170 THE CENTURY OF REFORM
institutional representation of the enlightenment. Other national trea-
sures have come down to us from those times, of which some are
thought to be on a par with the
finest
objects of art produced in contem-
porary China including
a
tapestry (the
tenju koku
shu-cho)*
belonging to
the Chugu-ji nunnery and a wood carving of the Buddha of the Future
(Maitreya) held by the Koryu-ji in present-day Kyoto (see Chapter 10).
Before sketching the process by which institutional foundations
were laid for such cultural development, let us look briefly at Japan's
increasingly wide use of the Chinese system of
writing.
For centuries,
the Japanese had seen Chinese characters carved on imported mirrors,
seals,
and swords. It is assumed that by the fifth century the Japanese
were keeping various types of written records in Chinese although
only inscriptions on mirrors and swords, and the memorial that
Yuryaku addressed to the Sung court in
478,
have been preserved. But
what has come down to us supports the assumption that Japan's first
chronicles, particularly the Nihon
shoki
and the Kojiki, were based on
fifth- and sixth-century sources that are no longer extant, as well as on
information obtained from Paekche chronicles.
Although the knowledge of writing must have been used in those
preenlightenment years mainly for keeping accounts, verifying state
appointments, and certifying lines of genealogical descent, a few sixth-
century items in the Nihon shoki point to a growing interest in other
types of written materials. For example, one entry for the year 513
states that the king of Paekche (Muryong) sent, as tribute, a scholar of
the five Confucian Classics.
9
And three years later Paekche sent an-
other Confucian scholar to replace the one who had arrived in
513.
10
As we noted in Chapter 2, Paekche's contacts with China had been
largely with the southern courts, a conclusion substantiated by the
Liang
shu
(Liang dynastic history) entry that reports the dispatch of
a
scholar of Confucian rites (/i) to Paekche in the year 541. From such
spotty evidence it is surmised that Confucian ideas were reaching
8 Preserved only in fragments, this tapestry is an embroidered mandala representing Buddhist
heaven and eternal life
(tenjukoku),
which Prince Shotoku was believed to have attained at the
time of death. Designed by immigrant artists, it depicts the figures of one hundred tortoise
shells bearing the names of deceased persons. The tapestry was embroidered by Prince
Shotoku's consort and her attendants, and it has an inscription recorded in the "Jogu
Shotoku Hod teisetsu," published in Hanawa Hokiichi, ed., Gunsho ruiju, rev. ed. (Tokyo:
Heibonsha, i960), vol. 5.
9 The authenticity of this report is reinforced by its parenthetical comment that the name of the
Japanese person accompanying the mission was rendered somewhat differently in a particular
Paekche source; see Keitai 7/6, NKBT 68.28-29.
10 Keitai 10/9, NKBT 68.33-35.
Cambridge Histories Online © Cambridge University Press, 2008