Fushigi Yuugi compared to Ancient China

If you watch Fushigi Yuugi, you may recognize the similarity of the cultures in the fictional region of Chung Kuo, the overall land in FY to that of ancient China. Many of the clothes its citizens wear resemble that of Chinese ones, from kung-fu uniforms to the eloquently woven Chinese dresses. The structures are quite similar as well, from the design of the palaces and the temples to the organization of cities; a small expanse centered by the palace itself. The climates and landscapes also resemble China, from the mountainous regions to the vacant desert to the greener areas.

The most parallels are seen in the legends of the Shijin Tenchisho. By examining the early mythological creation of China, one can draw much evidence that Yuu Watase based the organization and magic of the Shijin Tenchisho on those of Chinese creational and eastern astrological beliefs. Not only are there intended similarities, but there could quite be unintended ones.

The Four Regions

The Suzaku, Seiryuu, Genbu, and Byakko are all represented with animal gods and different colours, all of which resemble those of the Celestial Sphere. Of these animals, three resemble those of the animals summoned by P'an Ku, the Great Architect of the Chinese civilization. Upon creating the universe, P'an Ku called upon the Tortoise, Dragon, and Phoenix to aid in creating the animals. Each animal is particular to a certain region in the sky and has certain characteristics to each.

In the south of Chung Kuo, the Suzaku worship a red peacock, or in general, a red bird. This is a slight modification of the Phoenix in Chinese mythology, of which could be used to describe the Suzaku very closely. It inhabits the southern sector of the heavens and is nicknamed "the Emperor of Birds". Often, this bird is associated with the warmth of summer and virtue, waiting for the day peace will come to China, so it may fly from where it hides.

While the red peacock of the Suzaku doesn't quite match the Phoenix, it does have symbolism all its own in China and comparison to the Suzaku. The peacock is rare in China, existing mostly in the southern regions. This bird is often a symbol of beauty, dignity, and high status, the feathers once used for rank in offices. This is very comparable to the Suzaku, of which the Emperor of Konan is associated with all three of these symbols.

One of the most obvious animal deities of the Chinese sect is the Dragon, heavily used in art and myth, but is not comparable to those dragons of European mythology. The Dragon is actually more known for its strength and goodness in all surprised, at first not appearing to be at all close to the "evil empire" the Seiryuu are. However, by the actions of some of the Seiryuu seishi, perhaps the Seiryuu themselves can't be associated with evil themselves.

The Azure Dragon was said to exist in the eastern quadrant of the sky, serving as a symbol of the spring season. The dragon has also been a symbol of vigilance and authority, depicted on Chinese throne, flag, and imperial robes. To show authority, many higher positions wore designs with five-talonned dragons, the lower wearing four-talonned dragons. Perhaps this is reason towards possible intentional design of Nakago's uniform, the shoulders adorned by claws.

Perhaps this is to indicate the Seiryuu are not "evil", but perhaps more associated to "power". After all, as indicated by Amiboshi and Soi's situations, the Seiryuu are more victims of Nakago's manipulation. Nakago seeks imperial authority, to live like a god, as if asking to become the Azure Dragon itself. There is also a belief that a dragon exists underground, in which digging into it at the wrong time is disastrous, as the Suzaku find when they try to "dig into" Kutou.

While there is not much on the Tortoise, the Black Warrior, or the Genbu, nor do the same colours associate the two, there are some similarities. The Tortoise symbolizes winter, living in the northern sector of the Celestial Sphere. The Tortoise is also a symbol of endurance and longevity, much like the ghosts of Tomite and Hikitsu have lasted so long to protect the Shinzaho. While the Tortoise is the most mythical of the animal deities, so is the Genbu the most mythical of the tribes.

Perhaps in an extreme relationship, writing can be associated to both the Genbu and the Tortoise. It was ancient writing and myth that clued Nuriko and Miaka to where the first Shinzaho was located. Legend says that the idea for the Chinese characters came from the lines of the tortoise's shell. A narrow comparison, but a comparison nonetheless.

The fourth of the supernatural creatures is actually not the White Tiger, but the Unicorn. This is not to say that the Tiger has no legend behind it; Chinese astrology states that the Tiger is the first descendant of one of the stars of Ursa Major and now occupies the western quadrant in the sky. Many areas in the North-western region of China worship tigers and tiger gods.

The Tiger is a symbol of the autumnal season, resembling some of the decay of the desert. This could perhaps associate very closely to Tatara of the Byakko, who is an operator of magic in the botanical sense, yet is in the late years of live, much like the leaves of a tree in the fall. The Tiger also symbolizes defense, the bravery and ferocity of a soldier. While the Byakko are not ferocious in action, they are very heavy into defense, protecting the Shinzaho by extending life, rather than trusting later generations.

The Celestial Sphere

The Celestial Sphere is the Chinese term for the heavens. Much like the stars have been divided up into constellations in European astrology, the Sphere is divided into 28 "abodes". In each reserved area composed of constellations and planets, a hero is said to reside who both rules the sky and controls the destiny of certain people. The Sphere is divided into four quadrants, as mentioned by each animal deity above, and each quadrant has seven constellations.

The Seishi, Seven Heroes of the Heavens

It is obvious that Watase based the seven seishi of each Miko on the seven abodes in each quadrant. Each name of the seishi is composed of two characters. The first is the Chinese symbol for the particular constellation the seishi is associated with, as well as the symbol located on the seishi's body somewhere. The second part is the Chinese symbol for "constellation", which is also Japanese for "dwelling", relating the two interpretations. It is said that these constellations have been borrowed in other cultures and used on Western globes and astrology.

The names of the seishi are in the links to each tribe, organized according to their quadrant and animal deity. Under each seishi is the name of the symbol in Chinese, the character's name, the literal translation, the animal representative, and the element. Five elements are primary in the Chinese beliefs; earth, water, wood, metal, and fire, with each able to counter and be countered by another. Two additional elements, Sun and Moon, round out, and each quadrant has one of each element.

The Seasons of the Tribes

Probably the most interesting and least noticed connection between the sectioned tribes of Fushigi Yuugi and the Celestial Sphere would have to be the seasons related to each quadrant. In order from spring to winter, the cycle goes from east clockwise to north. Ergo, the cycle would be from Seiryuu to Suzaku to Byakko to Genbu. This brings up and interesting correlation when put in context of where the tribe is in terms of past, present, and future glory.

200 years before Miaka and Yui arrive, the Genbu no Miko arrived to save the tribe from the Seiryuu. Since then, the tribe has practically withered from the Miko's departure and the glory long past. In all likelihood, this is probably hibernation, although the arrival of the ghosts of Hikitsu and Tomite gives the impression that the tribe is practically dead and awaiting resurrection, much how the season of winter implies in their frigid town of Sailo.

The Byakko are in the west, 100 years after the arrival of their Miko. As time would have it, both the departed Miko and her beloved seishi are on the ends of their own lifelines. The other two seishi manage to cheat time, but know that they are not very capable of lasting for much longer. The society in Hokkan is apparently on its way to its hibernation, already rather desolate, very much comparable to autumn.

For the Suzaku and Seiryuu, it's a little harder to see to comparison to the seasons. Since we are introduced to the Suzaku first, we're shown a little more of the glory the Suzaku tribe is basking in, almost as if the sun is at its highest point over Konan. Apparently, this glory is something the Seiryuu want. Although it can be said that both the Suzaku and Seiryuu are at identical stages of questing for the Shinzaho, the Seiryuu are trying to invade Konan nearer the end of the series. With this in thought, it can be said that the Seiryuu are beginning their surge towards power, driving towards the prosperity that the Suzaku are experiencing. Hence, although it is a bit of a stretch, the Seiryuu could be thought of being in the springtime of their revival. Although these are viable comparisons, they do not always follow in a predestined cycle, as seen in the ending.