170–71, 203
marriage: ceremonies and rituals, 142; divorce or dissolution
Kashiwagi (The Oak Tree , Genji), 164–67
of, 146, 147, 194; extramarital liaisons, 51, 166; Fujiwara
Katsura River or region, 94–95, 127, 138
regency and, 154; Genji and ideology of, 15, 115, 143, 155, 195;
katsura trees, 94–95
and lineal concerns, 195–96; as political arrangement, 16,
kemari (football), 158–59
26, 50–51, 54, 74, 142, 154–55, 166, 190, 195–96; resistance to
kerria (yamabuki) fl owers, 118
or rejection of, 143–44, 146, 150, 179, 195–96, 210, 218, 234;
Kiritsubo Consort ( Genji character), 26, 74
status anxiety and rivalry within polygynous, 146–47, 151,
Kiritsubo Emperor ( Genji character), 91; depiction of, 138;
158, 179, 219
as Genji’s father, 26–27, 50, 67, 95; social status conveyed
“The Masked Warrior King” bugaku dance (Ryōō), 182
through depiction of, 26–27
Matsukaze (Wind in the Pines , Genji), 92–95
Kiritsubo (The Lady of the Paulownia-Courtyard Chambers ,
military themes, 122–23
Genji), 24–27
Minamoto lineage, 4
Kōbai or Ben no Shōshō ( Genji character), 126, 151, 194–95, 198
Minamoto no Taka’akira, 70
Kōbai (Red Plum , Genji), 192–95
Minister of the Left, 15, 26, 54, 58, 59, 142
Kochō (Butterfl ies , Genji), 116–19
Minister of the Right, 54–55, 63, 70
Kogimi ( Genji character), 30, 35, 87, 195
Minori (Rites of the Sacred Law , Genji), 180–83
Kojijū ( Genji character), 159, 166, 167
Miotsukushi (Channel Markers , Genji), 76–79
Kokiden Consort ( Genji character), 26, 51, 54, 58, 63, 70, 90, 154
mistfl owers (fujibakama), 94, 107, 135, 142–43
Kokinshū, 123
Mistfl owers (Fujibakama, Genji), 140–43
Kōkō, Emperor, 139
Misty Moon, Lady of the (Oborozukiyo) ( Genji character),
Koremitsu ( Genji character), 39, 42, 79, 110
54–55, 63, 154
Kosaishō ( Genji character), 230–31
Mitsunobu, Tosa, 10, 11, 118, 191, ix; Chinese painting
koto, 94–95, 114–15, 130–31, 162, 174–75, 202, 203; kin (Chinese infl uences on, 11, 20n35; and conventions of courtly
koto), 70, 114; plectrums for biwa, 70, 202–3
narrative painting, 26, 195; covers for individual bound
Kumoinokari ( Genji character), 154–55, 179
chapters, 12, 13–14, 118, 155; distinctive style of, 10, 11, 130,
230–31; fabric and clothing depicted by, 86; and the Painting
The Lady at Akashi (Akashi, Genji), 72–75
Bureau, 10–15; and picture manuals as guide, 12; Portrait
The Lady at the Villa of Scattering Blossoms (Hanachirusato,
Sketch of Sanjonishi Sanetaka, 7; reputation and status of, Genji), 64–67
10, 12–13; screen painting and, 21n42; and “small scrolls”
Lady of the Evening Faces (Yūgao, Genji), 36–39
(ko-e) innovation, 21n42
The Lady of the Paulownia-Courtyard Chambers (Kiritsubo,
Miyuki (An Imperial Excursion , Genji), 136–39
Genji), 24–27
A Molted Cicada Shell (Utsusemi, Genji), 32–35
Lake Biwa, 1, 17
Momiji no ga (An Imperial Celebration of Autumn Foliage ,
Leaves of Wild Ginger (Aoi, Genji), 9, 56–59
Genji), 48–51
lectures, Genji scholarship, 5–7, 15, 19n13, 20n25
moon, 66, 102, 202–3; as inspiration for Murasaki’s Genji, 5, 17;
Lesser Captain ( Genji character), 198–99
as symbol of enlightenment, 203
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morning glory, 218–19
paper streamers (gohei), 39
Mostow, Joshua, 195
parasols, 83
motherhood, 99
“peeking through the fence” voyeurism (kaimami), 34–35, 42,
mourning. see grief and mourning
134–35, 158–59, 199, 202–3, 215, 219, 222
Murasaki ( Genji character): abduction of, 15, 42; adoption of
perspective: visual emphasis and, 10, 179
Akashi girl, 98–99, 106, 114–15, 150, 154, 162, 170–71, 183; as
The Picture Contest (Mitsunobu), 12
child, 42; death of, 182–83; Genji as devoted to, 74; Genji’s
pigments, 10–11, 26, 28, 30, 71
mourning and grief for, 186; Genji’s neglect of, 115; illness
Pillow Book (Sei Shōnagon), 98, 179
and death of, 162, 182–83, 186; religious piety of, 162–63, 182–
pine trees, 90, 95, 98, 114–15, 150, 154–55; as emblem of Sue clan,
83; resemblance to Fujitsubo Consort, 42–43, 51; and rivals for
46; entwined with wisteria, 82–83, 155; pines of Sumiyoshi,
Genji’s aff ection, 102–3, 115, 158; spring associated with, 114
78–79
Murasaki Shikibu, author of Genji, 1–2, 7, 66, 90, 111, 134; and
plectrums, 70, 202–3
defense of fi ction, 123; as divinely inspired, 18n9
plum tree or plum blossoms, 114–15, 150–51, 187, 191, 194–95, 198
music, 210–11. see also specifi c instruments
poetry. see also specifi c forms: court poetry contests, 91; Myōeiji temple, 1, 5
poem-pictures (uta-e), 206; social status of poets, 8; zekku
composition, 94
Naishi ( Genji character), 51, 103
poverty, 46–47
Nakamikado Nobumasu, 21n52
Practicing Calligraphy (Tenarai, Genji), 232–35
Nakanoin Michihide, 12
provenance of Harvard album, 1–3
Nakanokimi ( Genji character), 203, 210–11, 214–15, 222; as
“psychological perspective,” 10
interchangeable with her sister Oigimi, 215; Kaoru and,
purifi cation rituals, 39, 58, 62–63, 187–88
218–19; marriage to Niou, 218–19
Nareki ( Genji character), 199
radiance: and Buddhist monarchs, 4, 83, 95, 150; as descriptor
narrative modes, 1–2
for Genji characters, 51, 170, 179; ennaru (seductive glow), 150
narrative painting: conventions, 26; “psychological
“rainy night appraisal,” 30
perspective” and visual emphasis, 10
Red Plum (Kōbai, Genji), 192–95
New Wisteria Leaves (Kanroji Motonaga), 13
reed pipe mouth organ (shō), 50, 175, 210
Nijō villa, 162
Reikeiden Lady, 66
Niou, Prince ( Genji character), 187; as desirable match, 194–95,
Reizei Emperor ( Genji character): as absent presence, 128–29;
210–11; f ragrance as character trait, 190; as Hikoboshi
aff ection and respect for Genji, 94–95, 138–39, 142, 155, 175,
fi gure, 211; Kaoru as rival of, 190, 202, 206–7, 218; marriage
190; and the contest of illustrations, 90–91; as Genji’s
to Rokunokimi, 219; similarities to Genji, 195; Ukifune and,
son, 51, 79, 90, 95, 139; prophecy concerning, 78–79;
222, 226–27, 230, 234, 235; voyeurism and, 222
Tamakazura’s daughter as consort of, 199
Niou miya (The Fragrant Prince , Genji), 188–91
renga (linked verse), 5, 19n16; Genji and tradition of, 7–8; Noguchi Takeshi, 30
Hiroaki and, 7–8, 19n16
nonduality, 4, 203
replacement paintings, 230–31
nostalgia, 66, 130, 195
“retired emperor” status (daijō tennō), 4, 27, 155
Nowaki (An Autumn Tempest , Genji), 12, 132–35
retouched paintings, 238
Rites of the Sacred Law (Minori, Genji), 180–83
The Oak Tree (Kashiwagi, Genji), 164–67
Rokujō estate (Rokujōin), 106–7, 175; Akashi Empress at, 230;
oak trees (kashiwagi), 166–67, 207
fi shing pavilions of, 126; as pseudo-imperial palace, 107, 119;
Oborozukiyo, Lady of the Misty Moon ( Genji character),
as residence of Third Princess, 158, 170; Yūgiri as inheritor
54–55, 63, 154
of, 190
Ochiba, Second Princess ( Genji character), 166–67, 178–79, 190
Rokujō Lady ( Genji character), 58–59; as mother of Umetsubo
offi
cial visits (gyōkō), 95
Consort, 90, 106; and spirit possession, 38–39, 59, 62–63, 162
Oigimi ( Genji character), 203, 206–7, 210–11, 214–15, 218–19
Rokunokimi ( Genji character), 190, 218–19
the Ōmi daughter ( Genji character), 127
A Ruined Villa of Tangled Gardens (Yomogiu, Genji), 80–83
Ōmiya, Princess, 50, 59, 142, 154
orange trees or blossoms (tachbana), 46–47, 66–67, 130
Saffl
ower (Suetsumuhana, Genji), 44–47
Otome (Maidens of the Dance , Genji), 104–7
Saishō ( Genji character), 199
Ōuchi Yoshioki, 5, 122
Sakaki (A Branch of Sacred Evergreen , Genji), 60–63
sakaki trees, 62–64
Painting Bureau, 10–15
Sanbōe (The Three Jewels), 187
pampas grass (susuki), 62
Sanjonishi Sanetaka, 3, 6–8, 12; calligraphy of, 9; portrait of, 7
paper: backing papers, 5, 6, 6, 19nn18–19; borders, 9; Chinese
The Sarashina Diary, 18
dragon, 8; shikishi (colored), 6, 8–9
Sawarabi (Early Fiddlehead Greens , Genji), 212–15
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screens, folding (byōbu): album paintings mounted on, 6, 19n18, suicide, 211, 227, 230
19n20; as furnishing or architectural element, 34, 35, 130, 151
Suma (Exile to Suma , Genji), 68–71
scrolls, 2–3, 3; ko-e (small scrolls), 21n42
Sumiyoshi Gukei, handscroll by, 14
seasons. see specifi c
Sumiyoshi Shrine and deities, 74, 78–79, 91, 162, 199
Sei Shōnagon, 66, 98, 179
summer: birds of, 66; fl owers of, 127, 163, 231; green bamboo
Sekiya (The Barrier Gate , Genji), 84–87
associated with, 130; Hanachirusato associated with, 106;
sexual aggression, 15, 142, 223
Sweet Flag Festival, 123; Tamakazura associated with, 127,
Shiigamoto (At the Foot of the Oak Tree , Genji), 204–7
130
Shoots of Wisteria Leaves (Fuji no uraba, Genji), 152–55
The Sutra on the names of the Buddhas (Butsumyō kyō), 186–87
shō (reed pipe mouth organ), 50
Sutras: dedication of Lotus Sutra by Murasaki, 182; The Sutra on Shōshō no kimi, 166
the names of the Buddhas (Butsumyō kyō), 186–87
“shrine in the fi elds” (nonomiya), 62–63
Suzaku Emperor ( Genji character), 27, 58, 63, 155; as “mountain
sixth daughter of Minister of the Right (Oborozukiyo), 54–55,
emperor,” 170; as Retired Emperor, 78, 155, 166, 167, 170, 175
63, 154
Suzaku ( Genji character), 27, 50, 54, 63, 123, 158
size (visual emphasis) and narrative importance, 10
Suzumushi (Bell Crickets , Genji), 172–75
“slope of meeting” (ausaka), 86
Sweet Flag Festival (tango no sechie), 123
snow, 46–47, 102–3, 190–91, 206, 235
Sochinomiya (Prince Hotaru) ( Genji character), 123, 143, 146,
Taifu ( Genji character), 199
150–51, 158, 194
Taifu no Myōbu ( Genji character), 46
Sōgi, 8
Takeda Hirohiko, 95
Sōseki, 5–6, 7, 17, 19n15, 19n16
Takekawa (Bamboo River , Genji), 196–99
sound. see auditory landscape
The Tale of Genji Album (1510): audience for, 3, 13, 47; “built-up sparrows, 42
pictures” (tsukuri-e) technique in, 11; coordination of
spatial relationships: interiority and, 10
project, 3, 6–10; diaries and documentation of creation
spirit possession, 39, 62–63, 146, 147, 162–63, 178
process, 3, 7, 21n44, 21nn44–45; Mitsunobu as artist of,
Spirit Summoner (Maboroshi, Genji), 184–87
10–14; patronage and commission of, 3, 5–6, 20n21;
spontaneity, 91, 123
provenance of, 1; relationship of text and illustration in,
spring: Akashi girl associated with, 106, 114, 150; birds of, 151;
11, 62, 70–71, 82–83, 98, 191; replaced paintings in, 230–31;
and cherry blossoms, 118–19, 134; fl owers of, 54, 118, 215;
selection of scenes for illustration, 12, 15–17, 34, 238
and green plants as gifts or off erings, 158, 214; Murasaki
The Tale of Genji (Murasaki Shikibu): as Buddhist narrative,
associated with, 106–7, 114, 118–19, 134, 182; plum as symbol
4–5, 16–17, 18n9, 83, 187–88, 239; composition and commis-
of, 114, 150, 151, 187; Third Princess associated with, 158
sion of, 17; handbooks, 7; narrative structure of, 1–2; as
springs (izumi), 30
novel, 1–2; popularity of, 1, 3–4; as protest literature, 18n8
stars, 210–11
Tamakazura ( Genji character), 123; as daughter of Yūgao and
status, social: adoption and, 98–99, 154; artistic conventions
Tō no Chūjo, 110–11, 127; daughters of, 147, 198–99; Genji’s
for depicting aristocracy, 10, 26, 85–86; calligraphy as
cruelty to, 111, 119, 123, 135; Genji’s sexual infatuation with,
inscription of, 9–10; civil offi
cials (sokutai), 78; clothing
123, 127, 130–31, 135; hidden identity of, 110–11, 138, 142–43,
and representation of, 99, 166; commoners and court
146–47; marriage to Higekuro, 146–47, 179; at Rokujōin
marriages, 154; and extramarital liasons, 30–31, 39; as fate,
estate, 111, 119, 127
30–31; food and prestige, 127; and incense f ragrances,
Tamakazura (Lovely Garland , Genji), 108–11
190; insult and, 154; marriage as political transaction, 16,
Tanabata festival, 19n17, 211
26, 50–51, 54, 74, 142, 154–55, 166, 190, 195–96; nouveau
Tawaraya Sōtatsu, 71
riche among the governing class, 223; orphanhood or
temple-origin tales (engi-e), 111
widowhood and diminished, 39, 87, 166, 167; of poets, 8;
temples or shrines, 1, 5, 219, 234; architecture of, 75, 110–11;
“rainy night appraisal” of middle rank women, 30; sexual
gates to, 78; “shrine in the fi elds” (nonomiya), 62–63;
Sumiyoshi Shrine and deities, 74, 78–79, 91, 162, 199;
rank, 94; and tropes in narrative painting, 218–19
temple-origin tales (engi-e), 111
storms, 74, 78–79, 91, 134–35, 146
Tenarai (Practicing Calligraphy , Genji), 232–35
Sue Hiroaki: as Governor of Hyōgō, 5, 19nn15–16; inscription
Tendai Buddhism, 4, 202
of Album backing papers by, 5–6; as patron of 1510
A Thin Veil of Clouds (Usugumo, Genji), 96–99
Genji Album, 8, 18–19nn11–12, 47; as scholar and copyist
Third Princess, Princess Initiate ( Genji character): Buddhist
of Azuma Kagami, 5
vows taken by, 165, 170, 173–74; cat as symbolic of, 159;
Sue Saburō (Okinari): as patron of 1510 Genji Album, 1, 5–8,
Genji’s marriage to, 158–59, 174; Kashiwagi and, 158–59,
7–8, 47
166–67, 170, 174–75, 199, 203; as mother of Kaoru, 165, 170,
Suetsumuhana ( Genji character), 46–47, 82–83, 87, 127
190, 203
Suetsumuhana (Saffl
ower , Genji), 44–47
The Three Jewels (Sanbōe), 187
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Tokonatsu (Wild Pinks , Genji), 124–27
Waves of the Blue Sea (Seigaiha), 50
Tō no Chūjō ( Genji character): as Aoi’s brother, 50; as father of
widows or widowhood, 39, 87, 166, 167, 198
Tamazakura, 110–11, 131, 138, 179; as Genji’s f riend and rival,
Wild Pinks (Tokonatsu, Genji), 124–27
38, 46, 50–51, 54, 90, 126–27
Wind in the Pines (Matsukaze, Genji), 92–95
Tosa Mitsuoki, 16–17
winter: Akashi Lady associated with, 99, 106, 114, 151; plum
traces or tracks (ato), 206–7
trees and endurance of, 151, 191; snow or ice as images,
translation, ix
46–47, 102–3, 190–91, 206, 235
The Transverse Flute (Yokobue, Genji), 168–71
wisteria, 190; as emblem of Fujiwara house, 55, 103, 154–55;
Trees Encoiled in Vines of Ivy (Yadoriki, Genji), 216–19
entwined with pine, 82–83, 155; fujigoromo (lavender robes)
associated with, 142; mourning robes as wisteria robes, 142;
Uji region, 202
Murasaki and, 103, 118
Ukifune (Boat Cast Adrift , Genji), 224–27
wordplay, 142–43, 155, 171, 206; in conversation, 203; double
The Tale of Genji- A Visual Companion Page 37
