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The Ainu people are an indigenous ethnic group residing in the northern parts of the Japanese archipelago, including what is today known as Hokkaido and the Tōhoku region of Honshu. Their ancestors date back to the Paleolithic (35,000 – 13,500 BCE) and Jomon periods (13,500 – 400 BCE).

This accordion style album is a copy of Ishūretsuzō (夷酋列像), also known as A Series of Paintings of Ainu Chieftains. It is a series of twelve painted portraits of Ainu elders who helped suppress the Menashi–Kunashiri rebellion in 1789 by siding with the Wajin (ethnic Japanese people, also called Yamato people). The original portraits were completed in 1790 by the Japanese artist Kakizaki Hakyō (1764–1826) and was received by the imperial court in Kyoto in 1791. The album includes a portrait of an elderly woman named Chikiriashikai, the mother of the chieftain Ikotoi, also pictured in the album.

Tan Yi-Ern Samuel, Ph.D. student in the Department of History of Art and Architecture, is looking at this album for his paper in Professor Yukio Lippit’s seminar on East Asian Portraiture, taught with curator of Chinese painting at the Metropolitan Museum of Art, Joseph Scheier-Dolberg. Today, we opened the album to look at it in its standing accordion style. The clothing worn and other accoutrements including animal fur depicted in the portraits show the connections between the Ainu, the Wajin, China, and Russia during that time.

The Ainu people are one of the few ethnic minorities native to the Japanese islands. They have been subjected to forced assimilation and colonization by the Japanese since at least the 18th century or earlier. Their ancestors, referred to as Emishi, were pushed to the northern islands by Wajin since the 9th century. The portraits of Ainu elders in this album reveal how they might have been fashioned in the imagination of the Wajin in the eighteenth and nineteenth centuries.

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