Persian Manuscript in Japan: A 13th-Century Treasure from the Maritime Silk Road

In the year 1217, a Japanese Buddhist monk named Keisei stood on the deck of a merchant ship in Quanzhou, one of the greatest international trading ports of the Southern Song dynasty. There, he encountered travelers whom he believed to be from India — the sacred land of the Buddha. Eager to bring back a memento for his revered teacher Myōe, Keisei asked two or three of these strangers to write something for him. What they inscribed on a sheet of paper, however, was not a Buddhist prayer in Sanskrit, but verses of Persian poetry penned in the flowing Naskh script. This remarkable document, known as the Shihon Bokusho Nanban Moji (Paper Manuscript in Ink with Southern Barbarian Script), is the oldest surviving Persian-language document in Japan and a designated Important Cultural Property — a vivid testament to the far-reaching cultural connections of the medieval maritime Silk Road.

What Is the Shihon Bokusho Nanban Moji?

The formal designation of this cultural property is Shihon Bokusho Nanban Moji, Keisei Shōnin no Shikigo Ari (紙本墨書南番文字〈慶政上人ノ識語アリ〉), meaning "Paper Manuscript in Ink with Southern Barbarian Script, with a Colophon by Saint Keisei." It is a single sheet of paper, approximately 7 cm in height and 50 cm in width, on which Persian verses are written in black ink using a brush. The text is arranged in two sections: four lines written horizontally along the longer side of the paper, and four additional lines written horizontally along the shorter side. Alongside the Persian text, Keisei added his own colophon in classical Chinese, explaining when and where the document was created.

The three poems contained in this manuscript have been identified as works by some of Iran's most celebrated poets. The first portion of the horizontal text quotes from Vis and Rāmin, a romantic epic by Fakhr al-Din As'ad Gurgani (11th century). The second portion draws from Shahnameh (The Book of Kings), the monumental epic by Ferdowsi (10th–11th century). The third section, written along the shorter side, was identified in 2020 as a passage from Jami' al-tawarikh (Compendium of Chronicles) by Rashid al-Din — a discovery that resolved a scholarly debate spanning more than a century.

The Monk Keisei and His Journey to Song China

Keisei (1189–1268) was a Buddhist monk of the Tendai sect during the Kamakura period. According to historical accounts, he was related to the powerful Kujō branch of the Fujiwara clan — some sources identify him as a brother of the regent Fujiwara no Michiie. In his infancy, Keisei suffered a severe spinal injury when dropped by his wet nurse, which likely influenced his decision to pursue a monastic life. He took Buddhist orders and became a monk of the Tendai Jimon school, eventually establishing a hermitage in the western hills of Kyoto.

In 1217 (Kenpō 5), Keisei traveled to Song China, returning to Japan the following year. During his stay in Quanzhou — the port that Marco Polo would later call "Zayton" and praise as one of the world's greatest harbors — Keisei encountered foreign merchants whom he described as "nanban" (southern barbarians), a term then loosely used for people from South and Southeast Asia, including India. Believing them to be from the sacred Buddhist homeland, Keisei asked them to write something as a souvenir for his friend and fellow monk, Myōe (also known as Kōben), who was known for his deep interest in Indian culture.

Keisei's colophon on the document reads, in part: "These are Southern Barbarian letters. Namu Shakanyorai. Namu Amidabutsu. Two or three persons came and wrote this on the ship. At the time of the Great Song, Jiading 10th year [1217], recorded at Quanzhou." The colophon reveals that Keisei genuinely believed the text was a Buddhist invocation. In reality, the writers were most likely Persian merchants from the thriving Persian community that had established itself in Quanzhou as part of the Maritime Silk Road trade network.

Why Was This Document Designated as a Cultural Property?

The document was first designated as a National Treasure under Japan's National Treasure Preservation Law on January 30, 1934. When the Cultural Properties Protection Law was enacted in 1950, its classification was changed to Important Cultural Property (Art Object). Although no longer categorized as a National Treasure under the current legal framework, its historical and cultural significance remains extraordinary.

Several factors make this document invaluable. It is the oldest known Persian-language document preserved in Japan, providing direct physical evidence of contact between Japan, China, and the Persian-speaking world in the early 13th century. The document also demonstrates the cosmopolitan character of Quanzhou as an international hub where Japanese monks, Persian merchants, and traders from across Asia crossed paths. Furthermore, the manuscript contains quotations from major works of Persian literature, offering insights into which literary works were widely known among Persian-speaking communities abroad during this era. The colophon by Keisei adds a unique Japanese perspective, revealing how a Kamakura-period monk interpreted and valued foreign writing — even when he fundamentally misunderstood its content.

The Persian Poetry: Great Literature Across Oceans

The identification and translation of the Persian text on this manuscript has been a scholarly endeavor spanning more than a century. In 1909, the Kyoto Imperial University orientalist Haneda Tōru first demonstrated that the script was not from India but was in fact Persian. His groundbreaking analysis opened a new chapter in understanding Japan's historical connections with the wider world.

The first poem, from Gurgani's Vis and Rāmin, speaks of the transience of happiness and wealth — a theme universally resonant across cultures. The second, from Ferdowsi's Shahnameh, draws from the farewell of the legendary Prince Iraj, evoking deep emotions of parting and fate. These were not obscure texts; they were among the most beloved and widely recited works in the Persian-speaking world, the kind of verses that sailors and merchants might share from memory during long voyages.

The third poem's source remained a mystery for decades. Various scholars proposed that it might be a quatrain by Omar Khayyam or an improvised folk verse. It was not until 2020 that the passage was definitively traced to Rashid al-Din's historical chronicle, bringing closure to one of the longest-running puzzles in the study of this manuscript.

Quanzhou: The Crossroads Where East Met West

To fully appreciate this document, it helps to understand the remarkable city where it was created. Quanzhou in Fujian Province was, during the Song and Yuan dynasties, arguably the busiest international port in the world. Arab and Persian traders had established permanent settlements there, building mosques, maintaining their own community governance, and conducting trade that stretched from the Persian Gulf to the South China Sea and beyond.

The Persian community in Quanzhou was substantial and influential. Archaeological evidence, including inscriptions in Arabic and Persian on tombstones and religious monuments, confirms a vibrant Muslim presence. It was in this cosmopolitan environment that Keisei, a Buddhist monk from Kyoto, encountered Persian-speaking individuals on a merchant vessel and received this extraordinary manuscript — a chance meeting that created a bridge between Persian literary culture and Japanese Buddhist heritage.

Connection to Kōzan-ji Temple: A World Heritage Site

The manuscript was originally kept at Hōben Chiin, a sub-temple of the famous Kōzan-ji (also spelled Kōsan-ji) in the Toganoo area of northwest Kyoto. Kōzan-ji is a UNESCO World Heritage Site, renowned for its treasures including the celebrated Chōjū-jinbutsu-giga (Scrolls of Frolicking Animals), often called Japan's earliest manga. The temple was revitalized in the early 13th century by the monk Myōe (Kōben), the very person for whom Keisei obtained the Persian manuscript.

Myōe was deeply interested in Indian culture and Buddhist traditions from South Asia. It was this passion that motivated Keisei to seek out what he believed to be Indian writing during his journey to China. Although the manuscript eventually left Kōzan-ji during the upheavals of the Meiji Restoration era, passing into private hands, its connection to Myōe and this illustrious temple remains an integral part of its history.

Today, Kōzan-ji offers visitors a peaceful retreat among ancient cedars, with its National Treasure Sekisui-in hall, Japan's oldest tea garden, and replicas of the Frolicking Animals scrolls on display. While the Persian manuscript itself is in private ownership and not publicly displayed, visiting Kōzan-ji provides rich context for understanding the intellectual world in which this document was treasured.

Highlights and Points of Interest

The Persian Manuscript in Japan captivates scholars and cultural enthusiasts for many reasons. The physical document itself — with its elegant Naskh calligraphy and Keisei's careful colophon in classical Chinese — embodies the meeting of vastly different civilizations in a single artifact. The juxtaposition of Persian poetry about love, fate, and the impermanence of fortune alongside a Japanese monk's Buddhist interpretation creates a poignant cross-cultural narrative.

For visitors interested in the broader cultural context, the Takao-Toganoo area of Kyoto offers a wonderful journey through Kōzan-ji and the nearby Jingo-ji and Saimyō-ji temples, collectively known as the "Three Temples of Takao." The area is particularly stunning during the autumn foliage season, when the mountain forests blaze with color — a landscape that has inspired artists and monks for centuries.

Surrounding Area Information

The Toganoo and Takao area in northwest Kyoto is a haven of natural beauty and cultural heritage. Kōzan-ji temple, the historical home of the Persian manuscript, sits nestled among towering cedars at the end of a tranquil mountain path. Nearby, Jingo-ji temple offers dramatic mountain scenery and houses Important Cultural Properties of its own, while Saimyō-ji is known for its elegant garden and bridge.

The Kiyotaki River runs through the valley, and hiking trails connect the three temples, making for a rewarding half-day excursion. The area is easily accessible by JR Bus from Kyoto Station (approximately 55 minutes to the Toganoo bus stop). For those visiting in autumn, the maple trees along the approach to these temples create one of Kyoto's most spectacular — and less crowded — foliage displays.