The Eyes of Power: Art and Early Tokugawa Authority

Notes

Notes Introduction 1. The Greek root of the term “political” refers to the affairs of the polis or city-state and its administration (see Henry Liddell and Robert Scott, An Intermediate Greek-English Lexicon, founded upon the 7th ed. of Liddel and Scott’s Greek-English Lexicon [Oxford, Clarendon, 1968], s.v. polis, definition 3). 2. The political and ideological significance of early Chinese art is discussed by Wu Hung in Monumentality in Early Chinese Art and Architecture (Stanford, Calif.: Stanford University Press, 1995). For a discussion of early Japanese art and its relation to the development of political and social issues, see Richard Pearson et al., Ancient Japan (New York: George Braziller, 1992). 3. For more on the development of the concept of ritual objects (liqi) and power, see Wu, Monumentality, 23–24. 4. Cultural anthropologist Watanabe Hitoshi has proposed that Jòmon people had a hierarchical society in which elite families sponsored the production of prestigious goods (Jòmon shiki kaisòka shakai [Tokyo: Rokkò Shuppan, 1990]). 5. Murray Edelman, From Art to Politics: How Artistic Creations Shape Political Conceptions (Chicago: University of Chicago Press, 1995), 91. 6. Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste, trans. Richard Nice (Cambridge, Mass.: Harvard University Press, 1984), 7 (quotation), 249–250. 7. Michele Marra, Representations of Power: The Literary Politics of Medieval Japan (Honolulu: University of Hawai‘i Press, 1993), 3. 8. Martin J. Powers, Art and Political Expression in Early China (New Haven, Conn.: Yale University Press, 1991), 42–43. For more on art as a dialectical form of political expression in China, see ibid., 2–9. 9. Carolyn Wheelwright, “A Visualization of Eitoku’s Lost Paintings at Azuchi Castle,” in Warlords, Artists, and Commoners: Japan in the Sixteenth Century , ed. George Elison and Bardwell L. Smith (Honolulu: University of Hawai‘i Press, 1981), 87. 10. Mary Elizabeth Berry, Hideyoshi (Cambridge, Mass.: Harvard University Press, 1982), 187. 11. Established by the promulgation of the Kinchû narabini kuge shohatto (Regulations for the emperor and court) on the seventeenth day of the seventh month of the first year of Genna (1615) (Dai Nihon shiryò [Tokyo: Tòkyò Teikoku Daigaku, 1901–], 12–22). Limiting the activities of the aristocrats to the support of and involvement in the arts resulted in a resurgence of court aesthetics in the seventeenth century. For more on the art of the imperial aristocracy created in collaboration with wealthy commoners, see Carolyn Wheelwright, ed., Word in Flower: The Visualization of Classical Literature in Seventeenth Century Japan (New Haven, Conn.: Yale University Art Gallery, 1989). 12. Herman Ooms, Tokugawa Ideology: Early Constructs, 1570–1680 (Princeton, N.J.: Princeton University Press, 1985), 288. 13. See the translation of Frois in Michael Cooper, They Came to Japan (Berkeley and Los Angeles: University of California Press, 1965), 101–102; and also Willem Jan Boot, “The Deification of Tokugawa Ieyasu,” Japan Foundation Newsletter 14, no. 5 (February 1987): 10–13, and “De Dood van een Shògun: Vergoddelijking in het Vroeg-moderne Japan,” Oosters Genootschap in Nederland 16 (1989): 5–37. 14. According to Herschel Webb, of the fifteen Tokugawa shoguns, five took their principal wives from court (kuge) families, and seven had imperial princesses as consorts (The Japanese Imperial Institution in the Tokugawa Period [New York: Columbia University Press, 1968], 96–97). 15. Ronald P. Toby, State and Diplomacy in Early Modern Japan: Asia in the Development of the Tokugawa Bakufu (Stanford, Calif.: Stanford University Press, 1991). 16. For notes on Tokugawa genealogy, see John Whitney Hall, ed., Early Modern Japan, vol. 4 of The Cambridge History of Japan (Cambridge: Cambridge University Press, 1991), 130–134. Hideyoshi’s less-than-illustrious background is likewise embellished in Taikò sujòki by Tsuchiya Yasutada (see Suzuki Ryòichi, Toyotomi Hideyoshi [Tokyo: Iwanami Shoten, 1971], 3–4; and also Oze Hoan, Taikòki, ed. Kuwata Tadachika [Tokyo: Shinjinbutsu Òraisha, 1971], 31–34). 17. William Coaldrake, Architecture and Authority in Japan (London: Routledge , 1996), 5. 18. Herman Ooms thoroughly analyzes this important conversion of (military ) power to (political) authority under Tokugawa Iemitsu (Tokugawa Ideology , 50–62). 19. Those that have not survived include the Nyògo Gosho (Empress’ Palace) (1619), Òsaka Castle (1623), Kan’eiji (1625), the Imperial Visitation Palace of Notes to Pages xi–xiv 148 Nijò Castle (1626), Taitokuin (1633), the Visitation Palace of Nagoya Castle (1634), the Imperial Palace’s Seiryòden (1642), and Edo...