Changes

The use of temporary structures was not limited to the Ryukyuan case, for example because of the great distance from Beijing and the necessity of erecting something not normally used in Shuri; temporary structures were regularly erected in Beijing as well, for certain Imperial ceremonies and special occasions.<ref>Murakami Masakazu 村上正和, "18 seiki Pekin no gyôretsu to shukuten" 十八世紀北京の行列と祝典, in Kurushima Hiroshi (ed.), ''Egakareta gyôretsu'' 描かれた行列, University of Tokyo Press (2015), 350-351.</ref>

The use of temporary structures was not limited to the Ryukyuan case, for example because of the great distance from Beijing and the necessity of erecting something not normally used in Shuri; temporary structures were regularly erected in Beijing as well, for certain Imperial ceremonies and special occasions.<ref>Murakami Masakazu 村上正和, "18 seiki Pekin no gyôretsu to shukuten" 十八世紀北京の行列と祝典, in Kurushima Hiroshi (ed.), ''Egakareta gyôretsu'' 描かれた行列, University of Tokyo Press (2015), 350-351.</ref>

The procession met the king and his top advisors at the [[Shuri_Castle#Shureimon|Shureimon]], the symbolic entrance to the castle grounds. The king, and all the officials of the royal government, arranged by rank, kowtowed to the objects held in the portable pavilions, an act symbolic of receiving the Chinese Emperor himself. The king then led the procession into the castle and to the ''unaa'', where the objects were placed upon a table and flanked by the envoys, atop the raised platform, the king remaining below, at ground level<ref name=chen/>. The procession into the castle was accompanied by Ryukyuan ''[[rujigaku]]'' processional music, performed on ''[[suona|suǒnà]]'', horns, and a variety of gongs, chimes, and drums.<ref name=kaneshiro/>Kaneshiro Atsumi 金城厚, “Ryūkyū no gaikō girei ni okeru gakki ensō no imi” 「琉球の外交儀礼における楽器演奏の意味」, Musa ムーサ 14 (2013), 58-59.</ref>

The procession met the king and his top advisors at the [[Shuri_Castle#Shureimon|Shureimon]], the symbolic entrance to the castle grounds. The king, and all the officials of the royal government, arranged by rank, kowtowed to the objects held in the portable pavilions, an act symbolic of receiving the Chinese Emperor himself. The king then led the procession into the castle and to the ''unaa'', where the objects were placed upon a table and flanked by the envoys, atop the raised platform, the king remaining below, at ground level<ref name=chen/>. The procession into the castle was accompanied by Ryukyuan ''[[rujigaku]]'' processional music, performed on ''[[suona|suǒnà]]'', horns, and a variety of gongs, chimes, and drums.<ref name=kaneshiro>Kaneshiro Atsumi 金城厚, “Ryūkyū no gaikō girei ni okeru gakki ensō no imi” 「琉球の外交儀礼における楽器演奏の意味」, Musa ムーサ 14 (2013), 58-59.</ref>

After another kowtow and some music played by the Ryukyuan royal ensemble, the king knelt as the investiture edict was read. He then performed another kowtow, and the title of "king" (C: ''guó wáng''; J: ''kokuô'') was formally granted to him. Further kowtows accompanied the presentation of the Imperial gifts and of the Imperial patent and edict. Though Chinese custom dictated that the edict and patent be returned to the envoys afterward, Ryûkyû always requested to keep the objects as national heirlooms. The envoys' request to have them returned, Ryukyuan request to keep them, and granting of permission quickly became part of the investiture ritual. Before granting permission, the envoys also requested that the patents and edicts from previous investitures be shown to them<ref name=chen/>. Throughout the ceremony, ''[[uzagaku]]'' and/or ''suǒnà'' or [[Qing flute|flute]] music was played, halting whenever someone was to speak and then starting up again.<ref name=kaneshiro/>

After another kowtow and some music played by the Ryukyuan royal ensemble, the king knelt as the investiture edict was read. He then performed another kowtow, and the title of "king" (C: ''guó wáng''; J: ''kokuô'') was formally granted to him. Further kowtows accompanied the presentation of the Imperial gifts and of the Imperial patent and edict. Though Chinese custom dictated that the edict and patent be returned to the envoys afterward, Ryûkyû always requested to keep the objects as national heirlooms. The envoys' request to have them returned, Ryukyuan request to keep them, and granting of permission quickly became part of the investiture ritual. Before granting permission, the envoys also requested that the patents and edicts from previous investitures be shown to them<ref name=chen/>. Throughout the ceremony, ''[[uzagaku]]'' and/or ''suǒnà'' or [[Qing flute|flute]] music was played, halting whenever someone was to speak and then starting up again.<ref name=kaneshiro/>