Muromachi period


The Muromachi period or Muromachi era, also known as the Ashikaga period or Ashikaga era, is a division of Japanese history running from approximately 1336 to 1573. The period marks the governance of the Muromachi or Ashikaga shogunate, which was officially established in 1338 by the first Muromachi shōgun, Ashikaga Takauji, two years after the brief Kenmu Restoration of imperial rule was brought to a close. The period ended in 1573 when the 15th and last shogun of this line, Ashikaga Yoshiaki, was driven out of the capital in Kyoto by Oda Nobunaga.
From a cultural perspective, the period can be divided into the Kitayama and Higashiyama cultures.
The early years from 1336 to 1392 of the Muromachi period are known as the or Northern and Southern Court period. This period is marked by the continued resistance of the supporters of Emperor Go-Daigo, the emperor behind the Kenmu Restoration. The Sengoku period or Warring States period, which begins in 1465, largely overlaps with the Muromachi period. The Muromachi period is succeeded by the Azuchi–Momoyama period, the final phase of the Sengoku period, and later by the Edo period.

Muromachi bakufu

's brief attempt to restore imperial power in the Kenmu Restoration alienated the samurai class, and Ashikaga Takauji deposed Emperor Go-Daigo with samurai support. In 1338 Takauji was proclaimed shōgun and established his government in Kyoto. However, Emperor Go-Daigo escaped from his confinement and revived his political power in Nara. The ensuing period of Ashikaga rule was called Muromachi after the district of Kyoto in which its headquarters – the – were relocated by the third shōgun Ashikaga Yoshimitsu, in 1378. What distinguished the Ashikaga shogunate from that of Kamakura was that, whereas Kamakura had existed in equilibrium with the imperial court, Ashikaga took over the remnants of the imperial government. Nevertheless, the Ashikaga shogunate was not as strong as Kamakura had been, and was greatly preoccupied with civil war. Not until the rule of Ashikaga Yoshimitsu did a semblance of order emerge.
Yoshimitsu allowed the constables, who had had limited powers during the Kamakura period, to become strong regional rulers, later called shugo. In time, a balance of power evolved between the shōgun and the shugo; the three most prominent shugo families rotated as deputies to the shōgun at Kyoto. Yoshimitsu was finally successful in reunifying the Northern and Southern courts in 1392, but despite his promise of greater balance between the imperial lines, the Northern Court maintained control over the throne thereafter. The line of shoguns gradually weakened after Yoshimitsu and increasingly lost power to the shugo and other regional strongmen. The shōguns influence on imperial succession waned, and the shugo could back their own candidates.
In time, the Ashikaga family had its own succession problems, resulting finally in the Ōnin War, which left Kyoto devastated and effectively ended the national authority of the bakufu. The power vacuum that ensued launched a century of anarchy.

Economic and cultural developments

The Japanese contact with the Ming dynasty began when contact with China was renewed during the Muromachi period after the Chinese sought support in suppressing Japanese pirates in coastal areas of China. Japanese pirates of this era and region were referred to as wokou by the Chinese. Wanting to improve relations with China and to rid Japan of the wokou threat, Yoshimitsu accepted a relationship with the Chinese that was to last for half a century. In 1401 he restarted the tribute system, describing himself in a letter to the Chinese Emperor as "Your subject, the King of Japan". Japanese wood, sulfur, copper ore, swords, and folding fans were traded for Chinese silk, porcelain, books, and coins, in what the Chinese considered tribute but the Japanese saw as profitable trade.
During the time of the Ashikaga bakufu, a new national culture, called Muromachi culture, emerged from the bakufu headquarters in Kyoto to reach all levels of society, strongly influenced by Zen Buddhism.

Zen Buddhism

played a central role in spreading not only religious teachings and practices but also art and culture, including influences derived from paintings of the Chinese Song, Yuan, and Ming dynasties. The proximity of the imperial court to the bakufu resulted in a co-mingling of imperial family members, courtiers, daimyō, samurai, and Zen priests. During the Muromachi period, the re-constituted Blue Cliff Record became the central text of Japanese Zen literature; it still holds that position today.

Shinto

There was renewed interest in Shinto, which had quietly coexisted with Buddhism during the centuries of the latter's predominance. Shinto, which lacked its own scriptures and had few prayers, had, as a result of syncretic practices begun in the Nara period, widely adopted Shingon Buddhist rituals. Between the eighth and fourteenth centuries, Shinto was nearly totally absorbed by Buddhism, becoming known as Ryōbu Shinto.
The Mongol invasions in the late thirteenth century, however, evoked a national consciousness of the role of the kamikaze in defeating the enemy. Less than fifty years later, Kitabatake Chikafusa, the chief commander of the Southern Court forces, wrote the Jinnō Shōtōki. This chronicle emphasized the importance of maintaining the divine descent of the imperial line from Amaterasu to the current emperor, a condition that gave Japan a special national polity. Besides reinforcing the concept of the emperor as a deity, the Jinnōshōtōki provided a Shinto view of history, which stressed the divine nature of all Japanese and the country's spiritual supremacy over China and India. Buddhism, arriving in the 6th century, impacted education but did not replace Shinto.

Education

Confucianism began to be recognized as essential to the education of a daimyo in the Muromachi period. When Genju Keian, who returned from the Ming dynasty, traveled around Kyushu, he was invited by the Kikuchi clan in Higo Province and the Shimazu clan in Satsuma Province to give a lecture; and later, he established the Satsunan school. In Tosa, Baiken Minamimura, who lectured on Neo-Confucianism, became known as the founder of Nangaku ; in Hokuriku region, Nobutaka Kiyohara lectured on Confucianism for various daimyo such as the Hatakeyama clan in Noto Province, the Takeda clan in Wakasa Province, and the Asakura clan in Echizen Province.
Meanwhile, in the eastern part of Japan, Norizane Uesugi re-established the Ashikaga Gakko, Japan's oldest surviving academic institution, by adding a collection of books and so priests and warriors from all over the country gathered there to learn. For the Ashikaga Gakko, the Gohojo clan in Odawara provided protection later. Francis Xavier, a missionary of the Society of Jesus, who propagated Christianity in Japan, described that "the Ashikaga Gakko is the biggest and most famous academy of Bando in Japan." Shukyu Banri, a priest and a composer of Chinese-style poems, went down to Mino Province in the Onin War, and then left for Edo at Dokan Ota's invitation. He traveled all over the Kanto region, Echigo Province, and Hida Province. The above-mentioned Sesshu visited the Risshaku-ji Temple in Yamagata City, Dewa Province.
In this period, local lords and local clans considered it indispensable to acquire skills of reading, writing, and arithmetic for the management of their territories. A growing number of land deeds were written by peasants, which means that literacy was widespread even among the commoner class. The Italian Jesuit, Alessandro Valignano, wrote:
"The people are white and cultured; even the common folk and peasants are well brought up and are so remarkably polite that they give the impression that they were trained at court. In this respect they are superior to other Eastern peoples but also to Europeans as well. They are very capable and intelligent, and the children are quick to grasp our lessons and instructions. They learn to read and write our language far more quickly and easily than children in Europe. The lower classes in Japan are not so coarse and ignorant as those in Europe; on the contrary, they are generally intelligent, well brought up and quick to learn."
Teikin Orai, Joe-shikimoku, and Jitsugokyo were widely used in shrines and temples as textbooks for the education of children of the warrior class. It was in the Sengoku Period that the following books were published: Setsuyoshu written by Soji MANJUYA, and "Ishotaizen", a medical book in Ming's language, translated by Asai no Sozui, who was a merchant in Sakai City and a physician.

Ink painting

The new Zen monasteries, with their Chinese background and the martial rulers in Kamakura sought to produce a unique cultural legacy to rival the Fujiwara tradition. Hence, Chinese painter-monks were frequently invited to the monasteries while Japanese monks travelled back and forth such as Josetsu and Sesshū Tōyō. This exchange led to the creation of Muromachi ink painting which often included Chinese themes, Chinese ink-washing techniques, fluid descriptive lines, dry brushes, and almost invisible facial features. Despite the initial creative restrictions, Japanese Zen ink painting soon achieved poetic and indigenous expression as elements were rearranged in a Japanese manner, and brushstrokes became gentle, fluid and more impulsive. This art style would eventually be adopted by Kanō school founder Kanō Masanobu and followed by his followers such as his son Kanō Motonobu.

Music, art and dance

The two most popular music and dance forms of the period in both cities and provinces was sarugaku and dengaku, which were both antecedents to Noh theatre, these music and dance styles would have included acrobatics and story plays. Both performance styles had by the Muromachi period been organized into za guilds which enjoyed the patronage of temples and shrines. Performances by travelling troupes would arrive in towns, temples and shrines. Sarugaku would more formally develop into Noh theatre due to the patronage of Ashikaga Yoshimitsu, in 1374 he attended a play by actors Kan'ami and Zeami who then received financial backing from the shogun. Art of all kinds—architecture, literature, kyōgen comedy, tea ceremony, landscape gardening, and flower arranging—all flourished during Muromachi times.