he was of a high ranking family, he

would never be Emperor, however, a daughter could marry the

Emperor, and this was a political transaction that the Fujiwara

Heian Women - 29

family excelled in. In an ironic twist of history, the daughters

during the Heian Era became more important than the sons, and

many were desired (Morris, 1994).

A very common trend in Heian-kyo (modern day Kyoto) was that

of casual and promiscuous intimate contact (Morris 1994).

Sexuality in Heian Japan was not taboo. Because of this

flexibility with love relations, there was no clear distinction

between a professional woman in the sex trade and a respectable

woman who happened to have multiple lovers (Morris, 1994;

Goodwin, 2007; Gerber, 2007; for examples see Sei, 1991). Both

men and women acted as courtesans, although women more often took

gifts as payment, instead of gathering an actual income.

Groups of women were banded together in the occupation of

Entertainer, these women often specialized in the song and dances

that were popular at the time, and on the side many supplied

‘sexual play and intercourse in exchange for compensation’ from

the male courtiers (Goodwin, 2007). As with many things, we know

of the women entertainers, puppeteers, dancers and courtesans

because the experience was recorded in the men’s diaries as well

as alluded to in many of the books and diaries written but the

women of the day (Morris, 1991; Goodwin, 2007).

Sexual encounters were of great importance to Heian society.

The poems, essays and books of the time all touch upon the more

intimate aspects of the culture. This social trend continued

Heian Women - 30

through the Kamakura era and Japan didn’t truly develop the more

Western distinction of prostitution until the latter half of the

Muromachi era (1336 – 1573) when a more certain concept of

monogamy began to take seed in Japan. However, the interactions

made famous during the Heian era, the traditions created,

eventually even evolved into what we in modern times know as the

Geisha during the 18th century. Many of the ideals of education,

beauty and societal culture of the Geisha were taken from Heian

Japan (Derby, 2005).

ConclusionIn history, we have seen such sway from a single movement,

like The Civil Rights Movement in the United States, or a single

individual, such as Ghandi, Hitler, and many kings and queens

over the years. These movements and people dictated many things

in their culture, from what was in fashion both in clothing, to

eating and drinking, socio-political customs and all things of

polite society. These influences could impact societies for

several decades, as far as fashion goes, or for centuries like

British Parliament still wearing white wigs. Individuals like

Ghandi and Adolf Hitler both so greatly impacted many cultures

and societies, for completely opposite reasons, that they left a

mark upon their own countries that is still being felt today, but

globally as well. Henry the 8th changed the face of Britain both

in religion and in his First Succession Act that allowed Queen

Heian Women - 31

Elizabeth I to succeed him to the throne of England. And while

that did not pass down from royal to royal, today, thanks to

Queen Elizabeth II, the first born becomes the Heir, something

that will change the British Monarchy for generations to come.

So, given this pattern in history one can begin to

understand how the women of a society, could have a subtle, yet,

impressive hand in the making of a country, society and cultural

identity that has extended even into modern times. The surprise

is found in realizing that the influence they affected lasted

over a thousand years during a time where in other areas of the

world women had very little influence on their own homes, much

less an entire society. And they were able to do this despite the

many contractions they faced within their society with the

seclusion and lack of direct access to write court and government

protocol, although they definitely found ways to influence the

government through their social connections.

Even the creation of their dress, so very different from the

Chinese styles worn prior to the Heian Era has surpassed that of

other cultures. How many other queens have had their fashion

styles maintain even into the modern era (over 1200 years), in

the way that the dress of Heian Empresses did.

Heian Women - 32

Examples of how Heian Costume has been kept alive throughout history.Left: Lady Iwai Shijaku, by Utagawa Toyokuni, 1831 (Library of Congress, 2014).

Right: Modern version of Juni-hitoe, (Hakubi Kimono Schoo, 1994)(SEE Appendix F for more photos of this)

Children in Japan are required to memorize the first poem in

Sei Shōnagon’s Makura no Soshi (“The Pillow Book”) early in their

education (Morris 1991). While some of the styles have changed,

the modern haiku is a descendant of Heian poetry, and even today

the subject of much Japanese poetry is a sense of beauty that

still fits the idea of mono no aware, ‘beauty is precious because

it is brief’.

Constrained by extreme ideals of fashion and beauty, we have

seen these ideals continue forth for over 1200 years, from

Geisha, to fashion, education and over all flavor of modern day

Japan. The women of the Heian Period of Japan shaped the Nation

even unto today. From within a strange, to the modern observer,

Heian Women - 33

sometimes limited society, the women who lived as part of the

Noble class of Heian Japanese influenced the society in such ways

that an entire culture was redefined, and many aspects of their

world and influence have survived even to this very day.

Heian Women - 34

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Aoki, M. Y. (1974). Ancient Myths and Early History of Japan: A Cultural Foundation. New York, Exposition Press.

Arntzen, S. (1997). The Kagero Diary: A Woman's Autobiographical Text from Tenth-Century Japan. Ann Arbor, MI, Center for Japanese Studies, The University of Michigan.

Arntzen, Sonja (2005). The Heart of History: The Tale of Genji. Education About Asia, Vol. 10, No. 3.

Bittle, Lisa M. (2002) Women in Early Medieval Europe, 400–1100 Cambridge, England, Cambridge University Press

Bryant, A. E. o. E. (2004). Sengoku Daimyo Homepage: http://www.sengokudaimyo.com/.

Borgen, R. (1994). Sugawara No Michizane and the Early Heian Court. Honolulu, University of Hawaii Press.

Dalby, L. C. (2001). Kimono: Fashoning Culture. Seattle and London, University of Washington Press.

Dalby, L. C. (2005). Life and Culture: http://www.lizadalby.com/TofM%20SUBJ.html.

Derby, E. (2005). The Etiquette of Note-Passing in Heian Japan and It's Effects on Social and Political Status: http://history.osu.edu/students/PhiAlphaTheta/review/2005/Paper-Beth.pdf.

Dudte, Kari A. (2008) Social Influence and Gender Norms: A Senior Honors Thesis. Ohio State University

Frederic, Louis (2002). Japan Encyclopedia. The President and Fellows of Harvard College,

FUYUya (2008). HEIAN Kasane no irome: http://www.fuyuya.com/kasane/kasane-index.htm

Gakuin, K. K., Ed. (1979). A step to kimono and kumihimo. Pasadena, California, International College of California.

Gerber, M. (2007). The Importance of Poetry in Japanese Heian-era Romantic Relationships. Senior Thesis, Ohio State University

Green, Brandeis H. (2011). The Moderating Influence of Strength on Depression and Suicide in African American Women Dissertation, Georgia State University

Goodwin, J. R. (2007). Selling Songs and Smiles: The Sex Trade in Heian Kamakura Japan. Honolulu, HI, University of Hawaii Press.

Griffin, K. (2008). Crimson Griffin’s Photos of Kyoto Costume Museum Set: http://www.flickr.com/photos/crimsongriffin/sets/72157608779939606/

Heian Women - 35

Harvey, S. M. (2009). Juni-hito Sytles of Heian Era Japan: http://www.clotheslinejournal.com/heian.html.

Hempel, R. (1983). The Golden Age of Japan: 794-1192. Fribourg, Switzerland, Rizzoli International Publications, Inc.

Hooker, Richard (1997). Japanese Glossary, The Heian Period. http://www.richard.hooker.com/sites/worldcultures/GLOSSARY/HEIAN.HTM

Jardin, Molly Des (2003) The Writings of a Dissatisfied Wife: The Influence of Marriage on Heian Women Writers

Kaneko Motoomi (1927). Makura no Sōshi Hyōshaku, Tokyo,Japan.Kawashima, T. (2001). Writing Margins: The Textual Construction

of Gender in Heian and Kamakura Japan. Cambridge, MA and London, Harvard University Asia Center.

Kikuchi, S. (1969). A Treasury of Japanese Wood Block Prints: Ukiyo-e. New York, Crown Publishers, Inc.

Costume Museum, Inc. (2011). Costume Museum, Kyoto (Japanese version): http://www.iz2.or.jp.

LaMarre, T. (2000). Uncovering Heian Japan: an archaeology of sensation and inscription. Durham, North Carolina, Duke University Press.

McKinney, Meridith, Ed. (2006) The Pillow Book of Sei Shōnagon. London, England, Penguin Books

Minnich, H. B. and S. Nomura (1963). Japanese costume and the makers of its elegant tradition. Rutland, Vt, C.E. Tuttle Co.

Morris, Ivan, trans. As I Crossed A Bridge of Dreams. London, England: Penguin Books, 1971.

Morris, I., Ed. (1991). The Pillow Book of Sei Shōnagon. New York, Columbia University Press.

Morris, I. (1994). The World of the Shining Prince: Court Life in Ancient Japan, Kodansha International.

Nagase, Mari (2000), The Tale of Genji, UNESCONagashima, N. (1968). N¯ihon ifuku shi. Tokyo, Geis¯od¯o.no Komachi, Ono and Izumi Shikibu, The Ink Dark Moon: Love Poems

by Ono no Komachi and Izumi Shikibu, Women of the Ancient Court of Japan. Vintage Classics, Random House, LLC. 2015.

Noma, S. (1983). Japanese Costume and Textile Arts. New York, New York, John Weatherhill, Inc.

Schalow, P. G. (2007). A poetics of courtly male friendship in Heian Japan. Honolulu, university of Hawai‘i Press.

Schalow, P. G. and J. A. Walker, Eds. (1996). The Woman's Hand: Gender and Theory in Japanese Women's Writing. Stanford, CA, Stanford University Press.

Seidensticker, Edward G. Ed. (2011) The Gossamer Years: The Diary of a Noblewoman of Heian Japan. Osaki, Shinagawa-ku, Tuttle Publishing.

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Sei, S. (1991). The Pillow Book of Sei Shōnagon. Morris, I. Ed. New York, Columbia University Press.

Sei, S. (2006). The Pillow Book of Sei Shōnagon. McKinney, M. Ed. London, England, Penguin Books

Shikibu, M. (2001). The Tale of Genji. New York, New York, Penguin Group.

Shikibu, M. (2001). The Tale of Genji, Viking.Shikibu, M. and a. others (2003). Diaries of Court Ladies of Old

Japan. Mineola, New York, Dover Publications, Inc.Shirane, H. (1987). The Bridge of Dreams: A Poetics of "The Tale

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The Cambridge History of Japan. Cambridge, England, Cambridge University Press.

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Tokugawa Art Museum. (2005) Restored Beauty of Courtly Aesthetics: Reproductions of The Illustrated Tale of Genji. Retrieved April 10, 2017, from http://www.tokugawa-art-museum.jp/english/

Wallace, J. R. (2005). Objects of Discourse: Memoirs by Women of Heian Japan. Ann Arbor, MI, Center for Japanese Studies, The University of Michigan.

Heian Women - 37

Appendix A – Periods of Japanese History

Ancient & Early Medieval (C. E.)Kofun (250-538)Askuka Period (538 – 710)Nara period (710 – 794)Heian Period (794 – 1192)

Medieval PeriodKamakura Period (1192 – 1333)**Kenmu Restoration (1334 – 1336)

Sengoku Period (Upheval) Muromachi Period (1336 – 1573)Momoyama Period (1573 – 1603)

Tokugawa Shogonate Edo Period (1603 – 1868)

Modern Period Meiji Period (1868 – 1912)Taisho- WWI (1912 – 1926) Showa (1926 – 1989)Heisei (1989 – present)

** Different sources date the end of the Heian Era to either

1185, when Taira is defeated and Minamoto Yoritomo seizes power,

or the beginning of the Kamakura Shogonate in 1192

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Appendix B – Great Families of the Heian Period

Fujiwara Clan – Considered the most powerful family during the Heian Era. Much of their power was achieved by marrying their daughters into the Imperial Family. Many of the reigning Empresses were daughters to the Fujiwara elders. They also held over 90% of the major court offices. (Frederic, 2005; Borgon, 1994)

Minimoto Clan – known during the Heian era, mostly for being part of the complicated warrior class, neither purly noble class, nor lower class. They were part of court culture and one of their most famous members, Minamoto no Tsunemoto (897–961) created an impressive Warrior Dynasty out in the provinces and later Minamoto no Mitsunaka (912–997) allied with the Fujiwara Clan giving them even more power and influence. (Frederi, 2005; Wikipedia

Taira Clan – a clan name given by the Heian Emperors to ex-members of the Imperial Family when they became subjects instead. This designation was first given to a few grandsons of Emperor Kanmu in 825.

Tachibana Clan – holding great power during the Nara and Heian eras, the Tachibana’s typically had a family member in the position of Ministry of State (part of the Great Council of State, the highest part of the early Japanese Imperial Court government. The more powerful the Fujiwara clan became, however, the less power the Tachibana held, eventually loosing much of their influence within the capital, although still holding some in the outer provinces.

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Appendix C – Heian/European Comparative Timeline

Heian Japan794 - 950 Early Heian Period794 Capital of Japan moved to

Heian-Kyo (modern day Kyoto)

806-809

Manyoshu (Ten Thousand Leaves Collection), the first collection of Japanese poetry was compiled to a final edition

816 Koya-san monastery created838-847

After Ennin's journey to China he introduced Tendai Buddhism

900-970

Amida Buddhism introduced into Japan

900 First Japanese university founded at Kyoto

909The first 'long story' called Taketori monogatari (Tale of the Bamboo Cutter) was published

950 - 1086 - Middle Heian Period

973 - ~1013

Murasaki Shikibu Diary written (begun 973)Tale of Genji writen (around 1008) known as first novel written in history

994-996

Sei Shonogon wrote The Pillow Book

1000 The Fujiwara had absolute control of the Court

1068-1072

The long reign of the Fujiwaras ends with Emperor Gosanjo taking over and breaking their hold on the country

1086 - 1185 Late Heian PeriodThe Minimoto Family gained control 1159 Fujiware were destroyed, a

turning point in Japanese history and a 20 year period

Medieval Europe400-800 Early Middle Ages

750

Beowulf is written (English Epic Poem )Book of Kells started by Irish Monks

790 Beginning of Viking Raids on Western Europe

795-Charlemagne creates frontier province between Frankish and Arab empires

800 Charlemangne crowned Holy Roman Emporor (800)

800 - 1050 Low Middle Ages

814Death of Charlemagne; Louis the Pious becomes Holy Roman Emperor

871King Alfred the Great of England designs system of government and education

   

 935-1002

Hroswitha, German female playwright born, she is thought to have published several works, her writing style compared to that found in the Iliad and Odyssey.

1050-1300 - High Middle Ages1001-1080

Walladah Bint Mustakfi , Islamic Poet, female

1066King William the Conqueror reignsBattle of Hastings

1071 Seljuk Turks of Islam defeat the Byzantines

1095- The First Crusade is initiated1147-1149 The Second Crusade

1187-1192

The Third Crusade (Kingdom of Jerusalem)

Heian Women - 40

of Taira control began

1185

Taira is defeated (Gempei War) and Minamoto Yoritomo with the support (backing) of the Hōjō clan seizes power, becoming the first shogun of Japan, while the emperor (or "mikado") becomes a figurehead

1192 Beginning of the Kamakura Shogunate

(Adolphson, 2007; Aoki, 1974; Hemple, 1983; Morris, 1984)

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Appendix D – Diaries, Novels & collections of the Heian era

Between 814 and 827 three imperially sponsored anthologies of Chinese poetry appeared, for a while, however, it seems this would be all, and that poetry and literature would play a minor role in society.

The Pillow Book by Sei Shōnagon – the title is representative of the noble habit of keeping notepaper near their pillows, makura. Shōnagon called her WIP soshi (Random notes). The Japanese refer to the collected essays as Makura no Soshi (Random Notes of the Pillow).

The Tale of Genji by Murasaki Shikibu. - Widely considered the first "novel" ever written, and just celebrated its 1000th

anniversary in 2008. The complete book with woodwork art is available online now: http://webworld.unesco.org/genji/en/part_1/2-6.shtml

The Gossamer Years (The Kagero Nikki) - "the mother of Michitsuna”, it was the first of its kind in a long line of diaries from the Heian Era.

The Sarishina Nikki (Diary) - “The daughter of Takasue”,

The Murisaki Shikibu Nikki (Diary) – Murasaki Shikibu diary, author of The Tale of Genji, most likely written between 1008 and 1010

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Appendix E – Full Poem from The Pillow Book memorized by modern Japanese children

The first Poem in “The Pillow Book” by Sei Shōnagon

In spring, the dawn – when the slowly paling mountain rim is tinged with red, and wisps of faintly crimson-purple cloud float in the sky.

In summer, the night – moonlit nights, of course, but also at the dark of the moon, it’s beautiful when fireflies are dancing everywhere in a mazy flight. And it’s delightful too to see just one or two fly through the darkness, glowing softly. Rain falling on a summer night is also lovely.

In autumn, the evening – the blazing sun has sunk very close to the mountain rim, and now even the crows, in threes and fours or twos and threes, hurrying to their roost, are a moving sight. Still more enchanting is the sight of a string of wild geese in the distant sky, very tiny. And oh how inexpressible, when the sun has sunk, to hear in the growing darkness the wind, and the song of autumn insects.

In winter , the early morning – if snow is falling , of course, it’s unutterably delightful, but it’s perfect too if there’s a pure white frost, or even just when it’s very cold, and they hasten to build up the fires in the braziers and carry in fresh charcoal. But it’s unpleasant, as the day draws on and the air grows warmer, how the brazier fire dies down to white ash (Sei, 2005, pg. 1).

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Appendix F - Paintings and Reproductions throughout the ages of Heian Culture

These first three pictures are of Makura no soshi emaki a single illustrated scroll/text of the Pillow Book, handwritten by Gokoken-in, a Buddhist monk in the late 13th centiry, illustrated in the early 14th by an unknown female artist. It is the only early period known surviving copy that is illustrated. Photos are Public Domain, provided by Japan’s Historical Archives and Wikipedia.

Heian Women - 44

Makura no Sōshi (The Pillow Book), by Sei Shonagon – written 990s-1000s. The original Random Notes (about 996) and what is thought to be the 1st Volume published around 1002.

11th Century – one of the original scrolls of the Tale of Genji, in the author, Murasaki Shikibu’s hand.

(Tokyo National Museum, 2013)

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12th Century segment of Murasaki Shikibu Nikki EmakiTokyo Historical Museum (2013)

11th Century Scroll of Palace Interior, Tale of Genji, by Murasaki Shikibu, Japan Public Domain

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Excerpts from Tale of Genji manuscript, 1100-25. Top: Palace Interior Bottom: Bamboo River( Library of Congress Photo Archive, 2017)

Heian Women - 47

Cypress FansTop: 11th century Heian Fan

Bottom: 17th century Fan, depicting Murasaki Shikibu(Japanese Calligraphy and Illumination Exhibition, Tokyo Historical Museum, 2013)

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Cypress FansTop: 11th century Heian Fan, from the Lotus Sutra

Bottom:12th Century - Albums of the Lotus Sutra, Volume 1 and Kanfugen kyo Sutra(Japanese Calligraphy and Illumination Exhibition, Tokyo Historical Museum, 2013)

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Top: 18th Century - Tale of Genji, Toyokuni Utagawa, 1854Bottom: Sei Shonagon , Toyokuni Utagawa, 1854

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Kiritsubo; The Paulownia Court, Woman and Child, Tale of Genji Date: Toyokuniga (1852)

(Ronin Gallery, 2016)

Miotsukushi: Channel Buoys, Bijin Holding Mirror, Tale of Genji Date: Toyokuniga (1852)

(Ronin Gallery, 2016)

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Top: late 19th century reproduction of Heian Dress

Bottom: 20th century reproduction of Heian Dress, 1926, Empress Nagako

Heian Women - 52

Emperor Akihito and Empress Michiko, then Crown Prince & Princess, She is wearing a Jūnihitoe, 10 April 1959, Public Domain (2017)