DISPLAYING AUTHORITY: ASHIKAGA FORMAL DISPLAY IN THE MUROMACHI PERIOD by Jungeun Lee B.A. Ewha Womans University, 2005 M.A. Ewha Womans University, 2008 M.A. University of Pittsburgh, 2011 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 i UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS & SCIENCES This dissertation was presented by Jungeun Lee It was defended on March 13, 2017 and approved by Katheryn M. Linduff, Professor Emerita, History of Art and Architecture Barbara McCloskey, Professor, History of Art and Architecture Evelyn Rawski, Professor Emerita, History Dissertation Advisor: Karen M. Gerhart, Professor, History of Art and Architecture ii Copyright © by Jungeun Lee 2017 iii DISPLAYING AUTHORITY: ASHIKAGA FORMAL DISPLAY IN THE MUROMACHI PERIOD Jungeun Lee, PhD University of Pittsburgh, 2017 This dissertation project investigates the socio-political and socio-economic contexts of the Ashikaga collection of Chinese paintings and objects and the associated development, function, and multifaceted meanings of formal decoration and display in medieval Japan. Scholars have been interested in the Ashikaga collection, kaisho reception halls, and shogunal art manuals (Kundaikan sōchōki) as either a way to understand the Japanese reception of Chinese paintings or to trace and reconstruct shoin-style architecture. However, formal display as an ensemble and a means of representing the patrons’ identities within the political and economic spheres of Kyoto have not been adequately addressed. My dissertation also investigates the relationship between the Ashikaga and their cultural advisors (dō bō shū ) who were in charge of the arrangement of the collection. I show that the Ashikaga skillfully combined Japanese court and Buddhist traditions with elements of continental culture as a means to consolidate their own political and cultural authority. Additionally, I explore the gradual change in the meaning of formal display from an expression of political authority to a commodity circulated among the elite following the Ō nin War (1467-1477). The architectural space where the objects were displayed will be examined through visual and textual evidence. To this end, this dissertation moves beyond a survey of shogunal palaces and examines the development of interior space in medieval Japan and the relationship between formal interior display and the identity of the patron or owner. iv TABLE OF CONTENTS ACKNOWLEDGEMENTS ....................................................................................................... XI 1.0 INTRODUCTION ........................................................................................................ 1 1.1 RESEARCH QUESTIONS ................................................................................. 4 1.2 PRESENT SCHOLARSHIP ............................................................................... 5 1.2.1 Ashikaga Collection and Shogunal Art Manuals .......................................... 6 1.2.2 Ashikaga Palace Complex and Kaisho Reception Halls .............................. 14 1.2.3 Kaisho Display and Ashikaga Authority ...................................................... 17 1.3 THEORETICAL FRAMEWORK, ISSUES AND APPROACHES ............. 19 1.3.1 Material Culture and the Lives of Things .................................................... 19 1.3.2 The Economy of Things, Consumption of Objects, and Social Identities . 21 1.3.3 Collection, Practice of Collecting, Display, Power and Identity ................ 23 1.4 METHODOLOGY ............................................................................................ 27 1.5 OUTLINE OF CHAPTERS .............................................................................. 34 2.0 DEVELOPMENT OF FORMAL DISPLAY: TRACING THE DEVELOPMENT AND ANALYZING THE PRECEDENTS OF FORMAL DISPLAY THROUGH WRITTEN AND VISUAL SOURCES FROM THE THIRTEENTH TO FIFTEENTH CENTURIES ............................................................................................................................... 38 2.1 INTRODUCTION ............................................................................................. 38 v 2.2 PRECEDENTS OF FORMAL DISPLAY ....................................................... 42 2.2.1 Significance of Karamono in Medieval Japan: Collecting Chinese ............ 42 2.2.2 Displaying Karamono in Elite Residences .................................................... 57 2.2.3 Kaisho and Formal Display ........................................................................... 59 2.3 ASHIKAGA KAISHO ....................................................................................... 63 2.4 POSSIBLE ROUTES OF DEVELOPMENT OF FORMAL DISPLAY...... 65 2.4.1 From Abbot’s Quarters to Kaisho................................................................. 65 2.4.2 Social Gatherings and the Development of Formal Display at Kaisho ...... 72 2.5 CONCLUSION .................................................................................................. 82 3.0 POLITICS OF DISPLAY: SOCIO-POLITICAL MEANING OF FORMAL DISPLAY THROUGH IMPERIAL VISITS TO ASHIKAGA SHOGUNS ......................... 85 3.1 INTRODUCTION ............................................................................................. 85 3.1.1 Present Scholarship on Imperial Visits ........................................................ 87 3.2 IMPERIAL VISITATIONS TO ASHIKAGA SHOGUNS............................ 91 3.2.1 Gyōkō in the Muromachi Period ................................................................... 91 3.2.2 Backgrounds of Three Imperial Visits ......................................................... 92 3.2.3 Ceremonies and Events of the Imperial Visits ............................................. 98 3.3 MUROMACHI DONO GYŌKŌ OKAZARIKI AND FORMAL DISPLAY AT ASHIKAGA YOSHINORI’S MUROMACHI PALACE ............................................. 104 3.3.1 Understanding the Handscroll Muromachi dono gyōkō okazariki ........... 105 3.3.2 Yoshinori’s Political Background and the Meaning of His Muromachi Palace ........................................................................................................................ 111 3.3.3 Yoshinori’s Muromachi Palace and Three Kaisho .................................... 114 vi 3.4 SOCIO-POLITICAL MEANING OF FORMAL DISPLAY IN THE EARLY FIFTEENTH-CENTURY KYOTO ................................................................. 126 3.5 CONCLUSION ................................................................................................ 131 4.0 FROM AUTHORITY TO COMMODITY: SOCIO-ECONOMIC MEANING OF FORMAL DISPLAY IN KUNDAIKAN SŌCHŌKI ............................................................... 133 4.1 INTRODUCTION ........................................................................................... 133 4.1.1 Present Scholarship on Kundaikan sōchōki ................................................ 135 4.2 UNDERSTANDING KUNDAIKAN SŌCHŌKI .......................................... 137 4.2.1 Representative Works of Kundaikan sōchōki ............................................ 138 4.2.2 Meaning of Production of Shogunal Art Manuals .................................... 150 4.3 DŌBŌSHŪ AND THEIR ROLES IN THE MUROMACHI PERIOD ...... 152 4.3.1 Studies on Dōbōshū ...................................................................................... 152 4.3.2 Analyzing Various Roles of Dōbōshū .......................................................... 155 4.3.3 Changing Roles of Dōbōshū after the Ōnin War ....................................... 169 4.4 SOCIO-ECONOMIC MEANING OF KUNDAIKAN SŌCHŌKI ............... 173 4.4.1 Restrictive Access, Exclusivity, and Copies of Kundaikan sōchōki .......... 179 5.0 EPILOGUE: THE SPREAD OF FORMAL DISPLAY ....................................... 182 5.1 CONCLUSION ................................................................................................ 190 APPENDIX A ............................................................................................................................ 197 APPENDIX B ............................................................................................................................ 198 APPENDIX C ............................................................................................................................ 199 APPENDIX D ............................................................................................................................ 201 APPENDIX E ............................................................................................................................ 203 vii APPENDIX F ............................................................................................................................ 205 BIBLIOGRAPHY ..................................................................................................................... 207 viii LIST OF TABLES Table 1. Similarities of the Shapes of Metal and Ceramic wares from the Sinan Shipwreck ...... 49 Table 2. Summary of the Three Imprial Visits ........................................................................... 197 Table 3. Outline of the Events and Ceremonies during the 1381 and 1437 Imperial Visits ...... 198 ix LIST OF FIGURES Figure 1. Hashidate no ma in Muromachi dono gyōkō okazariki ............................................... 109 Figure 2. Detail of Ogawa