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The three-stringed instrument is derived from the Chinese ''sanxian'', and served as the basis from which the Japanese shamisen developed, beginning in the late 16th century. Throughout the early modern period, access to high quality sanshin was limited exclusively to the aristocracy, though it is believed that commoners may have possessed equivalent instruments using tanned paper in place of the more expensive snakeskin. It was only after [[1879]], when the Ryûkyû Kingdom fell and was annexed by Japan, and the aristocracy abolished, that sanshin became more widely available.

The three-stringed instrument is derived from the Chinese ''sanxian'', and served as the basis from which the Japanese shamisen developed, beginning in the late 16th century. Throughout the early modern period, access to high quality sanshin was limited exclusively to the aristocracy, though it is believed that commoners may have possessed equivalent instruments using tanned paper in place of the more expensive snakeskin. It was only after [[1879]], when the Ryûkyû Kingdom fell and was annexed by Japan, and the aristocracy abolished, that sanshin became more widely available.

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. Initially, the ''sanshin'' was used exclusively in a Chinese-style chamber music tradition known in Ryûkyû as ''[[uzagaku]]''. However, by the mid-16th century, the ''sanshin'' began to be employed in the recitation of classical poems or songs known as ''[[omoro]]''. This adoption of the ''sanshin'' into native Ryukyuan traditions is often attributed to Aka Inko, or Ne-agari, but it is unclear whether this is the name of an individual, a group, or more broadly a category of person (such as an occupation or position).<ref>''Okinawa bijutsu zenshû'' 5, 348.</ref> This was only a few decades before, or perhaps right around the same time that, the ''sanshin'' was first introduced into Japan, and began to be developed into the Japanese shamisen.

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. Initially, the ''sanxian'' was used exclusively in a Chinese-style court music tradition known in Ryûkyû as ''[[uzagaku]]''. However, by the mid-16th century, a distinctly Okinawan version of the ''sanshin'' began to emerge, and to be employed in the recitation of classical poems or songs known as ''[[omoro]]''. This adoption of the ''sanshin'' into native Ryukyuan traditions is often attributed to Aka Inko, or Ne-agari, but it is unclear whether this is the name of an individual, a group, or more broadly a category of person (such as an occupation or position).<ref>''Okinawa bijutsu zenshû'' 5, 348.</ref> This was only a few decades before, or perhaps right around the same time that, the ''sanshin'' was first introduced into Japan, and began to be developed into the Japanese shamisen.

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 within the an office known as the ''[[sanshin-uchi]]'', a post responsible for overseeing the production of high quality sanshin, in [[1710]]; the ''sanshin-uchi'' worked within the workshops of the ''[[kaizuri bugyo|kaizuri bugyôsho]]'' (O: ''keezui bujô-ju''), the government bureau which oversaw [[Ryukyuan lacquerware|lacquerware]] and certain other craft production. 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 within the an office known as the ''[[sanshin-uchi]]'', a post responsible for overseeing the production of high quality sanshin, in [[1710]]; the ''sanshin-uchi'' worked within the workshops of the ''[[kaizuri bugyo|kaizuri bugyôsho]]'' (O: ''keezui bujô-ju''), the government bureau which oversaw [[Ryukyuan lacquerware|lacquerware]] and certain other craft production. 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.

Musical traditions adopted from Ming Dynasty China, including seated or "chamber" music (''uzagaku'') and processional music (''[[rojigaku]]'') were the dominant forms of court music in the Ryûkyû Kingdom. These were also performed by [[Ryukyuan embassies to Edo]], and several sets of Chinese-style instruments (plus Okinawan sanshin) were gifted, at various times, to ''daimyô'' including the lords of [[Owari han|Owari]], [[Mito han|Mito]], and [[Tsuwano han|Tsuwano]]. One such set, given as gifts to the [[Owari Tokugawa clan|Owari Tokugawa]] lord of [[Nagoya castle|Nagoya]] in [[1796]], remains today in the collection of the [[Tokugawa Art Museum]], and includes what are believed to be the oldest extant examples of Okinawan ''sanshin''.<ref>''Sanshin no chikara'', Okinawa Prefectural Museum & Art Museum (2013), 75.</ref>

Musical traditions adopted from Ming Dynasty China, including seated or "chamber" music (''uzagaku'') and processional music (''[[rojigaku]]'') were the dominant forms of court music in the Ryûkyû Kingdom. These were also performed by [[Ryukyuan embassies to Edo]], and several sets of Chinese-style instruments (plus Okinawan sanshin) were gifted, at various times, to ''daimyô'' including the lords of [[Owari han|Owari]], [[Mito han|Mito]], and [[Tsuwano han|Tsuwano]]. One such set, given as gifts to the [[Owari Tokugawa clan|Owari Tokugawa]] lord of [[Nagoya castle|Nagoya]] in [[1796]], remains today in the collection of the [[Tokugawa Art Museum]], and includes what are believed to be the oldest extant examples of Okinawan ''sanshin''.<ref>''Sanshin no chikara'', Okinawa Prefectural Museum & Art Museum (2013), 75.</ref>

The incredible strength of Chinese-style music in Okinawa can be attributed to, among other factors, the absence of any instrumental tradition in Okinawa prior to the introduction of Chinese instruments, and the strong belief in Ming Confucian civilization as the model of "correct" "enlightened" "high" civilization. However, by the late 17th century, just as the ''sanshin'' itself was taking its mature and now-standard form, the classical Ryukyuan repertoire as it is known today had also begun to coalesce, centered on ''uta-sanshin'' (song and sanshin); many core pieces of the classical repertoire were composed around that time by [[Tansui Kenchu|Tansui ueekata Kenchû]] ([[1623]]-[[1683]]), founder of the oldest extant school (style) of Okinawan classical music. It remains unclear, however, whether any of the pieces currently in the repertoire today predate Tansui, or for most pieces, when they were first composed, performed, or entered the repertoire. The earliest compilation of notated music is attributed to [[Yakabi Choki|Yakabi Chôki]] ([[1716]]-[[1775]]); it contains the lyrics and ''sanshin'' tabs for 117 songs.<ref>Ashgate. p310.</ref>

The incredible strength of Chinese-style music in Okinawa can be attributed to, among other factors, the absence of any instrumental tradition in Okinawa prior to the introduction of Chinese instruments, and the strong belief in Ming Confucian civilization as the model of "correct" "enlightened" "high" civilization. However, by the late 17th century, just as the ''sanshin'' itself was taking its mature and now-standard form, the classical Ryukyuan repertoire as it is known today had also begun to coalesce, centered on ''uta-sanshin'' (song and sanshin); many core pieces of the classical repertoire were composed around that time by [[Tansui Kenchu|Tansui ueekata Kenchû]] ([[1623]]-[[1683]]), founder of the oldest extant school (style) of Okinawan classical music. It remains unclear, however, whether any of the pieces currently in the repertoire today predate Tansui, or for most pieces, when they were first composed, performed, or entered the repertoire. The earliest compilation of notated music is attributed to [[Yakabi Choki|Yakabi Chôki]] ([[1716]]-[[1775]]); it contains the lyrics and ''sanshin'' tabs for 117 songs.<ref>Ashgate. p310.</ref>