meiji.txt

The year 1861 was one of the two “revolutionary” years in the cycle of sixty when the nengo was invariably changed. But even if it had not been a “revolutionary” year, the stormy events of 1860 provided ample reason to change the nengo, and the new year had begun inauspiciously. A fox was observed in the palace garden, and Emperor Komei commanded Nakayama Tadayasu to have it exorcised; but prayers and offerings had no effect. Night after night the fox yelped directly under the prince’s quarters, until finally (at the empress’s suggestion) he moved to her pavilion

Sachinomiya’s schooling began in 1859 when Prince Takahito (1812–1886) was appointed as his calligraphy teacher. The fact that Sachinomiya’s first teacher was a calligrapher suggests the importance attached to being able to write a distinguished hand. Although calligraphy was of only minor importance to a European prince, in Japan it was an indispensable element in the education of the aristocracy. A member of the imperial family was required to display his skill as a calligrapher on relatively few occasions, but it was essential that whenever he did write, his handwriting would be not merely acceptable but an imposing mirror...

The senior councillor Hotta Masayoshi (1810–1864), accompanied by two senior officials, Kawaji Toshiakira and Iwase Tadanari, left Edo for Kyoto on March 6, 1858, bringing with him lavish gifts for the emperor from the shogun Tokugawa Iesada. On the same day, Hotta sent a letter to the military liaison officers (buke denso) stating that the purpose of his visit to Kyoto was to report on the circumstances of the signing of the treaty with America. Two days later, Hotta invited to his lodgings the two military liaison officers and the three court spokesmen (giso) and described to them in...

As 1856—the third year of Ansei—opened, Emperor Komei, installed in his new palace, was able to enjoy what for his turbulent spirit were rare moments of tranquillity. But even at this relatively peaceful time, there were occasions for alarm. Foreign ships were observed with increasing frequency in the waters off Osaka, and the shogunate, fearing that this must cause the emperor grave concern, reinforced Kyoto with guards from the Hikone, Koriyama, and other domains; but perhaps reassured by the splendor of his new palace, the emperor felt no special need of extra guards and sent a message to...

The court had not yet recovered from the shock of Perry’s unexpected visit when it was informed by the shogunate on September 19 that a Russian fleet of four ships, under the command of Vice Admiral E. V. Putiatin (1803–1884), had entered Nagasaki Harbor.¹ On his arrival, Putiatin announced to the officials in Nagasaki that he had brought from his government a letter concerning trade between the two countries. His orders had initially called for him to proceed to Edo and conduct negotiations there, but the Russian government later decided it would be better to show respect for Japanese...

The Record of the Emperor Komei supplies minimal information on the birth of the future emperor Meiji, but the Record of the Emperor Meiji is extraordinarily detailed from the moment when the gon no tenji, Nakayama Yoshiko (1835–1907), felt labor pains, beginning about eight in the morning.

At once Yoshiko’s father, the acting major counselor Nakayama Tadayasu (1809–1888), sprang into action. In the hour of the serpent (9 to 11 a.m.) he sent for three court physicians and a midwife, who appeared promptly. He also informed in writing Chancellor Takatsukasa Masamichi (1789–1868), the court spokesmen (giso),¹ and...

There are two portraits of Emperor Komei (1831–1867). The first, often reproduced, shows him sitting on a raised tatami (the gyokuza, or jeweled seat), dressed in court costume and wearing the distinctive headgear of an emperor, a hat with a tall, projecting plume-like band. His oval face, turned somewhat to the right, is composed and utterly without expression, in the typical manner of formal court portraits. Nothing (except perhaps the angle of the plume) indicates that this portrait was painted in the nineteenth, rather than, say, the thirteenth century, and no attempt was made to suggest in the depiction...