Shamisen

Shamisen

The shamisen is a three-stringed, plucked instrument usually used to accompany a singer. It is derived from the Chinese instrument, the sanxien, which was brought to Japan in the 16th century. Since then, the shamisen has been an important instrument in the cultural traditions of Japan and is associated with kabuki theatre and various forms of puppet theatre, as well as folk and dance music. Different types and sizes of shamisens are used for different purposes--the three main categories are hosozao (thin-neck), chuzao (medium), and futozao (thick). Within those categories, there are slight differences in construction used for different genres of playing.

This shamisen is most likely a nagauta style shamisen due to the sloped shape of the hatomune (base of the sao). This is a member of the hosozao (thin-neck) type of shamisens and would be used to accompany kabuki theatre and for traditional folk singing and dancing (nagauta). However, due to this shamisen’s intricate ornamental decoration, it was probably made as a decorative gift. The condition of this instrument also does not suggest heavy use.

The hollow dō (body) is covered with a thin layer of cat- or dogskin and creates the drum of the instrument for greater resonance. The outside of the dō is decorated with intricate lacquer artwork depicting dragons in gold, blue, and red.

The sao (neck) is made of wood and does not feature ornamentation. Many shamisens are constructed in three detachable parts for easier transportation, but this one is not, further suggesting that this shamisen was mainly used for decorative purposes.

The strings are wrapped around the itomaki (pegs) and would be tuned differently depending on the song, singer, or genre of playing. The most common tuning is honchoshi, where the first and third strings are tuned an octave apart while the middle string is a fourth above the bottom.

The koma (bridge) rests on the skin and can be made of various materials, such as ivory or wood, but the present wooden one is likely not original to the instrument. The bridge is removable and the height of the koma can change the dynamic of the sound. Normally, the upper two strings would pass over the kamikoma (upper bridge) while the lowest string passes over a small indent in the sao. The lowest string vibrates against the ridge in the divet and creates the shamisen’s signature buzzing sound. On this instrument, the kamikoma is not present, but there does exist an indent where one might have been.

This shamisen’s bachi (plectrum) is made of ivory and is 21cm long. This would have been used by the player to pluck the strings and also strike the drum, producing a resonant, percussive sound. The bachi has a faded carved floral design on the bottom of the base.

The Nanbu crest of the feudal lord of Morioka appears on the tenjin (head) of the instrument--it depicts two cranes facing each other with a floral design on their chests. It is engraved in a gold-painted brass circle, which is glued into the wood of the tenjin. On the back of the tenjin below the itomaki also appears another image of a crane painted on the wood.

Mid-19th century

Abbot, Kyle. “Styles of Shamisen.” Bachido, 2019. https://bachido.com/store/shamisen-styles.

Bowring, Richard John and Peter Kornicki. The Cambridge Encyclopedia of Japan. New York: Cambridge University Press, 1993.

Corwin, Charles Edward. A Manual of the Reformed Church in America. New York: Board of Publication and Bible-School Work of the Reformed Church in America, 1922.

Ferranti, Hugh de, Shigeo Kishibe, David W. Hughes, W. Adriaansz, Robin Thompson, Charles Rowe, Donald P. Berger, W. Malm, W.P. Malm, David Waterhouse, Allan Marett, Richard Emmert, Fumio Koizumi, Kazuyuki Tanimoto, Masakata Kanazawa, Linda Fujie, and Elizabeth Falconer. "Japan." Grove Music Online. 2001; Accessed 15 Dec. 2019. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000043335.

“Retainer.” Nakasendo Way. Walk Japan, 2018. https://www.nakasendoway.com/glossary/retainer/.

“Shamisen.” The Met. The Metropolitan Museum of Art, 2019. https://www.metmuseum.org/art/collection/search/503054.

The shamisen belonged to Nanbu Kenmotsu, the chief vassal of the daimyō of Morioka. Due to the Meiji restoration and therefore the end of Nanbu rule, he left the castle of Nanbu in Morioka in 1867. Later, the Kenmotsu family auctioned off some belongings, including this instrument in 1909. The shamisen was likely a gift from the feudal lord, Nanbu, to the Kenmotsu family. It was common for feudal lords to give gifts to their retainer family in exchange for their loyalty.

Morioka, Japan

Unknown

Length 93.2 cm, Depth 8.6 cm, Diameter of body 19.4 cm

Lute, plucked string

The Nanbu crest appears in a gold-painted brass circle on the tenjin (head) of the instrument--it depicts two cranes facing each other with a floral design on each of their chests.
On the back of the tenjin below the itomaki there is a drawing of a crane.

The sao looks to have been cracked at the base of the hatomune and repaired with a peg or nail. There is also a crack through the drawing on the back of the tenjin as well as a chip in the wood at the top of the tenjin.
The ivory plectrum has a chip at the top edge.

The shamisen came with a note from Kano, “the last of the line of hereditary artist of the Lord Nanbu of Morioka,” in which the provenance of the instrument is stated. The note has been translated to English and is dated May 13, 1909.
There exists a note signed Christina Carst Ruigh, which gives more information on the historical context of the instrument and notes that the vellum was cracked in transport from Japan. Carst Ruigh was perhaps a missionary to Japan in 1905 but not much is known about her.

Unknown

Karl Rabe

SR

Vellum drum (dog- or catskin), twisted silk strings, wood, lacquer, ebony itomaki (pegs), ivory bachi (plectrum). Coated brass disc set in wood of tenjin (head).

Vassar Treasure Room/display case in Skinner Hall stairwell

The bridge has most likely been replaced. The vellum was probably repaired, as it was reported cracked at the time of arrival.