Art and Palace Politics in Early Modern Japan, 1580s-1680s - download pdf or read online

By Elizabeth Lillehoj

ISBN-10: 9004206124

ISBN-13: 9789004206120

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Additional info for Art and Palace Politics in Early Modern Japan, 1580s-1680s (Japanese Visual Culture)

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48 The Shōunji paintings were ordered by Hideyoshi, and the fact that the Hasegawa artists received such an important commission indicates the warlord’s appreciation of Hasegawa painting. Kyūzō completed his panels for Shōunji about a year before his own untimely death at the age of twenty-four. No large-scale precedents survive with renderings of a recent historical event such as that captured in the Imperial Excursion screens, and the painter seems to have struggled to resolve several pictorial problems.

Ca. 1601. Originally from the palace of Shinjōtōmon’in. Detail of one sliding-door panel from a set; ink, colors, and gold on paper. Now in the Narutaki-no-ma in the Chief Abbot’s Quarters of Nanzenji, Kyoto. Important Cultural Property. indd 50 12-07-11 14:17 hideyoshi restores glory to the palace (J: Ōshikyō), who supposedly left the world and ascended into the heavens on the back of a white crane. As mentioned above, the Ohiru-no-ma panels of the Twenty-four Paragons of Filial Piety and immortals may have been created in the 1580s for the Taimenjo of Ōgimachi’s retirement palace, or in the early 1590s for the Seiryōden of Go-Yōzei’s palace; in either case, they were created for rooms serving formal and public purposes.

Few interiors featured scenes of Chinese fe- els that show Chinese court ladies and children in a flowering garden, a rare subject in extant panel painting. We know that the Narutaki-no-ma was created as a formal, public space in the palace of Go-Yōzei’s mother, Shinjōtōmon’in, because the Narutaki-no-ma contains both an alcove (tokonoma) and a raised section of floor (jōdan), identifying markers for audience chambers. indd 53 12-07-11 14:17 art and palace politics 14a Cypress, detail of fig. 14. indd 54 12-07-11 14:17 hideyoshi restores glory to the palace male figures, however, because few women reached the level of influence of Shinjōtōmon’in.

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Art and Palace Politics in Early Modern Japan, 1580s-1680s (Japanese Visual Culture) by Elizabeth Lillehoj

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