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The rujigaku tradition is said to have its origins in the time of Sho Shin, when Takushi ueekata Seiri 沢岻親方盛里 witnessed such processional music while in China on a tribute mission, and it is said he decided that the king of Ryukyu should have this sort of parade music as well. He is said to have purchased and brought back to Ryukyu a royal sedan chair 鳳凰轎、suona, drums, etc. and from then on, it is said, this became a part of royal processions.
琉球芸能事典、当間一郎ed., Naha shuppansha, p62
This was in 1522, the 即位 accession ceremonies of 世宗帝. Takushi (d. 1526). However, the 1479 李朝実録 also indicates that there was some kind of processional music, and lists out instruments, so it would seem the tradition goes back in some form to at least the late 15th c. (琉球芸能事典、当間一郎ed., Naha shuppansha, p800)
Rujigaku is also performed in a number of other places across the Ryukyu's, from Tanegashima down to Yonaguni. In many places it is called michigaku. The Shuri tradition, performed during Shuri bunka matsuri on Nov 3 each year, stems from the five pieces (五段) that Yamauchi Seihin wrote down in staff notation , learning from Chinen Saburo. Aharen Honyu 阿波連本勇 studied this under Chinen Kenshō 知念賢松, a son of Chinen Saburo.
琉球芸能事典、当間一郎ed., Naha shuppansha, p62
It is unclear when the uzagaku tradition was first transmitted to Ryukyu, but as early as 1534, Chen Kan wrote in 琉球使録 of something like this. 金鼓笙蕭の楽
琉球芸能事典、当間一郎ed., Naha shuppansha, p798
*Kunjan sabakui = 国頭捌理. The sabakui was a local/regional official in the Kingdom who oversaw matters pertaining to lumber. (各間切にいた幹部役人の総称で、材木の検査ならびに運搬の指揮にもあたった。)<ref>琉球芸能事典、当間一郎ed., Naha shuppansha, p49; 『国頭さばくい』 ～今に伝わる歌と踊り 琉球の原風景を訪ねる旅～, Ryukyumura website [https://www.ryukyumura.co.jp/official/oki100/vol-26/#:~:text=%E3%81%AA%E3%81%8A%E3%80%81%E3%81%95%E3%81%B0%E3%81%8F%E3%81%84%EF%BC%88%E6%8D%8C%E7%90%86,%E6%8C%87%E6%8F%AE%E3%81%AB%E3%82%82%E3%81%82%E3%81%9F%E3%81%A3%E3%81%9F%E3%80%82]</ref>
*Kunjan sabakui = 国頭捌理. The sabakui was a local/regional official in the Kingdom who oversaw matters pertaining to lumber. (各間切にいた幹部役人の総称で、材木の検査ならびに運搬の指揮にもあたった。)<ref>琉球芸能事典、当間一郎ed., Naha shuppansha, p49; 『国頭さばくい』 ～今に伝わる歌と踊り 琉球の原風景を訪ねる旅～, Ryukyumura website [https://www.ryukyumura.co.jp/official/oki100/vol-26/#:~:text=%E3%81%AA%E3%81%8A%E3%80%81%E3%81%95%E3%81%B0%E3%81%8F%E3%81%84%EF%BC%88%E6%8D%8C%E7%90%86,%E6%8C%87%E6%8F%AE%E3%81%AB%E3%82%82%E3%81%82%E3%81%9F%E3%81%A3%E3%81%9F%E3%80%82]</ref>
"Japanese gardens were featured, among others, in expositions held in Philadelphia (1876, 1926), Paris (1878, 1889, 1900, 1925), Chicago (1893, 1933), St. Louis (1904), London (1910), San Francisco (1915, 1939), New York (1939-40, 1964-65), Brussels (1958), Seattle (1909, 1962), and Montreal (1967). This means for the entire period between the 1860s and 1960s, Japanese gardens were on view at these major crowd-attracting events more or less every few years." Toshio Watanabe, "How the West Interacted with Japanese Gardens," Ishibashi Lectures, Kyoto University of Art and Design, 12 March 2016.
"Japanese gardens were featured, among others, in expositions held in Philadelphia (1876, 1926), Paris (1878, 1889, 1900, 1925), Chicago (1893, 1933), St. Louis (1904), London (1910), San Francisco (1915, 1939), New York (1939-40, 1964-65), Brussels (1958), Seattle (1909, 1962), and Montreal (1967). This means for the entire period between the 1860s and 1960s, Japanese gardens were on view at these major crowd-attracting events more or less every few years." Toshio Watanabe, "How the West Interacted with Japanese Gardens," Ishibashi Lectures, Kyoto University of Art and Design, 12 March 2016.
*Fukizumi 吹墨 - a technique for using a bamboo pipe to blow blue cobalt oxide onto porcelain, producing a splattered effect. - Nicole Coolidge Rousmaniere, Crafting Beauty in Modern Japan, University of Washington Press (2007), 17.
*Fukizumi 吹墨 - a technique for using a bamboo pipe to blow blue cobalt oxide onto porcelain, producing a splattered effect. - Nicole Coolidge Rousmaniere, Crafting Beauty in Modern Japan, University of Washington Press (2007), 17.