This episode we look again at the Crown Prince of Great Virtue, but try to look at some of his more historical alter egos and whether or not any of them might shed some light on the actual Prince.

The main image hall and pagoda of Hōryūji, the temple built on the site of Shōtoku Taishi’s Ikaruga Palace. Back in its day, the temple would have likely been painted bright red, white, and green. Photo by author.

Tenjūkoku mandala, housed in Chūgūji. It shows the Pure Land where Shōtoku Taishi went when he passed away. It is unclear which Pure Land, however (there are various ones described in different sutras).

Welcome to Sengoku Daimyo’s Chronicles of Japan. My name is Joshua, and this is episode 99: The Prince of the Upper Palace.
This is the second episode focused on the famous Prince known as Prince Shōtoku Taishi. Last episode we went over the various stories that are told about this Prince in the various histories as well as some of the temple records. Of course, it is generally agreed that most, if perhaps not all, of the information on Prince Shōtoku Taishi, which is to say, the Crown Prince of Great Virtue, is at best exaggerated, and at worst is completely made up at a later time by people deliberately trying to appropriate his story. Unfortunately, it is extremely difficult to tell what is pure fiction and what might be some semblance of reality, but we’ll give it a try as best we can.
I will say that there is a *lot* that has been written about Shōtoku Taishi and his alter egos, Prince Umayado, aka Prince Kamitsumiya, aka Toyotomimi no Mikoto. A lot more than I have time to truly delve into. Besides various sources in Japanese, one of, if not the, most extensive look at sources mentioning the Prince is probably by Dr. Hermann Bohner in the 1930s and 1940s—however, his work, which I am told is over a thousand pages in length, is also entirely in German. I’m not sure anything quite that extensive has been written in English. Furthermore, other works out there, like Michael Como’s own work, “Shōtoku: Ethnicity, Ritual, and Violence in the Japanese Buddhist Tradition”, often speak more to what the stories of Shōtoku Taishi say about developments in Japanese culture over time, focusing on the Cult of Shōtoku and what it said about Japan in general rather than focusing on the individual. I am not going to have time to read all of the sources and condense them down for you, but I’m not sure that is exactly necessary. Just be aware that there is a lot of ink that has been spilled over Shōtoku Taishi in one way or another.
As for theories on the actual prince, they vary widely. Some say that there was, indeed, a powerful figure at court known as Prince Umayado or, alternatively, as the Prince of the Upper Chamber, and he may have even been the Crown Prince, in line to inherit the throne had he not tragically passed away before the death of the current sovereign, Kashikiya Hime, aka Suiko Tennō. Others suggest that the portrait we have is actually a composite—the work of many different individuals, all wrapped up in the guise of a single, powerful individual who instituted sweeping changes across the archipelago and single-handedly gave birth to the Japanese state. Of course, there are also those who accept the story as true—or at least as true as the rest of that period of history.
For my part, I believe I’m closer to the ideas proposed in 1999 by Ōyama Seichirō, in his book ‘Shōtoku Taishi no Tanjō’, who suggested that there likely was an actual Prince Umayado, but that his story was exaggerated by the compilers of the Nihon Shoki and by later groups promoting the Shōtoku cult.
By the way, when I mention the Shōtoku “cult” I want to be clear what I mean—cult in this instance is more like a cult of personality. It encompasses the various ideas that people held about the Prince, true or otherwise. However, it should be noted that until more recently it is unlikely that anyone would have claimed to have been a part of any kind of “cult” or group with specific, Shōtoku Taishi related beliefs. Rather, the Prince’s story was, to many of them, simply a fact, even as they consciously or unconsciously embellished the story. In fact, we often blame the compilers of the Nihon Shoki for adding to the Prince’s story, but it is just as likely that they were simply going off of other sources that also recorded these same things.
Given all of that, who was the real Prince Umayado?
We are told that Umayado’s name comes because his pregnant mother gave birth to him as she was wandering around during her pregnancy and suddenly delivered him in front of the office of the horse stables—the Umayado. He is also known as Prince Kamitsumiya, or the Prince of the Upper Palace. This was because, we are told, before he was made Crown Prince and given the Crown Prince’s quarters as his own, his father had installed him in the “Upper Hall” of the South Palace, in his own complex. The name Toyotomimi no Mikoto is less obvious, but more similar to the types of names we had seen in previous generations of sovereigns, and likely a kind of titular name, combining various accolades and titles together.
That last one gets to a tricky bit about Prince Umayado: Was he actually of Royal birth, and was he the son of a previous sovereign?
As noted last episode, we are told that Umayado’s father was Tachibana no Toyohi, himself the son of Ame Kunioshi Hiraki Niwa no Ohokimi, aka Kinmei Tennō, and Kitashi Hime, daughter of Soga no Iname. We’ve already noted how the Soga family really wormed their way into the royal line. Theoretically, sovereigns were supposed to come from a queen that was, herself, of royal blood. The previous exception to this was Iwa no Hime, daughter of Katsuraki no Sotsuhiko and wife to Ohosazaki no Ohokmi, aka Nintoku Tennō. However, that seems to have stopped being an issue since about the time of Ame Kunioshi’s father Wohodo no Ohokimi, aka Keitai Tennō. After all, the first two of his sons to succeed him to the throne were the sons of Menoko, herself a daughter of Owari no Muraji no Kusaka—not exactly a name boasting of royal lineage. To be fair, the Nihon Shoki only claimed that they were holding the throne for their more properly titled brother, Amekunioshi, so take that as you will.
Amekunioshi, married three of his own nieces—daughters of his brother, which may have been an attempt to smooth out some of the kinks in the royal line. He also married at least two—possibly three—daughters of Soga no Iname, and they produced several sovereigns. One of these, of course, is Tachibana no Toyohi, aka Youmei Tennō, but there was also Hatsusebe no Wakasazaki, aka Sushun Tennō. Finally there was Kashikiya Hime, aka Suiko Tennō, though one could argue that she held her place as much because she had been the consort—or even queen—to her step-brother, Nunakura Futodamashiki, aka Bidatsu Tennō.
It should also be noted, though, that both Hatsusebe no Wakasazaki and Kashikiya Hime came to the throne during a period of political violence. There was the Soga and Mononobe conflict, a genuine fight for the throne which spilled out into the general public. This all reads as the results of Soga no Iname—and then, later, Soga no Umako—maneuvering to put the Soga family in power to rule the country. That they succeeded in getting two Soga relatives on the throne—even if Umako then assassinated Hatsusebe when he proved too difficult to control—would seem to indicate that the Soga gambit had been effective, and they had overcome the traditions that previously had been designed to limit who had direct access to the power of the throne. Of course, there are questions of just how old and how accurate that tradition was—for all we know, the previous “queens” had simply had their lineages updated to ensure that they were of proper royal birth—but I still think it is telling.
But how does this relate to Umayado?
Well, as I mentioned, his father was Tachibana no Toyohi. Just like Kashikiya Hime and Hatsusebe, he was also a son of Ame Kunioshi no Ohokimi and one of his Soga wives. In fact, it wouldn’t be surprising had Toyohi taken the throne, given who else did. However, I wonder if that ever actually happened. The Nihon Shoki only places him on the throne briefly—about two years—and during that time, there was still a lot of conflict going on. The idea that there had been a consensus and that Tachibana no Toyohi was chosen as the next Ohokimi already seems a bit questionable. Then there is also his supposed misasagi, or tomb. We are told that he was buried at Shinaga, and this tomb has been identified and is still known today, presumably. Given the records from then until now, while it is possible that the tomb was mistaken at some point over the intervening centuries, I would propose that its identification is probably fairly reliable, especially as it is also said to be the tomb of Prince Umayado, as well. However, there is a problem, and that is that the tomb is not a round keyhole shaped tomb as would be expected of a royal tomb up to that time. Instead, it is a square shaped tomb.
Why is this notable? Because the "imperial” tombs up through Amekunioshi, aka Kinmei Tennō, and his son, Nunakura no Ohokimi, aka Bidatsu Tennō, are all round, keyhole shaped tombs; the zenpō-kōen, or flat font and round-backed kofun. Even through different dynasties, the shape and size of the kofun seem to hold true. However, that stops with Tachibana no Toyohi. His tomb is square shaped, which is much more similar to individuals other than the royal family. However, complicating matters somewhat, it isn’t just his tomb where we see this change. Suddenly we see a bunch of square tombs that are designated as royal tombs. These include the tombs of Tachibana no Toyohi, aka Yōmei Tennō; Hasebe no Wakasazaki, aka Sushun Tennō; and Kashikiya Hime, aka Suiko Tennō. All of their identified tombs seem to be square tombs, similar to the tomb identified with Soga no Umako, Ishi-butai kofun. So why the sudden switch?
It is not directly stated, but this may have been a part of all of the other changes in court and ritual that were happening. In succeeding generations we see eight-sided kofun, and even round kofun—and all for verified sovereigns. So it is entirely possible that it is at Youmei where the tradition of keyhole-shaped royal kofun ended.
But I am still rather skeptical about all of this. I wonder if the shape of Tachibana no Toyohi’s kofun indicates it was just the kofun for a powerful member of the Soga lineage, just like Umako’s kofun. However, I must admit, it doesn’t directly contradict the sources that say he was Tennō, since the following sovereigns are also recorded as having square-shaped tombs. Then again, there is a bit of a question on just about all of them as far as how much they reigned and what power they held, vice what power was in the hands of Soga no Umako. As for the succeeding generations, well, there are other shapes as well. For instance, there is an octagonal kofun, and an eight sided kofun would actually match up well with a growing belief in Buddhism, where eight is an extremely auspicious number—enough that people in some Asian countries will actually pay more for license plates or phone numbers with multiple 8s in the number, along with other auspicious digits.
And there’s another factor that might explain why they moved to a less complex kofun shape: I’ve mentioned in past episodes that the temple building craze of the early 600s really killed off kofun construction. We see resources that would have gone to venerating important figures, and building their tombs, the likely center of their ritual veneration, instead go to the building of temples. In many ways, temples became the better and more lasting memorial for any wealthy individual, especially since temples themselves could grow and change with the times, where as a giant mound of earth, cool as it is, was a bit hard to modify, let alone relocate. I also suspect that the change in various rituals also meant that the previous shape of the kofun, that round keyhole shape, may not have been as important in later periods. If we assume that shape had something to do with the focus of conducting regular rituals at the site, for which purpose certain families were actually employed in hereditary positions, then moving away from that shape would suggest, to me, that there was a change in the rituals as well. However, that change was coming much earlier than the temples, should we choose to believe the chronology given to us in the Nihon Shoki. So it while it explains, in broad strokes, the move away from kofun practice, it doesn’t satisfactorily explain everything that we are seeing at this period.
And that brings me back to my hesitation to say that Tachibana no Toyohi was ever a sovereign of Yamato. And the main thing about Tachibana no Toyohi’s ascension that gets to me is it all feels rather contrived, and there really isn’t much said about him. I can only think that this was done in order to make sure that Prince Umayado had the necessary pedigree for everything else that people were going to be saying about him. As awesome as he was, he wasn’t going to be nearly so incredible if he didn’t have a lineage which put him in line to inherit the throne. BUT, I could very easily be wrong, especially if some of our sources aren’t exactly in order. We’ve certainly seen other places where it appears that individuals were either raised up as sovereigns or possibly co-sovereigns, individuals who reigned at the same time, may have had their reigns massaged to conform with the desired narrative..
Which brings up another question: Was Umayado ever actually named as the Crown Prince? Was he truly in line to succeed Kashikiya Hime?
I’m not sure that is as black and white. As I’ve noted before, why would Kashikiya Hime have chosen him over other potential candidates? Even if his father wasn’t sovereign, he was still a royal prince of Soga lineage, but Kashikiya Hime also had her own children, at least according to the Chronicles. Where were they?
I’m not sure, but I am inclined to believe that Prince Umayado may have, indeed, been either the Crown Prince or in a position so close that it didn’t warrant a distinction. That said, it might be interesting to look through some of the early records, such as the Gankōji Garan Engi, and see just how he is referred to, there.
There are plenty of the stories about Prince Umayado that I believe we can take as true, even if only in part. I have no reason not to believe that he was an avid supporter of continental learning, including Buddhism and other teachings. That was all new and exciting, and with the direction that the Yamato state was tacking at the time it would have been useful and provided the Prince some clout and notoriety. It is also quite possible that he penned one or more commentaries on various sutras, though how good or insightful it would have been I have no idea, and whether it was his own words or if he perhaps patronized a temple to help write them for him, I couldn’t say. I don’t know that there is anything definitive, one way or the other. I might even go so far as to suggest that he played a role in helping to lay out the seventeen article constitution and championed a version of the continental rank system, but I doubt he just made it up himself out of whole-cloth. There were no doubt more than a few scribes by this point who had read various works from the continent and were able to help pull the various concepts of good government together. I doubt he was the one putting pen to paper for all of it, but who knows.
Perhaps, though, the most likely case for his existence comes in the form of the temple, Hōryūji, said to have been built on the site of his former estate, and the woven mandala said to have been commissioned by one of his own consorts. These are compelling to me because they both physically exist, even if in a diminished state. For Hōryūji we can look at the archaeological evidence, as well as any extant buildings or images. For the Tenjukoku Shūchō Mandala, though, we only have some of the original fragments, along with some fragments of a later copy, but we also have copies of the inscription that was on the mandala. It is possible that the transcription we have is somehow not correct, but that would be odd since the object was on display for people to see and remained intact through at least the Kamakura period, one assumes, since that’s when they made a copy of it. Let’s examine both of these a little more in depth.
Hōryūji temple is said to have been built by Prince Umayado, on his estate, but it was supposedly built for his father, Tachibana no Toyohi. In fact, Hōryūji was apparently supposed to be *his* temple. Tachibana no Toyohi, suffering from illness, is said to have vowed to build a temple, but he died before he could complete it. Prince Umayado’s eventual work to build Hōryūji is said to have been an act of filial piety as much as it was one of Buddhist piety, as it was dedicated, originally to Yakushi Nyōrai, a Buddha associated with healing illness, and it was built for his father, the Great King, Tachibana no Toyohi.
We see several times the idea of building a temple on a noble family’s personal compound. Soga no Iname is the first to convert his house, or some portion, and Soga no Umako eventually succeeds with Hōkōji, aka Asukadera. It makes sense that Hōryūji was also built on land donated by an elite member of Society, and everything points to it being Prince Umayado. In fact, it would be rather odd to build it on land that wasn’t already built up in some way. Even Shitennōji was built, we are told, on a compound that formerly belonged to the Mononobe—a rather large middle finger, or perhaps an inverted V, extended by the Soga to those whom history labelled as the anti-Buddhist faction of the early court. Nearby Chūgūji, literally the “Middle Palace Temple” was, we are told, built on the site of Prince Umayado’s mother’s home. I’m not sure if we can verify that entirely, but the fact that it is known as the “Middle Palace Temple” suggests some connection to an elite’s compound and “palace”—the Naka tsu Miya to Umayado’s Kami tsu Miya, perhaps. The two were close and became only closer with time, though they did retain their own characteristics.
And so Hōryūji was quite likely built on the site of someone’s palace, and if it wasn’t the Prince we know as Umayado, then who was it? At the very least we have some person that may be at least a part of the legion that makes up the legend of Shōtoku Taishi.
As for the Tenjukoku Shūchō Mandala, for that we have the inscription from the mandala itself. We are told that Tachibana no Iratsume asked Kashikiya Hime to commission it for her departed husband, Prince Toyotomimi. As far as I can tell, this inscription, found in the Jōgū-Shōtoku Ho’o Teisetsu, a biography of Shōtoku Taishi, is considered an accurate transcription of the four hundred or so characters that were on the original curtain.
If that is the case, then we have an inscription from shortly after his death attesting to the existence of a Prince Toyotomimi, and it even gives part of his lineage, including mention of Tachibana no Toyohi, whom we are told was, indeed, a sovereign, though we don’t know when or for how long. So that would seem to support the assertions in the Nihon Shoki about Tachibana no Toyohi’s status.
The biography, at least as it comes down to us, was likely compiled sometime in the 10th or 11th century, which makes a lot of its information suspect, but I generally think we can trust the transcription from the mandala. Afterall, we have pretty good evidence for the artifact still existing when it was compiled. The fact that the artifact seems pretty clearly made in the Asuka period—so in the 7th century, not soon after Toyotomimi’s death—further adds to the reliability. That isn’t to say they didn’t pick and choose what they were going to report in the biography itself, but, for me, there is little reason to doubt this inscription is what was on the actual mandala.
On the other hand, we still don’t have a lot of information about Tachibana no Toyohi. He came to the throne, other things largely happened around him, and then he died of illness.
So perhaps Tachibana was a short-lived sovereign after all. I’m honestly still on the fence about it, but the more I read, the more I come around to the idea, though that still doesn’t explain how his son ended up being remembered so well.
All in all, I suspect that most of Shōtoku Taishi’s story is rooted in truths and facts about this era. He may, indeed, have been the Crown Prince, or at least a very influential one. He likely was on top of the craze in Buddhist and Continental learning. He may have even played some role in helping to govern the country. Still, how did he come to outshine the others who had almost equal claims on all of this change?
For one thing, there was Kashikiya Hime. She was smart, capable, and the one actually seated on the throne. Unfortunately, I suspect that she had two major impediments to taking on the mantle that Shōtoku Taishi donned. For one thing, she was a woman. Unfortunately, along with continental ideas would come an increase in continental misogyny , though it would take some time to reach the same level, and there would still be female sovereigns ruling alongside male sovereigns for some time. However, she also was the sovereign, and that likely meant that her reputation, such as it was, was caught up in the push and pull of court politics. Even within the royal family there were different factions and different people aiming for the throne, and so she may not have had universal support for sainthood. This may not have been as much of a problem had she, herself, like Prince Umayado, passed away early and young, but she lived and reigned a good long while.
And then, besides her, there is the other major mover and shaker of the period, Soga no Umako. Of just about anyone other than the sovereign, Soga no Umako seems to have been the best positioned to provide the kind of guidance, patronage, and more that was likely making into reality many of the things for which Shōtoku Taishi received credit, including his own temple of Hokoji. Soga no Umako had an almost bigger problem than Kashikiya Hime, however. He had led the forces against the Mononobe and their allies, and many of those allies would eventually lick their wounds and come back to power. Even the Mononobe were still around, if not guiding the government. Furthermore, listeners who have been reading ahead in the story will likewise already know that it was the Fujiwara family that eventually would control the court for centuries. In fact, for many students of Japanese history, the Soga are not portrayed as paragons of virtue who helped introduce Buddhism to Japan, but rather as a greedy family that didn’t know their place and who went beyond the bounds of what we considered acceptable behavior. As such, I doubt Soga no Umako was in much of a position to be venerated by large swaths of the population.
In the end, it was probably the fact that he died early that allowed Prince Toyotomimi, aka Prince Umayado, to become the venerated figure he is, today. To quote eminent Gotham lawyer, Harvey Dent: “You either die a hero or live long enough to see yourself become the villain.” Sure enough, Prince Umayado died at a point where likely the public could still imagine all of the good that he could have done. Meanwhile both Kashikiya Hime and Umako had been through some stuff, and they had done what they needed to gain and maintain power. It may have been a recipe for their success, but it didn’t necessarily make them universally beloved. I suspect that, in the end, the lack of information about Prince Umayado, along with some key bits of likely true information, allowed people to build him up into what they needed him to be—a culture hero that could embody the ideals that Yamato was adopting and adapting from the continent. He had the prestige—a royal prince and, perhaps even a Crown Prince. And he was involved with this new culture that was being imported and updated.
Of course, this is largely speculation. In the end, it is hard to know what are the true facts around this legendary figure. I think the best we can really say is that there likely was an ur-Shōtoku, an original Prince, who may or may not have been known as either Prince Umayado, Prince Kamitsumiya, or even Prince Toyotomimi—and one or more of those names may even have belonged to different people. And so we are largely left with a question and with the legend, but in that legend, there is a plethora of information, if not about the actual human being, then about the changes that were happening in the Yamato court and in society as a whole. Regardless of all of the exact details, the 7th century would be extremely critical in the history of Yamato, setting the path for the future. One which we will be diving into, episode by episode, as we continue our trek through the histories.
But for now, I think I’ll leave you here. For those listening to this when it comes out, I wish you the best in this holiday-filled season, from about November to February, whatever you may be celebrating. And if you feel like giving, I hope you’ll forgive me if I reiterate that I do this out of love of the history, and so we pay for all of the expenses ourselves, so any donations that people like to throw our way are always appreciated. However, first and foremost, please take care of yourselves and those around you.
And so, until next time, then, thank you for listening and for all of your support. Again, if you do like what we are doing, tell your friends and feel free to rate us wherever you listen to podcasts. If you feel the need this season to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website, SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode.
Also, feel free to Tweet at us at @SengokuPodcast, or reach out to our Sengoku Daimyo Facebook page. You can also email us at the.sengoku.daimyo@gmail.com.
And that’s all for now. Thank you again, and I’ll see you next episode on Sengoku Daimyo’s Chronicles of Japan.

References

Asuka, Sango (2015). The halo of golden light : imperial authority and Buddhist ritual in Heian Japan. ISBN 978-0-8248-3986-4.
Deal, William E. and Ruppert, Brian. (2015). A Cultural History of Japanese Buddhism. Japanese Journal of Religious Studies. ISBN: 978-1-405-16700-0.
Kazuhiko, Y., 吉田一彦, & Swanson, P. L. (2015). The Credibility of the Gangōji engi. Japanese Journal of Religious Studies, 42(1), 89–107. http://www.jstor.org/stable/43551912
McCallum, Donald F. (2009). The Four Great Temples: Buddhist Archaeology, Architecture, and Icons of Seventh-Century Japan. ISBN 978-0-8248-3114-1
Como, Michael (2008). Shōtoku: Ethnicity, Ritual, and Violence in the Japanese Buddhist Tradition. ISBN 978-0-19-518861-5
Pradel, C. (2008). Shōkō Mandara and the Cult of Prince Shōtoku in the Kamakura Period. Artibus Asiae, 68(2), 215–246. http://www.jstor.org/stable/40599600
Matsuo, K. (13 Dec. 2007). A History of Japanese Buddhism. Leiden, The Netherlands: Brill. doi: https://doi.org/10.1163/ej.9781905246410.i-280
Deal, William (1999). Hagiography and History: The Image of Prince Shōtoku. Religions of Japan in practice. Princeton University Press. ISBN0691057893
Aston, W. G. (1972). Nihongi, chronicles of Japan from the earliest times to A.D. 697. London: Allen & Unwin. ISBN0-80480984-4
Moran, S. F. (1958). The Statue of Miroku Bosatsu of Chūgūji: A Detailed Study. Artibus Asiae, 21(3/4), 179–203. https://doi.org/10.2307/3248882

Rough Transcript

References