Courtly Visions: The Ise Stories and the Politics of Cultural Appropriation PDF
Preview Courtly Visions: The Ise Stories and the Politics of Cultural Appropriation
courtly visions the ise stories and the politics of cultural appropriation JJVVCC1122__pp000011__336688__vv22..iinndddd ii 0033--0077--1144 2222::1177 japanese visual culture Volume 12 Managing Editor John T. Carpenter JJVVCC1122__pp000011__336688__vv22..iinndddd iiii 0033--0077--1144 2222::1177 Courtly Visions The Ise Stories and the Politics of Cultural Appropriation by joshua s. mostow Leiden – Boston 2014 JJVVCC1122__pp000011__336688__vv22..iinndddd iiiiii 0033--0077--1144 2222::1177 Published by All rights reserved. No part of this publication may be BRILL reproduced, translated, stored in a retrieval system, or Plantijnstraat 2 transmitted in any form or by any means, electronic, 2321 JC Leiden mechanical, photocopying, recording or otherwise, without The Netherlands prior written permission from the publisher. brill.com/jvc Brill has made all reasonable eff orts to trace all right Design holders to any copyrighted material used in this work. In Peter Yeoh, New York cases where these eff orts have not been successful the Studio Berry Slok, Amsterdam (cover) publisher welcomes communications from copyright Production holders, so that the appropriate acknowledgements can be High Trade BV, Zwolle, The Netherlands made in future editions, and to settle other permission Printed in Slovakia matters. ISBN 978-90-04-24485-6 Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the Library of Congress Cataloging-in-Publication Data appropriate fees are paid directly to The Copyright Detailed Library of Congress Cataloging-in-Publication Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, data are available on the internet at MA 01923, USA. http://catalog.loc.gov Fees are subject to change. Copyright 2014 by Koninklijke Brill NV, Leiden, Cover image: Detail of fi g. 166. Kikuchi Yōsai. Ariwara no Narihira Visiting The Netherlands. Koninklijke Brill NV incorporates the Prince Koretaka. 1874. © Staatliche Museen zu Berlin, imprints Brill, Global Oriental, Hotei Publishing, IDC Museum für Asiatische Kunst. See p. 267 for full image. Publishers and Martinus Nijhoff Publishers. JJVVCC1122__pp000011__336688__vv22..iinndddd iivv 1166--0077--1144 1155::2244 To Sharalyn: P! JJVVCC1122__pp000011__336688__vv22..iinndddd vv 0033--0077--1144 2222::1177 JJVVCC1122__pp000011__336688__vv22..iinndddd vvii 0033--0077--1144 2222::1177 Contents Acknowledgments x introduction: reading the ise stories across history, gender, and class 1 1 the romance of the picture: screen-pictures, screen-poems, and the ise monogatari 9 Narihira and Prince Koretaka’s Salon 9 The Ise and Screen-Poems (byōbu-uta) 11 Ise Screens 34 2 female readers and early heian romances: the hakubyō ise stories illustrated scroll fragments 39 The Texts of the Ise monogatari 40 Hakubyō Painting and Women's Autobiographical Writing in the Heian Period 41 The Hakubyō Pictures 42 Hakubyō Painting 47 Identifying the Hakubyō Ise monogatari Scenes 49 The Hakubyō Ise monogatari emaki and Female Readers 62 The “Feminine Re-Guard” 64 Conclusion 75 3 allusion and authority: the love song of lord takafusa 77 Reception of the Ise monogatari in Imperial Anthologies through the Time of Teika 78 Narihira as Model Courtier 79 The Love Song of Lord Takafusa 81 The Love Song as Medieval Enlightenment Tale 92 The Love Song and Lèse Majesté 94 4 the kubo version: the ise stories as cultural capital 97 Identifying the Episodes 99 The Kubo Ise and Kyōgoku Poetry 123 The Kubo Ise and Lady Nijō 124 vii JJVVCC1122__pp000011__336688__vv22..iinndddd vviiii 0033--0077--1144 2222::1177 5 the love song of lord takafusa illustrated scroll 129 From the Takafusa shū to the Tsuya-kotoba emaki 129 Emperor Fushimi and the Ise monogatari 130 The Love Song of Lord Takafusa Illustrated Scroll 131 The Political Function of the Takafusa-kyō tsuya-kotoba emaki 141 6 tantric commentaries and popular humor: the variant ise stories illustrated scrolls 145 The Introduction of the Ihon Ise monogatari emaki 146 Representations of Sumiyoshi Daimyōjin 160 Ise monogatari and the Noh Theater 161 Wit and Humor in the Ihon Illustrated Scrolls 167 Kachō Fūgetsu 167 7 the establishment of an iconography: the saga edition ise stories 177 The Creation of the Saga-bon Ise monogatari: Part I 177 Ōgi no sōshi and Ise iconography 178 The “British Library Line” of Texts 183 The Creation of the Saga-bon Ise monogatari: Part II 187 Reprise as Conclusion: The Saga-bon “Lineage” 203 A. The Honokuni Bunko-bon Ise monogatari emaki 204 B. The Tosa-ha and the Suntory Ise monogatari Screens 206 C. The Mitsumochi-bon 209 D. The Saga-bon Ise monogatari and Saigyō monogatari emaki 211 8 ise iconography as visual “secret transmission” (hiden): the creation of the ise iconography of the sōtatsu atelier 213 The Sōtatsu Ise monogatari Album Leaves (shikishi) 217 Sōtatsu Screens of the Ise monogatari 225 The British Museum Ise monogatari screen 231 The Ise Stories’ Two Iconographies 241 viii JJVVCC1122__pp000011__336688__vv22..iinndddd vviiiiii 0033--0077--1144 2222::1177 epilogue: the ise stories and their imagery in the later edo and modern periods 243 Other Developments in the Seventeenth Century 243 Ise on Stage 248 Further Eighteenth-Century Developments 253 Narihira and Genji in the Nineteenth Century 256 Mitate Series 257 Chiryū, and Ise in the Geographic Imagination 257 Ise monogatari in the Meiji Period 264 Ise monogatari to the Beginning of the Twenty-First Century 268 Endnotes 274 Appendix A. Translation of The Love Song of Lord Takafusa Illustrated Scroll (Takafusa-kyō tsuya-kotoba emaki) 304 Appendix B. Introduction and Translation of Kachō Fūgetsu, by R. Keller Kimbrough 311 Bibliography 324 Index of First Lines of Poems 338 Subject lndex 340 ix JJVVCC1122__pp000011__336688__vv22..iinndddd iixx 0033--0077--1144 2222::1177
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