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The Chinese ''sanxian'' dates back to the [[Yuan dynasty]] ([[1279]]-[[1368]]), and is most commonly seen in two forms. In northern China, ''sanxian'' tend to have longer necks. The Okinawan sanshin, however, developed out of the shorter-necked ''sanxian'' common in folk traditions in southern China,<ref>i.e. played mainly by the common people, and ignored for the most part by the [[literati]], who revered the ''[[qin]]'' as their musical instrument of choice.</ref> especially [[Fujian]] province, the area which historically interacted much more directly with Ryûkyû. As such, it is believed the ''sanxian'' may have been first (or most significantly) introduced to Ryûkyû by the 36 Min families who traveled to Ryûkyû in [[1392]], and settled there, establishing the community of [[Kumemura]], and setting the basis for the future Ryukyuan scholar-bureaucrat aristocracy.
The Chinese ''sanxian'' dates back to the [[Yuan dynasty]] ([[1279]]-[[1368]]), and is most commonly seen in two forms. In northern China, ''sanxian'' tend to have longer necks. The Okinawan sanshin, however, developed out of the shorter-necked ''sanxian'' common in folk traditions in southern China,<ref>i.e. played mainly by the common people, and ignored for the most part by the [[literati]], who revered the ''[[qin]]'' as their musical instrument of choice.</ref> especially [[Fujian]] province, the area which historically interacted much more directly with Ryûkyû. As such, it is believed the ''sanxian'' may have been first (or most significantly) introduced to Ryûkyû by the 36 Min families who traveled to Ryûkyû in [[1392]], and settled there, establishing the community of [[Kumemura]], and setting the basis for the future Ryukyuan scholar-bureaucrat aristocracy.
As late as the early 17th century, some sources indicate that sanshin made in Okinawa were of inferior quality. One Chinese envoy, [[Xia Ziyang]], who visited Ryûkyû in [[1606]], remarked as much, and had members of his entourage instruct local makers in better techniques. However, a now-famous sanshin maker by the name of Feebaru appeared later that same century, and in [[1710]], King [[Sho Eki|Shô Eki]] established an office known as the ''[[sanshin-uchi]]'', a post responsible for overseeing the production of high quality sanshin. It is believed that it was right around that time as well that the Okinawa ''sanshin'' settled into what remains its standard size today, at 2 ''[[Japanese Measurements|shaku]]'', 5 or 6 ''sun'' in length.<ref>Miyagi Eishô, ''Ryûkyû shisha no Edo nobori'', Tokyo: Daiichi shobô (1982), 130.</ref> By the end of the 17th century, or within a few decades afterwards, the sanshin being produced in Okinawa are believed to have been of much higher quality, both aesthetically, and in terms of their sound.
As late as the early 17th century, some sources indicate that sanshin made in Okinawa were of inferior quality. One Chinese envoy, [[Xia Ziyang]], who visited Ryûkyû in [[1606]], remarked as much, and had members of his entourage instruct local makers in better techniques. However, a now-famous sanshin maker by the name of Feebaru appeared later that same century, and by the end of the 17th century, the Okinawan sanshin took on its mature form, which continues to be the standard form today.<ref>Tokugawa Yoshinobu, “Traditional Musical Instruments of Okinawa,” ''Okinawa bijutsu zenshû'' 5, 314.</ref> King [[Sho Eki|Shô Eki]] established an office known as the ''[[sanshin-uchi]]'', a post responsible for overseeing the production of high quality sanshin, in [[1710]]. It is believed that it was right around that time as well that the Okinawa ''sanshin'' settled into what remains its standard size today, at 2 ''[[Japanese Measurements|shaku]]'', 5 or 6 ''sun'' in length.<ref>Miyagi Eishô, ''Ryûkyû shisha no Edo nobori'', Tokyo: Daiichi shobô (1982), 130.</ref> By the end of the 17th century, or within a few decades afterwards, the sanshin being produced in Okinawa are believed to have been of much higher quality, both aesthetically, and in terms of their sound.
Initially, a sort of Chinese-style music, known in Ryûkyû as ''[[uzagaku]]'', dominated Ryukyuan court music played at formal occasions, for a time. ''Uzagaku'' continued to be played at least as late as [[1798]], when it is known to have been performed for the lord of [[Nagoya castle]] in Japan. The set of musical instruments played at that time, having been given as gifts to the [[Owari Tokugawa clan|Owari Tokugawa]] lord of Nagoya by Ryukyuan envoys to Edo in [[1796]], remain today in the collection of the [[Tokugawa Art Museum]], and include what are believed to be the oldest extant examples of Okinawan ''sanshin''.<ref>''Sanshin no chikara'', Okinawa Prefectural Museum & Art Museum (2013), 75.</ref>
Initially, a sort of Chinese-style music, known in Ryûkyû as ''[[uzagaku]]'', dominated Ryukyuan court music played at formal occasions, for a time. ''Uzagaku'' continued to be played at least as late as [[1798]], when it is known to have been performed for the lord of [[Nagoya castle]] in Japan. The set of musical instruments played at that time, having been given as gifts to the [[Owari Tokugawa clan|Owari Tokugawa]] lord of Nagoya by Ryukyuan envoys to Edo in [[1796]], remain today in the collection of the [[Tokugawa Art Museum]], and include what are believed to be the oldest extant examples of Okinawan ''sanshin''.<ref>''Sanshin no chikara'', Okinawa Prefectural Museum & Art Museum (2013), 75.</ref>
Following the abolition of the Ryûkyû Kingdom in the 1870s and the absorption of its lands and people into the Empire of Japan, many elements of Ryukyuan arts, including performing arts, which were previously exclusive to the aristocracy became more widely, popularly, available. Proficient aristocratic performers began to perform for more general audiences, and to teach students from non-aristocratic backgrounds, while sanshin-makers likewise began selling instruments to the general market. Though Okinawa experienced some considerable processes of Westernization during the [[Meiji period]], it also saw considerable popularization of its musical and other performing traditions, forming the foundations of strong popular folk traditions.
Following the abolition of the Ryûkyû Kingdom in the 1870s and the absorption of its lands and people into the Empire of Japan, many elements of Ryukyuan arts, including performing arts, which were previously exclusive to the aristocracy became more widely, popularly, available. Proficient aristocratic performers began to perform for more general audiences, and to teach students from non-aristocratic backgrounds, while sanshin-makers likewise began selling instruments to the general market. Though Okinawa experienced some considerable processes of Westernization during the [[Meiji period]], it also saw considerable popularization of its musical and other performing traditions, forming the foundations of strong popular folk traditions.
In the immediate aftermath of the devastation of World War II, many Okinawans worked to create sanshin from whatever materials were available, as part of efforts to create some levity and enjoyment in their difficult lives. Matayoshi Shin'ei (1916-1985), said to have been one of the greatest sanshin makers of the 20th century, is credited with the creation of the ''kankara'' sanshin, a sanshin made primarily from an empty tin can, parachute fabric (in place of the snakeskin), parachute strings, and whatever scraps of wood could be found. Of course, both within and outside of the refugee camps, people made improvised sanshin from a wide range of different materials; however, Matayoshi's ''kankara'' sanshin has become iconic, and mass-produced ''kankara'' sanshin are widely sold today as a relatively inexpensive alternative to investing in a more traditional-style instrument.<ref>Tokugawa Yoshinobu, 314-315.</ref>
===Musical Genres===
===Musical Genres===