Critical perspectives on classicism in Japanese painting, 1600-1700 PDF
Preview Critical perspectives on classicism in Japanese painting, 1600-1700
Critical Perspectives on Classicism in Japanese Painting, 1600–1700 Tawaraya S≤tatsu, detached segment of the Illustrated Handscroll ofThe New Collection of Ancient and Modern Japanese Poetry, MOA Museum, Shizuoka Critical Perspectives on Classicism in Japanese Painting, 1600 – 1700 Edited by Elizabeth Lillehoj University of Hawai‘i Press Honolulu © 2004 University of Hawai‘i Press All rights reserved Printed in the United States of America 09 08 07 06 05 04 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Critical perspectives on classicism in Japanese painting, 1600–1700 / edited by Elizabeth Lillehoj. p. cm. Includes bibliographical references and index. isbn0-8248-2699-x(hardcover : alk. paper) 1. Painting, Japanese—Edo period, 1600–1868. 2. Classicism in art—Japan. I. Lillehoj, Elizabeth. nd1053.5 .c75 2004 759.952'09'032—dc21 2003009998 University of Hawai‘i Press books are printed on acid- free paper and meet the guidelines for permanence and durability of the Council on Library Resources. Designed by April Leidig-Higgins Printed by Thomson-Shore, Inc. Publication of this book has received generous support from The Ruth and Sherman Lee Institute for Japanese Art at the Clark Center. Contents List of Illustrations vii Foreword | Samuel C. Morse xi Introduction | Elizabeth Lillehoj 1 Chapter One | Melanie Trede 21 Terminology and Ideology: Coming to Terms with “Classicism” in Japanese Art-Historical Writing Chapter Two | Satoko Tamamushi 53 Tawaraya S≤tatsu and the “Yamato-eRevival” Chapter Three | Keiko Nakamachi 79 The Patrons of Tawaraya S≤tatsu and Ogata K≤rin Chapter Four | Laura W. Allen 99 Japanese Exemplars for a New Age: GenjiPaintings from the Seventeenth-Century Tosa School Chapter Five | Joshua S. Mostow 133 A New “Classical” Theme: The One Hundred Poets from Elite to Popular Art in the Early Edo Period 169 Chapter Six | Karen M. Gerhart Classical Imagery and Tokugawa Patronage: A Redefinition in the Seventeenth Century 187 Chapter Seven | Elizabeth Lillehoj Uses of the Past: Gion FloatPaintings as Instruments of Classicism 207 Afterword | Quitman Eugene Phillips 213 Appendix: Artists and Schools 217 Glossary 225 Kanji List 237 Selected Bibliography 261 Contributors 263 Index Color plates follow page 132 vi Contents Illustrations figure2.1. Frontispiece of the “Ganmon” scroll from the Heike n≤ky≤ 55 figure2.2. Frontispiece of the “Kej≤yubon” scroll from the Heike n≤ky≤ 56 figure2.3. Frontispiece of the “Shokuruibon” scroll from the Heike n≤ky≤ 57 figure2.4. “Ganmon” scroll in the Illustrated Guide to the Treasures of 58 Itsukushima figure2.5. “Kej≤yubon” scroll in the Illustrated Guide to the Treasures of 59 Itsukushima figure2.6. “Shokuruibon” scroll in the Illustrated Guide to the Treasures 60 of Itsukushima figure2.7. Tawaraya S≤tatsu, detached segment of Illustrated Handscroll 63 of The New Collection of Ancient and Modern Japanese Poetry figure2.8. Tawaraya S≤tatsu, detail of Illustrated Handscroll of The 64 Collection of Japanese Poetry for One Thousand Years figure2.9. Tawaraya S≤tatsu, Matsushima Screens 65 figure2.10. Cover of “Jukibon” chapter from the Heike n≤ky≤ 66 figure2.11. Ogata K≤rin, Matsushima Screen 67 figure2.12. Ogata K≤rin, Suminoe Writing Box 68 figure2.13. Label on packing bag for the Sekiya and Miotsukushi Screens 70 figure2.14. Thunder god in Pleasures of the Shij≤ RiversideScreens (detail) 74 figure4.1. Four Pairs of Shells,from a shell game 104 figure4.2. Illustration from the Admonitions for Women 107 figure4.3. First illustration from Selected Lessons for Women 108 109 figure4.4. Second illustration from Selected Lessons for Women 110 figure4.5. Illustration from Mirror of Japanese Women 111 figure4.6. Tosa Mitsuoki, Murasaki Shikibu Viewing the Moon at Ishiyamadera 112 figure4.7. K≤ami Nagashige, Dowry Set with Designs from “First Warbler” 115 figure4.8. Tosa Mitsunori, illustration for “Channel Buoys” 118 figure4.9. Illustration from Mirror of Japan’s Virtuous Women, vol. 1 120 figure4.10. Illustration from Mirror of Japan’s Virtuous Women, vol. 8 123 figure4.11. Tosa Mitsuoki, “First Warbler” (left screen) 125 figure4.12. Tosa Mitsuoki, “New Herbs I” (right screen) 127 figure4.13. Illustration from Selected Lessons for Women 134 figure5.1. Kano Tan’y≥, Date Family One Hundred Poets Picture Album: Teika 135 figure5.2. Kano Tan’y≥ (attrib.), Portraits of the One Hundred Poets: Teika 136 figure5.3. Kano Tan’y≥ (attrib.), Portraits of the One Hundred Poets: The Handmaid Su≤ and Retired Emperor Sanj≤ 137 figure5.4. Kano Tan’y≥ (attrib.), Portraits of the One Hundred Poets: Sagami and Gy≤son 139 figure5.5. Suminokura Soan (attrib.), One Hundred Poets: Teika 139 figure5.6. Suminokura Soan (attrib.), One Hundred Poets: Sagami 140 figure5.7. Anonymous, Ten Thousand Treasures Annotated One Hundred Poets, One Poem Each Compilation 143 figure5.8. Kano Tan’y≥, Pictures of Thirty-Six Immortal Poets 153 figure5.9. Tosa Mitsuoki, The Style of Deep Feeling(detail) 155 figure5.10. Kano school, The Handmaid KoShikibu 156 figure5.11. Kano Masunobu, Album of New Thirty-Six Immortal Poets: Yoshitsune viii Illustrations figure5.12. Kano Masunobu, Album of New Thirty-Six Immortal Poets: 157 Yoshitsune (poem) figure5.13. Hishikawa Moronobu, Images of Elegant Figures of One 158 Hundred Poets: Gy≤son figure5.14. Keisai Eisen, Twelve Views of Beautiful Women of Today: The 159 Untamable and Benten Shrine figure5.15. Anonymous Kano school artist, Portrait of Shogun Tokugawa 160 Yoshimune figure6.1. Instructions Regarding the Paintings of the Emperor’s Visitation 173 Palace of Nij≤ Castle figure6.2. Diagram of Ninomaru Palace and the Visitation Palace 174 figure6.3. Scene from woodblock print of Mirror for Instructing the 179 Emperor figure7.1. Kano Atsunobu (attrib.), Chrysanthemum Dew Float,from the 192 Gion Festival Floats figure7.2. Kano Atsunobu (attrib.), Prince Sh≤toku Float, from the Gion 192 Festival Floats figure7.3. Kano Atsunobu (attrib.), Decorated Parasol Float, from the Gion 192 Festival Floats figure7.4. Shugakuin Reception Hall 193 figure7.5. Floor plan, Shugakuin Reception Hall 194 figure7.6. Anonymous, Scenes In and Around Kyoto Screens(detail) 196 plate1. Tawaraya S≤tatsu,Sekiya and Miotsukushi Chapters from The Tale of Genji Screens plate2. Tawaraya S≤tatsu,Wind and Thunder Gods Screens plate3. Episode from the“Sacred Tree” chapter of The Tale of Genji plate4. Tosa Mitsuoki, illustration for “An Autumn Excursion,” Tale of Genji Album Illustrations ix
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