Literary Echoes of Biwa - Heike monogatari II - Kenjō

In the heart of the Heike monogatari is a single mention of a particular biwa at a critical moment of the narrative. This biwa is more than just an instrument - it is a vessel of history, authority and power, as well as mystery.

The Biwa as Imperial Treasure

In this second post of the Literary Echoes of Biwa series, I examine a passage that unveils profoundly the biwa's status and role in Japanese history and culture.

The passage of the Heike monogatari we are examining comes from the middle of the Twelfth Section of the Seventh Chapter, where the biwa, named Kenjō, is specifically mentioned in the imperial flight from Kyoto.

Earlier in Chapter Seven, we encounter Tsunemasa's journey to Chikubushima, the subject of my previous blog post. Tsunemasa returns from this mystical island-shrine filled with hope, having witnessed the auspicious appearance of Benzaiten in the form of a dragon as he played the biwa.

However, after Tsunemasa's mystical encounter, the Heike clan's fortunes took a drastic turn. They were crushed in the following battles with Minamoto no Yoshinaka.

As the political turmoil intensifies in the days after the loss, the Heike clan struggles to maintain control. Amidst the chaos, the Emperor Go-Shirakawa flees the capital.

Go-Shirakawa, who had abdicated the throne to his son in 1158, remained a powerful figure behind the scenes during the reigns of the following emperors, manipulating political events even after his abdication. The emperor at this moment is a six-year-old child, Emperor Antoku. Go-Shirakawa's decision to flee the capital causes panic amongst the Heike, and Taira Tokitada, the vice minister orders the evacuation of the city.

In the midst of their struggle, the mention of the biwa, Kenjō, offers a fascinating glimpse into the cultural weight of the instrument. We join the story at this point.

 Departure of The Emperor from the Capital (Extract)

And thus, as soon as it became known that the Hō-ō [Go-Shirakawa] was not to be found in the capital, panic broke out everywhere. Indeed, the state of panic among the people of the Heike clan was such that one could hardly say it might not be greater even if the enemy where assaulting their very homes.

In there plans at the time, the Heike desired to take the Hō-ō and the young Emperor Antoku away from the capital and travel into the Western Provinces. However, their plans were foiled when they found out that the Hō-ō had fled and this situation now felt to them as that of someone who had sought shelter under a tree only to find it was leafless and of no use to keep off the rain.

"Let that be as it may, we will take the young Emperor!" they said. And so, at the hour of the hare, or 6 a.m, the procession began. The Emperor was only a child of six years of age and understood nothing of what was happening. His Imperial Mother Kenrei Mon-in rode with him.

The Imperial Regalia were brought away and Taira Tokitada Dainagon had given orders that the Imperial Seal, Imperial repository key, the tablet for keeping the hours, and the musical instruments, namely the biwa called Kenjō and the zither called Suzuka should be brought too. However, in the rush and the panic, many things were left behind....

A Story of Power and Spirit

In the English translations by Arthur Waley and Kitagawa/Tsuchida of this passage, the biwa is referred to as the 'Imperial Biwa.' However, the original Japanese text does not simply use the word 'biwa'—it specifically names the instrument, Kenjō, giving it a sense of individual importance and reverence that is not captured in the translation.

Kenjō was more than just a musical instrument; it was a symbol of divine protection and the legitimacy of imperial authority, second only to the Imperial Regalia. As a tangible representation of the Emperor's claim to the throne, its role in ceremonial life was of great importance in the Court.

Kenjō originally belonged to the Tang Chinese Master Ryu Jiro. It was one of three biwa received from Ryu by the envoy Fujiwara no Sadatoshi (807-867) and brought to Japan in 839.

Kenjō's Mystical Significance

We can get a sense for its revered status and the mystery surrounding it when we look at historical accounts of the instrument.

One of these is the treatise on Japanese music, Bunkidan 文机談, written by Ryuen sometime around 1272 where the 10th chapter concerns Kenjō.

From Bunkidan - Chapter 10 - On Kenjō

Kenjō is the most miraculous instrument under heaven and a treasure without equal in the land. For this reason, the performers selected to play it are the very best. The luthiers who maintain it are given great rewards. The tones of this instrument if sometimes they are heard far beyond the limits of the palace, at other times they are heard just by the person next to the instrument.

If a string goes out of tune nine times in a perfomance the tuning pegs turn and change of their own accord to correct themselves. There are any number of these kinds of miraculous and mysterious happenings. As a result, few performers were allowed to play it. In fact, it was rare that anyone was allowed to play the instrument at all.

Included among the few who played it are Fujiwara no Moronaga (1138-1192), also called Myō'on'in, [who was a prominent figure in the court, and also a skilled musician writing two treatises on Japanese music.] He played Kenjō a number of times.

Fujiwara no Moronaga in "Mount Miyaji moon (Miyajiyama no tsuki)" by Tsukioka Yoshitoshi (1839-1892). Exiled, Moronaga, viewing the autumn colours, plays biwa and the Suijin (water deity) of Mount Miyagi appears as a beautiful woman to listen. [Wikicommons]

Fujiwara no Morozane (1042-1101) also called the Kyōgokudono [was Regent in Japan but he] played it just three times. 

[The statesman, court figure and biwa player] Fujiwara no Moromichi (1062-1099) also known as Go-Nijōdono also played three times.

Following in their example, [the Regent and Chief minister] Kujō Kanezane (1149-1207) also known as Tsukinowadono played three times.

On the occasion when [the senior court offical] Minamoto no Sukemichi (1005-1060) played the instrument, the sound it produced was very poor, even though he was famed for his skill. Suddenly, disregarding the fact that this was a solemn festive occasion, he stopped performing and said "Kenjō's frontpiece has come away!"

Minamoto no Mototsuna (1050-1118), also a court official  and a pupil of a pupil of Sukemichi, played when the Emperor was visiting his predecessor who had abdicated from the throne. The volume of the instrument on this occasion was so great that it caused the temporary garden tent to collapse.

Even the Emperor himself was known to play Kenjō, as did Emperor Go-Toba (1180-1229) in January 1221 on a journey away from the palace.

 [The Court musician] Fujiwara no Takamichi (1166-1237) was asked by Emperor Juntoku (1197-1242) to make repairs to Kenjō. During the time of repairs, he fasted and purified himself ritually, spreading a straw mat used for sacred objects to do the work upon, he also hung shimenawa sacred ropes to keep out evil spirits.

And then, from the time it was strung until the performance, Takamichi, holding Kenjō close to himself and warming it, repeatedly said "Namu Kenjō, Namu Kenjō" hundreds of times over.

When he opened his eyes, he saw an old man across from him.

"Who could this be? I have no recollection of anyone like this...."

Looking carefully at him, he saw that... The lower half of his body was unclear and faded away. His eyes burned brightly, his head was as snow and his beard was white like frost reaching all the way down to his belt. When he tried to look closely at him, however, he became like the light of a flame and disappeared.

"That must have been the spirit of Kenjō," he thought and he wrote a solemn oath describing this event, and attaching it to Kenjō, returned it to the Emperor.

In conclusion

In these accounts, we find some interesting points to reflect on. For me, it is striking how the instrument is understood not to belong to anyone but has its own personhood, reflected in how it is refered to only by its proper name without the use of the word "biwa" to describe it.

Moreover, playing it is treated as an encounter with another being with mystical powers and spirituality.

In brief, it is wonderful to see how in exploring a single reference in the Heike Monogatari, we can discover a biwa named Kenjō which is much more than a mere musical instrument. It is an object of reverence, a symbol of Imperial authority, and something imbued with mystical significance, its strings vibrating not just with melody but with the weight of history and power; an intersection of music, art, mysticism, authority and spirituality.