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THE TALE of GENJI a ­Japanese ­Classic ­Illuminated the TALE of GENJI a Japanese Classic Illuminated THE TALE OF GENJI a japanese classic illuminated THE TALE OF GENJI a japanese classic illuminated With its vivid descriptions of courtly society, gar- dens, and architecture in early eleventh-century Japan, The Tale of Genji—recognized as the world’s first novel—has captivated audiences around the globe and inspired artistic traditions for one thou- sand years. Its female author, Murasaki Shikibu, was a diarist, a renowned poet, and, as a tutor to the young empress, the ultimate palace insider; her monumental work of fiction offers entry into an elaborate, mysterious world of court romance, political intrigue, elite customs, and religious life. This handsomely designed and illustrated book explores the outstanding art associated with Genji through in-depth essays and discussions of more than one hundred works. The Tale of Genji has influenced all forms of Japanese artistic expression, from intimately scaled albums to boldly designed hanging scrolls and screen paintings, lacquer boxes, incense burners, games, palanquins for transporting young brides to their new homes, and even contemporary manga. The authors, both art historians and Genji scholars, discuss the tale’s transmission and reception over the centuries; illuminate its place within the history of Japanese literature and calligraphy; highlight its key episodes and characters; and explore its wide-ranging influence on Japanese culture, design, and aesthetics into the modern era. 368 pages; 304 color illustrations; bibliography; index THE TALE OF GENJI THE TALE OF GENJI a japanese classic illuminated John T. Carpenter and Melissa McCormick with Monika Bincsik and Kyoko Kinoshita Preface by Sano Midori THE METROPOLITAN MUSEUM OF ART, NEW YORK Distributed by Yale University Press, New Haven and London This catalogue is published in conjunction with “The Tale of Genji: A Japanese Classic Jacket: Tosa Mitsuyoshi, “Butterflies”Kochō ( ), Chapter 24 of The Tale of Genji, late Illuminated,” on view at The Metropolitan Museum of Art, New York, from March 5 16th–early 17th century (detail, cat. 47); case: The Genji Poetry Match, Muromachi through June 16, 2019. period (1392–1573), first half 16th century (detail, cat. 28); pp. 2–3: Tosa Mitsuoki, Murasaki Shikibu Gazing at the Moon, 17th century (detail, cat. 20); p. 6: Matsuoka The exhibition is organized by The Metropolitan Museum of Art and The Eikyū, The Uji Princesses, 1912 (detail, cat. 61); p. 18: Tosa Mitsuoki, Portrait-Icon of Japan Foundation, with the cooperation of the Tokyo National Museum and Murasaki Shikibu, 17th century (detail, cat. 22); p. 26: “Rites of the Sacred Law,” Chapter Ishiyamadera Temple. 40 of The Tale of Genji, second quarter of the 12th century (detail, fig. 10); p. 42: Tosa Mitsumochi, Battle of the Carriages, 1560 (detail, fig. 13); p. 56: Kiyohara Yukinobu, The Tale of Genji Album, 17th century (detail, fig. 37); p. 74: Lid of writing box from the “First Song of Spring” wedding trousseau owned by Chiyo-hime, 1639 (detail, fig. 41); It is made possible by the Mary Livingston Griggs and Mary Griggs Burke Foundation pp. 86–87: Genji in Exile at Suma, late 16th century (detail, cat. 30) Fund, 2015; the Estate of Brooke Astor; the E. Rhodes and Leona B. Carpenter Foundation; and Ann M. Spruill and Daniel H. Cantwell. The Metropolitan Museum of Art endeavors to respect copyright in a manner consistent with its nonprofit educational mission. If you believe any material has been The catalogue is made possible by The Andrew W. Mellon Foundation; the included in this publication improperly, please contact the Publications and Editorial Florence and Herbert Irving Fund; the Charles A. Greenfield Fund; The Miriam Department. and Ira D. Wallach Foundation; the Mary Livingston Griggs and Mary Griggs Burke Foundation Fund, 2015; the Parnassus Foundation; and Richard and Geneva Copyright © 2019 by The Metropolitan Museum of Art, New York Hofheimer Memorial Fund. First printing Published by The Metropolitan Museum of Art, New York Mark Polizzotti, Publisher and Editor in Chief All rights reserved. No part of this publication may be reproduced or transmitted in any Gwen Roginsky, Associate Publisher and General Manager of Publications form or by any means, electronic or mechanical, including photocopying, recording, Peter Antony, Chief Production Manager or any information storage and retrieval system, without permission in writing from Michael Sittenfeld, Senior Managing Editor the publishers. Edited by Elisa Urbanelli The Metropolitan Museum of Art Designed by Christopher Kuntze 1000 Fifth Avenue Production by Christopher Zichello New York, New York 10028 Bibliography edited by Jayne Kuchna metmuseum.org Image acquisitions and permissions by Josephine Rodriguez-Massop Distributed by Photographs of works in The Metropolitan Museum of Art’s collection are by the Yale University Press, New Haven and London Imaging Department, The Metropolitan Museum of Art, unless otherwise noted. yalebooks.com/art yalebooks.co.uk Additional photography credits appear on page 368. Cataloguing-in-Publication Data is available from the Library of Congress. Typeset in Edita and Albertus Nova isbn 978-1-58839-665-5 Printed on 135 gsm Gardpat Kiara Separations by Altaimage, London Printed and bound by Ediciones El Viso, S.A., Madrid, Spain CONTENTS Director’s Foreword 7 chapter three 142 Foreword from The Japan Foundation 8 Monochrome Genji Pictures and the Conventions of Hakubyō Statements from Cooperating Institutions 9 Entries 25–34 Acknowledgments 10 chapter four 166 Lenders to the Exhibition 14 Imagining Genji through Tosa-School Paintings Note to the Reader 15 Entries 35–52 Preface 16 chapter five 206 Sano Midori Innovations and Interventions in Later Genji Painting Entries 53–64 Introduction: A Thousand Years of the Art of Genji 19 John T. Carpenter and Melissa McCormick chapter six 234 An Elegant Lifestyle Inspired by Genji: Lacquers, ESSAYS Garments, and Games Learning the “Women’s Hand” in Heian Japan: 27 Entries 65–89 Kana Calligraphy and The Tale of Genji chapter seven 288 John T. Carpenter Genji and Print Culture: From Ukiyo-e to Manga Entries 90–106 Beyond Narrative Illustration: What Genji 43 Paintings Do APPENDICES Melissa McCormick Shinden Architecture and The Tale of Genji 326 Evolving Iconographies of The Tale of Genji: 57 Akazawa Mari Early Modern Interpretations of a Yamato-e Theme Genji at a Glance: Fifty-Four Scenes from the Tale 333 Kyoko Kinoshita Melissa McCormick Genji and Good Fortune: Bridal Trousseaux 75 Notes to the Essays 344 in the Age of the Tokugawa Shoguns Monika Bincsik Bibliography 349 Index 361 CATALOGUE Photograph Credits 368 chapter one 88 Heian Court Culture and the Transmission of the Tale Entries 1–13 chapter two 114 Ishiyamadera and the Buddhist Veneration of Murasaki Shikibu Entries 14–24 Director’s Foreword The Tale of Genji is Japan’s most renowned literary work. Through organizational and financial support of The Japan Foundation, translation into modern Japanese as well as into English and which this year is bringing together a broad program of cultural numerous other languages, it has earned a place as a canonical events in the United States. We also owe a special debt of gratitude work of world literature—a part of our shared cultural legacy. The to our colleagues at the Tokyo National Museum, not only for loans quantity, diversity, and sheer beauty of the art that The Tale of Genji of several works, but also for their special cooperation and exper- has inspired is staggering. Other than the Bible, it is hard to think tise, without which the many loans from around Japan could not of a comparable work of literature in the West that has so many of have made the trip across the seas. Also crucial to the success of the its episodes or characters pictorialized. It is therefore fitting that exhibition was the unstinting cooperation of the famed Buddhist The Met—with its strong commitment to display masterpieces temple Ishiyamadera, which lent not only many precious treasures from every culture around the globe—should host an exhibition of related to The Tale of Genji and its author, Murasaki Shikibu, from artworks inspired by a literary work of such universal appeal. its storerooms, but also altar accessories that help re-create the The exhibition dedicated to introducing the art of Genji—the sacred atmosphere of the temple in the Arts of Japan, The Sackler first of this scope and featuring so many Japanese masterpieces— Wing Galleries of The Met. Seikado Bunko Art Museum gener- has been curated by John T. Carpenter, Mary Griggs Burke Curator ously allowed us to display for the first half of the exhibition the of Japanese Art at The Met, and guest curator Melissa McCormick, rare set of Tale of Genji screens by Tawaraya Sōtatsu. This is the Professor of Japanese Art and Culture at Harvard University. They first time that these screens, designated as a National Treasure, have been assisted at every turn in the exhibition planning, loan have been allowed to leave Japan. Similarly, The Museum Yamato negotiation, and catalogue writing by Monika Bincsik, Diane and Bunkakan in Nara lent its prized twelfth-century illuminated Lotus Arthur Abbey Associate Curator for Japanese Decorative Arts at Sutra, also a National Treasure. The Met, and Kyoko Kinoshita, Professor of Japanese Art History at The Met is grateful to the many dedicated donors who made Tama Art University and Project Associate Curator for East Asian this groundbreaking presentation possible. We recognize the Mary Art at the Philadelphia Museum of Art. Reflecting the compendi- Livingston Griggs and Mary Griggs Burke Foundation Fund, 2015; ous nature of the original tale, this accompanying catalogue has the Estate of Brooke Astor; the E. Rhodes and Leona B. Carpenter also been a monumental undertaking. In addition to the contribu- Foundation; and Ann M. Spruill and Daniel H. Cantwell, for their tions of the curatorial team, Professor Sano Midori of Gakushuin important commitments to the exhibition.
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