Table Of Contentart and palace politics
in early modern japan
1580s–1680s
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japanese visual culture series
Volume 2
Managing Editor
John T. Carpenter
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Art and Palace Politics
in Early Modern Japan
1580s–1680s
by
elizabeth lillehoj
Leiden – Boston
2011
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Published by Copyright 2011 by Koninklijke Brill NV, Leiden,
BRILL The Netherlands. Koninklijke Brill NV incorporates the
Plantijnstraat 2 imprints Brill, Global Oriental, Hotei Publishing, IDC
2321 JC Leiden Publishers, Martinus Nijhoff Publishers and VSP.
The Netherlands
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Text editing transmitted in any form or by any means, electronic,
Naomi Noble Richard mechanical, photocopying, recording or otherwise, without
with John T. Carpenter and Alfred Haft prior written permission from the publisher.
Design
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use is granted by Koninklijke Brill NV provided that the
Lillehoj, Elizabeth. appropriate fees are paid directly to The Copyright
Art and palace politics in early modern Japan, 1580s-1680s / Clearance Center, 222 Rosewood Drive, Suite 910, Danvers,
Elizabeth Lillehoj. MA 01923, USA.
p. cm. – (Japanese visual culture; v. 2) Fees are subject to change.
Includes bibliographical references and index.
ISBN 978-90-04-20612-0 (hardback : alk. paper) Subvention for the research and publication of this volume
1. Art–Political aspects–Japan–Kyoto–History–16th was generously supplied by:
century. 2. Art–Political aspects–Japan–Kyoto–History– Abe Fellowship
17th century. 3. Art patronage–Japan–Kyoto–History–16th DePaul University Research Council
century. 4. Art patronage–Japan–Kyoto–History–17th cen- Kajima Foundation
tury. 5. Kyoto (Japan)–Civilization–16th century. 6. Kyoto Metropolitan Center for Far Eastern Art Studies
(Japan)–Civilization–17th century. I. Title.
Additional editorial and logistical assistance was provided by:
N72.P6L55 2011 Sainsbury Institute for the Study of
709.52'09031--dc23 Japanese Arts and Cultures, UK
2011021901
Cover image:
Detail fi g.58. Portrait of Empress Tōfukumon’in. 17th century.
Wooden sculpture with gofun, ink, colors, and gold.
H. 45 cm. Kōunji, Kyoto.
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To my husband,
Joe Esposito
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Contents
Preface 11
Acknowledgments 15
Notes to the Reader 16
introduction: state of the field 19
The Emperor-Warlord Cultural Dynamic 19
Art and the Emperor-Warlord Dynamic 22
Resources for the Study of Gendered Aristocratic Roles 23
1 hideyoshi restores glory to the palace 25
Characteristics of Emperor-Warlord Relations 26
Imperial Excursion to Jurakutei 28
Watching a Nō Performance 40
Rebuilding Go-Yōzei’s Palace 42
Kano Paintings for Royal Chambers 44
Thirty-two Chinese Sages 45
Twenty-four Paragons of Filial Piety 47
Cypress 55
Tale of Genji 55
Hideyoshi Posthumously Deifi ed 60
2 go-yōzei’s imperial imperative as cultural arbiter 65
Printed Books and Notions of Imperial Authority 66
The Emperor and Poetic Traditions 70
Calligraphy from the Imperial Hand 72
The Emperor as Amateur Painter 77
Kano Takanobu as Court Painter 79
Palace Relations with Military Authorities 82
Go-Yōzei Relinquishes the Throne 84
3 tokugawa shoguns and patronage for the throne 87
The Tokugawa Assertion of Political Dominance 87
A New Palace for Go-Mizunoo 89
Takanobu’s Paintings for the Keichō Palace 90
Peonies and Tang Figures from the Keichō Palace 97
The Emperor’s Role in the Deifi cation of Ieyasu 99
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4 go-mizunoo’s ritual and cultural agenda 105
The Court’s Observance of Annual Rites and Ceremonies 106
Copying the Scrolls of Annual Rites and Ceremonies 106
Revival of an Esoteric Buddhist New Year’s Rite 108
Religious Prerogatives of a Divine Monarch 112
The Emperor as Patron of Literature 114
Go-Mizunoo’s Skills as a Calligrapher 116
The Palace as Bastion of Aristocratic Culture 117
5 art and architecture for empress tōfukumon’in 121
The Royal Wedding for a Warlord’s Daughter 121
Wedding Procession 129
A Palace Built for an Empress 131
Kano Paintings for an Empress’s Palace 133
Panels from the Daikakuji Shinden 133
Panels from the Enman’in Shinden 140
Panels from the Shōren’in Shinden 142
Additional Panels from the Empress’s Palace 143
Roles of Noblewomen in the Early Edo-Period Court 144
Tōfukumon’in, Art, and Religion 147
6 paintings of the imperial excursion to nijō castle 155
Precedents and Preparations for an Imperial Visit 155
Paintings Commissioned for Nijō Castle 159
Nijō Imperial Excursion 161
Other Visual Records of the Emperor’s Excursion to Nijō 164
7 emperor and empress as patrons of kyoto culture 167
The Royal Couple’s Sponsorship of Kano Painters 168
Royal Screen Paintings by Tosa Mitsuoki 173
Beginnings of the Sumiyoshi Atelier 175
The Townsman Painter Sōtatsu’s Entrée to the Court 176
Scroll of an Imaginary Poetry Contest of Artisans 184
The Art of Floral Arrangement 187
Tea Gatherings and Aesthetic Priorities 188
Palace Interaction with Kyoto Townspeople 192
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8 visual documents of the emperor-warlord relationship 197
Go-Mizunoo’s Abrupt Abdication 197
Empress Meishō’s Accession to the Throne 199
Relations between the Dairi and Bakufu Leaders 204
The Shogunate’s Korean Connection 205
Go-Mizunoo’s Progeny and the Imperial Lineage 209
The Imperial Retreat at Shugakuin 214
9 closing comments 218
Endnotes 220
Appendix 1: Emperors and Reigning Empresses 258
Appendix 2: Members of the Imperial Family 259
Appendix 3: Imperial Palace Documents, Buildings, and Panel Paintings 260
Appendix 4: List of Chinese Characters 262
Bibliography 267
Illustrations and Photo Credits 285
Index 286
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