Capitalscapes

Notes

notes Chapter 1: A Most Marvelous Thing 1. Sanj†nishi Sanetaka, Sanetaka k†-ki, 13 vols. 1506 (Eish† 3).12.22, IV:675. See appendix 1, document 1. 2. See also Kanroji Motonaga, Motonaga ky†-ki. Herein diaries will be noted by their titles, e.g., Sanetaka k†-ki, Motonaga ky†-ki, et cetera, followed by the date of the reference in the order of Western calendar year, Japanese period year (neng†), month, and day. Months and days will not be adjusted to their exact Western calendar date counterparts except when the reference comes from a Western documentary source. 3. In 1506 Sanetaka was a chamberlain to the emperor (jij≥) and had been promoted to the rank of Great Minister of the Center (naidaijin), the fourth-highest rank in the imperial court. Motonaga was a Middle Counsellor, a rank not far below that of Sanetaka. Kugy† bunin, v. 55, p. 315. 4. Although much of what we know about the official court painter Tosa Mitsunobu’s artistic career is culled from the diaries by Sanetaka, Motonaga, and their contemporaries, what remains of Motonaga’s diary lacks entries for the second half of 1506, leaving us with only Sanetaka’s remarks on this particular work. Kamei Wakana has compiled the most complete list of references to Mitsunobu to date in “Muromachi jidai no ‘edokoro’ no kent†,” part 2 of Chino Kaori et al., “Haabaado daigaku bijutsukan z† ‘Genji monogatari gaj†’ o meguru shomondai,” Kokka 1222 (1997): 15–18. 5. “Raku” , the Japanese pronunciation of the first character of Luoyang (Rakuy† ), was used to signify the city of Kyoto from as early as the Heian period (794–1185) and was synonymous with Kyoto (also called Ky† and Miyako ) by the late Heian period. The reasons for this etymological association are discussed in chapter 2. 6. The three surviving sixteenth-century versions are usually called “Machida- (or Sanj†-) bon,” “Uesugi-bon,” and “Takahashi-bon” after previous owners; the suffix “bon” roughly translatable as “version” or “example.” Since the 1980s both the “Machida” and “Takahashi” screens have been in the possession of the National Museum of Japanese History (Kokuritsu Rekishi Minzoku Hakubutsukan, or “Rekihaku” for short), and are usually described in Japanese scholarship as “Rekihaku k†-hon” (Rekihaku Version A) and “Rekihaku otsu-hon” (Rekihaku Version B). In order to avoid the confusion that will inevitably result from this awkward parlance, I will refer to them as the Sanj†, Uesugi, and Takahashi screens. The Edo-period copy in the Tokyo National Museum is called “T†haku mo-hon” (“mo-hon” means “copy”) and here will be called, for the sake of brevity and convenience, the “TNM copy.” 7. Tsuji Nobuo, Rakuch≥ rakugai zu, Nihon no bijutsu 121, p. 29. 8. Aoyagi Masanori, et al., eds., Nihon bijutsukan, p. 598. See also Mary Elizabeth Berry, The Culture of Civil War in Kyoto, p. 302. 9. Okudaira Shunroku, Rakuch≥ rakugai zu to Nanban by†bu, p. 64. 10. The “Sh†k†ji” screens, which belong to a temple in Toyama, will be examined in chapter 7. The “Ikeda” screens were handed down in this family’s domain in Okayama, and are today kept in the Hayashibara Museum in that city. 11. Shimada S†ch†, S†cho shuki (S†ch† nikki), p. 28. See also Iriya Yoshitaka and Shimada Sh≥jir†, eds., Zenrin gasan, p. 372. 12. The best discussion of the appearance and characteristics of Sh†-Ky†to is in Ky†to-shi, ed., Ky†to no rekishi, v. 3: Kinsei no taid†, pp. 670–675. 13. The relocation of the ink painter Sessh≥ T†y† (1420–1506) to Yamaguchi to work under the patronage of the ∂uchi clan is a typical example of the diffusion of metropolitan culture to provincial subcenters. 14. Motonaga ky†-ki, 1511 (Eish† 8).2.15, p. 188. 15. Haga K†shir†, “Kaidai,” in Motonaga ky†-ki, p. 357. 16. Tosa Mitsunobu and his son Mitsumochi (dates unknown, active ca. 1523 to 1560s?) both can be connected to the Asakura: there remains a portrait by Mitsunobu of Momonoi Naoakira, a k†wakamai performer from Echizen who was patronized by the Asakura; and Mitsumochi is reported to have received a sword from Asakura Takakage as payment for some painted fans. See Miyajima Shin’ichi, Tosa Mitsunobu to Tosa-ha no keifu, p. 23. 17. Tsuji, Rakuch≥ rakugai zu, pp. 55–56. 18. Horiguchi Sutemi, “Rakuch≥ rakugai by†bu no kenchiku-teki kenky≥.” 19. Takeda Tsuneo, ed., Rakuch≥ rakugai zu...