A glimpse into the world of incense, through the eyes of Murasaki Shikibu, Sei Shonagon and the people of the Heian period Sawada Toko ‘Biso no Nippon: The history of dressing up’

The contrasting depictions of incense by Murasaki Shikibu and Sei Shonagon

Earlier this summer, I had the chance to stay at a facility without electricity. While there was a generator operating until the early part of the evening, it suddenly cut off at a set time, leaving the space abruptly plunged into darkness. Though I had been provided with an oil lamp in advance, its dim glow felt rather unreliable to eyes accustomed to modern lighting. As a result, I nearly had a spectacular fall in the corridor. Yet, at the same time, I became unusually aware of the sound of the wind and the scent of grass wafting in through the window.
It is commonly said that over 80% of the information perceived by modern humans is gathered through sight. If so, when the darkness robs us of our vision, it may naturally heighten our other senses, such as hearing and smell.

――Harunoyono yamihaayanashi umenohana irokosomiene kayahakakururu. (春の夜の　闇はあやなし梅の花　色こそ見えね　香やは隠るる)

The early Heian-period poet Oshikochi no Mitsune (凡河内躬恒) composed this waka (和歌), skillfully contrasting the colour and fragrance of plum blossoms in the darkness. The deeper the darkness, the more vivid the impression of the scent becomes. In Heian-era women’s literary works such as ‘The Tale of Genji’ and ‘The Pillow Book’, references to takimono (薫物) — fragrances or the act of transferring scent to clothing—frequently appear. This underscores the inseparable relationship between scent and the aristocratic culture of the time.

That said, while Murasaki Shikibu (紫式部), the author of ‘The Tale of Genji’, and Sei Shonagon (清少納言), the author of ‘The Pillow Book’, were court ladies living in almost the same era, the depiction of incense in their works differs significantly.
In the ‘Umegae (梅枝)’ chapter of ‘The Tale of Genji’, there is a well-known scene in which the protagonist, Hikaru Genji (光源氏), has the women close to him prepare and blend takimono. This passage is often referenced when discussing Heian-period takimono. At the time, incense was crafted by combining materials such as sandalwood, agarwood, and clove, and blends like ‘jiju (侍従)’, ‘kurobo (黒方)’, ‘baika (梅花)’, and ‘kayo (荷葉)’ were considered foundational in the society of the era. However, the resulting fragrances varied depending on the individual preparing them, reflecting the personal aesthetic sense of the blender. In the story, the temperaments of the women are vividly expressed through the takimono they create. On the other hand, in ‘The Pillow Book’, surprisingly, there is no mention of specific takimono names or recipes at all.”

――Yoku takishimetaru takimono no, kino, ototoi, kyo nado ha wasuretaruni, hikiaketaru ni kemuri no nokoritaru ha, tadaima no ko yori medetashi. (よくたきしめたる薫物の、昨日、一昨日、今日などは忘れたるに、引きあけたるに煙の残りたるは、ただいまの香よりめでたし。)

――Kokoro tokimeki suru mono. suzume no kokai. Chigo asobasuru tokoro no mae wataru. yoki takimono takite hitori fushitaru (Text omitted). (心ときめきするもの。雀の子飼い。ちご遊ばするところの前わたる。よき薫物たきて一人臥したる（後略）)

At least from these descriptions in ‘The Pillow Book’, it seems that Sei Shonagon cherished the moments and circumstances where the fragrance was experienced, rather than enjoying a specific scent directly. It is fascinating to catch a glimpse of the differing personalities of these two women, emblematic of the Heian period.

The meritocracy of the Heian period

Approximately 150 years after the time of the two renowned female writers, a nobleman named Fujiwara no Norikane (藤原範兼) compiled a book called ‘Kunshu Ruisho (薫集類抄)’ at the command of the emperor. As the title suggests, this work details the ingredients, proportions, and methods used in blending takimono. As mentioned earlier, despite sharing the same names, the formulas for takimono blends varied depending on the individual preparing them. For this reason, the book includes the blending ratios devised by those considered masters of incense crafting at the time.
At the top of the list of these masters is Fujiwara no Fuyutsugu (藤原冬嗣), an early Heian period aristocrat and a direct ancestor of Fujiwara no Michinaga (藤原道長). Posthumously honoured as the grandfather of an emperor, he was granted the rank of Dajo Daijin (太政大臣, grand minister of state). Among the other names that can be confirmed are Prince Kaya (賀陽), a son of Emperor Kanmu (桓武); Shigeno no Sadanushi (滋野貞主), a nobleman contemporary with Fujiwara no Fuyutsugu; and Fujiwara no Senshi (藤原詮子, also known as Akiko), the elder sister of Fujiwara no Michinaga.
What is particularly noteworthy is that, alongside high-ranking nobles and members of the imperial family, the names of lower ranking officials also appear in the text. This inclusion highlights the meritocratic nature of incense crafting during the Heian period.

For example, a man named Yamato no Tsunao (大和常生) is listed in ‘Kunshu Ruisho (薫集類抄)’ as the creator of four different takimono blends. The text describes him as ‘Engi no ontoki no kura no kodoneri nari (延喜御時蔵小舎人也)’— that is, a kodoneri (小舎人, a low-ranking official) who worked at the Imperial Treasury Office (Kurodo-dokoro, 蔵人所) during the reign of Emperor Daigo (醍醐) in the early 10th century. While the Imperial Treasury Office was a key office directly under the emperor, and its director held a prestigious position in the court, the kodoneri were merely junior officials responsible for general administrative tasks.
It might come as a surprise that blends created by such a figure are recorded alongside those devised by prominent individuals like Fujiwara no Fuyutsugu, who laid the foundations for the Fujiwara clan’s prosperity, or a prince.

However, the Heian period, while a hierarchical society centred around the emperor and primarily governed by the Fujiwara clan, also valued individual talent in certain fields. In a sense, it was a meritocracy. One example is Oshikochi no Mitsune (凡河内躬恒), the poet of the famous ‘haru no yo no (春の夜の)’ waka. Although not particularly distinguished as a government official—spending his life as a mid-level bureaucrat in provincial offices such as those in Tanba (丹波) Province (modern day eastern Hyogo Prefecture) or Izumi (和泉) Province (southern Osaka Prefecture) — he achieved prominence as a poet. He accompanied the emperor on official visits, composing waka for the court, and participated in the compilation of ‘Kokin Wakashu (古今和歌集)’, an imperial poetry anthology commissioned by Emperor Daigo.

Yamato no Tsunao does not appear in official historical records. However, in the annotated commentary ‘Kakaisho (河海抄)’ on ‘The Tale of Genji’, it is noted that he collaborated in blending incense with Minamoto no Kintada (源公忠), a nobleman who rose through the ranks to become a high ranking official at The Imperial Treasury office. If this account is accurate, it suggests that Yamato no Tsunao worked alongside his superior at the same office, and his talent in blending incense transcended the boundaries of social rank.

Fragrance drifts through spaces, often spreading unexpectedly far. Perhaps Yamato no Tsunao, a man skilled in the art of incense, lived his life in the courtly society much like the smoke of incense—free, flowing, and unbound by convention.

This article is translated from https://intojapanwaraku.com/culture/252156/

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Sawada Toko

Born 1977, Kyoto. Graduated from Doshisha University, Faculty of Literature, and completed the Master’s course at the same university. She made her debut in 2010 with ‘Koyo no Ten(孤鷹の天)’, which won the Nakayama Yoshihide Literature Award(中山義秀文学賞); won the Shinran Prize(親鸞賞) in 2016 for ‘Jakuchu(若冲)’ and the 165th Naoki Prize in 2021 for ‘Hoshi Ochite, Nao(星落ちて、なお)’.

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