Art and Palace Politics in Early Modern Japan, 1580s–1680s

Title Page
Copyright Page
Dedication Page
Contents
Preface
Acknowledgments
Notes to the Reader
Introduction: State of the Field
	The Emperor-Warlord Cultural Dynamic
	Art and the Emperor-Warlord Dynamic
	Resources for the Study of Gendered Aristocratic Roles
1 
Hideyoshi Restores Glory to the Palace
	Characteristics of Emperor-Warlord Relations
	Imperial Excursion to Jurakutei
	Watching a Nō Performance
	Rebuilding Go-Yōzei’s Palace
	Kano Paintings for Royal Chambers
		Thirty-two Chinese Sages
		Twenty-four Paragons of Filial Piety
		Cypress
		Tale of Genji
	Hideyoshi Posthumously Deified
2  Go-Yōzei’s Imperial Imperative as Cultural Arbiter
	Printed Books and Notions of Imperial Authority
	The Emperor and Poetic Traditions
	Calligraphy from the Imperial Hand
	The Emperor as Amateur Painter
	Kano Takanobu as Court Painter
	Palace Relations with Military Authorities
	Go-Yōzei Relinquishes the Throne
3  Tokugawa Shoguns and Patronage for the Throne
	The Tokugawa Assertion of Political Dominance
	A New Palace for Go-Mizunoo
	Takanobu’s Paintings for the Keichō Palace
	Peonies and Tang Figures from the Keichō Palace
	The Emperor’s Role in the Deification of Ieyasu
4  Go-Mizunoo’s Ritual and Cultural Agenda
	The Court’s Observance of Annual Rites and Ceremonies
	Copying the Scrolls of Annual Rites and Ceremonies
	Revival of an Esoteric Buddhist New Year’s Rite
	Religious Prerogatives of a Divine Monarch
	The Emperor as Patron of Literature
	Go-Mizunoo’s Skills as a Calligrapher
	The Palace as Bastion of Aristocratic Culture
5  Art and Architecture for Empress Tōfukumon’in
	The Royal Wedding for a Warlord’s Daughter
	Wedding Procession
	A Palace Built for an Empress
	Kano Paintings for an Empress’s Palace
		Panels from the Daikakuji Shinden
		Panels from the Enman’in Shinden
		Panels from the Shōren’in Shinden
		Additional Panels from the Empress’s Palace
	Roles of Noblewomen in the Early Edo-Period Court
	Tōfukumon’in, Art, and Religion
6  Paintings of the Imperial Excursion to Nijō Castle
	Precedents and Preparations for an Imperial Visit
	Paintings Commissioned for Nijō Castle
	Nijō Imperial Excursion
	Other Visual Records of the Emperor’s Excursion to Nijō
7  Emperor and Empress as Patrons of Kyoto Culture
	The Royal Couple’s Sponsorship of Kano Painters
	Royal Screen Paintings by Tosa Mitsuoki
	Beginnings of the Sumiyoshi Atelier
	The Townsman Painter Sōtatsu’s Entrée to the Court
	Scroll of an Imaginary Poetry Contest of Artisans
	The Art of Floral Arrangement
	Tea Gatherings and Aesthetic Priorities
	Palace Interaction with Kyoto Townspeople
8  Visual Documents of the Emperor-Warlord Relationship
	Go-Mizunoo’s Abrupt Abdication
	Empress Meishō’s Accession to the Throne
	Relations between the Dairi and Bakufu Leaders
	The Shogunate’s Korean Connection
	Go-Mizunoo’s Progeny and the Imperial Lineage
	The Imperial Retreat at Shugakuin
9 
Closing Comments
Endnotes
Appendix 1: Emperors and Reigning Empresses
Appendix 2: Members of the Imperial Family
Appendix 3: Imperial Palace Documents, Buildings, and Panel Paintings
Appendix 4: List of Chinese Characters
Bibliography
Illustrations and Photo Credits
Index