Show notes
This episode we look at some of the physical evidence from this period. In particular, since we are talking about the sovereign known as Ankan Tenno, we will look at a glass bowl, said to have come from his tomb, which appears to have made its way all the way from Sassanid Persia to Japan between the 5th and 6th centuries CE. Along the way we'll take a brief look at the route that such an item may have taken to travel across the Eurasian continent all the way to Japan. For more on this episode, check out https://sengokudaimyo.com/podcast/episode-79 Rough Transcript: Welcome to Sengoku Daimyo's Chronicles of Japan. My name is Joshua, and this is Episode 79: Ankan's Glass Bowl. We are currently in the early part of the 6th century. Last episode was our New Year's wrapup, but just before that we talked about the reign of Magari no Ōye, aka Ohine, aka Ankan Tennō. According to the Chronicles, he was the eldest son of Wohodo, aka Keitai Tennō, coming to the throne in 534. For all of the various Miyake, or Royal Grannaries, that he granted, his reign only lasted about two years, coming to an unfortunate end in the 12th month of 535. The Chronicles claim that Ohine was 70 years old when he died, which would seem to indicate he was born when his father, Wohodo, was only 13 years of age. That seems rather young, but not impossibly so. It is said that Ankan Tennō was buried on the hill of Takaya, in the area of Furuichi. And that is where my personal interest in him and his short reign might end, if not for a glass bowl that caught my eye in the Tokyo National Museum. Specifically, it was the Heiseikan, which is where the Tokyo National Museum hosts special exhibitions, but it also hosts a regular exhibition on Japanese archaeology. In fact, if you ever get the chance, I highly recommend checking it out. I mean, let's be honest, the Tokyo National Museum is one of my favorite places to visit when I'm in Tokyo. I think there is always something new—or at least something old that I find I'm taking a second look at. The Japanese archaeology section of the Heiseikan covers from the earliest stone tools through the Jomon, Yayoi, Kofun, and up to about the Nara period. They have originals or replicas of many items that we've talked about on the podcast, including the gold seal of King Na of Wa, the Suda Hachiman mirror, and the swords from Eta Funayama and Inariyama kofun, which mention Wakatakiru no Ōkimi, generally thought to be the sovereign known as Yuuryaku Tennō. They also have one of the large iron tate, or shields, on loan from Isonokami Shrine, and lots of bronze mirrors and various types of haniwa. Amongst this treasure trove of archaeological artifacts, one thing caught my eye from early on. It is a small, glass bowl, round in shape, impressed throughout with a series of round indentations, almost like a giant golf ball. Dark brown streaks crisscross the bowl, where it has been broken and put back together at some point in the past. According to the placard, this Juuyo Bunkazai, or Important Cultural Property, is dated to about the 6th century, was produced somewhere in West Asia, and it is said to have come from the tomb of none other than Ankan Tennō himself. This has always intrigued me. First and foremost there is the question of provenance—while there are plenty of tombs that have been opened over the years, generally speaking the tombs of the imperial family, especially those identified as belonging to reigning sovereigns, have been off limits to most archaeological investigations. So how is it that we have artifacts identified with the tomb of Ankan Tennō, if that is the case? The second question, which almost trumps the first, is just how did a glass bowl from west Asia make it all the way to Japan in the 6th century? Of course, Japan and northeast Asia in general were not strangers to glassmaking—glass beads have a long history both on the Korean peninsula and in the archipelago, including the molds used to make them. However, it is one thing to melt glass and pour it into molds, similar to working with cast bronze. These bowls, however, appear to be something different. They were definitely foreign, and, as we shall see, they had made quite the journey. So let's take a look and see if we can't answer both of these questions, and maybe learn a little bit more about the world of 6th century Japan along the way. To start with, let's look at the provenance of this glass bowl. Provenance is important—there are numerous stories of famous "finds" that turned out to be fakes, or else items planted by someone who wanted to get their name out there. Archaeology—and its close cousin, paleontology—can get extremely competitive, and if you don't believe me just look up the Bone Wars of the late 19th century. Other names that come to mind: The infamous Piltdown man, the Cardiff Giant, and someone we mentioned in one of our first episodes, Fujimura Shin'ichi, who was accused of salting digs to try to claim human habitation in Japan going back hundreds of thousands of years. This is further complicated by the fact that, in many cases, the situation behind a given find is not necessarily well documented. There are Edo period examples of Jomon pottery, or haniwa, that were found, but whose actual origins have been lost to time. Then there are things like the seal of King Na of Wa, which is said to have been discovered by a farmer, devoid of the context that would help to otherwise clear the questions that continue to surround such an object. On top of this, there are plenty of tombs that have been worn down over the ages—where wind and water have eroded the soil, leaving only the giant stone bones, or perhaps washing burial goods into nearby fields or otherwise displacing them. So what is the story with the tomb of Ankan Tennō, and this glass bowl? To answer this, let's first look at the tomb attributed to Ankan Tennō. The Nihon Shoki tells us in the 8th century that this tomb was located at Takaya, in the area of Furuichi. This claim is later repeated by the Engi Shiki in the 10th century. Theoretically, the compilers of both of these works had some idea of where this was, but in the hundreds of years since then, a lot has happened. Japan has seen numerous governments, as well as war, famine, natural disaster, and more. At one point, members of the royal household were selling off calligraphy just to pay for the upkeep of the court, and while the giant kofun no doubt continued to be prominent features for locals in the surrounding areas, the civilian and military governments of the intervening centuries had little to no budget to spare for their upkeep. Records were lost, as were many details. Towards the end of the Edo period, and into the early Meiji, a resurgence in interest in the royal, or Imperial, family and their ancient mausoleums caused people to investigate the texts and attempt to identify mausoleums for each of the sovereigns, as well as other notable figures, in the Kojiki and the Nihon Shoki. Given that many of those figures are likely fictional or legendary individuals, one can see how this may be problematic. And yet, the list that eventually emerged has become the current list of kofun protected by the Imperial Household Agency as imperial mausolea. Based on what we know, today, some of these official associations seem obviously questionable. Some of them, for instance, are not even keyhole shaped tombs—for instance, some are circular, or round tombs, where the claim is often made that the other parts of the tomb were eroded or washed away. Still others engender their own controversy, such as who, exactly, is buried in Daisen-ryō, the largest kofun, claimed to be the resting place of Ōsazaki no Mikoto, aka Nintoku Tennō. Some people, however, claim that it is actually the sovereign Woasatsuma Wakugo, aka Ingyō Tennō, who is buried there, instead. What is the truth? Well, without opening up the main tomb, who is to say, and even then it is possible that any evidence may have already been lost to the acidic soils of the archipelago, which are hardly kind to organic matter. By the way, quick divergence, here—if you look up information on Daisen-ryō, aka Daisen Kofun, you may notice that there are drawings of a grave, including a coffin, associated with it. That might get you thinking, as I did at one point, that Daisen kofun had already been opened, but it turns out that was a grave on the slopes of the square end of the kofun, and not from the main, circular burial mound. Theoretically this may have been an important consort, or perhaps offspring or close relative of the main individual interred in the kofun, but most likely it is not for the person for whom the giant mound was actually erected. So, yes, Daisen kofun remains unopened, at least as far as we know. As for the kofun identified for Ankan Tennō, today that is the tomb known as Furuichi Tsukiyama Kofun, aka Takaya Tsukiyama Kofun. While the connection to Ankan Tennō may be somewhat unclear, the kofun has had its own colorful history, in a way. Now most of the reports I could find, from about '92 up to 2022, place this kofun, which is a keyhole shaped kofun, in the correct time period—about the early to mid-6th century, matching up nicely with a 534 to 535 date for the reign given to Ankan Tennō. But what is fascinating is the history around the 15th to 16th centuries. It was just after the Ounin War, in 1479, when Hatakeyama Yoshihiro decided to build a castle here, placing the honmaru, the main enclosure, around the kofun, apparently incorporating the kofun and its moats into the castle design. The castle, known as Takaya Castle, would eventually fall to Oda Nobunaga's forces in 1575, and most of the surrounding area was burned down in the fighting, bringing the kofun's life as a castle to an end. Some of the old earthworks still exist, however, and excavations in the area have helped determine the shape of the old castle, though there still have not been any fulsome excavations of the mound that I have found. This makes sense as the kofun is designated as belonging to a member of the imperial lineage. There are, however, other keyhole shaped kofun from around the early 6th century that are also found in the same area, which also could be considered royal mausolea, and would seem to fit the bill just as well as this particular tomb. In addition, there are details in the Chronicles, such as the fact that Magari no Ohine, aka Ankan Tennō, was supposedly buried with his wife and his younger sister. This is, however, contradicted by records like the 10th century Engi Shiki, where two tombs are identified, one for Ankan Tennō and one for his wife, Kasuga no Yamada, so either the Chronicles got it wrong, or there were already problems with tomb identification just two centuries later. So we still aren't entirely sure that this is Ankan Tennō's tomb. But at least we know that the glass bowl came from a 6th century kingly tomb, even if that tomb was only later identified as belonging to Ankan Tennō, right? Well, not so fast. The provenance on the bowl is a bit more tricky than that. You see, the bowl itself came to light in 1950, when a private individual in Fuse, Ōsaka invited visiting scholar Ishida Mosaku to take a look. According to his report at the time, the bowl was in a black lacquered box and wrapped in a special cloth, with a written inscription that indicated that the bowl had been donated to a temple in Furuichi named Sairin-ji. There are documents from the late Edo period indicating that various items were donated to Sairin-ji temple between the 16th to the 18th centuries, including quote-unquote "utensils" said to have been washed out of the tomb believed to be that of Ankan Tennō. Ishida Mosaku and other scholars immediately connected this glass bowl with one or more of those accounts. They were encouraged by the fact that there is a similar bowl found in the Shōsōin, an 8th century repository at Tōdai-ji temple, in Nara, which houses numerous artifacts donated on behalf of Shōmu Tennō. Despite the gulf of time between them—two hundred years between the 6th and 8th centuries—this was explained away in the same way that Han dynasty mirrors, made in about the 3rd century, continued to show up in burials for many hundreds of years afterwards, likewise passed down as familial heirlooms. Still, the method of its discovery, the paucity of direct evidence, and the lack of any direct connection with where it came from leaves us wondering—did this bowl really come from the tomb of Ankan Tennō? Even moreso, did it come from a 6th century tomb at all? Could it not have come from some other tomb? We could tie ourselves up in knots around this question, and I would note that if you look carefully at the Tokyo National Museum's own accounting of the object they do mention that it is quote-unquote "possibly" from the tomb of Ankan Tennō. What does seem clear, however, is that its manufacture was not in Japan. Indeed, however it came to our small group of islands on the northeastern edge of the Eurasian continent, it had quite the journey, because it does appear to be genuinely from the Middle East—specifically from around the time of the Sassanian or Sassanid empire, the first Iranian empire, centered on the area of modern Iran. And it isn't the only one. First off, of course, there is the 8th century bowl in the Shousoin I just mentioned, but there are also examples of broken glass found on Okinoshima, an island deep in the middle of the strait between Kyushu and the Korean peninsula, which has a long history as a sacred site, mentioned in the Nihon Shoki, and attached to the Munakata shrine in modern Fukuoka. Both Okinoshima and the Shōsōin—at least as part of the larger Nara cultural area—are on the UNESCO register of World Heritage sites, along with the Mozu-Furuichi kofun group, of which the Takaya Tsukiyama kofun is one.. Okinoshima is a literal treasure trove for archaeologists. However, its location and status have made it difficult to fully explore. The island is still an active sacred site, and so investigations are balanced with respect for local tradition. The lone occupant of the island is a Shinto priest, one of about two dozen who rotate spending 10 days out at the island, tending the sacred site. Women are still not allowed, and for centuries, one day a year they allowed up to 200 men on the island after they had purified themselves in the ocean around the island. Since then, they have also opened up to researchers, as well as military and media, at least in some instances. The island is apparently littered with offerings. Investigations have demonstrated that this island has been in use since at least the 4th century. As a sacred site, guarding the strait between Kyushu and the Korean peninsula, fishermen and sailors of all kinds would make journeys to the island and leave offerings of one kind or another, and many of them are still there: clay vessels, swords, iron ingots, bronze mirrors, and more. The island's location, which really is in the middle of the straits, and not truly convenient to any of the regular trading routes, means that it has never really been much of a strategic site, just a religious one, and one that had various religious taboos, so it hasn't undergone the centuries of farming and building that have occurred elsewhere. Offerings are scattered in various places, often scattered around or under boulders and large rocks that were perhaps seen as particularly worthy of devotion. Since researchers have been allowed in, over 80,000 treasures have been found and catalogued. Among those artifacts that have been brought back is glass, including glass from Sassanid Persia. Pieces of broken glass bowls, like the one said to have come from Ankan's tomb, as we…
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