The Tale of Genji- A Visual Companion
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Genji’s reluctant courtship of, 74–75; importance to Genji’s
backing papers, 5, 6, 6, 19nn18–19
rise to power, 74, 94–95, 115; lineage of, 74; as mother of
Bai Juyi, 70, 82, 187
future empress, 74–75, 78–79, 98–99, 106, 114–15, 150–51; and
bamboo (nayotake), 31, 38, 130, 170–71; as painting motif, 35
Murasaki, 115, 162, 182–83; musical abilities of, 74–75, 114,
Bamboo River (Takekawa, Genji), 196–99
162; in Rokujō estate, 106; winter associated with, 99, 114,
A Banquet Celebrating Cherry Blossoms (Hana no en, Genji),
151
52–55
Akashi Novitiate ( Genji character): lineage and relationship to
The Barrier Gate (Sekiya, Genji), 84–87
Genji’s mother, 74; portentous dream of, 74, 94–95, 98–99,
Bell Crickets (Suzumushi, Genji), 172–75
162; symbolic relationship to Dragon King, 74
Bellfl owers (Asagao, Genji), 100–103
Akashi Nun ( Genji character), 94–95
A Beloved Pillar of Cypress (Makibashira, Genji), 144–47
Akashi (The Lady at Akashi, Genji), 72–75
Bennokimi, 203
album format, 1–3
Ben no Shōshō or Kōbai ( Genji character), 126, 151, 194–95, 198
Allen, Laura, 227
Bishop Henjō, 218
allusion, 66, 71, 155, 178, 183, 235; in conversation, 46, 142;
Bishop of Yokawa, 234–35
historical references, 139; structural, 187
biwa (lute), 74, 94, 162, 175, 200, 202–3
Aoi, Lady ( Genji character): betrothal and marriage to Genji,
A Boat Cast Adrift (Ukifune, Genji), 224–27; thread-bound
26, 50–51, 54, 58; death of, 59; as mother of Yūgiri, 142; as
chapter booklet, 4
Princess Ōmiya’s daughter, 142, 154; Rokujō as rival of,
boats, 78, 110, 210–11, 226–27; higaki kaisen, 71; prows, 118
58–59, 62–63, 162–63
book networks and circulation, 5
Aoi festival, 58
A Bowknot Tied in Maiden’s Loops (Agemaki, Genji), 208–11
Aoi (Leaves of Wild Ginger, Genji), 9, 56–59
bracken fern, 214–15
archery, 55, 122–23
“A Branch of Plum” (folksong, saibara), 151
architecture: and depiction of social relationships, 26–27,
A Branch of Plum (Umegae, Genji), 148–51
107; fi shing pavilions (tsuridono), 126; hierarchical spaces
A Branch of Sacred Evergreen (Sakaki, Genji), 60–63
within, 27; interior views and “blown off roof ” fukinuki
bridges, 126; of Rokujō estate, 106; symbolism of, 203, 206, 207;
yatai perspective, 10; Mitsunobu’s style of depicting,
temporary fl oating, 138
230–31; model of Rokujō estate, 106; “overhanging style,”
Broom Cypress (Hahakigi, Genji), 28–31
42, 110; and painting composition, 10, 27, 34, 219; temple
Buddhism, 4, 38–39, 43, 218–19. see also Lotus Sutra; annual rites architecture, 75, 110–11
of, 187; bosatsu (bodhisattva), 83; calendar of rites and
Ariwara no Narihira, 70, 88, 90–91
ceremonies, 187; celibacy, 39; and confession, 186; Genji as
Ariwara no Yukihira, 70
Buddhist narrative, 4–5, 16–17, 18n9, 83, 187–88, 239; karma
Asagao (Bellfl owers, Genji), 100–103
and Genji’s narrative, 43, 74; and nonduality, 4, 203;
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Buddhism ( continued)
crickets, 62, 174–75, 179
paradise as conceived in, 107, 118–19, 163; and radiance, 4,
cuckoos (hototogisu), 66–67
83; Rite of Eight Lectures, 83, 230; and romantic love, 38–39;
cultural contexts, 5
Suetsumuhana as anti-Buddhist fi gure, 83; Sutra on the
curtains, 27, 34, 50, 61–62, 115, 123, 207, 219
Names of the Buddhas ( Butsumyō kyō), 186; Tendai, 4, 202
cypress, “broom cypress” (hahakigi), 31
bugaku dance, 119, 182–83, 203
“built-up pictures” (tsukuri-e), 11
dadaiko (drum), 50
bush clover (hagi), 62
Daigo, Emperor, 114, 139
butterfl ies, 30, 90, 119
dance: bugaku, 119, 182–83, 203; dancers’ batons, 203; Waves of Butterfl ies (Kochō, Genji), 116–19
the Blue Sea (Seigaiha), 50
dayfl ies (kagerō), 231
calligraphy: attribution of, 20n37, 20nn51–52; calligraphic
death. see also grief and mourning: Buddhist practice and
lineages, 9; covers for individual bound chapters, 13;
belief, 162–63; corpse taboos, 39; funerary rites, 183
as design element, 79, 139; distribution of pages to
deer (shika), 122, 178, 179
calligraphers, 9; imperial calligraphers, 10, 13, 50; kana
desire, sexual (irogonomi), 171; gaze and, 134 ( see also “peeking script, 8–9; manuals guiding placement of, 9; modes of
through the fence” voyeurism (kaimami)); male-male, 35, 195
writing, 8–9; as representation of courtly society, 9–10; by
dew (tsuyu), 43, 163, 183, 218, 219
Sanetaka, 3, 6–8, 9, 12; “scattered writing,” 8–9
digests, Tale of Gengi, 3, 12
cats (Chinese cat, kara neko), 159
The Divine Princess at Uji Bridge (Hashihime, Genji), 200–203
cedar trees, 111
dolls (amagatsu), 99
ceremonies, 118–19, 146, 299; coming-of-age, 14–15, 26–27, 107,
Dragon Girl (Lotus Sutra), 183
150; Genji’s elevation to “retired emperor” status, 155;
Dragon King (mythical creature), 74, 106; in Buddhism
Lotus Sutra, 230; Rite of Eight Lectures, 83, 230; rites of
(hachidai ryūo), 183
confession (sange), 186; vows of religious dedication, 234
dragons (ryū), 118; bugaku dance masks, 182–83, 203; motif on Channel Markers (Miotsukushi, Genji), 76–79
paper, 8–9
chapters: individually bound booklets, 2, 12–15
dreams, prophetic or supernatural, 39, 59, 74, 98–99, 103, 159,
chapter titles, 7
162, 166, 171
cherry trees or blossoms, 42, 50, 54–55, 106, 118–19, 134, 158–59,
ducks, 103, 118
182, 198–99; kabazakura (weeping mountain cherry), 134
Du Fu, 82
chigo (acolytes), 35, 195
childbirth, 15, 99
Early Fiddlehead Greens (Sawarabi, Genji), 212–15
Chinese literary or artistic infl uences, 8, 11, 20n35, 183
Early Spring Greens I (Wakana jō, Genji), 156–59
Chino Kaori, 10
Early Spring Greens II (Wakana ge, Genji), 160–63
chrysanthemums, 106, 155, 190, 215
Eawase (A Contest of Illustrations, Genji), 12, 88–91
clothing: abandoned robe as “molted shell,” 35; anachronistic
en (elegance or allure), 150
details in paintings, 122; “cherry blossom style,” 159, 198–
engi-e (temple origin tales), 111
99; of civil offi
cials (sokutai), 78; courtiers’ hats (eboshi), 30,
ennaru (seductive glow), 150
130; courtiers’ hats (kanmuri), 78, 94, 154; of dragon dancer,
183; fabric patterns, 86; festival costume, 118–19; formal
esoterica, hidden teachings (hiji), 4–5, 12
court, 78; formal robes (hō), 55; hunting robes (kariginu), Evening Mist (Yūgiri, Genji), 176–79
38; informal robes (nōshi), 55, 154; and military status,
exile, 18n8, 70–71, 79, 82, 90–91, 95, 150
94; Mitsunobu and depiction of, 86; as momento, 35;
Exile to Suma (Suma, Genji), 68–71
mourning robes, 142; religious, 186; sashes, 142; and social
status, 78, 99, 166; white robes, 99
faces: depiction of, 10; expression and kaimami, 159; Mitsunobu
collaborative production process, 21n44
and individuality, 11; Mitsunobu’s conventions for, 26
Collection of Waka Old and New (Kokinshū), 5
fate, 91; body (mi) as, 30–31; Genji’s behavior as karma, 42, 43,
coming of age: Genji’s initiation, 26–27; kaimami and, 134; of
74, 98–99; Genji’s realization and acceptance of, 78–79;
the Akashi girl, 150
mortality, 163; prophecies or portentous dreams, 78–79, 98,
“conf rontation of carriages” (kuruma no arasoi), 58–59
150; relationships as predestined, 74, 78–79, 82
Contest of Illustrations (Eawase, Genji), 12, 88–91
Feast of Glowing Harvest (Toyo no Akari), 107
contests: archery, 55, 122–23; “contest of illustrations,” 90–91,
female literary productivity, 114–15
154; incense competition, 151; poetry exchange, 107
fences, 62, 151, 178–79, 202, 215, 218; as dividers in images, 178;
covers: album, 16–17; chapter booklet, 12–15
voyeuristic peeking ( see “peeking through the fence”
Cranston, Edwin, ix
voyeurism (kaimami))
Cranston, Fumiko, ix
fi ddleheads, bracken (warabi), 214–15
Cresset Fires (Kagaribi, Genji), 128–31
fi re, 130–31
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fi refl ies, 30, 123, 239
gentians (rindō), 179
Firefl ies (Hotaru, Genji), 120–23
ghosts, 39, 74, 171. see also spirit possession
fi rewood, 182
Gleanings from the Rivers and Seas (Kakaishō), 8
First Song of Spring (Hatsune, Genji), 12, 112–16
Go-Kashiwabara, Emperor, 13
fi shing pavilions (tsuridono), 119, 126
gold clouds, 55, 71, 75, 86, 110, 111, 215; and compartmentalization
A Floating Bridge in a Dream (Yume no ukihashi, Genji), 236–39
of the composition, 10, 111, 179, 210, 230; as pictorial con-
fl utes (yokobue), 170–71, 175, 210
vention, 26, 38; and visual emphasis, 15, 135, 138, 194–95, 207
folding screens, 6, 19nn18–19
Gosechi Dancer ( Genji character), 70–71
footprints or steps (fumu), 206–7
grief and mourning, 59, 142, 186, 207, 214–15, 230
formats, Japanese illustrated manuscript: albums, 1–3;
Gyōki, 182
handscrolls, 2
f ragrance. see also incense: and allusion, 66; as character trait, Hachinomiya ( Genji character), 202, 207, 214, 222
190, 191, 219; and memory, 66
Hahakigi (Broom Cypress, Genji), 28–31
The Fragrant Prince (Niou miya, Genji), 188–91
hairstyles, depiction of, 35, 195; age or gender and, 26, 98,
Fujibakama (Mistfl owers, Genji), 140–43
187; for children, 98, 170; hair as essential to beauty, 162;
Fuji no uraba (Shoots of Wisteria Leaves, Genji), 152–55
religious tonsure, 98, 162, 170, 234
Fujitsubo Consort or Empress ( Genji character): Buddhist
Hanachirusato ( Genji character), 66, 82, 106, 111, 123, 150, 190
vows taken by, 63; and the “contest of illustrations,” 90–91;
Hanachirusato (The Lady at the Villa of Scattering Blossoms,
death of, 103; Genji’s sexual relationship with, 42, 51, 63; as
Genji), 64–67
mother of Reizei, 51, 63, 70, 90; Murasaki’s resemblance to,
Hana no en (A Banquet Celebrating Cherry Blossoms, Genji),
42–43, 51; radiance of, 51
52–55
Fujiwara clan, 26, 50–51, 54–55, 138, 142, 154–55, 195; wisteria as
handscrolls, 14
emblem of, 55, 155
Hasedera temple, 110–11, 219, 234
Fujiwara no Mototsune, 139
Hashihime (The Divine Princess at Uji Bridge, Genji), 200–203
furnishing or decor, 26, 30, 82, 150, 215; blinds or curtains, 27,
Hatsune (First Song of Spring, Genji), 12, 112–16
34, 50, 61–62, 115, 123, 207, 219; and division of composition,
Henjō, Bishop, 218
34; writing implements and, 235
hichiriki (small oboe), 50, 175, 210
Higekuro “Blackbeard” ( Genji character), 143, 147, 199
games, 34–35, 158–59
Hofer, Philip, 1, 18n1, vii
gates, 62
homoeroticism, 35, 195
geese (kari), 38
homosociality, 21n56, 51, 95
geki (mythical water birds), 118
honorifi cs and narrative distance, 134
gender: and audience for Tale of Genji, 15–16, 18n4, 18n8,
horses, 123
19n14, 21n55; Buddhist salvation and, 183; conventional
horsetail shoots (tsukushi), 214
masculinity, 179; female literary productivity, 21n55, 199,
Hotaru (Firefl ies , Genji), 120–23
234–35; gendered modes of writing, 8, 20n36; Genji as
Hotaru (Sochinomiya) ( Genji character), 123–24, 143, 146,
gender ambiguous, 179; homosociality, 21n56, 51, 95; and
150–51, 158, 175, 194
participation in literary gatherings, 15; and posture in
hunting, 94
paintings, 146–47, 159; religious pilgrimage and, 111; women
A Hut in the Eastern Provinces (Azumaya, Genji), 220–23
as central characters, 5, 15–16, 46
Genji ( Genji character): adoption of Umetsubo Consort,
ice, 102–3, 114, 127, 230–31
90; aging and mortality of, 186–87; architectural cues to
iconographic tradition or convention, 2, 12–13, 15
status of, 26–27; audience and identifi cation with, 18n8;
identity, secret or hidden, 38–39, 54–55, 138, 203, 222, 234–35; of
Buddhism and, 42, 83, 163, 174, 190; and centrality in
Kaoru, 170–71, 190, 203; of Reizei, 51, 70, 90, 95–96, 139; of
paintings, 15; as commoner dispossessed of birthright,
Tamakazura, 138, 142–43, 146–47
4, 14, 26–27, 42, 70, 154; as competition to Fujiwara clan,
Ii Haruki, 90
154; death of, 190; disguise and hidden identity of, 38; and
An Imperial Celebration of Autumn Foliage (Momiji no ga,
divine rulership, 42; exile and loss of rank, 4, 18n8, 70–71;
Genji), 48–51
and gender ambiguity, 35, 179; gold clouds and emphasis
An Imperial Excursion (Miyuki, Genji), 136–39
on, 15, 35; name as signifi cant, 26–27; as Palace Minister
Inamoto Mariko, 151
(naidaijin), 78; as “radiant,” 1, 26–27, 51, 58, 83; and “retired
; incense, 114, 146, 150–51, 190
emperor” status, 4, 27, 95, 154–55, 175, 186; as sexually
incest, 119, 131, 135
aggressive, 31, 54, 119; as socially transgressive fi gure, 39;
initiation ceremonies, 26–27. see also coming of age
and voyeuristic peeking (kaimami), 34
ink painting, 11
Genji Scrolls, 2–3
interiority, 1–2, 10, 134, 235
Gensei, 6–8, 10, 20n24, 20n31, 21nn44–45
Inuki ( Genji character), 42
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Jijū ( Genji character), 82, 226, 230
letters, 46, 186, 194, 203, 206–7, 214
Jōtōmon’in, Empress (Fujiwara no Shōshi), 17
lineage: and adoption, 98–99; charts (keizu) of Genji characters, 20n24; fl ute as symbol of, 171; Genji as dispossessed, 4, 14,
Kagaribi (Cresset Fires , Genji), 128–31
26–27, 42, 70, 154; physical attractiveness and, 222–23
Kagerō (Ephemerids , Genji), 228–31
lineage charts (keizu), 20n24
kaimami “peeking through the fence” voyeurism, 34–35, 134–35,
Little Purple Gromwell (Wakamurasaki, Genji), 40–43
158–59, 199, 202–3, 215, 219, 222
logographs, 8, 9, 43, 62–63
kalavinka birds, 119
lotus, 163
kana script, 8–9; depicted in paintings, 90–91; as gendered
Lotus Sutra, 83, 162–63, 182–83, 190, 230, 235
mode of writing, 20n36
A Lovely Garland (Tamakazura, Genji), 108–11
Kanroji Motonaga, 13
Kaoru ( Genji character), 190–91; First Princess and, 230;
Maboroshi (Spirit Summoner , Genji), 184–87
f ragrance as characteristic of, 190; Nakanokimi and,
maiden fl owers (ominaeshi), 62, 107, 135
218–19; Oigimi and, 202–3, 206–7, 210–11, 218–19; parentage
The Maiden of the Bridge, Illustrated Handscrolls of the Tale of
of, 170–71, 190, 203; rivalry with Niou, 190, 202, 206–7, 218;
Genji (Hashimie), 3
spirituality of, 190–91, 202, 203, 207, 218, 238–39; Ukifune
Maidens of the Dance (Otome, Genji), 104–7
and, 219, 223, 230, 235, 238–39
Makibashira (A Beloved Pillar of Cypress , Genji), 144–47
karma. see fate
Makibashira (character, Genji), 147, 194–95
Kasashima Tadayuki, 20n37
manuals, Genji painting, 9, 12–13
Kashiwagi ( Genji character), 126, 131, 143, 154–55, 158–59, 167–68, maple trees (kaede) or leaves, 50, 78, 166–67