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A gate in the eastern side of the outer walls known as the Keiseimon (継世門), built in [[1543]] or [[1546]] in conjunction with an expansion of the castle walls,<ref name=shimposhurireki/> serves essentially as the rear gate to the compound, situated as it is on the opposite end of the compound from the main gates to the castle, the Shureimon and Kankaimon. Also known as the ''Akata gomon'' 赤田御門 and as the Suetsugi-ujô 継世門 in Okinawan, this gate at the rear of the complex was used by a crown prince when entering the castle after the death of his predecessor, in order to undertake his succession ceremony in the Yohokori-den 世誇殿. It was also by this gate that [[Sho Tai|Shô Tai]], the last king of Ryûkyû, departed the castle when abdicating the palace to the Japanese in [[1879]].<ref name=shuriqa/>
 
A gate in the eastern side of the outer walls known as the Keiseimon (継世門), built in [[1543]] or [[1546]] in conjunction with an expansion of the castle walls,<ref name=shimposhurireki/> serves essentially as the rear gate to the compound, situated as it is on the opposite end of the compound from the main gates to the castle, the Shureimon and Kankaimon. Also known as the ''Akata gomon'' 赤田御門 and as the Suetsugi-ujô 継世門 in Okinawan, this gate at the rear of the complex was used by a crown prince when entering the castle after the death of his predecessor, in order to undertake his succession ceremony in the Yohokori-den 世誇殿. It was also by this gate that [[Sho Tai|Shô Tai]], the last king of Ryûkyû, departed the castle when abdicating the palace to the Japanese in [[1879]].<ref name=shuriqa/>
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A pair of stelae which stand at the Keiseimon are said to have been erected in 1544, and were intended to serve as spiritual or symbolic protection against ''[[wako|wakô]]''<ref>"Shisetsu annai: Keiseimon." Shuri Castle Park Official Website.</ref>. Two other outer gates, called the Uekimon (右掖門) and Shukujunmon (淑順門), situated to the north side of the complex, provided access to an inner garden, called the ''ouchibara'' (御内原) in Okinawan. Today, tourists following the designated route pass through the Uekimon on their way out of the castle at the end of their visit<ref>"Shisetsu annai: Uekimon." Shuri Castle Park Official Website.</ref>.
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A pair of stelae which stand at the Keiseimon are said to have been erected in 1544, and were intended to serve as spiritual or symbolic protection against ''[[wako|wakô]]''<ref>"Shisetsu annai: Keiseimon." Shuri Castle Park Official Website.</ref>. Two other outer gates, called the Uekimon (右掖門) and Shukujunmon (淑順門), situated to the north side of the complex, provided access to an inner garden, called the ''ouchibara'' (御内原) in Okinawan. Today, tourists following the designated route pass through the Uekimon on their way out of the castle at the end of their visit<ref>"Shisetsu annai: Uekimon." Shuri Castle Park Official Website. Originally built in the 15th century, the gatehouse was dismantled in the 1920s-30s; what remained of it was destroyed in 1945 but was then restored in 2000. Plaques on-site.[https://www.flickr.com/photos/toranosuke/15439985442/in/photostream/]</ref>.
    
Several buildings stood inside these outer gates. One, known in Japanese as ''zenikura'' 銭蔵, was a two-story storehouse where [[awamori]], oils, and other materials, as well as money for the court's everyday use, was stored. A stables for three to five horses stood nearby, along with an office for those overseeing these two buildings, and overseeing or guarding the castle throughout the day and night.<ref name=plaques>Plaques on-site.</ref>
 
Several buildings stood inside these outer gates. One, known in Japanese as ''zenikura'' 銭蔵, was a two-story storehouse where [[awamori]], oils, and other materials, as well as money for the court's everyday use, was stored. A stables for three to five horses stood nearby, along with an office for those overseeing these two buildings, and overseeing or guarding the castle throughout the day and night.<ref name=plaques>Plaques on-site.</ref>
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The Seiden was originally roofed with shingles; this was changed to grey or black ceramic tiles in the 1670s or 1680s, and then to the iconic red terracotta tiles, which were supposedly cheaper to produce,<ref>Kakazu Hitosa 嘉数仁然, "Katte ni Shuri kentei! kaisetsu hen" 勝手に首里検定!解説編, ''Momoto Special Issue: Shuri, Ryûkyû no miyako o aruku'' モモト 別冊:首里・琉球の都をあるく (2013/8), 66.</ref> sometime later. Though there was some debate as to how to tile the roof when restoring the castle in the 1980s-90s, planners ultimately decided to use red terracotta tiles, as the castle's history of red tiles had been longer and as red tiles had come to be so widely regarded as an iconic feature of Okinawan architecture. There has also been some debate as to whether certain portions of the facade or pillars were painted black or red, and historical sources are unclear as to this point. Though restoration efforts in the 1980s-90s originally began with the intention of painting these sections black, reports from repair efforts in the 1920s-30s revealed that earlier layers of red had been found when stripping down the pillars (in order to repaint them) at that time.<ref name=shuriqa/>
 
The Seiden was originally roofed with shingles; this was changed to grey or black ceramic tiles in the 1670s or 1680s, and then to the iconic red terracotta tiles, which were supposedly cheaper to produce,<ref>Kakazu Hitosa 嘉数仁然, "Katte ni Shuri kentei! kaisetsu hen" 勝手に首里検定!解説編, ''Momoto Special Issue: Shuri, Ryûkyû no miyako o aruku'' モモト 別冊:首里・琉球の都をあるく (2013/8), 66.</ref> sometime later. Though there was some debate as to how to tile the roof when restoring the castle in the 1980s-90s, planners ultimately decided to use red terracotta tiles, as the castle's history of red tiles had been longer and as red tiles had come to be so widely regarded as an iconic feature of Okinawan architecture. There has also been some debate as to whether certain portions of the facade or pillars were painted black or red, and historical sources are unclear as to this point. Though restoration efforts in the 1980s-90s originally began with the intention of painting these sections black, reports from repair efforts in the 1920s-30s revealed that earlier layers of red had been found when stripping down the pillars (in order to repaint them) at that time.<ref name=shuriqa/>
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From the time of its reconstruction in the early 1990s until its destruction in an Oct 2019 fire, the Seiden was the largest wooden building in Okinawa prefecture. Sadly, regulations did not require a structure of its size and character to have a built-in sprinkler system; this, combined with the inaccessibility of the site and the early morning outbreak of the fire, contributed to the ultimate outcome of the structure burning to the ground before firefighters could get the fire under control.<ref name=nhkfire/>
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From the time of its reconstruction in the early 1990s until its destruction in an Oct 2019 fire, the Seiden was the largest wooden building in Okinawa prefecture. Sadly, regulations did not require a structure of its size and character to have a built-in sprinkler system; this, combined with the inaccessibility of the site and the early morning outbreak of the fire, contributed to the ultimate outcome of the structure burning to the ground before firefighters could get the fire under control.<ref name=nhkfire>"[https://www3.nhk.or.jp/lnews/okinawa/20210816/5090015329.html 首里城火災で損害賠償を請求するよう求め住民訴訟|NHK 沖縄県のニュース]," ''NHK News Web'', 16 Aug 2021.</ref>
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Two stone dragon pillars, roughly three meters in height, flank the central stair of the Seiden;<ref>Prior to the 1890s, these dragon pillars are believed to have stood facing one another; however, evidence from the late 1890s and early 20th century show that by that time they had been turned to both face forward. According to conventional wisdom, this had been done mischievously by members of the Kumamoto Garrison. When the Seiden was reconstructed in the early 1990s, these dragon pillars were once again placed so as to face one another. Interview with Matayoshi, 108. As might be expected, however, individuals interviewed at the opening of the restored castle expressed that they remembered their parents or grandparents telling them that before the war the dragons had faced forward. Interview with Kinjô Mutsuhide 金城睦秀. "Shurijô fukugen watashi mo mimashita" 首里城復元 私も見ました. ''Ryukyu Shimpo'', 3 Nov 1992.</ref> these, like just about everything on the grounds today, are reconstructions, though pieces of the pre-1945 pillars are now housed at the Okinawa Prefectural Museum. While most elements of the castle's design reflects Chinese, Korean, and Japanese influence, these dragon pillars resemble not those found anywhere in East Asia, but rather, a form distinctive of Ryûkyûan architecture, and perhaps bearing connections to elements seen in palaces and temples of Cambodia and Thailand<ref name=Kerr109/>, two of the many regions with which Ryûkyû traded heavily in the 14th-16th centuries. Dragons could also be found carved into and painted onto handrails, ceiling beams, and pillars throughout the structure<ref name=seiden>"Shisetsu annai: Seiden." Shuri Castle Park Official Website.</ref>.
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Two stone dragon pillars, roughly three meters in height, flank the central stair of the Seiden;<ref>Prior to the 1890s, these dragon pillars are believed to have stood facing one another; however, evidence from the late 1890s and early 20th century show that by that time they had been turned to both face forward. According to conventional wisdom, this had been done mischievously by members of the Kumamoto Garrison. When the Seiden was reconstructed in the early 1990s, these dragon pillars were once again placed so as to face one another. Interview with Matayoshi, 108. As might be expected, however, individuals interviewed at the opening of the restored castle expressed that they remembered their parents or grandparents telling them that before the war the dragons had faced forward. Interview with Kinjô Mutsuhide 金城睦秀. "Shurijô fukugen watashi mo mimashita" 首里城復元 私も見ました. ''Ryukyu Shimpo'', 3 Nov 1992.</ref> these, like just about everything on the grounds today, are reconstructions, though pieces of the pre-1945 pillars are now housed at the Okinawa Prefectural Museum. While most elements of the castle's design reflects Chinese, Korean, and Japanese influence, these dragon pillars resemble not those found anywhere in East Asia, but rather, a form distinctive of Ryûkyûan architecture, and perhaps bearing connections to elements seen in palaces and temples of Cambodia and Thailand<ref name=Kerr109/>, two of the many regions with which Ryûkyû traded heavily in the 14th-16th centuries. Dragons could also be found carved into and painted onto handrails, ceiling beams, and pillars throughout the structure<ref name=seiden>"Shisetsu annai: Seiden." Shuri Castle Park Official Website.</ref>. A particularly large dragon, made of glazed ''jôyachi'' pottery and some metalwork elements, was first installed above the ''karahafû'' main entrance of the Main Hall in [[1682]], being produced at that time by Ryukyuan craftsman [[Hirata Tentsu|Hirata Tentsû]].<ref>Gallery labels, 「首里城を支えた人と技術」, Shuri castle.[https://www.flickr.com/photos/toranosuke/15253765357/sizes/k/]</ref>
    
Though palaces in China, in accordance with the principles of Chinese geomancy, generally face south, those same principles were applied to Okinawa with the result that it was deemed most appropriate for the Seiden to face, not south, but west. It does so with the mountains at its back, facing the port of Naha, it being believed that dragon lines connect the two points, the palace sitting on a spot which is a source of energy, which then flows down to the harbor.<ref>Kitahara Shûichi. ''A Journey to the Ryukyu Gusuku'' 琉球城紀行。 Naha: Miura Creative, 2003. p11.</ref> Though Ryukyuan sources explaining this westerly facing have not been found, having the members of the court face east as they faced the throne may have helped heighten the association of the king with the sun (which rises in the east) and with ''[[nirai kanai]]'', the mythical origin of the gods, somewhere east across the seas; multiple [[Chinese investiture envoys]] suggested that the westerly facing was an act of propriety and loyalty towards China.<ref name=shuriqa/>
 
Though palaces in China, in accordance with the principles of Chinese geomancy, generally face south, those same principles were applied to Okinawa with the result that it was deemed most appropriate for the Seiden to face, not south, but west. It does so with the mountains at its back, facing the port of Naha, it being believed that dragon lines connect the two points, the palace sitting on a spot which is a source of energy, which then flows down to the harbor.<ref>Kitahara Shûichi. ''A Journey to the Ryukyu Gusuku'' 琉球城紀行。 Naha: Miura Creative, 2003. p11.</ref> Though Ryukyuan sources explaining this westerly facing have not been found, having the members of the court face east as they faced the throne may have helped heighten the association of the king with the sun (which rises in the east) and with ''[[nirai kanai]]'', the mythical origin of the gods, somewhere east across the seas; multiple [[Chinese investiture envoys]] suggested that the westerly facing was an act of propriety and loyalty towards China.<ref name=shuriqa/>
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[[File:Shuri-throne.jpg|right|thumb|400px|The throne in the second floor throne room. The plaque behind the throne, one of several in this room, bears the calligraphy of the [[Kangxi Emperor]], and reads ''Chûzan seido'', meaning roughly "this land has been ruled [benevolently] by Chûzan for generation after generation."<ref>"[http://okinawa-rekishi.cocolog-nifty.com/tora/2007/04/post_6b10.html 首里城にある「書」のヒミツ]." 目からウロコの琉球・沖縄史 blog, 14 April 2007.</ref>]]
 
[[File:Shuri-throne.jpg|right|thumb|400px|The throne in the second floor throne room. The plaque behind the throne, one of several in this room, bears the calligraphy of the [[Kangxi Emperor]], and reads ''Chûzan seido'', meaning roughly "this land has been ruled [benevolently] by Chûzan for generation after generation."<ref>"[http://okinawa-rekishi.cocolog-nifty.com/tora/2007/04/post_6b10.html 首里城にある「書」のヒミツ]." 目からウロコの琉球・沖縄史 blog, 14 April 2007.</ref>]]
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The second floor was called the ''ufugui'' (大庫理), and was the site of more private rituals and ceremonies performed only amongst the royalty and court ladies. It contained the throne room, but was largely a women's space. The throne room itself (also called ''usasuka'' like the audience chamber below) was decorated lavishly in gold and vermillion, as was the entire Seiden, inside and out. Two dragon pillars, painted gold, flank the throne, a Chinese-style chair elaborately carved, lacquered, and gilded, with mother-of-pearl inlay design. As part of the restoration of the castle in 1992, master lacquerware artist [[Maeda Koin|Maeda Kôin]] recreated this throne based on portraits of King Shô Shin and other sources, a project which took about two years.<ref name=maedakoin/> The dais upon which the throne sat resembled that of a Buddha statue, and was adorned with carvings of grape vine and squirrel designs. Some other elements of the decor featured gold inlay in black lacquered wood. Plaques given as gifts to the king by Chinese Emperors, bearing inscriptions of the Emperors' own calligraphy, adorn the throne room, where various more private rituals, as well as royal banquets, were held. As no photos or thorough descriptions of these plaques survived the war, these (like much else in the castle) were recreated based on research in Chinese imperial archives and the expertise of historical experts.<ref>Yasuyuki Uezu, "The Path towards the Restoration of Shurijo Castle," n.d., 6.</ref> Various objects would be brought out for rituals, including [[incense]], candle-stands in the form of dragons, cedars, decorative golden flowers, and paintings of Confucius<ref name=seiden/>.
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The second floor was called the ''ufugui'' (大庫理), and was the site of more private rituals and ceremonies performed only amongst the royalty and court ladies. It contained the throne room, but was largely a women's space. The throne room itself (also called ''usasuka'' like the audience chamber below) had high ceilings and was decorated lavishly in gold and vermillion, as was the entire Seiden, inside and out. Two dragon pillars, painted gold, flank the throne, a Chinese-style chair elaborately carved, lacquered, and gilded, with mother-of-pearl inlay design. As part of the restoration of the castle in 1992, master lacquerware artist [[Maeda Koin|Maeda Kôin]] recreated this throne based on portraits of King Shô Shin and other sources, a project which took about two years.<ref name=maedakoin/> The dais upon which the throne sat resembled that of a Buddha statue, and was adorned with carvings of grape vine and squirrel designs. Some other elements of the decor featured gold inlay in black lacquered wood. Plaques given as gifts to the king by Chinese Emperors, bearing inscriptions of the Emperors' own calligraphy, adorn the throne room, where various more private rituals, as well as royal banquets, were held. As no photos or thorough descriptions of these plaques survived the war, these (like much else in the castle) were recreated based on research in Chinese imperial archives and the expertise of historical experts.<ref>Yasuyuki Uezu, "The Path towards the Restoration of Shurijo Castle," n.d., 6.</ref> Various objects would be brought out for rituals, including [[incense]], candle-stands in the form of dragons, cedars, decorative golden flowers, and paintings of Confucius<ref name=seiden/>.
    
For certain ceremonies, including New Year's celebrations and those occasions when the king formally dispatched a missive to the Chinese Emperor, the throne (御轎椅, O: ''uchuui'') would be moved forward, and shutters on the front of the castle opened, so that the king would look down from under the ''karahafu'' gable upon the courtiers gathered in the ''unâ''<ref name=seiden/>.
 
For certain ceremonies, including New Year's celebrations and those occasions when the king formally dispatched a missive to the Chinese Emperor, the throne (御轎椅, O: ''uchuui'') would be moved forward, and shutters on the front of the castle opened, so that the king would look down from under the ''karahafu'' gable upon the courtiers gathered in the ''unâ''<ref name=seiden/>.
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