picture a
picture b
picture c
picture d
picture e
picture f
picture g
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The Tale of Genji was the world's first novel which was written
by Lady Murasaki around 1000 A.D. This piece of literature occupies an
important place within the realms of both art and literature. As the first
great piece of literature, it was a text that was translated into painted
form by many artists. The novel itself serves as historical documentation
of life at court in Kyoto during the Heian period (794-1185). Lady
Murasaki herself came from a branch of the ruling Hokke clan of the
Fujiwara which inevitably facilitated her in writing such a detailed
description of life at court. This tale inspired many artists to create
paintings based on key scenes from the novel. In fact, these Genji
paintings represent one of the most enduring genres in the Japanese
painting tradition.
This tale was first translated into painted form on a series of
narrative scrolls during the 12th century. This type of scroll consists of
alternating pieces of text with the painted scenes. Japanese characters
were used to illustrate the text. This was unusual during this particular
time because Chinese characters were used for writing. Therefore, the use
of native Japanese characters creates a statement and identifies this
piece of art as distinctly Japanese. These Genji scrolls represent the
imperial court fashion style of scrolls in that they depict daily life at
court. The placement of these paintings onto scrolls allows for an
intimate relationship between the viewer and the work of art itself which
ultimately makes the piece more accessible to the viewer. The medium used
for these particular scrolls was ink and color on paper. The imperial
court commissioned these scrolls, in fact, it has been suggested that the
ex-emperor Shirakawa himself served as the impetus behind the creation of
these particular scrolls.
These Genji scrolls were created during a period in Japanese history
when a focus on the assertion of native Japanese styles and preferences
dominated the arts. This native style, known as yamato-e, clearly
distinguishes Japanese paintings from those of China and Korea. These
Genji scrolls are of particular significance because they were the first
piece of art to be created using the yamato-e style. Yamato-e has been
defined as a calculatedly decorative style; an art of careful placement
and juxtapositions of color and texture (Lee 350). Some identifying
characteristics of this style of painting include the use of fine lines,
strong patterns, bold colors, and asymmetry in design. These
characteristics are particularly evident in the Genji scrolls. When
examining picture f,the use of bold colors is particularly striking. The
brown background and the neutral shade of cream used to create the
platform are quite soothing to the eye. These warm, earth tones make the
image very accessible to the viewer. While the colors are bold enough to
make an initial impact upon the viewer and draw the eye in, they are not
so intense as to disturb the viewer and cause him to avert his glance
elsewhere.The use of fine line brush work is also salient within picture
f. It is rather conspicuous that the images on the scroll lack the bold
outlines that would serve to enhance the composition of the scenes. This
particular scene almost appears amorphous when observed from a distance
and thus commands careful attention. At first, there only appears to be a
mass of some unknown composition occupying the left portion of the scene
and a smaller mass located in the lower right corner. However, upon
further examination, the delicate images of individuals can be discerned.
These gossamer images created by fine line brush work are intriguing
and demand a closer examination of the scene. This same scene also
illustrates the use of asymmetrical images in yamato-e style art. The main
platform lies on the diagonal and seems to divide the scene in half. The
placement of this platform breaks up the composition of the scene and also
gives an indication of the moods and emotions associated with particular
characters. In this scene, it can be suggested that this platform also
serves as a means of isolating the character in the lower right from the
others. It has been suggested that the placement of columns and pillars
emphasize the accidental nature of the situations depicted in the scenes
and ultimately reveal the characters as individuals governed by their
feelings. The positioning of the characters can also give the viewer an
idea bout the emotions felt by the characters. In picture f, the physical
positioning of the characters also suggests to the viewer that the
isolated character wishes to take part in the activity occurring on the
left portion of the screen. This can be assumed because the isolated
character appears to be leaning towards the action as if he longs to
join the others, but cannot because he is physically isolated from the
group. This physical separation seems to frustrate the isolated individual
(named Kaoru). His frustration becomes evident to the viewer through his
body positioning. Kaoru seems to be standing in a rather rigid position,
while the others are positioned in more relaxed stances. The contrast in
the body positioning of the characters makes the viewer aware of the
tension felt by this particular character. Thus, the spatial arrangement
of the characters also serves as an indication of the moods and emotions
felt by the characters.
These Genji paintings were designed in such a way as to give the
viewer a bird's eye view of the scenes at seemingly uncomfortable angles.
This vantage point also seems to give some indication as to the emotions
felt by the characters portrayed in the scenes. In another scene (not
illustrated on this glossary page), tension is once again
conveyed to the viewer through the positioning of Prince Genji
within the scene. Price Genji is holding his alleged son; however, his
physical positioning within the frame is quite unique. He is confined to
the upper portion of the scene and it is important to note that he is so
constricted within that space that his head is nearly cut out of the
scroll. This placement suggests tension and uncomfortability; as if there
were a constraining force affecting Prince Genji's placement not only
within the frame, but within his life as well. This strain upon Prince
Genji is confirmed upon further examination of the written text when it
becomes apparent that Genji must publicly accept this child as his own
when in reality he did not sire this child. This obviously brings about
humiliation for Genji which is evident in his positioning within the
scene. This placement could also be viewed as an attempt for Genji to
cower near the periphery of the frame in hopes of concealing his
humiliation from others.
As the first great piece of literature, The Tale of
Genji occupies an important position within the realm of literature.
This classic tale inspired many artistic interpretations of the novel over
the ages. The 12th century narrative scrolls depicting
scenes from The Tale of Genji are quite significant in that they
represent the first major work of art following the yamato-e style. These
scrolls served as the models for many other works of art. For example,
Sotatsu created a six-panel folding screen that depicted scenes from
the novel (refer to picture c). Also, the Katsura villa in Japan was
created in accordance to the novel. It appears obvious that
the novel was extremely influential in the creation of art in
Japan. It is quite clear that both the novel and the 12th century
narrative scrolls occupy an esteemed position within the history of both
literature and art.
References
- Hempel, Rose. The Golden Age of Japan. Rizzoli International
Publications, Inc., 1993.
- La Plante, John D. Asian Art. Third Edition. Wm. C. Brown
Publishers, 1992.
- Lee, Sherman E. A History of Far Eastern Art. 5th edition.
Prentice Hall, 1994.
- Warner, Langdon. The Enduring Art of Japan. Cambridge: Harvard
University Press, 1952.
- Illustrated Catalogue of a Special Loan Exhibition of Art
Treasures From Japan. Museum of Fine Arts, Boston.
- Encyclopedia of World Art. Volume VIII. 1963.
Images
- Picture a was taken from the following source:
http://www.moa.or.jp/english/setsugekka/setsu-pict11.html
- Picture b was taken from http://www.pitt.edu/~asian (week 12)
- Picture c was taken from
http://www.moa.or.jp/english/setsugekka/setsu-pic03.html
- Picture d was taken from: Warner, Langdon. The Enduring Art of
Japan. Cambridge: Harvard University Press, 1952. Plate 24
- Picture e was taken from The Illustrated Catalogue of a Special
Loan Exhibition of Art Treasures From Japan. Museum of Fine Arts,
Boston. 1936. Plate No. 22.
- Picture f and g were taken from Hempel, Rose. The Golden Age of
Japan. Rizzoli International Publications, Inc. 1983. Pages 162 and
191 respectively.
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