REKIHAKU

No.167 A Witness to History

What Was Expressed In Ancient Times?
–The Museums’ Kofun (Tumulus) Period Collection-

Stone bracelets

They were made in the fourth century, the early Kofun (Tumulus) Period in Japan. Often made of jasper, a green rock, they are thought to be bracelets. There are broadly three types: kuwagataishi takes the shape of a plow with a large oval hole in the center (Photo 1); sharinseki is oval overall with radiant lines, and its flat shape and undulated pattern make it look like wheels (Photo 2); and ishikushiro has the outline of a ring (Photo 3).

These stone articles were seemingly used as bracelets. The traces of repair with thin string suggest that they were objects treated with great reverence. Moreover, they were not just for any old person. While some of them were discovered in settlement and shrine remains, mostly they were found as part of funereal articles for the deceased buried in tumuli. Typically, there are more of them buried in a larger tumulus. Accordingly, this item served not only as an accessory but as a symbol to represent the status of the deceased.

On the other hand, some researchers argue that the holes are too small for human wrists (Photo 4), so they were not for practical use but used as a treasured article to symbolize authority. I was once told by a professor that, of the descendants of court nobles living in Kyoto, there was a lady who had such small wrists that they could pass through such small holes. Even if these objects fitted the wrist of an aristocratic lady in those days, it is highly questionable whether she had enough strength to wear the object as a bracelet. So, I believe that they probably didn’t serve a practical purpose as a bracelet in some cases. In olden days, jasper was the mainstream material for such objects, but in more recent times, most of them were made of green tuff. It would be interesting to see whether this change corresponds to the change in purpose from practical to impractical bracelets.

Eighty stone bracelets were excavated in the circular end of the Shimanoyama Tumulus in Nara Prefecture. More recently, 140 items, including kuwagataishi, sharinseki and ishikushiro made of green tuff were unearthed in its square end. In the square end as well, there is a burial facility called a clay-encased coffin; these bracelets along with other items, however, were placed upon, or rather attached to, the clay surface covering the entire wooden coffin, instead of being stored inside it. This is worth noting as an example that bears witness to the beliefs of the people on the stone bracelets of the new period.

Photo 1: Kuwagataishi	Photo 2: Sharinseki
Photo 3: Ishikushiro	Photo 4: Sharinseki with a small hole

Gilt goods

In the fourth century Japanese-style, stone-made bracelets were widespread across the Japanese archipelago; meanwhile, on the Chinese continent and the Korean peninsula, metals were being increasingly used for decorative purposes. In particular, gilt bronze became popular and was used in various patterns, because with only a small quantity it is possible to make objects appear as if they are made of 100% gold. In the fifth and sixth centuries, metals were also used as materials in Japan.

The gilt belt accessory (Photo 5) is, if put in terms of a generation ago, a combination of a buckle (for a buckled belt) and a decorative accessory. The buckle part has a brattishing pattern; the two thirds on the right hand side represent a dragon with four limbs facing left and the other third on the left represents a phoenix facing right confronting the dragon. This kind of belt accessory is thought to symbolize the status of the holder. At the same time, there are examples of using them for armor belts. It is unknown whether they were rigorously used or not.

The item to be hung from such a belt is a sword with gold and silver ornaments, an example of which is the gilt phoenix-shaped pommel (Photo 6).

Photo 5: Gilt belt accessory	Photo 6: Gilt phoenix-shaped pommel

Gilt bronze was used for decorating not only people but horses. Gilt bronze decorated the curb bit to control the horse, the saddle which the rider sits on, and even the leather string to fix these harnesses. The gingko leaf made of iron covered with gilt bronze plate (Photo 7) is a decorative plate hung from the leather string hung around the haunches of the horse.

Except for the wide belt with brattishing that covers the forehead, the gilt crest (Photo 8) is characterized by the vertical decorations with the fork-shaped patterns, which suggests that it was used in the Silla Kingdom. In that realm, there were rules about the material to be used: items for the king were made of gold; those for the queen were made of silver; and so forth. Nevertheless, some funereal items for kings or queens were made of gilt bronze, incompatible with the rules, and the reason for this is difficult to fathom.

Exchanges between the Korean peninsula and the Japanese archipelago, entailing the movement of people, flourished at the end of the fourth century. Some Japanese-style ishikushiro have been excavated in Kyongiu, the capital of Silla, or half-Japanese and half-Korean style arms have been found on the peninsula. These facts imply that it is difficult to claim that the “movement of people” was simply for the purpose of war. Furthermore, delegates with techniques and knowledge came from the Korean peninsula to the Japanese archipelago to establish excellent cultural assets.

Photo 7: Gingko leaf made of iron covered with gilt bronze plate	Photo 8: Gilt crest

Later, in the sixth century, many men and women started to wear earrings (Photo 9), many of which were made of gilt bronze or iron covered with gilt bronze plate. These were for pierced ears.

The gilt decorated knife (Photo 10) found in Kaburagi Tumulus No. 5 in Sanbu City, Chiba Prefecture, has a sword sheath covered by a single gilt bronze plate and a blade with two hanging holes. This type of knife is very uncommon. In the Himezuka Tumulus, about five kilometers away from Kaburagi, a line of nearly 20 terracotta clay figures were found. Of the knives these figures wear around their waist, one very much resembled the above-mentioned gilt knife. Considering that the two tumuli were constructed in around the same era, it is evidenced that the model of one of the male clay figures buried in the Himezuka Tulumus was buried in Kaburagi Tumulus No. 5.

The gilt pouch-shaped receptacle (Photo 11), also found in Kaburagi Tumulus No. 5, has a relatively large hole on both sides at the center of the constricted line. Most of the clay figures modeling humans found in the Himezuka Tumulus wear pouch-shaped bags hanging from the waist by string. The gilt pouch-shaped receptacle clearly shows exactly how this string is used. There are more than 10 smaller holes pierced around the mouth of the receptacle, and the mouth, when viewed from above, goes inward and outward forming a wavy shape. It seems that an organic lid was put on the receptacle and fixed with string that passes through these holes. In that case, if the receptacle’s content was liquid, it would easily spill out. Thus, a more logical conclusion is that the receptacle was used as a container for solid substances or powder and hung from the waist.

Photo 9: Earrings	Photo 10: Gilt decorated knife
Photo 11: Gilt pouch-shaped receptacle

It is assumed that the gilding methodology, or the ancient gold plating method, is an amalgam approach. Gold is melted into mercury and compressed to an amalgam state. After painting the surface of copperware or similar with it, heat is applied to allow the mercury to evaporate in order to lay down the gold.

During the Kofun period when only small articles were made with this method, people did not notice the toxicity of the mercury vapor. One hundred years later, when this technique was employed in the construction of the Big Buddha of Todaiji temple in Nara, the seriousness of the toxicity was eventually realized.

When inhaled in a substantial quantity, it causes death. When accumulated inside the body, it continues to give harm to future generations. Therefore, adopting a mercury application technique requires due caution. It serves as a historical witness that gives a warning to the use of nuclear power today.

Shinsaku Sugiyama (Professor Emeritus of the Museum, Japanese archaeology)