The Tale of Genji: A Japanese Classic Illuminated

The Tale of Genji: A Japanese Classic Illuminated

Carpenter, John T., and Melissa McCormick with Monika Bincsik and Kyoko Kinoshita, preface by Sano Midori
2019
368 pages
304 illustrations
Publishers Weekly’s Top 10 spring 2019 titles in Art, Architecture, and Photography
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With its vivid descriptions of courtly society, gardens, 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 thousand 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.

The Tale of Sumiyoshi, a) Painting section from a handscroll mounted as a hanging scroll; ink and color on paper<br/>b) Calligraphy from handscroll section mounted as a hanging scroll; ink on paper, Japan
Japan
late 13th century
Excerpt from Bai Juyi's "Autobiography of a Master of Drunken Poetry Recitation", Fujiwara no Yukinari (Kōzei)  Japanese, Handscroll section mounted as a hanging scroll; ink on paper, Japan
Fujiwara no Yukinari (Kōzei)
early 11th century
Album of Japanese and Chinese Poems to Sing, Konoe Nobutada  Japanese, Album of thirty-six leaves; each on gold, silver, or colored decorated paper, Japan
Konoe Nobutada
early 17th century
Scenes and Calligraphic Excerpts from The Tale of Genji, Tosa School  Japanese, Shikishi (poetry cards) mounted in an orihon album; calligraphies: ink on decorated paper; paintings: ink, color, and gold on paper, Japan
Tosa School
Ono no Ozū (Ono no Tsū)
early 17th century
Albums of scenes from The Tale of Genji, Tosa Mitsunori  Japanese, Two albums of thirty leaves; ink, red pigment, and gold on paper, Japan
Tosa Mitsunori
early 17th century
“Channel Markers” (Miotsukushi), Handscroll; ink and color on paper, Japan
Japan
late 14th–early 15th century
“Mistflowers”, Tosa Mitsuyoshi  Japanese, Album leaf mounted as a hanging
 scroll; ink, color and gold on paper, Japan
Tosa Mitsuyoshi
late 16th–early 17th century
“The Oak Tree”, Tosa Mitsuyoshi  Japanese, Album leaf mounted as a hanging scroll; ink, color and gold on paper, Japan
Tosa Mitsuyoshi
late 16th–early 17th century
“A Lovely Garland” (Tamakazura), from The Tale of Genji, Tosa Mitsuyoshi 土佐光吉  Japanese, Album leaves mounted as a pair of hanging scrolls; ink, gold, silver, and color on paper, Japan
Tosa Mitsuyoshi 土佐光吉
Konoe Sakihisa 近衛前久
early 17th century
“Butterflies”, Tosa Mitsuyoshi  Japanese, Six-panel folding screen; ink, color, gold, and gold leaf on paper, Japan
Tosa Mitsuyoshi
late 16th–early 17th century
“An Imperial Excursion” (Miyuki), “A Boat Cast Adrift” (Ukifune), and “The Barrier Gate” (Sekiya), Tosa Mitsuyoshi  Japanese, Painted sliding doors (fusuma-e) remounted as a pair of four-panel folding screens; ink, color, and gold leaf on paper, Japan
Tosa Mitsuyoshi
mid-16th–early 17th century
“Leaves of Wild Ginger” (Aoi), from the Phantom Genji Scrolls (Maboroshi no Genji monogatari emaki), Handscroll; ink, color, and gold on paper, Japan
Japan
mid-17th century
“A Branch of Sacred Evergreen” (Sakaki), from the Phantom Genji Scrolls (Maboroshi no Genji monogatari emaki), Handscroll section mounted on 
board; ink, color and gold on paper, Japan
Japan
mid-17th century
The Tale of Genji, Kaihō Yūsetsu  Japanese, Set of two handscrolls; ink and color on paper, Japan
Kaihō Yūsetsu
17th century
Goose and Reeds; Willows in the Moonlight, Maruyama Ōkyo 円山応挙  Japanese, Pair of six-panel folding screens; ink, color and gold on paper, Japan
Maruyama Ōkyo 円山応挙
right screen: 1774; left screen: 1793
Incense Box (kōbako) in the Shape of Five Volumes of The Tale of Genji, Lacquered wood with gold and silver takamaki-e, hiramaki-e, and togidashimaki-e, cutout gold- and silver-foil application, and red and green lacquer, Japan
Japan
late 19th century
Incense Burner (Kōro) in the Shape of a Courtier’s Hat with Scrolling Peonies, Porcelain with celadon glaze (Hizen ware, Nabeshima type), Japan
Japan
ca. 1690–1750
Shelf for Cosmetic Boxes (Kuro-dana) with Pine, Bamboo, Cherry Blossoms, and Crests of the Matsudaira and Shimazu Families, Lacquered wood with gold and silver takamaki-e, hiramaki-e, and togidashimaki-e, and cutout gold- and silver-foil application on gold nashiji (“pear-skin”) ground, Japan
Japan
early 19th century
Daimyō wedding set with pine, bamboo, and cherry blossom decoratio, Sprinkled gold on lacquer (maki-e), Japan
Japan
19th century
Noh Costume (Karaori) with Cypress Fans and Moonflower (Yūgao) Blossoms, Twill-weave silk with brocading in silk and supplementary-weft patterning in silk and metallic thread, Japan
Japan
18th–early 19th century
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Carpenter, John T., Melissa McCormick, Elisa Urbanelli, Midori Sano, Mónika Bincsik, and Kyoko Kinoshita. 2019. The Tale of Genji: A Japanese Classic Illuminated. New York: The Metropolitan Museum of Art.