Fumie

Fumie (also Fumi -e, Japanese踏み絵; literally " pedal -image") is a arisen in the early Edo period Japanese term for Christian symbols, which began the authority to make followers of Christianity in the population identify. Initially painted images or wood block prints were used, but which you soon replaced by stone, wood and bronze relief panels because of the rapid wear. As a motive crucifixion representations and images of Mary served.

As far as the sources reveal that, of the 17th century were those " Pedal images " for the first time in the twenties in the persecution of Christians in Nagasaki used. Who was suspected to attach to the Christian faith, but this is denied or renounced Christianity, had come with his feet to prove his mind the image before the appropriate official. Those who refused, was arrested and executed. In regions with formerly high Christian population, this procedure was maintained even after the expulsion of the missionaries and the recent completion of an extensive country in 1639 and systematized, more or less, depending on the regional location. With the forced by Commodore Matthew Perry Treaty of Kanagawa (1854 ), the subsequent English -Japanese Friendship Treaty (1854 ), the Russo- Japanese Treaty of Shimoda (1855 ) grew the Western pressure on the Japanese authorities. In the spring of 1856 we were on the "image -kicking " in Nagasaki and Shimoda. However, beyond the open ports for the West considered it further, until finally in 1873 the prohibition of Christianity was finally canceled.

In Nagasaki, formerly one of the most important Christian centers of Japan, the "image -kicking " (Japanese絵踏み; efumi ) was held annually on the eighth day of the first month. Over time, the ceremony features a seasonal traditions accepted. Especially the women from the entertainment district Maruyama attended with their elaborate kimonos for spectators and stir. Some leaders ( oppferhoofden ) the trading post of Dejima, which entertained the Dutch East India Company since 1641 in Nagasaki, leaving in their service diaries brief comments. George Masters, a Protestant horticulturist from Saxony, who lived in Nagasaki 1682/83 and 1685/86, is an indignant representation in his work " The Oriental American Indian art and pleasure Gardener " Amazing left fell against which the very detailed description of the Pastor 's son Engelbert Kaempfer from, who had worked 1690/91 as a physician on Dejima:

" The figures, which are held in a specially -made casket to be cast from brass and about a foot long. With their representation is he to in the following way: after the Inquisitionsrat sat down on a mat to place himself has everything out of the house, large and small, in addition to the versammlen beiwohnenden families in the Gemache. Would be about the dwelling of the nearest neighbors for the performance of the action too small, so they will appear alhier with at the same time. The bronzed figures lying on the bare floor: the ordered to Jefumi writer suggests its pattern book and lieset from all the names, as they are read, come and go or occur on the pictures. The mothers raise minor children who can not go on and leave them with their feet down on it, which is considered as well, as if they have gone about it. If this happen, the house had his seal suppressed the muster roll, for a testimony that the Inquisition was held with them, and so deshalber the inquisitors at the governor himself may be able to justify. "

Further comments can be found in the writings of travelers to Japan as JF van Overmeer Fisscher Jan Cock Blomhoff, Philipp Franz von Siebold. A custom built in Nagasaki illustration from the early 19th century, offers von Siebold in his book NIPPON. Understandably, are contemporary authors from circles of the Catholic Church on the operations as soon as the conversation turned to Japan. Stimulated by Kaempfer's description of platted and writers such as Jonathan Swift in their works ( Gulliver's Travels, III. Portion, chapter 11) and Voltaire ( Candide ) to the scene. Among the modern authors especially Endō Shusaku (silence ) and David Mitchell ( The Thousand Autumns of Jacob de Zoet ) are emphasized.

During the Edo period, has become unusable " pedal pictures " were melted down or destroyed. This happened during and after the opening of the country in the 19th century. Nevertheless, it is now found in virtually every relevant regional museums to Tokyo National Museum at least some exhibits.

In modern Japanese slang, the term is fumie also free of historical- religious connotations within the meaning of the German " litmus test " or " loyalty test " used.