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The Samurai and Genji Monogatari (The Tale of Genji) Author(S): Masako Watanabe Source: Bulletin of the Detroit Institute of Arts, Vol

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The Samurai and Genji Monogatari (The Tale of Genji) Author(S): Masako Watanabe Source: Bulletin of the Detroit Institute of Arts, Vol The Samurai and Genji monogatari (The Tale of Genji) Author(s): Masako Watanabe Source: Bulletin of the Detroit Institute of Arts, Vol. 88, No. 1/4, Japanese Art at the Time of the Samurai (2014), pp. 56-69 Published by: Detroit Institute of Arts Stable URL: http://www.jstor.org/stable/43493628 Accessed: 07-03-2018 16:48 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Detroit Institute of Arts is collaborating with JSTOR to digitize, preserve and extend access to Bulletin of the Detroit Institute of Arts This content downloaded from 205.251.176.42 on Wed, 07 Mar 2018 16:48:06 UTC All use subject to http://about.jstor.org/terms - ■ . %** ^2| This content downloaded from 205.251.176.42 on Wed, 07 Mar 2018 16:48:06 UTC All use subject to http://about.jstor.org/terms Masako Watanabe Seven centuries of military rule in Japan, from Guest Scholar 1185 to 1868, began when the Kamakura shogunate Gakushuin University replaced the imperial government, and a new literary Tokyo genre of martial epics emerged along with it. Three stories - Heike monogatari (The tale of the Heike), Hõgen monogatari (The tale of the Hõgen), and Heiji monogatari (The tale of the Heiji) - describe the withering of Heian courtly power; the emergence of strong yet transitory Heike military rulers; and the final, radical shift from imperial rule in Kyoto to The Samurai the military rule of the first shogun, Minamoto no Yoritomo (1147-1199), in Kamakura. Two monumental works - Heike, and the fourteenth-century Taiheiki and Genji (The chronicle of great peace) about the civil war between the northern and southern courts - were particularly favored by samurai and became popular monogatari subjects for narrative illustration. The military government was fraught with constant power struggles as it tried to control the (The Tale imperial and aristocratic communities. Throughout the four centuries of the Heian period, emperors and the imperial regime had established a strong tradition of courtly politics and culture in Kyoto. To escape of Genji) this influence, Minamoto (Genji) no 'britomo based the new capital in Kamakura, an unsophisticated location far to the east of Kyoto. Iforitomo's sons, however, favored Kyoto, and his son Sanetomo (1192-1219) learned waka poems through letters from Kyoto's prolific aristocratic poet, Fujiwara no Teika (1162-1241). Despite both the move to Kamakura and the machinations of the military Hõjõ family, who wanted to establish a samurai regime strictly separate from Kyoto, court culture nonetheless permeated the samurai community. It also played an important role for samurai rulers, who, through the practice of aristocratic arts, authenticated their families as descendants of prestigious aristocratic ancestors and established political stability. The polarized concepts of court culture and military culture have led to the mistaken belief that the samurai community favored only heroic tales and illustrations of war. In fact, the samurai cleverly manipulated court culture to confirm their rule. This essay will elucidate how the shogun and the samurai exploited aristocratic culture through the centuries, with particular focus on a classical work of literature, Genji monogatari ( The Tale of Genji). Detail of fig. 10 57 This content downloaded from 205.251.176.42 on Wed, 07 Mar 2018 16:48:06 UTC All use subject to http://about.jstor.org/terms Genji monogatari (The Tale of Genji) screens.3 The Kamakura Genji circle also produced The most representative example of courtly romantic a commentary on the tale entitled Suigenshõ. At that literature is Genji monogatari (The Tale of Genji)* time, even though the powerful Hõjõ Sanetoki of the world's first novel, written by Lady Murasaki in the Kamakura regime was against the trappings of the early eleventh century Even as she was writing court culture like the Tale of Genji, because of the it, the work received attention from the aristocratic formation of the circle, he could not avoid ordering community. Genji was more than a popular and a copy of the most authoritative Genji text, the entertaining work of literature: from its encyclopedic Kawachi version.4 It is evident that there were descriptions of court behavior, elite men and women frequent cultural activities planned around the novel learned ceremonial activities, cultural aesthetics in the Kamakura capital. and taste, and even moral lessons, all based on the Numerous commentaries on Genji were idealized lives of the characters, it was considered written during the Nanbokuchõ period (the essential reading. The intricate narrative reflects the fourteenth century). These advocated various tangled psychological situations of the characters interpretations of the text, and they were used to and invites readers to interpret their thoughts and justify the establishment of the Ashikaga military emotions. regime, which would rule through the late sixteenth The Tale of Genji, consisting of fifty-four century by successfully unifying imperial and military chapters, describes the amorous life of Hikaru Genji powers. The most notable of these commentaries (the Shining Genji), a man of physical beauty and was Hokaishõ, a compilation by Yotsutsuji "Ybshinari cultivated taste. His father was the emperor and that was produced for the second shogun, Ashikaga his mother was the emperor's favorite concubine, ifoshiakira. who died when he was a child. After learning from The Ashikaga military rulers clearly a Korean physiognomist that his son would have a manipulated the interpretations and commentaries more successful life as a high-ranking commoner than to identify themselves with the Genji family. as an imperial prince, the emperor changed the boy's In an ambitious plan, the third shogun, Ashikaga surname to Genji and he was no longer considered Yoshimitsua (1358-1408), promoted his wife to be member of the imperial family. The narrative presents the mother of the emperor and forced the emperor Genji's rich relationships with women as well as his to adopt his second son, Yoshitsugu, as prince. political rivals, and it extends to the romantic lives To re-create the imagined world of Genji during the of his son Kaoru (actually the child of Genji's wife emperor's visit to his palace, "Yoshimitsu hosted a and Kashiwagi, a young courtier) and his grandson, ceremony in which Yoshitsugu performed the seigaiha Prince Niou. He also had another son from his (dance of the blue waves); this was the same dance secret affair with Lady Fujitsubo, a concubine of that Hikaru Genji had performed for his father. his emperor father. This son eventually became the Like Hikaru Genji, "ïbshitsugu was a handsome emperor Reizei, and he later bestowed on Genji the and cultivated man, and Yoshimitsu hoped that same rank as an abdicated emperoi; confirming the his son would become the next emperor. However, physiognomist's prediction that he would attain more Yoshimitsu suddenly died in 1408, preventing the power as a commoner. plan from coming to fruition. Much later, around Historical documentation clearly indicates 1665, the Edo-period shogun also had the seigaiha that samurai rulers were enthusiastic about The Tale performed with a similar purpose: to demonstrate the of Genji and patronized the production of illustrations shogun's power and suppress the power of the court. based on its scenes.1 Originally, the Minamoto and For Ashikaga warriors, Genji was not only Hõjõ military government in Kamakura tried to an ideal model of political achievement but also avoid the court culture of the former capital Kyoto. an encyclopedia of history, culture, and customs. After Prince Munetaka (1242-1274) was appointed Shiba "Yòshimasa (1350-1410), an important retainer from Kyoto to be the Kamakura shogun, however, of Yoshimitsu's, considered the novel to be a kind a cultural group formed, centered around the novel of textbook for family behavior. In 1383, he wrote and Prince Munetaka, the new shogun. In current Chikumashõ (Bamboo stilt anthology), in which he scholarship, that circle is referred to as the Kamakura instructed his family and descendants to memorize Genji. Munetaka commissioned an ambitious series ofboth Genji and Makura no sõshi (The pillow book), an paintings of Genji scenes that were pasted to folding eleventh-century work of classical literature by Lady Sei Shõnagon.5 58 Bulletin of the Detroit Institute of Arts This content downloaded from 205.251.176.42 on Wed, 07 Mar 2018 16:48:06 UTC All use subject to http://about.jstor.org/terms Meanwhile, the imperial family always each album is a list of the calligraphers who produced admired the world of Genji. In the fifteenth century, the work: six courtiers were involved, including Prince Fushimi Sadafusa tried to re-create the the prince Fushimi Kunitaka. The album leaf idealized world of Genji at the Muromachi court in shown here is from chapter 7, "Beneath the Autumn Kyoto in an attempt to reestablish imperial power. Leaves" (Momoji no Ga), in which Genji and his Sadafusa's son, who was adopted by Emperor Go- best friend Tõ no Chújõ perform the seigaiha (fig. 1). Komatsu, later became Emperor Go-Hanazono. The calligrapher, Prince Fushimi, orchestrated As father of the emperor, Sadafusa saw his power the flowing and elegant strokes of the characters and influence increase, similar to Hikaru Genji's so that they are aesthetically pleasing diagonally increase in rank after his son became Emperor Reizei. as well as vertically.
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