Critical perspectives on classicism in Japanese painting, 1600-1700

298 Pages·2004·7.651 MB·English

by  Elizabeth Lillehoj & Laura Allen

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