Around 1000 years ago, during the Song Dynasty, there lived in Shaoxing a hardworking
and talented tailor. Following his marriage he eagerly anticipated being blessed with
the birth of a son. It happened that just around the time of the fall harvest when
he was working in his shop in town, the tailor received the news that his wife was
pregnant. The excited tailer hurried back to his home village and asked the village
winemaker to make several big jars of wine for him to be served at the one month old
celebration of the birth of the son that he expected.
The following spring, contrary to the tailor's expectation, his wife gave birth to
a girl. The tailor, who like most people back then believed that sons were essential
to the family and that daughters were of little value, was extremely upset. In his
anger he decided not to hold a party for his daughter, and instead he took the jars
of new wine and buried them all in his backyard under a sweet-scented osmanthus tree
and he forgot about them.
Time flew by, and before the tailor knew it, his daughter was a teenager. Clever and
quick-witted by nature, she was not only beautiful but also very talented—she learned
all the sewing techniques from her father as well as embroidery techniques, which
caused the tailor's business to boom. The tailor came to realize that having a daughter
wasn't so bad after all. He cleverly arranged to keep the business in the family.
Instead of marrying off his daughter to another family, he planned to marry his daughter
to his best apprentice on the condition that his apprentice would take the tailor's
Because the coming wedding was going to be an especially joyous occasion for the family,
the tailor decided to hold a big wedding banquet. At the banquet, while everyone was
celebrating, the tailor discovered that he had run out of wine. In desperation, the
tailor remembered the wine that he had buried under the osmanthus tree. Although he
wasn't sure if the one would be any good after nearly twenty years, he feared that
his guests would judge him to be a poor host if he ran out of wine, and so he hurriedly
dug up the jars.
When he opened the first jar, a sweet fragrance immediately filled the banquet hall.
After tasting the wine, all the tailor's guests concluded that this was the best Shaoxing
wine they had ever tasted. Once this story got out, people from all over Shaoxing
adopted the custom of using aged wine, believing that nearly twenty year old wine
was much better tasting than new wine. Thus, "daughter's wine" was born. Since then
Shaoxing wine has long been a source of both national fame and of local pride in the
Shaoxing region of Zhejiang Province in eastern China.
Retold by Yuanzi Liu to Professor Peggy Christoff, Asian and Asian American Studies
This letter from the Long Island Museum’s collection, dated March 22, 1944, was written
to Sarah Fisher Mount (1887-1945) by Japanese American neighbor and family friend,
Dorothy Yasuoka (1917-2000). Dorothy sent it after being relocated from San Francisco
to the Topaz War Relocation Center in Delta, Utah, during World War II.
The Japanese attack on Pearl Harbor in 1941 forced the United States to enter World
War II. An immediate increase in anti-Japanese discrimination culminated in President
Franklin D. Roosevelt’s Executive Order 9066, calling for the exclusion and relocation
of all Japanese Americans from the West Coast. Dorothy was one of more than 120,000
Japanese Americans forced into internment, and was sent with her mother to the Topaz
Center in the Utah Desert.
Despite the hardships she endured, Dorothy’s letters convey a sense of normalcy in
a very difficult situation. Maintaining a positive outlook, Dorothy wrote about the
weather, the clothes she made, and work. Day-to-day living motivated her to keep going.
She was always thankful for Sarah’s letters which contained news from home, and occasionally,
Dorothy describes one poignant event in this letter. She witnessed two of her friends,
the Kumagi sisters, reuniting with their father who had been interned at another camp,
in New Mexico. No words were spoken. The father and his daughters ran to one another
and embraced, weeping.
Dorothy and Sarah maintained their friendship throughout Dorothy’s internment, keeping
up a steady correspondence. Unfortunately, they never saw one another in person again.
Sarah passed away January 22nd, 1945, in San Francisco, several months before Dorothy’s
release from Topaz on September 15th, 1945. After her release, Dorothy resided in
Japan for several years. She returned to San Francisco in 1952, remaining there until
her death in 2000.
Andrea Abrahamsen, Curatorial Assistant, The Long Island Museum
The three deities in the painting represent a conflation of Buddhist belief and popular
secular belief in Korea. Portrayed in Buddhist dress, they are known as sambul (the three Buddhas), but they are also known to be samshin halmŏni (Birth Spirits) to whom women pray for the conception of a son, a safe delivery and
a healthy infant. The Birth Spirits, also known as the Granny Samshin, are venerated
in the inner room of the home. In traditional Korean practice, the Granny Samshin
received special offerings for 21 days after the birth of a child.
The three figures in the painting wear costumes used in Buddhist liturgical dancing:
white robes, peak hoods and red capes. Shamans wear these same robes and hoods when
they manifest the Granny Samshin and other spirits associated with Buddhism during
shamanistic rituals. These three goddesses descend from the heavens onto high mountains,
and like monks who live pure lives in mountain monasteries, they receive only vegetarian
offerings. The top figure holds a lotus, the one on the left a gong, and the one on
the right a bowl of rice - all objects that figure prominently in a shaman's shrine.
The lotus is is an important Buddhist symbol because its beautiful flower grows out
of pond muck. It signifies the possibility of salvation despite its existence amid
the surrounding muck of the world, and it prefigures rebirth on a lotus in Buddhist
paradise. The gong is used both in Buddhist and in shamanistic rituals. In some evocations
of Buddhist inspired spirits, the shaman strikes a gong just as a monk does during
certain Buddhist observances. The gong accompanies the drum during the shamanic ritual
in order to inspire the lively dancing that draws down the spirits. In their traditional
practice of wet rice agriculture Koreans have valued rice grains as symbols of fertility
and abundance—the womb, the fields and more generally, wealth. Rice grains are an
important element in shamanic rituals. A jar or a gourd filled with rice grains is
a traditional offering for the Granny Samshin, serving as a symbol of a fertile womb
and a prosperous household.
Jinyoung Jin, Director of Cultural Programs, The Charles B. Wang Center
In 1971, Sociology Professor O. Andrew Collver began building a Japanese garden for
his wife Mitsuko in their back yard near the SBU campus. By that time, besides the
new custom-built house, she had two talented daughters, an MA degree from the University
of Michigan, a professional position in the SBU Library and even Japanese groceries
from Flushing. It was the American dream come true, but all this was not enough to
end her yearning for Japan and the Watanabe family in Kyoto.
Kyoto was where Andy had discovered her working in an antique store in 1953. He offered
to write to her from Korea, where he was stationed with the U.S. Army. Thus began
a penpals romance that eventually brought the two together at the University of Oregon
in 1955. There she became known as Mitsi and began adjusting to life in America.
As the garden gradually took shape over the years, her homesickness subsided. A little
bit of home had come to her. Andy still tends the garden although Mitsi’s life ended
in April 2013. It is there that he feels closest to her.
Andrew Collver, Emeritus Associate Professor of Sociology