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Himetachi No Sengoku [Depicting the Life of Go(U) and the Other Ladies of the Warring States Period] 1

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Himetachi No Sengoku [Depicting the Life of Go(U) and the Other Ladies of the Warring States Period] 1 298 EMWJ 2012, vol . 7 Exhibition Reviews Go[u]: Himetachi no Sengoku [Depicting the Life of Go(u) and the Other Ladies of the Warring States Period] 1. The Edo-Tokyo Museum, Tokyo, 2 January–20 February 2011 . Peopled with such distinctive individuals as Oda Nobunaga (織田信長, 1534–82), Toyotomi Hideyoshi (豊臣秀吉, 1536–98) and Tokugawa Ieyasu (徳川家康, 1542–1616), prominent warrior governors, or Sen Rikyu (千利休, 1521–91), a renowned tea master, Japan of the late sixteenth- and early seventeenth-centuries is one of the most popular periods in the national historical imagination and repeatedly offers fruitful subjects for Taiga drama, the annual yearlong historical NHK television series.2 This exhibition was held in conjunction with the 2011 NHK Ta i g a “Gou: Hime-tachi no Sengoku” (The Life of Ladies in the Warring States Period). Just as the TV drama series focused not only on Gou (江) but also other noblewomen from that time, the exhibition displayed items belong- ing to and representing her along with those from others in her circle. One of the main aims of the exhibition was to meet the needs of the newly created public interest in Gou, the heroine of the TV drama series, who was relatively unknown at the beginning of 2011. This exhibition review will first provide an account of Gou’s life and the general interest in this princess, then review the exhibition itself, and finally discuss the television drama series. Princess Gou (Sûgen-in [崇源院] as she is posthumously called) was born in 1573 between Azai Nagamasa (浅井長政), the Daimyô of northern Ômi province, and his wife Ichi (市), the younger sister of Oda Nobunaga, who, in his attempt to unify and pacify the realm, eventually destroyed Nagamasa in 1573. Gou was the youngest of what came to be known as “the three Azai sisters.” The other two are Chacha (茶々, Yododono [淀殿]), the second wife to Hideyoshi, who succeeded Nobunaga to pacify the realm in 1582, and Hatsu (初, Jyôkou-in [常高院]), wife to the Daimyô of Ômi Province Kyôgoku Takatsugu (京極高次). Their mother Ichi and 1 The English title was found on the official website of this exhibition, which is no longer available. 2 Japanese names from the early modern period will take the form of family name followed by given name. EMW12.indb 298 8/28/12 12:30:43 PM Exhibition Reviews 299 stepfather Shibata Katsui’e (柴田勝家), the Daimyô of Echizen Province, both died after being defeated in battle with Hideyoshi in 1583. The final moments of Ichi and Katsui’e are described in detail by the Jesuit Luis Frois in a collection of letters written in Portuguese.3 After having survived defeat in two castles, Gou and her sisters lived under the guardianship of Hideyoshi. Hideyoshi compelled Gou to marry three times. In 1584, the then twelve-year old Gou married her cousin Saji Kazunari (佐治一成) of Owari Province, but they were separated by Hideyoshi within the year because Kazunari declined to take the side of Hideyoshi in a battle.4 In February 1592 Gou married Toyotomi Hidekatsu (豊臣秀勝), a nephew of Hideyoshi, though their married life lasted for only one month. Hidekatsu was ordered by Hideyoshi to go to the battlefield in Korea, dying there from illness in September of the same year. In the meantime, Gou gave birth to her first child, Sadako (完子), in Osaka. (In 1604 Sadako became the wife of Kujyô Yukii’e (九条幸家), who became the chancellor to the emperor four years later.) In 1595, finally, she married Ieyasu’s son and heir, Tokugawa Hidetada (徳川秀忠), who later became the second Shogun (将軍) of the Tokugawa Shogunate that stabilized early modern Japan. Gou had two sons and five daughters with Hidetada.5 Of these, the first son Iemitsu (家光) became the third Shogun, while the eldest daughter Sen (千) married Toyotomi Hideyori (豊臣秀頼), Hideyoshi’s son. The fifth daughter Masako (和子) married Emperor Gomizunoo (後水尾天皇), giving birth to her first daughter Okiko (興子, Empress Meisyo [明正天皇]) 3 Iesvs: Cartas Qve Os Padres E Irmãos Da Companh ia Iesus Escreuerão Dos Reynos Iapão & China Aos Do Mesma Companhia Da India, & Europa, Des Do Anno de 1549 Atè O De 1580. 1598 (Tenri: Tenri Central Library, 1972), 97. 4 See Tetsuo Owada, Ogou: Sengoku no Hime kara Tokugawa no Tsuma e [Gou: From Princess to Wife of the Warring States Period] (Tokyo: Kadokawa Gakugei Shuppan, 2010), 41–44. On the other hand, Chizuru Fukuda thinks that Gou was only engaged to Kazunari. See Fukuda, Gou no Shougai [The Life of Gou] (Tokyo: Chuôkouron-shinsha, 2010), 72. 5 Fukuda insists that Gou bore only a son and two daughters and that the other four were children fathered by Hidetada with other women. See Fukuda, 234. Many historians such as Tetsuo Owada, however, consider Gou to have given birth to all seven children. See Owada, Ogou . EMW12.indb 299 8/28/12 12:30:43 PM 300 EMWJ 2012, vol . 7 Exhibition Reviews three years after their marriage. Gou’s children thus played major historical roles as a Shogun, the wife of a Daimyô, and the mother of an Emperor. Gou supported her husband until her death in Edo Castle in 1626, at the age of fifty-four. Although her shrine built just after her death in Zôjô-ji Temple was magnificent6 and several female authors have written novels about her since the 1960s, Gou had not been as widely known as her older sister Chacha before the exhibition and the television drama series (Figure 1). As Yoshimi Miyamoto points out, Gou’s low public profile was partly due to the famous Chacha, who bore the only surviving son of Hideyoshi and tried to sustain the Toyotomi regime after her husband’s death. Closely related to influential historical male figures by blood in the aforementioned family networks, Gou was one of the most important women in early modern Japan. By approaching the Warring States period and the ensuing establishment of the Tokugawa regime, that is, the early modern period in Japan, through Gou’s female perspective, “Gou: Hime-tachi no Sengoku” was able to offer a fresh approach to a celebrated period of national history. The result was a vivid picture of the active participation of women in the making of early modern Japanese society. The items concerning Gou displayed in the exhibition include: two letters from her to Hatsu, her portrait, a statue thought to be a represen- tation of Gou, the statue of the Buddhist deity of mercy owned either by Gou or her husband, the motifs portrayed in her large shrine, and the magnificent drawings which show the engravings therein (Figure 2). Her only portrait is now kept at Yougen-in Temple, Kyoto, which holds the Buddhist memorial tablets of the three families, i.e., the Azai, the Toyotomi and the Tokugawa. In the portrait Gou is depicted as a nun with a Buddhist rosary in her hands and wears simple light-brown clothes. Since she died six years before her husband, however, it cannot be assumed that she actually became a nun. According to Chizuru Fukuda, her por- trayal in this manner represents her devotion to a memorial service for the 6 Before Gou’s shrine built during the Edo period was destroyed by bombs during World War II, a part of the shrine was relocated to Kentyou-ji Temple, Kamakura. EMW12.indb 300 8/28/12 12:30:43 PM Exhibition Reviews 301 Azai and the Toyotomi.7 The exhibition items from her shrine indicate the importance she was accorded by her contemporaries. Gou, the first Midaidokoro (御台所, the wife of Shogun and the offi- cial first lady), is said to be, at least in the NHK drama series, one of the people who contributed to the establishment of the inner palace, Ôoku (大奥), where only the Shogun’s wife, his concubines, their children, and the servants lived.8 In 1618, the inner palace was regulated by Ôokuhatto (大奥法度, the Act for the Inner Palace), one of the protocols instituted by her husband Hidetada to help secure the Tokugawa establishments. Although this place in effect segregated women from the male political world, it was also an epoch-making event in the period. The exhibition includes a sketch of the inner palace, as well as items from her residence: a folding screen on which is depicted the liveliness of Edo city, a part of the tile of Edo Castle in which Gou resided, and the eighteenth-century drafts of the paintings on the walls or sliding doors in the castle, drawn by Kanou Seisen, a leading painter at the time. One of the special features in this exhibition is a cabinet with a double- leaf door from Gou’s shrine, built by her second son Tadanaga (忠長), who constructed both shrine and cabinet in Shizuoka, his dominion. (Another shrine for her was to be erected next to Hidetada’s in Zôjô-ji Temple, Tokyo, a building which was unfortunately destroyed by an air raid dur- ing World War II.) Delicate golden decorations adorn both the inside and outside of the cabinet. According to the exhibition catalogue, this piece was preserved in Yûten-ji Temple, Tokyo, after the shrine was dismantled later in the Edo period, and it remained unidentified for a long time as having been made for Gou until recent restoration work revealed the fact.9 Tadanaga was raised by Gou, while his elder brother Iemitsu was cared for by his wet nurse Fuku (福, Kasuga no Tsubone [春日局]). Although Iemitsu was finally chosen as the third Shogun, it is widely assumed that 7 Fukuda, 198.
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