Scenes from the Tale of Genji
painter
Kano Tsunenobu
(Kyoto, 1636 - 1713, Tokyo)
Date1677
Place MadeJapan, East Asia
MediumInk, mineral pigment, and gold leaf on paper; one of a pair of six fold screens
Dimensions170 x 379 cm (66 15/16 x 149 3/16 in.)
ClassificationsPaintings
Credit LineIsabella Stewart Gardner Museum, Boston
Accession numberP29w1.2
eMuseum ID717179
Previous NumberCR46.b
Previous Number756
Previous NumberP27w7.b
EmbARK ObjectID14764
TMS Source ID3466
Last Updated8/9/24
Status
Not on viewWeb CommentaryNestled amid the golden clouds in this vibrant pair of screens are depictions of twelve chapters from the Tale of Genji, one of the world’s earliest novels. Written around the year 1000 by Murasaki Shikibu, a lady-in-waiting at the court in Kyoto, the story vividly portrays courtly customs through an intricate web of human relations. The protagonist Genji epitomizes the ideal male persona of the time: strikingly attractive and a master of all the arts, he was also a great lover. Indeed much of the long novel revolves around his liaisons with women of the court.
The earliest illustrations of the Tale of Genji are handscrolls of the early twelfth century. These paintings not only set the stylistic standards of the yamato-e (pictures of yamato, or Japan), but also influenced later renditions of the novel. This influence is apparent here in the bird’s-eye-view perspective and thick layering of pigment. The diagonal lines that run through the architectural elements heighten the emotional intensity of the scenes.
Although convention dictated that characters from the Tale of Genji should be shown devoid of emotion or individualization, the screens contain many interesting details. The musicians display an unusual range of facial expressions: some converse with one another, while one puffs out his cheeks to play a wind instrument. Such expressive displays can be seen in other Genji illustrations by the seventeenth century, but they are usually reserved for commoners and not the nobility who were considered composed at all times.
Also remarkable are the monochromatic ink landscapes drawn on the sliding doors and screens in the palace interiors depicted in the screens. These meticulously painted landscapes, dragons, birds, and flowers contrast sharply with the colorful screens themselves. This disparity might be intended to stress that the screens were a product of the Kan? school, whose painting styles and techniques were derived from Chinese ink painting (the kara-e pictures of Tang China) as opposed to yamato-e.
Source: Midori Oka, "Pair of Folding Screens: Scenes from the Tale of Genji," in Eye of the Beholder, edited by Alan Chong et al. (Boston: ISGM and Beacon Press, 2003): 186-87.
The earliest illustrations of the Tale of Genji are handscrolls of the early twelfth century. These paintings not only set the stylistic standards of the yamato-e (pictures of yamato, or Japan), but also influenced later renditions of the novel. This influence is apparent here in the bird’s-eye-view perspective and thick layering of pigment. The diagonal lines that run through the architectural elements heighten the emotional intensity of the scenes.
Although convention dictated that characters from the Tale of Genji should be shown devoid of emotion or individualization, the screens contain many interesting details. The musicians display an unusual range of facial expressions: some converse with one another, while one puffs out his cheeks to play a wind instrument. Such expressive displays can be seen in other Genji illustrations by the seventeenth century, but they are usually reserved for commoners and not the nobility who were considered composed at all times.
Also remarkable are the monochromatic ink landscapes drawn on the sliding doors and screens in the palace interiors depicted in the screens. These meticulously painted landscapes, dragons, birds, and flowers contrast sharply with the colorful screens themselves. This disparity might be intended to stress that the screens were a product of the Kan? school, whose painting styles and techniques were derived from Chinese ink painting (the kara-e pictures of Tang China) as opposed to yamato-e.
Source: Midori Oka, "Pair of Folding Screens: Scenes from the Tale of Genji," in Eye of the Beholder, edited by Alan Chong et al. (Boston: ISGM and Beacon Press, 2003): 186-87.
BibliographyNotesCatalogue. Fenway Court. (Boston, 1903), p. 5. (as "Japanese Daimio Screen")
Gilbert Wendel Longstreet and Morris Carter. General Catalogue (Boston, 1935), p. 260.
Yasuko Horioka. "Japanese Screens-I" Fenway Court (Dec. 1968), pp. 29-33, no. 1.
Yasuko Horioka et al. Oriental and Islamic Art: Isabella Stewart Gardner Museum (Boston, 1975), pp. 51-55, no. 22, ill. (suggests signature, seal, and date are later additions)
Rollin van N. Hadley. Museums Discovered: The Isabella Stewart Gardner Museum. (Ft. Lauderdale, FL, 1981), pp. 206-07 ill. (as acquired in 1903, though there is no documentation to support this assertion)
Victoria Weston. East Meets West: Isabella Stewart Gardner and Okakura Kakuzo. Exploring Treasures in the Isabella Stewart Gardner Museum V. Exh. cat. (Boston: Isabella Stewart Gardner Museum, 1992), pp. 4, 31 ill., 32, 34, 39 n. 71, 41-47, ill., 63 n. 3.
John M. Rosenfield. "Japanese Painting Workshops and the Gardner Museum Collections." Competition and Collaboration: Hereditary Schools in Japanese Culture. Fenway Court, vol. 24 (Boston, 1993), pp. 12-17, fig. 6, ill. cover. (disagrees with Horioka and suggests the screens are by Kano Tsunenobu or his workshop)
Alan Chong et al. (eds.) Eye of the Beholder: Masterpieces from the Isabella Stewart Gardner Museum (Boston, 2003), pp. 172 ill., 174 ill., 186-87 ill. (as possibly acquired in Japan in 1883)
Alan Chong and Noriko Murai. Journeys East: Isabella Stewart Gardner and Asia. Exh. cat. (Boston: Isabella Stewart Gardner Museum, 2009), pp. 39 fig. 40, 40, 50 n. 141, 53 fig. 1, 62-64 fig. 17.
Gilbert Wendel Longstreet and Morris Carter. General Catalogue (Boston, 1935), p. 260.
Yasuko Horioka. "Japanese Screens-I" Fenway Court (Dec. 1968), pp. 29-33, no. 1.
Yasuko Horioka et al. Oriental and Islamic Art: Isabella Stewart Gardner Museum (Boston, 1975), pp. 51-55, no. 22, ill. (suggests signature, seal, and date are later additions)
Rollin van N. Hadley. Museums Discovered: The Isabella Stewart Gardner Museum. (Ft. Lauderdale, FL, 1981), pp. 206-07 ill. (as acquired in 1903, though there is no documentation to support this assertion)
Victoria Weston. East Meets West: Isabella Stewart Gardner and Okakura Kakuzo. Exploring Treasures in the Isabella Stewart Gardner Museum V. Exh. cat. (Boston: Isabella Stewart Gardner Museum, 1992), pp. 4, 31 ill., 32, 34, 39 n. 71, 41-47, ill., 63 n. 3.
John M. Rosenfield. "Japanese Painting Workshops and the Gardner Museum Collections." Competition and Collaboration: Hereditary Schools in Japanese Culture. Fenway Court, vol. 24 (Boston, 1993), pp. 12-17, fig. 6, ill. cover. (disagrees with Horioka and suggests the screens are by Kano Tsunenobu or his workshop)
Alan Chong et al. (eds.) Eye of the Beholder: Masterpieces from the Isabella Stewart Gardner Museum (Boston, 2003), pp. 172 ill., 174 ill., 186-87 ill. (as possibly acquired in Japan in 1883)
Alan Chong and Noriko Murai. Journeys East: Isabella Stewart Gardner and Asia. Exh. cat. (Boston: Isabella Stewart Gardner Museum, 2009), pp. 39 fig. 40, 40, 50 n. 141, 53 fig. 1, 62-64 fig. 17.
MarksNotesInscribed (lower right): the first lunar month of the fifth year of Empo [January 1677]
Signed (lower right): Fujiwara Tsunenobu
Seal (lower right): Tsunenobu
Signed (lower right): Fujiwara Tsunenobu
Seal (lower right): Tsunenobu
ProvenanceNotesEntered Isabella Stewart Gardner's collection by 1903.
