Emakimono - Knowledge

1593: 5581: 504: 3970: 6434: 2077: 6617:. The most precise estimates place it between 1157 and 1180, and the quality of the descriptions of the temples and the palace suggests that the artist is familiar with both ecclesiastical and aristocratic circles. Myōren, who lived as a hermit in the mountains of Kyoto, used to send a magic bowl by air to the nearby village, in order to receive his offering of rice. One day, a rich merchant became tired of this ritual and locked the bowl in his attic. To punish him, Myōren blew up the whole granary containing the village harvest, as painted in the scene shown here; in that scene, known as the flying granary, the artist fully represents the popular feelings, fear and panic at seeing the harvest disappear. The movements of the crowd and the expressive, almost burlesque faces of the landscapes contrast with the tangible restraint in the 5518: 5813: 4259: 6458: 5755: 5191: 3692: 6864: 12095: 4582: 5493: 5101: 3943: 3883: 5544: 4428: 4239: 5842: 4401: 6410: 5473: 6650: 4829: 4207: 3749: 5788: 5858: 6541:), but only a few fragments of four scrolls remain today. The scene shown here depicts Prince Genji's final visit to his dying beloved, Lady Murasaki. In the composition, the diagonals reveal the emotion of the characters. First, Lady Murasaki appears at the top right, then the lines guide the eye to the prince in the lower centre, who appears to be crushed by sorrow. Then, the reading continues, and, at left, several months have passed, showing the garden of lovers devastated by time, echoing the loved one lost. The colors are darker than usual. In this scene, all of the classic pictorial elements of the 1322: 3903: 4802: 1428: 3923: 5074: 2337: 3469:, long strips of paintings without fixed limits, requires solving a number of compositional problems in order to maintain the ease and clarity of the narrative, and which have given rise to a coherent art form over several centuries. In summary, according to E. Saint-Marc: "We had to build a vocabulary, a syntax, solve a whole series of technical problems, invent a discipline that is both literary and plastic, an aesthetic mode which finds its conventions in turn invented and modelled, frozen by use, then remodelled, to make it an instrument of refined expression." 2888: 1854: 1217: 3652: 587: 5171: 6843:

rushed into the water, swearing to protect her beloved forever. She then transformed into a dragon and became a protective deity of the Kegon school, according to legend. The well-known scene shown here, in which Zenmyō, transformed into a dragon, carries Gishō's ship on her back, features supple and fine lines as well as discreet colors that do not mask the brushstrokes; this style also seems inspired by the wash painting of the Song dynasty to which the very Japanese sensitivity for colors has been added. In fact, the sponsor of the roll, the monk

5049: 1128: 4626: 2442: 4556: 6083: 5453: 3717: 5153: 1151:(middle of the 12th century), with dynamic and free lines, light colors and a decidedly popular and humorous tone, perfectly illustrate this movement, not hesitating to depict the life of the Japanese people in its most insignificant details. Here, the color is applied only in light touches that leave the paper bare, as the supple and free line dominates the composition, unlike the constructed paintings of the court. In addition, the text occupies very limited space, the artist painting rather long scenes without fixed limits. 2162: 755: 1712: 4606: 674: 12119: 5622:, in which the scenes seem to be out of time, punctuating moments of extreme sensibilities. By contrast, more dynamic stories play on the alternation between close-ups and wide panoramas, elisions, transitions and exaggeration. In such stories, the narrative rhythm is devoted entirely to the construction of the scroll leading to the dramatic or epic summit, with continuously painted scrolls allowing the action to be revealed as it goes by intensifying the rhythm, and therefore the suspense. The 4893: 2533: 4289: 6819: 4187: 626:: administration, architecture, dress customs or ceremonies. The exchanges between China and Japan were also fruitful for the arts, mainly religious arts, and the artists of the Japanese archipelago were eager to copy and appropriate continental techniques. In that context, experts assume that the first Chinese painted scrolls arrived on the islands around the 6th century CE, and probably correspond to illustrated sutra. Thus, the oldest known Japanese narrative painted scroll (or 51: 5128: 332: 12131: 6508: 5351: 6692:, due to its mastery of movement and setting up of the narrative to the climax: the fire, which spreads over almost the entire height of the scroll in the scene shown here. At the seat of the fire, extremely realistically represented soldiers, equipped with weapons and armor, fight violently, while the aristocrats who try to flee are savagely massacred (here, one is slaughtered by a shaggy soldier). The palace fire echoes that in another, older, scroll, the 6588: 4862: 1003: 3253:, also invented in China around the 1st century CE, it results from a simple mixture of binder and wood smoke, the dosage of which depends on the manufacturer. Essential for calligraphy, it is also important in Asian pictorial arts where the line often takes precedence; Japanese artists apply it with a brush, varying the thickness of the line and the dilution of the ink to produce a colour from a dark black to a pale gray strongly absorbed by the paper. 410:. The term refers to long scrolls of painted paper or silk, which range in length from under a metre to several metres long; some are reported as measuring up to 12 metres (40 ft) in length. The scrolls tell a story or a succession of anecdotes (such as literary chronicles or Buddhist parables), combining pictorial and narrative elements, the combination of which characterises the dominant art movements in Japan between the 12th and 14th centuries. 4517:. The outlines, partly masked by the paint, were finally revived in ink and the small details (such as the hair of the ladies) were enhanced. However, the first sketch was often modified, in particular when the mineral pigments were insoluble in water and therefore required the use of thick glue. Colour appears to be a very important element in Japanese painting, much more so than in China, because it gives meaning to the feelings expressed; in the 29: 5039:

arrangement of objects. Thus, it was not uncommon for characters to point the finger at the following painting or for them to be represented travelling to create the link between two cities, or for the buildings to be oriented to the left to suggest departure and to the right to suggest the arrival. More generally, Bauer identifies the notion of off-screen (the part of painting not yet visible) that the painter must bring without losing coherence.

11058: 6713: 6209: 3180: 12107: 10757: 1158: 4674:), according to two approaches. First, ink lines can be extremely free, with the artist laying on paper unconstrained soft gestures that are especially dynamic, as it is mainly the sense of movement that emerges in these works. The painter also plays on the thickness of the brush to accentuate the dynamism, as well as on the dilution of the ink to exploit a wider palette of grey. Among such scrolls, the 2640: 2615: 309: 291: 875: 503: 920:, developed in the vein of this secular art, linked to literature and poetry. The painting technique lent itself fully to the artistic tastes of the court in the 11th century, inclined to an emotional, melancholic and refined representation of relations within the palace, and formed a pictorial vector very suited to the narrative. Even though they are mentioned in the antique texts, no 248:, long scrolls of limited height, requires the solving of all kinds of composition problems: it is first necessary to make the transitions between the different scenes that accompany the story, to choose a point of view that reflects the narration, and to create a rhythm that best expresses the feelings and emotions of the moment. In general, there are thus two main categories of 4782: 5754: 4365: 5812: 5330:(literally, 'roof removed'), and involves not representing the roofs of buildings, and possibly the walls in the foreground if necessary, to enable a depiction of the interior. Unlike the previous arrangement, the point of view located outside the buildings, still high up, because the primary purpose of 5959:

in accordance with the text: for example, the characters in the story may have been painted on a scene in a palace in the order of their appearance in the text. Other specialists in turn have insisted on the importance of the text in the positioning of the paintings, an important point in the Buddhist

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sect in their country in the 12th century. One of them, Gishō, made a pilgrimage to China in his youth to complete his Buddhist education. There, he met a young Chinese girl, Zenmyō, who fell in love with him. Alas, on the day he was due to depart, the latter arrived late at the port and, in despair,

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very often take historical or religious events as a source of inspiration: the narrative value of the story (the true story) informs contemporary historians as much about the story as about the way of perceiving this story at the time (there is sometimes a gap of several centuries between the time of

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comes in the form of a calendar of several annual ceremonies and rites celebrated at court. By their symbolic importance and the complexity of their codes, these events, as well as some more popular festivals, absorbed much of the energy of the Heian period aristocracy. During the subsequent Kamakura

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have been widely studied on this point: art historians have shown a link between the feeling conveyed by a text and the dominant colour of the accompanying paint, a colour which is also used for the decorated paper. In addition, the composition of the paintings may make it possible to understand them

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artists: only three walls of the room are drawn, in parallel perspective; the point of view is located in the place of the fourth wall, a little higher up. When the need to draw several planes – for example the back of the room or a door open to the next one – arose, the artists proceeded by reducing

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poses specific problems: generally, sheets of painted paper or silk 2–3 metres (6 ft 7 in – 9 ft 10 in) long are lined separately, then assembled using strips of long-fibre Japanese paper, known for its strength. The lining process simply requires the application of an animal

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shogunate system held power over Japan, and the refined and codified art of the court gave way to more fluidity and dynamism. The greater simplicity advocated in the arts led to a more realistic and human representation (anger, pain or size). If the activity related to religion was prolific, then so

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is read, according to the traditional method, sitting on a mat with the scroll placed on a low table or on the floor. The reader then unwinds with one hand while rewinding it with the other hand, from right to left (according to the writing direction of Japanese). In this way, only part of the story

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made a very exhaustive study of the most interesting paintings across fifteen major categories of elements, including dwellings, elements of domestic life and elements of life outside the home, according to ages (children, workers, old people) and social class. Although the main characters are most

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remains highly regarded for its mastery of composition (which reaches a crescendo at the dramatic climax of the scroll, i.e. the burning of the palace and the bloody battle between foot soldiers), and for its contribution to present day understanding of Japanese medieval weapons and armour. Akiyama

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saw a synthesis of the two approaches and the contribution of new realistic influences of the Chinese wash paintings of the Song dynasty. In relation to composition, the artists could alternate calligraphy and painting so as to illustrate only the most striking moments of the story, or else create

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This secular art then spread among the nobles, especially the ladies interested in the illustration of novels, and seems to have become prevalent early in the 10th century. As with religious painting, the themes of Japanese life, appreciated by the nobles, did not fit well with painting of Chinese

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technique was also used in a variety of other ways, for example with a very high point of view to reinforce the partitioning of spaces, even in a single room, or by giving the landscape a more important place. Ultimately, the primary goal remained to render two narrative stages, and therefore two

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also makes it possible to suggest depth and guide the arrangement of the elements. In Japanese painting, the scale depends not only on the depth of the scene, but also often on the importance of the elements in the composition or in the story, unlike the realistic renderings in Chinese landscape

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technique, two or three lines were enough to represent the eyes and the nose in a stylized way; E. Grilli notes the melancholy of this approach. The desired effect is still uncertain, but probably reflects the great restraint of feelings and personalities in the palace, or even allows readers to

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forces the artist to set up tricks such as the use of long diagonal vanishing lines or sinuous curves suggesting depth. Indoors, it is the architectural elements (beams, partitions, doors) that are used to set up these diagonals; outdoors, the diagonals are set up by the roofs, walls, roads and

5035:) naturally made the transitions more ambiguous, because each reader can reveal a larger or smaller portion of the paintings, more or less quickly. In the absence of clear separation between scenes, the mode of reading must be suggested in the paintings in order to maintain a certain coherence. 2384:

came to be dissociated from China, mainly in their themes. Chinese scrolls were intended mainly to illustrate the transcendent principles of Buddhism and the serenity of the landscapes, suggesting the grandeur and the spirituality. The Japanese, on the other hand, had refocused their scrolls on

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before the 4th century CE. They were used for religious texts and entered China by the 1st century. Handscrolls were introduced to Japan centuries later through the spread of Buddhism. The earliest extant Japanese handscroll was created in the 8th century and focuses on the life of the Buddha.

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in Kyoto; the last two of eight scrolls narrate the foundation and miracles. However, the thematic division of the work appears unfinished, the sketch of a ninth scroll having been brought to light. In the scene shown here, Michizane, unjustly condemned to exile, calls out to the gods in his

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Two kinds of links between scenes were used by the artists. First, there were links by separation using elements of the scenery (traditionally, river, countryside, mist, buildings) were very common. Secondly, the artists used a palette of transitional elements suggested by the figures or the

6806:. The result, so admired by specialists, appears very close to deep and spiritual Chinese landscapes with rough ink strokes, while retaining a Japanese iconography through the freedom taken with perspective (the characters in particular are disproportionate) and the elements of daily life. 6433: 6141:

often nobles, famous monks or warriors, the presence of ordinary people is more or less tangible in an immense majority of works, allowing a study of a very wide variety of daily activities: peasants, craftsmen, merchants, beggars, women, old people and children can appear in turn. In the

4355:. This last work presents many landscapes typical of Japan according to a perspective and a rigorous realism, with a great economy of colors; various Song pictorial techniques are used to suggest depth, such as birds' flights disappearing on the horizon or the background gradually fading. 8982:

Bauer, Estelle (1998). "Les montreurs, ou quelques problèmes relatifs à la composition des peintures narratives sur rouleaux aux xiie et xiiie siècles" [The showmen, or some problems relating to the composition of narrative paintings on scrolls of the 12th and 13th centuries].

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referred more generally to all of the Japanese style paintings created in the 9th century that expressed the sensitivity and character of the people of the archipelago, including those extending beyond the earlier themes. Miyeko Murase thus speaks of "the emergence of national taste".

491:, favour the image, sometimes to the point of making the text disappear. The scrolls have a limited height (on average between 30 cm (12 in) and 39 cm (15 in)), compared with their length (on average 9 m (30 ft) to 12 m (39 ft)), meaning that 211:

in the 12th and 13th centuries. During this period, the techniques of composition became highly accomplished, and the subjects were even more varied than before, dealing with history, religion, romances, and other famous tales. The patrons who sponsored the creation of these

5703:: it consists of representing the same character several times in a single scene, in order to suggest a sequence of actions (fights, discussions, trips) with great space savings. The movement of the eye is then most often circular, and the scenes portray different moments. 2863:. These works were, it seems, intended to be read by nobles. Nevertheless, Seckel and Hasé assert that the separation between the secular and the religious remains unclear and undoubtedly does not correspond to an explicit practice: thus, the aristocrats regularly ordered 6457: 254:: those which alternate the calligraphy and the image, each new painting illustrating the preceding text, and those which present continuous paintings, not interrupted by the text, where various technical measures allow the fluid transitions between the scenes. 967:) or temples, who created a more "professional" and successful technique. The art historians consider that the composition and painting techniques they see in the masterpieces of the late Heian period (second half of the 12th century) were already very mature. 796:); after a phase when Chinese techniques were copied, the art of the Japanese archipelago became progressively more delicate, lyrical, decorative with less powerful but more colorful compositions. Nevertheless, it was especially in secular art that the nascent 5028:

The balance between texts and images thus varied greatly from one work to another. The author had a broad "syntax of movement and time" which allowed him to adapt the form to the story and to the feelings conveyed. The scrolls with continuous illustrations

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or the portrait of Myōe reveal the first Song influences in Japanese painting. However, the crucial lack of information and documents on these rare known artists leads Japanese art historians rather to identify styles, workshops, and schools of production.

5543: 697:. This perception arises from the aesthetics and the codified and refined art of living that developed at the Heian court, as well as a certain restraint and melancholy born from the feeling of the impermanence of things (a state of mind referred to as 3602:

style was brought up-to-date, the same technique was used but in a sometimes less complete manner, the colours more directly expressing feelings and the artists using a more decorative aesthetic, such as with the very important use of gold dust in the

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production, because works of proselytism were intended to be copied and disseminated widely in many associated temples, explaining the large number of more or less similar copies on the lives of great monks and the founding of the important temples.

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misfortune. The composition of the painting testifies to a very Japanese sensitivity; Michizane is disproportionately depicted to underline his grandeur and determination in the face of dishonour, while the vividly colored and almost contourless (

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remains difficult, due to the few works that have survived. However, the obvious mastery of the classical scrolls of the end of the Heian period testifies to at least a century of maturation and pictorial research. These foundations permitted the

6409: 5431:, Ippen is sometimes depicted in the background in a landscape the same size as trees or buildings, so that the reader can clearly identify it. Changes in scale can also convey the mood of the moment, such as the strength of will and distress of 1891:

had become less inspired, marked by an extreme aesthetic mannerism (such as the exaggerated use of gold and silver powder) with a composition more technical than creative; the tendency to multiply the scenes in a fixed style can be seen in the

5391:, are painted on a smaller surface, in turmoil, in a confused composition which reinforces their agitation. More generally, an unrealistic composition (for example from two points of view) makes it possible to suggest strong or sad feelings. 5264:. As mentioned above, scenes are most commonly painted when viewed from above (bird's eye view) in order to maximize the space available for painting, despite the reduced height of the scrolls, while leaving part of the background visible. 3560:

fully transcribed the lyrical and refined aesthetic of the court, which was characterized by a certain restraint, introspection and the expression of feelings, bringing together above all works inspired by "romantic" literature such as the

4929:. Originally, in the illustrated sutras, the image was organized in a long, continuous frieze at the top of the scroll, above the texts. That approach, however, was quickly abandoned for a more open layout, of which there are three types: 1060:, reserved for court narratives usually written by aristocratic ladies. In that scroll, each painting illustrates a key episode of the novel and is followed by a calligraphic extract on paper richly decorated with gold and silver powder. 5190: 6681:

clans at the end of the Heian era. Of the numerous original scrolls, formed in the second half of the 13th century, probably over several decades, only three remain, together with various fragments. The first scroll, which depicts the

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are typically true-to-life and accurately depict contemporary clothing and its relationship to the social categories of the time. In military-themed scrolls, the weapons and armour of the warriors are also depicted with accuracy; the

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of things'), a state of mind that is difficult to express, but which can be regarded as a penchant for sad beauty, the melancholy born of the feeling that everything beautiful is impermanent. D. and V. Elisseeff define this aspect of

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sensibility, so much so that court artists developed to a certain extent a new national technique which appeared to be fashionable in the 11th century, for example in the seasonal landscapes of the panel paintings in the Phoenix Hall

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is renowned for its many strong scenes of landscapes typical of Japan, so realistic that they can still be recognised perfectly today. The scene shown here, in which Ippen and his disciples arrive at Kyoto by the bridge over the

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offer a unique historical glimpse into the life and customs of Japanese people, of all social classes and all ages, during the early part of medieval times. Few of the scrolls have survived intact, and around 20 are protected as

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even naturally incline to such collaboration. Art historians are more interested in determining the social and artistic environment of painters: amateurs or professionals, at court or in temples, aristocrats or of modest birth.

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are intended to be rolled up, the colours must be applied to them in a thin, flat layer in order to avoid any cracking in the medium term, which limits the use of patterns (reliefs) predominant in Western painting. As for the

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was invented in China in about the 1st century CE, simplifying the writing on scrolls of laws or sutra, sometimes decorated. The first narrative scrolls arrived later; various masters showed interest in this medium, including

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of the Kamakura period focus on the foundation of the temples, or the lives of famous monks. During that period, many of the religious institutions commissioned the workshops of painters (often monk-painters) to create

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is to represent two separate narrative spaces – for example two adjoining rooms, or else inside and outside. The genesis of this technique is still little known (it already appears in the biography on wooden panel of

4364: 4605: 2255:, because even though the composition is similar, the lack of harmony of colors and the overloaded appearance are detrimental; it seems that the production is often the work of amateurs. However, a field of study of 5381:, the composition is closely linked to the text and indirectly suggests the mood of the scene. When Kaoru visits Ukifune, while their love is emerging, the artist shows the reader two narrative spaces thanks to the 5048: 4892: 5127: 4427: 5653:

Japanese artists also use other composition techniques to energize a story and set the rhythm: the same characters are represented in a series of varied sets (typically outdoors), a technique known as repetition

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display much more realism in the drawing of the characters, and depict, amongst other themes, humour and burlesque, with people's feelings (such as anger, joy and fear) expressed more spontaneously and directly.

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were intended mainly as proselytism, or to disseminate a doctrine, or even as an act of faith, because copying illustrated sutras must allow communion with the deities (a theory even accredits the idea that the

1416:). The rich colours, the tense contours, the search for movement and the very realistic details of the faces well illustrate this mixture of styles, especially as the paintings drew their inspiration from both 653:

and early Tang dynasty) with the paintings arranged in friezes above the text, it is very likely a copy of an older Chinese model, several versions of which have been identified. Although subsequent classical

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At the Heian court, Kaoru visits Ukifune, with whom he is in love. The composition is based firstly on the long diagonals, materialized by the veranda, which create the parallel perspective; secondly on the

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illustrates this aspect well, as the artist, by using a very opaque red spreading over almost the entire height of the paper, depicts a gradual intensification of the bloody battles and the pursuit of

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and illustrations and are painted, drawn or stamped on long rolls of paper or silk sometimes measuring several metres. The reader unwinds each scroll little by little, revealing the story as seen fit.

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of a particular genre: they were suites of portraits of famous people made in a rather similar style, with almost geometric simplicity of clothing, and extreme realism of the face. The essence of the

4335:, and Chinese painting no longer provided the themes and techniques. However, influences were still noticeable in certain works of the Kamakura period, in particular the art, so famous today, of the 312: 2196:

seems to have stemmed from a burgeoning lack of enthusiasm for hectic or religious stories; the people had become more responsive to themes of dreams, laughter and the supernatural (a number of

5500: 5056: 2363: 2341: 634: 591: 527:). Reading direction is from right to left. Traditionally, the reader never fully unwinds the roll, but unwinds it with one hand while rewinding it with the other, learning the story piecemeal. 3902: 2986:. Nevertheless, the life of these artists remains poorly known, at most they seem to be of noble extraction. Such a background is particularly implied by the always very precise depictions in 3407:

mainly designated works with Japanese themes, notably court life, ceremonies or archipelago landscapes, in opposition to the hitherto dominant Chinese scholarly themes, especially during the

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began to be inspired by literature, poetry, nature and especially everyday life; in short, they formed an intimate art, sometimes in opposition to the search for Chinese spiritual greatness.

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Towards the middle of the Kamakura period, there was a revival of interest in the Heian court, which already appeared to be a peak of Japanese civilization, and its refined culture. Thus the

1075:: an oblique point of view, the movement of the eyes guided by long diagonals from the top right to the bottom left, and even the removal of the roofs to represent the interior of buildings ( 2433:

comes back to the study of the subjects by referring to the canons of the time. The categorisation proposed by Okudaira and Fukui thus distinguishes between secular and religious paintings:

5745:, the artist offers a succession of almost "cinematographic" shots alternately showing the distress of Zenmyō, a young Chinese girl, and the boat carrying her beloved away on the horizon. 3691: 3214:) is generally of a more solid texture and less delicate than Chinese paper, as the fibres are longer). The paper is traditionally made with the help of women of the Japanese archipelago. 949:

grew during this period from the 10th century, first appearing in illustrations in novels or diaries produced by the ladies of the court. In addition, the initial themes remained close to

6015:(literally, 'roof removed'), unprecedented in all Asian art. Saint-Marc commented that some of these elements actually existed previously in Chinese painting, and that the originality of 5100: 3651: 3637:

of the Heian period, the artists rather expressed the feelings or the passions in the positions as well as in the pleats and folds of the clothes, in harmony with the mood of the moment.

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constitutes a second important instance of the narration over time. As the scroll is usually read from right to left and top to bottom, the authors mainly adopt plunging points of view (

2152:. These are small, symbolic and funny tales, intended to pass the time focusing on mythology, folklore, legends, religious beliefs or even contemporary society. This particular form of 4861: 6224:

dance with his disciples in the center. In the same scene, but on different planes, the painting shows peasants, beggars, destitute people, itinerant monks, pilgrims and townspeople.

5917:, calligraphy is a predominant art that aristocrats learn to master from childhood, and styles and arrangements of characters are widely codified, although varied. In the context of 3942: 2811:, during which a learned monk detailed the contents of the scrolls to a popular audience. Specialists thus explicate the unusually large dimensions of the different versions of the 4206: 3842:

clearly show that its author can only have been a palace regular, aristocrat or monk. In any case, there are still several collections of these folk tales of the time, such as the

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is a narrative system (like a book) that requires the construction of a story, so the composition must be based on the transitions from scene to scene until the final denouement.

5766:: the group of demons is first depicted burning below, then listening to the sermons of the historical Buddha in the middle, and finally drinking and reaching the heavens above. 4581: 579:

and Chinese characters, dominant in the scrolls up to the 10th century CE, remain little known to this day, because they were overshadowed by the famous landscape scrolls of the

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style, characterized by its subjects from Japanese life and landscapes, the staging of the human, and an emphasis on rich colours and a decorative appearance. The format of the

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wash paintings, which was fully demonstrated in the grandiose and deep landscapes sketched in ink, by Ienaga. Borrowings also remained visible in religious scrolls such as the

709:, promoted what Miyeko Murase has described as the "emergence of national taste" as a truly Japanese culture departed for the first time from Chinese influence since the early 12068: 5923:, calligraphic texts can have several purposes: to introduce the story, to describe the painted scenes, to convey religious teachings or to be presented in the form of poems ( 1351:. Under the impetus of the new warrior class in power, and the new Buddhist sects, production was indeed very sustained and the themes and techniques more varied than before. 4400: 4689:

The second approach to monochrome paintings is more constructed, with fine, regular strokes sketching a complete and coherent scene, very similar to the first sketch in the

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in Japanese, are not soluble in water and require a thick binder, generally an animal glue; the amount of glue required depends on how finely the pigments have been ground.

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also form an important historiographical source of information about more than just everyday life, including historical events, culture and religion. Among these kinds of

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The aesthetics, alongside the rendering of people's emotions and expressions of feelings, also show a distinct cleavage between the common people and the aristocracy. For

4874: 2735:; during the Kamakura period, professional production dominated greatly, and several categories of workshops were distinguished: those officially attached to the palace ( 2447: 1765: 1388:). However, the very refined appearance of the court paintings later gave way to more dynamic and popular works, at least in relation to the theme, in the manner of the 961:

was closely linked to the emergence of Japanese culture and literature, as well as to the interest of ladies soon joined by professional painters from palace workshops (

6009:), the stereotypical faces of the characters (impersonal, realistic or caricatured), and finally the hazy atmosphere. K. Chino and K. Nishi also noted the technique of 5109: 4997: 1487: 5823:: two children fight in the centre under the amused eyes of the crowd, then the father of one of them runs up to the left, and unceremoniously expels his son's rival. 4409: 3836:

from the interest of the nobles in Japanese provincial life from the 11th century, as well as from local folk legends; moreover, several very detailed scenes from the

3270:(Japanese hanging scrolls): the painted paper or silk is stretched, glued onto the lining, and then dried and brushed, normally by a specialized craftsman, known as a 2894: 2082: 2015: 2000: 1859: 1696: 1112:) there are other scrolls inspired by themes such as the daily lives of the people, historical chronicles, and the biographies of famous monks; ultimately, a style of 660:

feature a very different style from that of this work, it foreshadows the golden age of the movement that came four centuries later, from the 12th century CE onwards.

199:, especially among aristocratic ladies with refined and reclusive lives, who devoted themselves to the arts, poetry, painting, calligraphy and literature. However, no 4843: 4704: 1820: 10789: 10464: 6133:

have been greatly studied in that respect by historians; no other form of Japanese art has been so intimately linked to the life and culture of the Japanese people.

5663: 5152: 4982: 4625: 1924: 1209:, with free lines and sometimes light, sometimes rich and opaque colors; this meeting of genres foreshadows the style that dominated a few decades later, during the 6851:, appreciated the art of the Asian continent and brought to Japan several contemporary Chinese works, which probably inspired the artists of his painting workshop. 6287: 6271: 6093: 3826:

is well attested in the texts of the time, and seems to come from the illustrations of novels by the ladies of the court from the 10th century, the origins of the

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would have aimed to pacify evil spirits). Proselytising, favoured by the emergence of the Pure Land Buddhist sects during the Kamakura era, changed the methods of

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literature and poetry: paintings of the seasons, the annual calendar of ceremonies, the countryside and finally the famous landscapes of the Japanese archipelago (

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style, specialists often put forward several elements of answers: the very typical diagonal composition, the perspective depending on the subject, the process of

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appears today as a peak of Japanese civilization via the culture of the emperor's court, although intrigue and disinterest in things of the state resulted in the

10578: 4757:, the absence of contours is used by the artist to evoke the Shinto spirit in Japanese landscapes. Originally from China, this pictorial technique is now called 2680:, are to be found at the emperor's court in Heian, among the aristocrats versed in the various arts. Period sources mention in particular painting competitions ( 10603: 4109: 2237: 2174: 558:, the main sources of Japanese artistic inspiration until modern times. Narrative art forms in China can be traced back to between the 3rd century CE under the 6388:

may be details of the construction of ancient temples, of religious practices and finally of the unfolding of battles and major historical events, such as the

5082: 4098: 3730: 435:

is kept closed by a cord and stored alone or with other rolls in a box intended for this purpose, and which is sometimes decorated with elaborate patterns. An

5012: 4810: 1232:

While the authority of the court rapidly declined, the end of the Heian period (in 1185) was marked by the advent of the provincial lords (in particular, the

5295: 2968: 1103:, but presents softer and more decorative paintings giving pride of place to the representation of nature subtly emphasising the feelings of the characters. 172:

are therefore a narrative genre similar to the book, developing romantic or epic stories, or illustrating religious texts and legends. Fully anchored in the

10366:

Dream, pilgrimage and dragons in the Kegon Engi Emaki (illustrated legends of the Kegon patriarchs): reading ideology in Kamakura Buddhist narrative scrolls

5610:

arises mainly from the arrangement between texts and images, which constitutes an essential marker of the evolution of the story. In Court style paintings (

1628:) led the artists to use scrolls of larger size than usual, and to represent the protagonists of the story in a somewhat disproportionate way compared with 10506: 5562: 5452: 5073: 2825:. As for the workshops of the court, they satisfied the orders of the palace, whether for the illustration of novels or historical chronicles, such as the 1592: 10669: 6895:

of studies and letters, demonstrate a sensitivity in mixing Buddhism and, above all, Shinto. The scrolls were actually intended for the Shinto shrine of

6292: 6098: 2877: 1900: 1665: 449: 3951: 10510: 10025: 8516: 7473: 5443:. For Saint-Marc, "each element takes the importance it has in itself in the painter's mind", freeing itself from the rules of realistic composition. 2934: 2050:(1503); he paid great attention to details and colours, despite a common composition. In a more general way, the illustration of novels in the classic 4288: 3716: 1044:

method), the intimacy and melancholy of the composition and finally the illustration of the emotional peaks of the novel taking place only inside the

10400: 10265: 6299:

formed an unpublished catalogue of the culture and the society of the time, while recounting, in a proselytising way, the establishment of the first

4555: 420:

can be seen – about 60 centimetres (24 in), though more can be unrolled – and the artist creates a succession of images to construct the story.

4801: 12053: 4513:

style. A sketch of the outlines was first made in ink before applying the colours flat over the entire surface of the paper using vivid and opaque

9895: 6958: 6766:, disciple of Ippen, on silk, probably because of the importance of the character. Ippen, cantor of salvation for all souls and dancing prayers ( 5505: 5061: 2368: 2346: 1655:

recounting their foundation, or the biography of the founding monk. Among the best-known works on such themes are the illustrated biographies of

1376:(very late Heian era) was spreading very widely due to the importance given both to the freedom of brush strokes and the lightness of the tones ( 1249: 639: 596: 5769: 3460:, although complex, allows for two approaches to be identified: paintings favoring colour, and those favoring line for the purpose of dynamism. 3018:

illustrates that point well, as the precision of both religious and aristocratic motifs suggests that the painter is close to those two worlds.

1274: 892: 4815: 1634:

of the standard sizes, to enable those protagonists to be seen from a distance, in a typically Japanese non-realistic perspective (such as the

705:

in Japanese). Furthermore, the rupture of relations with China until the 9th century, due to disorders related to the collapse of the glorious

4948:

Intermittence, where the texts appeared only at the beginning or at the end of the scroll, giving pride of place to continuous illustrations (

12063: 12058: 12048: 10782: 9015: 6340:

details a wide variety of buildings (temples, shrines, palaces, dwellings) taken from life with an unprecedented realism by the painter monk

6248:

instead emphasise refined, but less direct, themes such as classical romance, the holding of ceremonies, and nostalgia for the Heian period.

5650:, adopts the same approach, by portraying the movements of the crowd, more and more dense and disorderly, until the revelation of the drama. 5361:

which makes it possible to represent in a painting the two narrative spaces (interior and exterior) by omitting the roof and the front wall.

5087: 6024:

The originality of art is also to be sought in its spirit, "the life of an era translated into formal language". The court style paintings (

2140:") sometimes designated them in a controversial way (because they were anachronistic and combined books with scrolls), or more precisely as 9764:. Traditions in Contact and Change: XIVth Congress of the International Association for the History of Religions (1980). pp. 201–230. 5586:

Scale variation, where the main character appears very tall compared with the mountain; opaque mists are also characteristic of Asian art.

3817:

constructed paintings, to favour the impression of movement. The colours generally appeared more muted and left the paper bare in places.

3454:

long painted sections where several scenes blended together and flowed smoothly. Finally, in relation to technique, the classification of

5985:

and pictorial techniques remained tangible at the beginning, so much so that historians have worked to formalise what really constitutes

4470: 3659: 3578: 1034:(designed between around 1120 and 1140), illustrating the famous eponymous novel, narrates the political and amorous intrigues of Prince 10409: 5276:). The more general scenes in which the story evolves, such as landscapes, can be rendered from a very distant point of view (as in the 4848: 4709: 2108:

therefore ceased to be the dominant artistic media in Japan since the end of the Kamakura period, it is in the illustration movement of

1825: 1676: 3795:, representing battles, historical chronicles, epics and religious legends by favouring long illustrations over calligraphy, as in the 1492: 3445:. The style, composition and technique vary greatly, but it is possible to identify major principles. Thus, in relation to style, the 741:) recorded intimate details about life, love affairs and intrigues at court as they developed; the best known of these is the radical 6756: 6632: 6341: 6242:

depicting commoners, emotions such as fear, anguish, excitement and joy are rendered directly and with clarity, whereas aristocratic

6064: 2917: 2708: 6149:, the activity of women is particularly interesting, the artist showing them preparing meals, washing clothes or breastfeeding. The 5900:, although the Chinese characters remained very much also in use. In some particular scrolls, other alphabets can be found, notably 5239:

painting there is no real perspective in the Western sense – one that faithfully represents what the eye perceives – but, rather, a

2076: 10775: 10053:

Tomita, Kojiro (1925). "The Burning of the Sanjō Palace (Heiji Monogatari): A Japanese Scroll Painting of the Thirteenth Century".

9349:

An Analysis of Space Created by Human Presence and Performative Behavior in the Streetscapes of the Picture Scroll of Annual Events

6536: 5423:

scrolls. Thus, the main character can be enlarged compared with the others, depending on what the artist wants to express: in the

4979:

Paintings interspersed with text, i.e. the text was placed above the people who were speaking, as in the Buddhist accounts of the

180:

style, these Japanese works are above all an everyday art, centered on the human being and the sensations conveyed by the artist.

3735: 9193:

des xiie et xiiie siècles" [Reflections on the representation of places in the 'emaki' of the 12th and 13th centuries].

6127:

periods (about 12th–14th centuries) created an invaluable source of information on the then-contemporary Japanese civilization.

943:

However, the stylistic mastery of later works (from the 12th century) leads most experts to believe that the "classical" art of

4781: 4523:, the dominant tone of each scene illustrating a key moment of the original novel reveals the deep feelings of the characters. 9170:[Scroll of illustrated poems depicting Gosannen's war] (in French). Institut national pour l'héritage culturel (Japon) 5315:, the painter opted mainly for a side view, and the development of the story depends on a succession of communicating planes. 3575:, a kind of fleeting melancholy born from the feeling of the impermanence of things. These works mainly adopted the so-called 10689: 10636: 10593: 10563: 10544: 10487: 10255: 10227: 10029: 9598: 9559: 9496: 9418: 9384: 9027: 8689: 8434: 8407: 8113: 7343: 7229: 1512:

Terukazu describes it as "a masterpiece on the subject of the world's military." In the same spirit, a noble warrior had the

9838: 9082: 483:

inspired by literature, the text occupies no less than two-thirds of the space, while other more popular works, such as the

12040: 5952:

had more than merely a function of decoration and narration; it could also influence the composition of the paintings. The

5407:

was therefore used extensively, sometimes even as a simple stylistic instance unrelated to feelings or text, unlike in the

4532:

were still widely observed, despite variations (lighter colours, lines more similar to Song dynasty wash paintings, etc.).

4049:

individually portrays the more than two hundred panicked figures who appear on the section depicting the fire at the door.

2869:

to offer them to a temple, and the religious scrolls do not refrain from representing popular things. So, for example, the

5616:), the artist could suggest calm and melancholy via successions of fixed and contemplative shots, as, for example, in the 12191: 10187: 6357:

can also include various elements of life in the city or in the country, such as the market in the shopping district of

6055:, the feeling of inadequacy, often materialized by a properly Japanese humour. But outside the court, the popular style 10208: 9949: 9792: 5160: 1267: 9780: 5017: 1245: 12176: 10712: 10659: 10522: 9919: 9206: 8996: 6439:

Entertainment of the aristocrats on the lake of the palace; the fat man on the veranda is none other than the mighty

5888:

contributed to the development of women's court literature and, by extension, the illustration of novels on scrolls.

5774: 1279: 897: 9347: 6863: 2992:

of the imperial palace (interior architecture, clothing and rituals) or official bodies (notably the imperial police

12166: 11948: 2427:

themes, specialists like to categorise them, both in substance and in form. An effective method of differentiating

6607:

provides a popular and humorous narrative of three episodes from the life of the Buddhist monk Myōren (founder of

12161: 11978: 8426:

Early Buddhist Narrative Art:Illustrations of the life of the Buddha from Central Asia to China, Korea, and Japan

5979:

was Japan's first truly original artistic movement since the arrival of foreign influences. China's influence in

3449:

produced a contrast between refined court painting and dynamic painting of subjects outside the court, while the

4945:) often opted for this approach, as paintings more readily focused on important moments or conveyed a narrative. 2597:

A third category covers more heterogeneous works, mixing religion and narration or religion and popular humour.

11203: 11001: 9982: 9769: 7269: 7077: 4308: 4148: 2713: 1541: 6993: 5387:: on the veranda, Kaoru is calm, posed in a peaceful space; inside the building, by contrast, Ukifune and her 4695:

works before the application of the colours; according to some art historians, it is also possible that these

4277: 4092: 11953: 11894: 11239: 4033:

also transcribed the realistic tendencies of the time, according to the tastes of the warriors in power. The

2704:), rather feminine literature of the court. Monks were also able to produce paintings without any patronage. 6906:) landscape is imbued with Shinto animism. The mists resembling long opaque ribbons are further features of 4879: 2452: 1770: 1345:, or the 12th and 13th centuries, is commonly described by art historians as "the golden age" of the art of 1185:

gently caricaturing the customs of Buddhist monks, where the spontaneity of touch stands out. Secondly, the

12181: 10411:

Ippen Hijiri-e: Artistic and Literary Sources in a Buddhist Handscroll Painting of Thirteenth-Century Japan

9482: 9370: 6446: 6315: 5848: 4614: 3705: 3411:. The documents of the 9th century mention, for example, the paintings on sliding walls and screens of the 2378:, although dissonances can be discerned, especially in relation to colours. From the Heian period onwards, 1787: 497:

are therefore limited to being read alone, historically by the aristocracy and members of the high clergy.

5929:

poetry remains the most representative of ancient Japan). For the richly decorated court-style paintings (

5114: 5002: 717:

of the Heian women: unlike the men, who studied Chinese writing from a young age, the women adopted a new

153:

developed their own distinct style. The term therefore refers only to Japanese painted narrative scrolls.

10062: 9461: 9167: 8135: 5300: 3283:

glue which, as it dries, also allows the painted paper or silk to be properly stretched. Assembly of the

2087: 2020: 1997:

until the 18th century). Tosa Mitsunobu notably produced several works on the foundation of temples: the

1508: 999:("men's painting"). Several classic scrolls of each genre perfectly represent these pictorial movements. 8546: 5965:, in which the transmission of dogmas and religious teachings remained an essential goal of the artist. 4939:), the former endeavouring to transcribe the illustrations chosen by the artist. Court style paintings ( 2210:

and folk creatures), as well as social caricatures and popular novels. Among the preserved examples are

1762:

style), as well as by its very precise representations of forts in many Japanese landscapes. As for the

295:

National Treasures and Important Cultural Properties of National Institutes for Cultural Heritage, Japan

12085: 10761: 10160: 9410: 7335: 5287: 4987: 2624: 1929: 1835: 1452: 955:

poetry (seasons, Buddhism, nature and other themes). Therefore, the slow maturation of the movement of

9983:"The Shôkyû Version of the Kitano Tenjin Engi Emaki: A brief introduction to its content and function" 9925: 8844: 7372: 5679: 3145:

also offered a such few pieces, on command: art historians have shown strong similarities between the

2658:

are most often unknown nowadays and it remains risky to speculate as to the names of the "masters" of

761: 614:

in the 6th century, together with interest in the apparently very effective bureaucracy of the mighty

10479: 6775:), travelled throughout Japan to transmit his doctrine to men, peasants, townspeople and nobles. The 6389: 6276: 6188: 3976: 2960: 2249:. From the point of view of art historians, the creativity of classical scrolls is felt even less in 1742:

The Ippen biography, painted by a monk, remains remarkable for its influences, so far rare, from the

1521: 1408:, Minister in the 9th century and tragic figure in Japanese history, revered in the manner of a god ( 265: 11017: 9904:

Multilingual Version of Pictopedia of Everyday Life in Medieval Japan, compiled from picture scrolls

9761:

Lyrical Imagery and Religious Content in Japanese Art: The Pictorial Biography of Ippen the Holy Man

7854:"Kechien" as religious praxis in medieval Japan: Picture scrolls as the means and sites of salvation 6649: 5841: 3256:

Scrolls of paper or tissue remain relatively fragile, in particular after the application of paint.

2910:

Colophons and comparative studies sometimes allow for the deduction of the name of the artist of an

2506:

Reports on the rites and ceremonies celebrated in a very codified and rigid way throughout the year;

2035: 10842: 10583: 6878: 6637:

genre, marked by dynamic ink lines, light colors revealing the paper, and themes of everyday life.

6182: 6179:, for instance, depicts many details, in particular the armour and harnesses of horses, whilst the 5589: 5438: 5179: 4790: 4752: 4677: 4195: 4172: 4022: 4019:) mingled and gave birth to works that are both dynamic and vividly coloured, in the manner of the 3982: 2850: 2770: 2688:) where the nobles competed around a common theme from a poem, as described by Murasaki Shikibu in 2664:. Moreover, a scroll can be the fruit of collaboration by several artists; some techniques such as 2045: 1515: 1399: 1332: 1176: 1164: 486: 10727: 6683: 6464: 5857: 5623: 4923:

The juxtaposition of the text and the painting constitutes a key point of the narrative aspect of

4114: 3845: 615: 10370: 10009: 4103: 3956: 1321: 1154:

Two other masterpieces emerged into the light of day during the second half of the 12th century.

1092: 680: 196: 10072:"Narrative Framing in the "Tale of Genji Scroll": Interior Space in the Compartmentalized Emaki" 5478:

Scene in which depth is carried by parallel diagonals (here architecture), without perspective,

3339:; for the most precious pieces painted with gold and silver powder, a further protective blanket 11351: 10105:

Waters, Virginia Skord (1997). "Sex, Lies, and the Illustrated Scroll: The Dojoji Engi Emaki".

8592: 6664: 6522: 6474: 6174: 6082: 5938: 5864: 5629: 5481: 5376: 5364: 5310: 5199: 5196:

Succession of painted scenes, with only two sections of text at the beginning and at the end –

4971: 4960:). This type was often used in epic and historical chronicles; the best-known examples are the 4247: 4036: 3911: 3806: 3680: 3564: 3401:, a colorful and decorative everyday art, strongly typifies the output of the time. Initially, 3171:

clans, members of which were, respectively, the first and last shoguns who ruled all of Japan.

3148: 2973: 2828: 2309: 2130:

developed a new popular vigour in the 15th and 16th centuries (the Muromachi period); the term

2059: 1502: 1442: 1427: 1308:

artists of the ensuing Kamakura period to engage in sustained production in all of the themes.

1240:), who acquired great power at the top of the state. Exploiting the unrest associated with the 1029: 1017: 770:

The beginnings of the Japanese-inspired Heian period painting technique, retrospectively named

456:

was made up of 48 scrolls, although the standard number typically falls between one and three.

35: 9902: 7053: 6887:, scholarly minister to the Emperor during his lifetime, and deified according to legend as a 4433:

Zenmyō, a young Chinese woman, confesses her love to the monk Gishō during his stay in China,

1589:

intensively during the 13th and 14th centuries to illustrate and disseminate their doctrines.

477:; their size, arrangement and number vary greatly, depending on the period and the artist. In 429:

has been read, the reader must rewind the scroll again in its original reading direction. The

12171: 12156: 11427: 10799: 9875: 8263: 7858: 6937: 6884: 6440: 5798:: the nun is depicted alternately praying and sleeping to suggest the length of her retreat. 5567: 5432: 2748: 2630: 2336: 2119: 1916: 1701: 1405: 1326: 729:, which was simpler and more consistent with the phonetics of Japanese. Heian period novels ( 524: 10611: 8581:"Pigments Used on Japanese Paintings from the Protohistoric Period through the 17th Century" 6419:: this is the only iconographic document on this monumental work, which was burned in 1180. 4662:

often occupy a preponderant place, one finds in contrast monochrome paintings in India ink (

1558:, directly present portrait galleries according to the iconographic techniques of the time. 12099: 12001: 11994: 11626: 11332: 10855: 10394: 10250:. Arts of Japan series. Vol. 5. Translated by Ten Grotenhuis, Elizabeth. Weatherhill. 8542: 6695: 6194: 5826: 5724: 5645: 5635: 5532: 4594: 4065: 4061: 4044: 3931: 3862: 3056: 3022: 2947: 2297: 1808:, but in a more decorative and extroverted style. Other works followed that trend, such as 1555: 1436: 1382:), as well as bright colors rendered by thick pigments for certain elements of the scenes ( 1371: 1223: 1188: 822:

court poetry, annual rites, seasons or the famous lives and landscapes of the archipelago (

205:

remain from the Heian period, and the oldest masterpieces date back to the "golden age" of

11219: 8840: 6727: 6335: 6227: 6199:

offers a unique insight into certain details of the uniforms of police officers (known as

5732: 5426: 5279: 4389: 4350: 4227: 2887: 2820: 2538: 1853: 1733: 1656: 1637: 1216: 518: 139:. Initially copying their much older Chinese counterparts in style, during the succeeding 8: 12186: 11958: 11393: 11136: 10907: 10445: 10432: 10415: 10107: 10012:(1971). "New Buddhist Sects and Emakimono (Handscroll Painting) in the Kamakura Period". 9911: 9356: 8519:(1971). "New Buddhist Sects and Emakimono (Handscroll Painting) in the Kamakura Period". 7257: 7215: 6602: 6489:

Art historians, in their writings, have repeatedly emphasized the specific techniques of

6422: 6364: 6144: 6137: 5801: 5712: 5688:(or Kibi Daijin) is assigned is painted to depict each challenge won by the protagonist. 5673: 5461: 5240: 4963: 4147:, a work of a more idealized than realistic style, which forms a portrait gallery of the 3891: 3798: 3160: 3013: 2939: 2289: 1579:), which primarily addressed the people by preaching simple practices of devotion to the 1391: 1146: 1134: 714: 586: 10456:

L'Ippen hijiri-e (rouleaux peints du renonçant Ippen): la mise en image d'une biographie

7004:

The exhaustive list of the fifteen categories in Keizo Shibusawa's study is as follows:

6397: 5639: 5054:

Painting in frieze above the text, a form of Chinese origin that was quickly abandoned,

3618:

resides in the drawing of the faces, very impersonal, that specialists often compare to

2361:

were initially strongly influenced by China, as were the Japanese arts of the time; the

2277: 2229: 1969: 1254: 294: 12151: 11531: 10704: 10539:. The Heibonsha Survey of Japanese Art series. Vol. 10. Weatherhill. p. 162. 10128: 10093: 9969: 9961: 9879: 9825: 9746: 8596: 8316: 8272: 8152: 7499: 7423: 7298: 6838:, painted around 1218–1230, illustrates the legend of two Korean monks who founded the 6799: 6752: 6382:

the story and the time of the painter). Amongst the most interesting information in an

6300: 5721:

for several hours, or a series of brief but intense actions, such as the fights in the

5244: 5133:

Scene in which the characters' words are written directly in the painting, above them,

4868: 4749:, monochrome or not. Sometimes, however, contours are not drawn as usual: thus, in the 4743:

By contrast with Western painting, lines and contours in ink play an essential role in

4734:

illustrations of classic novels remain from late medieval times and the decline of the

4716:

fits perfectly with this approach, accepting only a few fine touches of red, as do the

4371: 4122: 4097:, composed of 131 portraits of emperors, governors, ministers and senior courtiers (by 3129:, for example, produced a large number of works commissioned by temples (including the 3032: 2757:

with these professional workshops, and even sometimes to understand how they function.

2418: 2293: 1965: 1945: 1777:, it addresses the declining aristocracy in idealising the figure of the monk aesthete 1747: 1570: 1561:

A similar change was felt in religion as the esoteric Buddhist sects of the Heian era (

1549: 1127: 787: 6983: 6896: 3262:

are therefore lined with one or more layers of strong paper, in a very similar way to

2441: 2158:

dates back to Heian times, but it was under Muromachi that it gained real popularity.

12123: 11483: 11414: 11338: 11097: 10948: 10740: 10708: 10685: 10681: 10655: 10651: 10632: 10589: 10559: 10540: 10518: 10483: 10382: 10329: 10304: 10251: 10223: 10204: 10155: 10116: 9997: 9973: 9915: 9788: 9765: 9594: 9555: 9492: 9414: 9380: 9202: 9023: 8992: 8685: 8430: 8403: 8109: 7852: 7664: 7339: 7265: 7225: 6529: 4271: 4041:

thus shows in great detail the weapons, armour and uniforms of the soldiers, and the

1798: 935: 743: 11250: 11226: 10767: 9083:"Visions of the Third Princess: Gendering Spaces in The Tale of Genji Illustrations" 8108:. The Heibonsha Survey of Japanese Art. Vol. 1. Weatherhill. pp. 120–121. 6608: 5553:, where the spaces are set aside to show several stages of the story, thanks to the 5338: 2833:. A form of exploitation of the story could also motivate the sponsor: for example, 926:

of the early Heian period (9th and 10th centuries) remains extant today; the oldest

11984: 11639: 11612: 10983: 10374: 10120: 10085: 10041: 9957: 9953: 9850: 9817: 9738: 9457: 9094: 8494: 8308: 8144: 7491: 7419: 7415: 6833: 6124: 6069:), the art of everyday life, come closer to the human and universal state of mind. 5740: 5136: 4640: 4436: 4342: 2981: 2284:, were still interested in the narrative scroll until around the 17th century. The 2161: 2067: 1991:

to the order of the court or the temples (this school of painters led the imperial

1961: 1936:(16th century). On the other hand, the innovative and more spiritual influences of 1811: 1793: 1688: 1599: 1566: 1360:

style of the time was characterized by two aspects: the synthesis of the genres of

783: 754: 748: 10532: 10461:

The Ippen hijiri-e (painted scrolls of the monk Ippen): the imaging of a biography

8538: 6986:

project led by Professor Toru Ishikawa has established an online database of many

4686:, remains the best known; Grilli describes the trait as a "continual outpouring". 4080:

was really to capture the intimate personality of the subject with great economy.

1802:(10th century), largely reflects the painting techniques of the time, notably the 1711: 778:, can be found initially in some aspects of Buddhist painting of the new esoteric 649:, founder of the Buddhist religion, until his Illumination. Still naive in style ( 566:, the pottery of which was adorned with hunting scenes juxtaposed with movements. 12135: 11990: 11586: 11244: 11152: 11145: 11084: 10923: 10473: 10428: 10198: 9891: 9759: 9588: 9549: 9486: 9404: 9374: 8424: 8397: 8031: 7660: 7329: 7219: 6944: 6670: 6564: 6468: 6312:

can present a great level of visual detail in relation to period structures. The

6120: 5669: 5388: 5267:

In the interior scenes, the simplest technique was developed by from the Chinese

3998: 3757: 3625: 3450: 3125:

despite the decline of the genre. The Tosa school artists are much better known;

1473: 1432: 1342: 1210: 144: 6155:

presents 142 artisans from the Muromachi period, ranging from a blacksmith to a

6086:

Children's games riding bamboo trees in a yard; one of the children is the monk

2646:: the start of a scroll, with the reverse side of the cover and the cord visible 987:, several sub-genres stand out within this style, including in the Heian period 814:, covered with paintings on paper or silk, the themes of which were chosen from 673: 218:

were above all the aristocrats and Buddhist temples. From the 14th century, the

11326: 11118: 10976: 10962: 10930: 10875: 6556: 6323: 5685: 5259: 4683: 4588: 3126: 2211: 1872: 1451:

The realistic trends that were in vogue in Kamakura art, perfectly embodied by

1078: 646: 576: 10556:

Les Sept Trésors du lettré: les matériaux de la peinture chinoise et japonaise

10289:]. Genshoku Nihon no bijutsu series (in Japanese). Vol. 8. Shōgakkan. 5943:, the papers were carefully prepared and decorated with gold and silver dust. 5709:

can equally suggest either a long moment in one scene, such as the nun in the

3811:. The style was based on soft lines drawn freely by the artist in ink, unlike 3142: 2855:

was created to extol the deeds of a samurai in search of recognition from the

2674:

In the first place, amateur painters, perhaps the initiators of the classical

2643: 2618: 2285: 2111: 2095: 12145: 11186: 11180: 11063: 11038: 11024: 10990: 10969: 10955: 10889: 10835: 10821: 10726:. L'art dans le monde series (in French). Translated by Tadié, Marie. Paris: 10628: 10076: 10001: 9808: 9729: 9438:[The Heian costume: between the soft line and the rigid silhouette]. 7668: 7482: 6746: 6678: 6033: 3569:. The dominant impression of this genre is expressed in Japanese by the term 3439:

according to the times (about the 10th and 14th centuries), and are found in

3418: 3168: 3164: 3026: 2840: 2532: 2397: 1725: 1524:. Kamakura art particularly flourished in relation to realistic portraiture ( 1439:

harangues his soldiers above, while nobles are hunted down and killed below,

1237: 878: 862: 817: 700: 650: 11010: 10386: 10045: 9854: 9189:

Bauer, Estelle (2001). "Réflexions sur la représentation des lieux dans les

9098: 6951: 6818: 6021:

was in the overall approach and themes established by the Japanese artists.

5341:), but it already appeared with great mastery on the Court style paintings ( 4213: 1484:

of historical or military chronicles are among the most famous, notably the

12008: 11924: 10882: 10034:

Comptes rendus des séances de l'Académie des Inscriptions et Belles-Lettres

6803: 6329: 6116: 5268: 4475: 4336: 4244:

Detail of painting of very realistic warriors in faces, weapons and armor,

3664: 3583: 3446: 3412: 3068: 2421:

sects diversified the subjects even more widely. Despite the wide range of

2375: 2267:

pictorial style exists on the fringes and stands out from the framework of

1937: 1751: 1743: 1045: 1038:; the rich and opaque colors affixed over the entire surface of the paper ( 1035: 811: 710: 706: 690: 623: 606:

Relations with East Asia (mainly China and Korea) brought Chinese writing (

580: 563: 140: 50: 6742: 2394:

The first Japanese themes in the Heian period were very closely linked to

1721: 11406: 11289: 11264: 10828: 10624: 10030:"Expression et technique dans le rouleau enluminé de l'Histoire de Gengi" 6921: 6463:

War in all its brutality: armed samurai slaughtering the nobles amid the

6191:, whose tactics were still dominated by the use of the bow. Finally, the 5273: 4562: 4375: 3888:

Popular scene in which the lines take precedence over very light colors,

3408: 3110: 2747:), or finally those hosted by a few senior figures. The study of certain 2410: 2137: 1976: 830: 619: 559: 441:

can consist of several successive scrolls as required of the story – the

224:

genre became more marginal, giving way to new movements born mainly from

163: 132: 11372: 10610:. Histoire générale de la peinture (in French). Vol. 25. Lausanne: 10558:. Les trésors de l'Asie series (in French). éditions Erec. p. 136. 10378: 9965: 9937: 9883: 9863: 8276: 8258: 7802: 7302: 7286: 6848: 6507: 6416: 6370: 5718: 5350: 3389:, readily opposed at the beginning to Chinese-style paintings, known as 3060: 1580: 12111: 11931: 11903: 11869: 11257: 11233: 10364: 10132: 10097: 10071: 9829: 9803: 9750: 9724: 8600: 8580: 8320: 8296: 7503: 7477: 7427: 7403: 6928: 6783: 6674: 6587: 6393: 6332:

and traditional Japan, such as bark roofs. More interesting still, the

5550: 3530:

also echoed the mysteries and the seclusion of the Imperial Court: the

3037:, as well as various suites of realistic portraits ("likeness pictures" 2844: 2281: 1885:

was already losing its importance. Experts note that, on the one hand,

1538:

therefore evolved towards greater pictorial realism, some, such as the

1241: 1233: 1220:

Disorderly movements of the crowd during the fire at the Ōtenmon gate,

1182: 1002: 694: 465:

is made up of two elements: the sections of calligraphic text known as

128: 11855: 11538: 8156: 8130: 5324:

which quickly became the norm for portraying interiors. It was called

5256:

scene is based on the point of view, including the technique known as

3762:, a technique of inexpressive and impersonal representation of faces, 2476:) dealing with romantic tales, life at court or historical chronicles; 28: 12022: 11917: 11883: 11605: 11420: 11400: 11090: 10475:

Envisioning the Tale of Genji: Media, gender, and cultural production

9283: 9281: 9133: 8912: 8910: 8327: 5914: 5885: 4566: 4219: 3853:

Unlike the court paintings, the more spontaneous scrolls such as the

3250: 3230: 3222: 3063:

workshop was particularly prolific, under the leadership of the monk

1757: 718: 668: 572: 11545: 10124: 10089: 9821: 9742: 8760: 8758: 8312: 7495: 6737: 6712: 6208: 4318: 3217:

The most famous colors are taken from mineral pigments: for example

2858: 1778: 1716: 11837: 11726: 11712: 11698: 11670: 11663: 11645: 11476: 11462: 11441: 11379: 11302: 11212: 10442:

The Tenjin Engi Scrolls: A study of their genealogical relationship

9436:"Le costume de Heian: entre la ligne douce et la silhouette rigide" 8148: 6569:, and the colours affixed evenly over the entire surface, with the 5901: 3590:(constructed painting) technique, with rich and opaque colours. In 3383: 3369: 3265: 2405: 2385:

everyday life and man, conveying drama, humour and feelings. Thus,

1682: 1417: 1363: 1069:

already presents the composition techniques specific to the art of

858: 825: 773: 724: 611: 175: 12015: 11795: 11774: 11573: 11559: 11552: 11517: 11469: 11434: 9682: 9517: 9278: 8907: 8728: 7914: 7912: 7707: 7705: 7478:"The Door Paintings in the Phoenix Hall of the Byōdōin as Yamatoe" 7309: 6527:, dated approximately between the years 1120 and 1140, illustrate 6087: 3179: 2205: 807: 12106: 11876: 11862: 11809: 11788: 11747: 11733: 11719: 11524: 11358: 11309: 11295: 11104: 10941: 10916: 10849: 10454: 9864:"Japanese Court-Style Narrative Painting of the Late Middle Ages" 9435: 8782: 8755: 8339: 8259:"Japanese Court-Style Narrative Painting of the Late Middle Ages" 8233: 8085: 7567: 7555: 6761: 6351:, so that the buildings preserved today are easily recognizable. 6346: 4976:. Sometimes, the texts were even hosted by a separate handscroll. 4611:

Drunk and disorderly court nobles interacting with court ladies,

4514: 3226: 3218: 2922: 2683: 1368:, and realism. Initially, the evolution marked previously by the 11057: 11031: 9568: 9168:"Rouleau de poèmes illustrés représentant la guerre de Gosannen" 8718: 8716: 6844: 6700:, which is renowned for its mix of colorful and refined scenes. 6251: 6213: 3064: 2692:. Their work seems to focus more on the illustration of novels ( 932:

illustrating a novel mentioned in period sources is that of the

11830: 11781: 11705: 11619: 11566: 11510: 11455: 11448: 11386: 11344: 11166: 11159: 10861: 10756: 8223: 8221: 8219: 7909: 7759: 7702: 6769: 6219: 6039: 4151:. More generally, humans are one of the elementary subjects of 4133:) enhanced with very discreet colour illustrates perfectly the 4068:. These two artists and their descendants produced a number of 4055: 4052:

Realistic painting is best displayed in the portraits known as

3477: 3048: 2802: 1623: 1562: 1527: 1464: 1421: 1311: 1292:

paintings – aimed to frighten the faithful with horror scenes.

1244:, which provided fertile ground for religious proselytism, the 1157: 1131:

The stingy merchant asks for forgiveness from the monk Myōren,

803: 779: 22: 9715: 9266: 8934: 8629: 8627: 8625: 8477: 8475: 8462: 8460: 8458: 7659:. Shinshū Nihon emakimono zenshū (in Japanese). Vol. 17. 7638: 7636: 7623: 7621: 7596: 7594: 2557:

Illustrated biography of a prominent Buddhist monk or priest (

874: 11822: 11816: 11802: 11740: 11691: 11633: 11580: 11365: 11192: 11173: 11111: 10868: 10739:. Les trésors de l'Asie series (in French). Genève: éditions 9839:"Techniques de composition de l'espace dans l'Ippen hijiri-e" 9298: 9296: 9220: 9218: 9150: 9148: 8811: 8809: 8713: 8051: 8049: 7970: 7968: 7545: 7543: 7541: 7539: 7537: 6839: 6733: 6358: 5318:

However, the Japanese artists imagined a new arrangement for

4381: 3209: 3199: 2523:, traditional or fantastic tales popular in the 14th century. 1781:

by the beauty of its landscapes and its calligraphic poetry.

1730:

school, for his apprenticeship in Buddhism at the age of 13,

1341:

The era covering the end of the Heian period and much of the

1106:

In contrast with court paintings inspired by women's novels (

884: 607: 567: 555: 551: 543: 363: 136: 9622: 9355:(Master's thesis in the socio-cultural studies department). 9059: 8745: 8743: 8656: 8654: 8216: 7985: 7983: 7722: 7720: 7456: 7454: 7441: 7439: 7437: 7142: 6912:, although also present in a different form in Chinese art. 5226:, 'bird's-eye perspective'). However, the low height of the 3488:

Specialists like to distinguish between two currents in the

1843: 1329:

is unleashed on the palace in the form of a god of thunder,

335: 12029: 11910: 11754: 11684: 10650:. La Pochothèque series (in French). Paris: Éditions LGF - 9694: 9529: 8622: 8472: 8455: 8204: 7633: 7618: 7591: 7132: 7130: 6890: 6328:

architectural style, marked by a mixture of influence from

5880: 5672:

gradually shows the capture of the castle by the troops of

5176:

Succession of painted scenes without textual demarcation –

3908:

Another painting of a popular subject favouring the lines,

3524:

meaning "man"). In the Heian period, these two currents of

3203: 3163:

of the Kanō school, probably to suggest a link between the

1614:: notably, public sermons and picture explaining sessions ( 1411: 1009: 9293: 9215: 9145: 8897: 8895: 8893: 8891: 8889: 8887: 8885: 8870: 8858: 8821: 8806: 8794: 8612: 8610: 8073: 8046: 7965: 7885: 7534: 3323:, which protects the work once it is rolled up with a cord 1975:

A professional current was nevertheless maintained by the

914:

illustrations of novels and painted narrative scrolls, or

10465:

Institut national des langues et civilisations orientales

9329: 9327: 9325: 9323: 9308: 9254: 9242: 9121: 8965: 8963: 8961: 8770: 8740: 8703: 8701: 8651: 8497:. Japanese Architecture and Art Net Users System (JAANUS) 8443: 8194: 8192: 8190: 8163: 8034:. JAANUS (Japanese Architecture and Art Net Users System) 7980: 7953: 7749: 7747: 7717: 7680: 7678: 7522: 7451: 7434: 7380: 6792:

style, which draws its inspiration from both the classic

6553:

genre are visible: the diagonals that guide the eye, the

5147:

Transitions between texts and paintings: complete scrolls

3619: 3081:

From the 14th century, the Imperial Court Painting Bureau

1941: 1194: 225: 127:

is an illustrated horizontal narration system of painted

9612: 9610: 9230: 9049: 9047: 9045: 9043: 9041: 9039: 8012: 8002: 8000: 7998: 7941: 7690: 7657:寢覺物語繪卷, 駒競行幸繪卷, 小野雪見御幸繪卷, 伊勢物語繪卷, なよ竹物語繪卷, 葉月物語繪卷, 豐明繪草子 7579: 7186: 7184: 7154: 7127: 6306:

The architecture of the places used as a setting for an

5638:

until the palace catches fire. Another famous fire, the

3536:

style thus told what happened inside the court, and the

195:

of Japanese taste appeared from the 10th century in the

10153: 9505: 8922: 8882: 8639: 8607: 8560: 8379: 8377: 8375: 8373: 8175: 7819: 7817: 7780: 7778: 7776: 7774: 7376:. Vol. 22 (15th ed.). 1998. pp. 275–276. 7196: 7102: 7100: 7098: 6187:

depicts the fighting styles of the Japanese during the

3233:

for green, amongst others. These thick pigments, named

970: 10352: 10143: 10104: 9320: 8958: 8698: 8672: 8187: 7931: 7929: 7927: 7873: 7829: 7790: 7744: 7675: 6987: 6949: 6935: 6926: 6907: 6901: 6888: 6876: 6867: 6855: 6831: 6822: 6810: 6793: 6787: 6776: 6767: 6725: 6716: 6704: 6693: 6687: 6662: 6653: 6641: 6630: 6624: 6618: 6612: 6600: 6591: 6579: 6570: 6562: 6554: 6548: 6542: 6534: 6520: 6511: 6499: 6490: 6472: 6444: 6420: 6383: 6376: 6369:

gives a unique sketch of the great Buddha original of

6362: 6352: 6333: 6321: 6313: 6307: 6285: 6269: 6263: 6257: 6243: 6237: 6225: 6217: 6200: 6192: 6180: 6172: 6165: 6156: 6150: 6142: 6128: 6110: 6091: 6077: 6062: 6056: 6050: 6044: 6031: 6025: 6016: 6010: 6004: 5998: 5992: 5986: 5980: 5974: 5960: 5953: 5947: 5936: 5930: 5924: 5918: 5905: 5895: 5889: 5878: 5862: 5846: 5824: 5818: 5799: 5793: 5767: 5761: 5738: 5730: 5722: 5710: 5704: 5698: 5692: 5677: 5661: 5655: 5643: 5627: 5617: 5611: 5605: 5587: 5560: 5554: 5530: 5524: 5479: 5459: 5436: 5424: 5417: 5408: 5402: 5395: 5382: 5374: 5362: 5356: 5342: 5331: 5325: 5319: 5308: 5293: 5285: 5277: 5257: 5251: 5234: 5227: 5221: 5215: 5197: 5177: 5134: 5107: 5080: 5030: 5010: 4995: 4980: 4969: 4961: 4955: 4949: 4940: 4934: 4924: 4899: 4872: 4841: 4835: 4808: 4788: 4770: 4758: 4750: 4744: 4735: 4729: 4723: 4717: 4702: 4696: 4690: 4675: 4669: 4663: 4657: 4638: 4632: 4612: 4592: 4570: 4544: 4536: 4527: 4518: 4508: 4462: 4452: 4434: 4407: 4387: 4379: 4348: 4340: 4330: 4324: 4306: 4300: 4294: 4275: 4265: 4245: 4225: 4193: 4170: 4164: 4158: 4152: 4140: 4134: 4128: 4120: 4090: 4084: 4075: 4069: 4053: 4042: 4034: 4028: 4020: 4014: 4008: 4002: 3980: 3949: 3929: 3909: 3889: 3872: 3860: 3854: 3843: 3837: 3827: 3821: 3812: 3804: 3796: 3790: 3784: 3775: 3763: 3755: 3728: 3722: 3703: 3697: 3678: 3672: 3657: 3641: 3632: 3623: 3613: 3604: 3597: 3591: 3576: 3570: 3562: 3555: 3547: 3537: 3531: 3525: 3519: 3513: 3507: 3501: 3495: 3489: 3479: 3464: 3455: 3440: 3434: 3424: 3416: 3402: 3396: 3390: 3381: 3375: 3305:, which is quite thin, and the connection of the cover 3284: 3277: 3271: 3263: 3257: 3243: 3234: 3207: 3206:; both originate from China, although Japanese paper ( 3193: 3184: 3154: 3146: 3136: 3130: 3120: 3114: 3104: 3098: 3072: 3030: 3011: 2987: 2979: 2953: 2945: 2928: 2911: 2892: 2870: 2864: 2856: 2848: 2834: 2826: 2818: 2812: 2786: 2776: 2768: 2761: 2752: 2742: 2736: 2699: 2693: 2681: 2675: 2665: 2659: 2653: 2622: 2588: 2579: 2570: 2564: 2558: 2549: 2536: 2518: 2510: 2498: 2489: 2480: 2471: 2465: 2445: 2428: 2422: 2403: 2395: 2386: 2379: 2356: 2328: 2307: 2301: 2268: 2262: 2256: 2250: 2235: 2227: 2221: 2215: 2203: 2197: 2191: 2172: 2166: 2153: 2147: 2141: 2131: 2125: 2117: 2109: 2103: 2080: 2065: 2057: 2051: 2043: 2028: 2013: 1998: 1992: 1986: 1980: 1955: 1949: 1944:

Buddhism, initiated the dominant artistic movement of

1922: 1914: 1908: 1893: 1886: 1880: 1857: 1845: 1833: 1818: 1809: 1803: 1785: 1763: 1731: 1694: 1686: 1650: 1643: 1635: 1629: 1621: 1609: 1597: 1584: 1574: 1547: 1539: 1533: 1525: 1513: 1500: 1485: 1479: 1471: 1462: 1456: 1440: 1409: 1397: 1389: 1383: 1377: 1369: 1361: 1355: 1346: 1330: 1313: 1303: 1296: 1287: 1272: 1260: 1221: 1204: 1198: 1186: 1174: 1162: 1144: 1132: 1119: 1113: 1107: 1098: 1090: 1084: 1076: 1070: 1064: 1055: 1049: 1039: 1027: 1015: 1007: 994: 988: 982: 976: 962: 956: 950: 944: 933: 927: 921: 915: 909: 890: 882: 866: 823: 815: 797: 791: 771: 759: 751:, lady-in-waiting of the 10th century Imperial Court. 736: 730: 722: 698: 678: 655: 627: 516: 510: 492: 484: 478: 472: 466: 460: 442: 436: 430: 424: 414: 357: 351: 345: 316: 298: 258: 249: 243: 237: 231: 219: 213: 206: 200: 190: 184: 173: 167: 157: 148: 101: 55: 41: 33: 12083: 10797: 10350: 9634: 9607: 9036: 8946: 8297:"Otogi-Zōshi and Nara-Ehon: A Field of Study in Flux" 7995: 7897: 7732: 7606: 7352: 7181: 7171: 7169: 7117: 7115: 4217: 3380:

art are intimately linked and most often part of the

2751:

and period texts makes it possible to associate many

2374:

incorporates many of the naive, simple styles of the

1755: 1520:

designed to recount his military exploits during the

802:

was felt most strongly; its origins went back to the

632:) dates from the 7th century to the Nara period: the 10498: 10425:

A Reconstruction of the Hōgen-Heiji Monogatari Emaki

9670: 9117:(in Japanese). Osaka: Izumi Shoin. pp. 115–126. 8370: 7814: 7771: 7510: 7238: 7095: 5498:

Example of a simple transition using a watercourse,

4526:

During the Kamakura period, the different stages of

4157:, and many works of the Kamakura period incorporate 3059:). Among the temple workshops, it is known that the 2741:), those attached to the great temples and shrines ( 1608:

Several religious practices influenced the Kamakura

550:

The origins of Japanese handscrolls can be found in

10517:(in French). Paris: Éditions Mazenod. p. 680. 10270:

Emaki: L'art classique des rouleaux peints japonais

9658: 9646: 9551:

Osaka: The Merchants' Capital of Early Modern Japan

8399:

The Eyes of Power: Art and early Tokugawa authority

8061: 7924: 7328:Shively, Donald H.; McCullough, William H. (1999). 4913: 4651: 3992: 3542:style spoke of happenings in the populace outside. 3355:is often made of silk and decorated on the inside. 3276:(literally, 'master in sutra'). The long format of 2884:presents a rich overview of medieval civilization. 2417:). Subsequently, the Kamakura warriors and the new 1197:by offering a surprising mixture of the two genres 663: 10505: 10274:Emaki: the classic art of Japanese painted scrolls 10141: 9450: 9398: 9396: 9287: 8788: 8345: 8333: 7573: 7561: 7166: 7112: 6883:, reporting the facts about the life and death of 3631:identify more easily with the characters. In some 669:Arts and literature, birth of a national aesthetic 542:Handscrolls are believed to have been invented in 9076: 9074: 8833: 8429:. University Press of America. pp. 157–158. 8358:Toda, Kenji (1930). "The Picture Books of Nara". 7327: 5845:Calligraphy on paper decorated with gold powder, 5676:, creating a gradual and dramatic effect. In the 5043:Transitions between texts and paintings: extracts 4319:Chinese landscape and Song dynasty wash paintings 3067:, a great scholar who brought in many works from 2600: 575:(345–406), who experimented with new techniques. 12143: 10724:Japon: de l'époque Jomon à l'époque des Tokugawa 9593:. University of Hawaii Press. pp. 102–103. 9182: 8975: 8509: 8402:. University of Hawaii Press. pp. 127–128. 6755:. They were painted in 1299 by the monk-painter 6611:), emphasizing the line and light colors of the 6533:in the refined and intimate style of the court ( 5209: 5106:Text located in a box at the top of the scroll, 3433:Different currents of paintings are part of the 2548:Illustrations of sutras or religious doctrines ( 1118:depicting matters outside the palace and called 21:"Emaki" redirects here. Not to be confused with 9393: 9363: 9010: 9008: 8143:(1). The Society for Japanese Studies: 65–102. 6959:List of National Treasures of Japan (paintings) 5973:According to Peter C. Swann, the production of 5523:Interior view, in which the roof is not shown ( 4468: 3348: 3332: 3314: 3298: 3289:is finalised by the selection of the wooden rod 3090: 3046: 3001: 2800: 2726: 1455:, were exposed in the majority of the Kamakura 850: 471:, and the sections of paintings referred to as 396: 381: 366: 109: 68: 10703:. World of Art series (3rd ed.). London: 10619:Mason, Penelope E.; Dinwiddie, Donald (2005). 10618: 10602: 9935: 9700: 9688: 9574: 9523: 9475: 9406:The Cambridge History of Japan: Medieval Japan 9071: 9022:(in Japanese). Perikan-sha. pp. 186–194. 8916: 8764: 8487: 8416: 8239: 8091: 7918: 7846: 7844: 7765: 7711: 5691:Another narrative technique characteristic of 4840:without colour; the line is fine and uniform. 4507:, used especially in most of the works of the 4484: 3671:painting, with vivid tones typical of primary 3342: 3326: 3308: 3292: 3084: 3055:, a school he founded in honour of his father 3040: 2995: 2794: 2720: 1879:By the end of the Kamakura period, the art of 1615: 940:, offered to the Empress between 872 and 907. 844: 403: 388: 373: 120: 79: 10783: 10698: 10399:: CS1 maint: DOI inactive as of April 2024 ( 9547: 9433: 8734: 8684:] (in Japanese). Shōgakkan. p. 560. 8578: 7600: 7364: 6404:Historical, cultural and religious reflection 6252:Historical, cultural and religious reflection 4918: 3948:Humorous scene depicting a doctor's mistake, 2226:, or supernatural Buddhist tales such as the 713:. This development was first observed in the 10276:]. Translated by Guerne, Armel. Delpire. 10181:(in French). Translated by Requien, Marcel. 9912:Kanagawa University 21st Century COE Program 9005: 8666: 8024: 7321: 7250: 6686:, is one of the most renowned in the art of 3174: 1193:tells of a political conspiracy in the year 10572: 9804:"The "Taiheiki Emaki": The Use of the Past" 9716:Journal articles and conference proceedings 9139: 9115:源氏物語絵卷の世界 (Genji monogatari emaki no sekai) 8579:Yamasaki, Kazuo; Emoto, Yoshimichi (1979). 8227: 7841: 7808: 7331:The Cambridge History of Japan: Heian Japan 7264:(4th ed.). New York: Alfred A. Knopf. 7148: 7040:Entertainment, games, social relationships; 6854: 6003:, the sensitivity of colours (essential in 4768: 4767:Ink line and monochrome painting (see also 4490: 3358: 3071:China. Thus, the Jōnin brushstrokes on the 1913:, with 48 scrolls, completed in 1307), the 85: 10790: 10776: 10452: 10264: 9836: 9722: 9541: 9314: 9272: 9127: 9014: 8940: 8901: 8722: 8633: 8572: 8481: 8466: 8290: 8288: 8286: 8252: 8250: 8248: 8018: 7796: 7642: 7585: 7397: 7395: 7256: 6673:, an episode in the civil war between the 6072: 5458:Long vanishing line guiding eye movement, 4834:Very constructed ink painting, similar to 4682:, formerly probably wrongly attributed to 2578:Paintings of the antecedents of a temple ( 2317: 2136:(literally, "the book of illustrations of 1097:, which appears to be very similar to the 297:: browse the entire seventh scroll of the 10327: 9890: 9548:McClain, James L.; Wakita, Osamu (1999). 9333: 9020:フィクションとしての絵画 (Fikushon to shite no kaiga) 8103: 7654: 7224:. Harvard University Press. p. 456. 7106: 6640: 6498: 6495:art through some characteristic scrolls. 4933:Alternation between texts and paintings ( 4329:style therefore characterised almost all 3928:Expressive painting of a communal crowd, 3773: 2306:, where he was inspired in places by the 1948:(ink or monochromatic painting in water, 1792:, which traces the life and intrigues of 1431:Attack on the Imperial Palace during the 10734: 10302: 10280: 10245: 10236: 10154:Department of Asian Art (October 2002). 10069: 10024: 9628: 9616: 9580: 9535: 9511: 9481: 9402: 9369: 9345: 9302: 9236: 9224: 9154: 9065: 9053: 8928: 8827: 8815: 8800: 8776: 8749: 8515: 8422: 8360:Bulletin of the Art Institute of Chicago 8210: 8181: 7989: 7959: 7891: 7879: 7753: 7684: 7627: 7528: 7472: 7460: 7445: 7386: 7214: 7136: 7016:Inside the house, everyday items, tools; 6862: 6817: 6711: 6648: 6586: 6506: 6216:: Ippen, a Buddhist monk, practises the 6207: 6081: 5991:art as Japanese art. In addition to the 5856: 5840: 5349: 5158:Alternation between text and painting – 4542: 4406:Steep mountain landscape and hermitage, 3472: 3178: 2886: 2785:Various historians emphasise the use of 2531: 2440: 2335: 2288:used narrative scrolls in the same way; 2160: 2075: 2073:) persisted during late medieval times. 2056:style (such as the many versions of the 1852: 1710: 1591: 1507:; of the latter, the scroll kept at the 1426: 1320: 1215: 1156: 1126: 1001: 873: 753: 672: 585: 49: 27: 10668: 10471: 10407: 10008: 9980: 9757: 9676: 9554:. Cornell University Press. p. 8. 9379:. Tuttle Publishing. pp. 512–513. 9248: 8395: 8283: 8245: 8198: 8122: 8079: 8067: 8055: 7974: 7935: 7835: 7549: 7392: 7278: 7202: 6732:narrate the biography of the holy monk 6284:period, the forty-eight scrolls of the 5401:distinct spaces, in the same painting. 5233:rivers, arranged on several planes. In 4446: 4370:Sinistically composed landscape of the 3113:, which, as mentioned above, continued 2760:When produced by the temple workshops, 2707:Secondly, in medieval Japan there were 1715:The departure of Ippen, founder of the 12144: 10680:]. Tout l'art series (in French). 10645: 10573:Iwao, Seiichi; Iyanaga, Teizo (2002). 10553: 10531: 10439: 10217: 10196: 10176: 10052: 9801: 9778: 9664: 9652: 9640: 9491:. Tuttle Publishing. pp. 38–513. 8969: 8952: 8876: 8864: 8707: 8660: 8645: 8616: 8566: 8449: 8423:Karetzky, Patricia Eichenbaum (2000). 8383: 8169: 8131:"Images of the Poet Saigyō as Recluse" 8006: 7903: 7850: 7784: 7738: 7726: 7612: 7516: 7358: 7315: 7244: 7175: 7160: 7121: 6669:recounts the historical events of the 6578: 5250:The arrangement of the elements in an 4451: 3545: 2527: 156:As in the Chinese and Korean scrolls, 10771: 10721: 10422: 9861: 9586: 9260: 9188: 9080: 8981: 8294: 8256: 8128: 7947: 7823: 7696: 7401: 7291:Japanese Journal of Religious Studies 7284: 7190: 6256:Depending on the subjects addressed, 5501:Illustrated Sutra of Cause and Effect 5164:of Nara National Museum, 12th century 5057:Illustrated Sutra of Cause and Effect 3789:style was freer and more lively than 2593:, a collection of Buddhist anecdotes. 2364:Illustrated Sutra of Cause and Effect 2342:Illustrated Sutra of Cause and Effect 1089:paintings in the Heian period is the 635:Illustrated Sutra of Cause and Effect 592:Illustrated Sutra of Cause and Effect 10362: 10293: 9725:"Cassoni-Emaki: A Comparative Study" 9488:The Samurai Swordsman: Master of War 9376:The Samurai Swordsman: Master of War 9112: 8537: 8357: 6703: 6152:Sanjūni-ban Shokunin Uta-awase Emaki 2436: 2322: 1940:, deeply rooted in spirituality and 1596:Zenmyō throws herself into the sea, 971:Fujiwara era: classical masterpieces 622:, the Japanese were inspired by the 183:Although the very first 8th-century 10220:Emaki, Narrative Scrolls from Japan 6809: 6484: 6078:Depiction of everyday Japanese life 5599: 5214:The space in the composition of an 2509:Realistic paintings and portraits ( 1964:, guided by such famous artists as 1312:Kamakura period: the golden age of 1083:). A second notable example of the 865:temple, a masterpiece of primitive 610:) to Japan by the 4th century, and 509:Example of a complete scroll of an 13: 10330:"Japanese Illustrated Handscrolls" 9981:Sumpter, Sara L. (December 2009). 9950:National Art Education Association 9936:Strauch-Nelson, Wendy (May 2008). 9458:"Heiji Scroll: Interactive Viewer" 6164:The clothing of the characters in 4139:lines. Additionally, there is the 3975:Battle scene depicting one of the 3596:of the 13th century, in which the 3500:, of the Heian period, namely the 1979:: the only one still to claim the 1014:for his beloved whom he betrayed, 14: 12203: 10749: 10499:General books on the art of Japan 10328:Willmann, Anna (November 2012n). 9938:"Emaki: Japanese Picture Scrolls" 9434:von Verschuer, Charlotte (2008). 5968: 4127:by Nobuzane, whose ink painting ( 3192:The preferred support medium for 2791:in sessions of picture explaining 2629:rolled up and placed in its box, 2165:Japanese folk spirits typical of 758:Japanese Minister Kibi in China, 562:and the 2nd century CE under the 315:: browse the first scroll of the 12129: 12117: 12105: 12093: 11949:Architectural Institute of Japan 11056: 10755: 10575:Dictionnaire historique du Japon 10453:Saint-Marc, Elsa Alocco (2000). 10203:(in Italian). Mimesis edizioni. 9862:Sayre, Charles Franklin (1982). 9590:Re-visioning "Kamakura" Buddhism 9427: 9339: 9160: 9106: 8257:Sayre, Charles Franklin (1982). 6998: 6798:realism of Kamakura art and the 6456: 6432: 6408: 6320:thus offers an insight into the 5811: 5786: 5753: 5579: 5542: 5516: 5491: 5471: 5451: 5189: 5169: 5151: 5126: 5099: 5072: 5047: 4914:Spatial and temporal composition 4891: 4860: 4827: 4800: 4780: 4652:Ink line and monochrome painting 4624: 4604: 4580: 4554: 4426: 4399: 4363: 4287: 4257: 4237: 4205: 4185: 3993:Kamakura period realist painting 3968: 3941: 3921: 3901: 3881: 3747: 3715: 3690: 3650: 3622:masks. Indeed, according to the 3612:A characteristic element of the 3119:painting and the manufacture of 3021:Perhaps a more famous artist is 2709:professional painters' workshops 2638: 2613: 2292:realised several scrolls on the 2124:meaning "to tell stories") that 664:Heian period: genesis of the art 502: 330: 307: 289: 11979:Groups of Traditional Buildings 10239:Emaki: Japanese picture scrolls 10200:Per un introduzione sugli emaki 9710: 8673:青柳正規 (Masanori Aoyagi) (1997). 8531: 8389: 8351: 8097: 7648: 7466: 7208: 7031:Life, social status, illnesses; 6976: 6361:. Another notable example, the 6030:) are part of the aesthetic of 4027:. Furthermore, the majority of 3374:The currents and techniques of 2276:Various other artists, notably 1583:. These very active sects used 1404:recounts the life and death of 645:, which traces the life of the 338:: viewing a Japanese handscroll 236:paintings mostly belong to the 9958:10.1080/00043125.2008.11652057 9288:Elisseeff & Elisseeff 1980 8789:Elisseeff & Elisseeff 1980 8346:Elisseeff & Elisseeff 1980 8334:Elisseeff & Elisseeff 1980 7574:Elisseeff & Elisseeff 1980 7562:Elisseeff & Elisseeff 1980 7420:10.1080/00043079.1942.11409363 7287:"At Midlife in Medieval Japan" 7070: 6212:Rich scene of popular life in 5836: 4901:Hakubyō Genji Monogatari Emaki 4728:. Several somewhat amateurish 4719:Takafusa-kyō Tsuyakotoba Emaki 4149:Thirty-Six Immortals of Poetry 3423:poems. Subsequently, the term 2601:The artists and their audience 2296:battles, particularly that of 1844:Muromachi period: decline and 189:were copies of Chinese works, 1: 11954:Japan Institute of Architects 10722:Swann, Peter Charles (1967). 10351:Works focusing on a specific 10303:Willmann, Anna (April 2012). 10197:Milone, Marco (5 June 2020). 9779:Milone, Marco (August 2020). 8129:Allen, Laura Warantz (1995). 7054:the introduction to the study 6964: 5210:Perspective and point of view 4467:painting technique is called 3832:are more obscure: they arise 3478:Overview of the Heian period 3463:The particular format of the 1181:forms a monochrome sketch in 786:sects, then more strongly in 54:Detail of calligraphy of the 16:Japanese narrative handscroll 10699:Stanley-Baker, Joan (2014). 10577:(in French). Vol. 1–2. 10537:Painting in the Yamato Style 10055:Museum of Fine Arts Bulletin 9587:Payne, Richard Karl (1998). 8106:Major Themes in Japanese Art 7402:Soper, Alexander C. (1942). 7318:, pp. 119–120, 127–128. 7262:Japan: The Story of a Nation 7063: 6875:The original scrolls of the 6465:night attack on Sanjō Palace 6447:Murasaki Shikibu Nikki Emaki 6398:Ōtenmon political conspiracy 6316:Murasaki Shikibu Nikki Emaki 5907:Hakubyō Ise Monogatari Emaki 5877:above, the emergence of the 5874: 5861:Calligraphy on plain paper, 5849:Murasaki Shikibu Nikki Emaki 5668:, a composition centered on 4615:Murasaki Shikibu Nikki Emaki 3706:Murasaki Shikibu Nikki Emaki 3606:Murasaki Shikibu Nikki Emaki 3353:, literally, 'inside cover') 1960:in Japanese) in the ensuing 1788:Murasaki Shikibu Nikki Emaki 1532:); if the characters in the 554:and, to a lesser extent, in 7: 10423:Mason, Penelope E. (1977). 10353: 10144: 10063:Museum of Fine Arts, Boston 9723:Armbruster, Gisela (1972). 9462:Museum of Fine Arts, Boston 8136:Journal of Japanese Studies 7049:Animals, vegetation, nature 6988: 6950: 6936: 6927: 6915: 6908: 6902: 6889: 6877: 6868: 6856: 6832: 6823: 6811: 6794: 6788: 6777: 6768: 6726: 6717: 6705: 6694: 6688: 6663: 6654: 6642: 6631: 6625: 6619: 6613: 6601: 6592: 6580: 6571: 6563: 6555: 6549: 6543: 6535: 6521: 6512: 6500: 6491: 6473: 6445: 6421: 6384: 6377: 6363: 6353: 6334: 6322: 6314: 6308: 6286: 6270: 6264: 6258: 6244: 6238: 6226: 6218: 6201: 6193: 6181: 6173: 6166: 6157: 6151: 6143: 6129: 6111: 6092: 6063: 6057: 6051: 6045: 6032: 6026: 6017: 6011: 6005: 5999: 5993: 5987: 5981: 5975: 5961: 5954: 5948: 5937: 5931: 5925: 5919: 5906: 5896: 5890: 5879: 5863: 5847: 5825: 5819: 5800: 5794: 5768: 5762: 5739: 5731: 5723: 5711: 5705: 5699: 5693: 5678: 5662: 5656: 5644: 5628: 5618: 5612: 5606: 5588: 5561: 5555: 5531: 5525: 5480: 5460: 5437: 5425: 5418: 5409: 5403: 5396: 5383: 5375: 5363: 5357: 5343: 5332: 5326: 5320: 5309: 5294: 5286: 5278: 5258: 5252: 5235: 5228: 5222: 5216: 5198: 5178: 5135: 5108: 5081: 5031: 5011: 4996: 4981: 4970: 4962: 4956: 4950: 4941: 4935: 4925: 4900: 4873: 4842: 4836: 4809: 4789: 4771: 4759: 4751: 4745: 4736: 4730: 4724: 4718: 4703: 4701:are simply unfinished. The 4697: 4691: 4676: 4670: 4664: 4658: 4639: 4633: 4613: 4593: 4571: 4545: 4537: 4528: 4519: 4509: 4469: 4463: 4453: 4435: 4408: 4388: 4380: 4349: 4341: 4331: 4325: 4307: 4301: 4295: 4278:Tennō Sekkan Daijin Eizukan 4276: 4266: 4246: 4226: 4218: 4194: 4171: 4165: 4159: 4153: 4141: 4135: 4129: 4121: 4093:Tennō Sekkan Daijin Eizukan 4091: 4085: 4076: 4070: 4054: 4043: 4035: 4029: 4021: 4015: 4009: 4003: 3981: 3950: 3930: 3910: 3890: 3873: 3861: 3855: 3844: 3838: 3828: 3822: 3813: 3805: 3797: 3791: 3785: 3776: 3764: 3756: 3729: 3723: 3704: 3702:painting in lighter tones, 3698: 3679: 3673: 3658: 3642: 3633: 3624: 3614: 3605: 3598: 3592: 3577: 3571: 3563: 3556: 3548: 3538: 3532: 3526: 3520: 3514: 3508: 3502: 3496: 3490: 3480: 3465: 3456: 3441: 3435: 3425: 3417: 3403: 3397: 3391: 3382: 3376: 3349: 3333: 3315: 3299: 3285: 3278: 3272: 3264: 3258: 3244: 3235: 3208: 3194: 3185: 3155: 3147: 3137: 3135:) or nobles (including the 3131: 3121: 3115: 3105: 3099: 3091: 3073: 3047: 3031: 3012: 3002: 2988: 2980: 2954: 2946: 2929: 2912: 2893: 2871: 2865: 2857: 2849: 2835: 2827: 2819: 2813: 2801: 2787: 2777: 2769: 2762: 2753: 2743: 2737: 2728:literally 'painting office' 2727: 2700: 2694: 2682: 2676: 2666: 2660: 2654: 2623: 2589: 2580: 2571: 2565: 2559: 2550: 2537: 2519: 2511: 2499: 2490: 2481: 2472: 2466: 2446: 2429: 2423: 2404: 2396: 2387: 2380: 2357: 2329: 2308: 2302: 2269: 2263: 2257: 2251: 2236: 2228: 2222: 2216: 2204: 2198: 2192: 2190:The relative popularity of 2173: 2167: 2154: 2148: 2142: 2132: 2126: 2118: 2110: 2104: 2081: 2066: 2058: 2052: 2044: 2042:(1487) or a version of the 2029: 2014: 1999: 1993: 1987: 1981: 1956: 1950: 1923: 1915: 1909: 1894: 1887: 1881: 1858: 1846: 1834: 1819: 1810: 1804: 1786: 1764: 1756: 1732: 1695: 1687: 1651: 1644: 1636: 1630: 1622: 1610: 1598: 1585: 1575: 1548: 1540: 1534: 1526: 1514: 1509:Museum of Fine Arts, Boston 1501: 1499:(no longer extant) and the 1486: 1480: 1472: 1470:too were the orders of the 1463: 1457: 1441: 1410: 1398: 1390: 1384: 1378: 1370: 1362: 1356: 1347: 1331: 1314: 1304: 1297: 1295:Retracing the evolution of 1288: 1273: 1271:or the two versions of the 1261: 1222: 1205: 1199: 1187: 1175: 1163: 1145: 1133: 1120: 1114: 1108: 1099: 1091: 1085: 1077: 1071: 1065: 1056: 1050: 1048:are characteristics of the 1040: 1028: 1016: 1008: 995: 989: 983: 977: 963: 957: 951: 945: 934: 928: 922: 916: 910: 891: 883: 871:of the early 11th century. 867: 851: 824: 816: 798: 792: 772: 760: 737: 731: 723: 699: 679: 656: 628: 517: 511: 493: 485: 479: 473: 467: 461: 443: 437: 431: 425: 415: 397: 382: 367: 358: 352: 346: 317: 313:Museum of Fine Arts, Boston 299: 266:National Treasures of Japan 259: 250: 244: 238: 232: 220: 214: 207: 201: 191: 185: 174: 168: 158: 149: 110: 102: 69: 60:, on richly decorated paper 56: 42: 34: 10: 12208: 12192:Japanese words and phrases 11054: 10735:Terukazu, Akiyama (1961). 10408:Kaufman, Laura S. (1980). 10334:Metropolitan Museum of Art 10313:Metropolitan Museum of Art 10281:Terukazu, Akiyama (1968). 10161:Metropolitan Museum of Art 9758:Kaufman, Laura S. (1983). 9689:Mason & Dinwiddie 2005 9575:Mason & Dinwiddie 2005 9524:Mason & Dinwiddie 2005 9444:Autour du Genji monogatari 9411:Cambridge University Press 8917:Mason & Dinwiddie 2005 8765:Mason & Dinwiddie 2005 8396:Gerhart, Karen M. (1999). 8240:Mason & Dinwiddie 2005 8104:Yoshikawa, Itsuji (1976). 8092:Mason & Dinwiddie 2005 7336:Cambridge University Press 7285:Payne, Richard K. (1999). 7046:Gods, festivals, religion; 6724:The twelve scrolls of the 5717:who remains in retreat in 5288:Sumiyoshi Monogatari Emaki 5079:Text before the painting, 4919:Transitions between scenes 4898:Constructed ink painting, 4359:Chinese-inspired paintings 4060:, a movement initiated by 3367: 3363: 3097:, and even for a time the 2625:Sumiyoshi Monogatari Emaki 2464:Court novels and diaries ( 1836:Sumiyoshi Monogatari Emaki 1478:(noble warriors). Several 537: 532: 336:Metropolitan Museum of Art 271: 20: 12039: 11974: 11967: 11941: 11893: 11847: 11764: 11655: 11597: 11493: 11319: 11282: 11202: 11135: 11128: 11077: 11070: 11000: 10906: 10899: 10813: 10806: 10480:Columbia University Press 10336:. Timeline of Art History 10315:. Timeline of Art History 10248:Narrative Picture Scrolls 10164:. Timeline of Art History 10156:"Heian Period (794–1185)" 10070:Watanabe, Masako (1998). 9910:. Vol. 1. Yokohama: 9837:Saint-Marc, Elsa (2001). 9081:Doris, Croissant (2005). 7655:Shirahata, Yoshi (1969). 7028:Appearance, action, work; 6786:, illustrates the unique 6415:Large original Buddha of 6189:Mongol invasions of Japan 5416:Finally, the scale of an 4485: 4216:, similar to the Chinese 4119:, 14th century), and the 3977:Mongol invasions of Japan 3754:Court scene illustrating 3343: 3327: 3309: 3293: 3202:, and to a lesser extent 3175:Materials and manufacture 3085: 3041: 2996: 2795: 2721: 2637: 2612: 2607: 1616: 1522:Mongol invasions of Japan 993:("women's painting") and 845: 404: 389: 374: 329: 324: 306: 288: 283: 278: 121: 80: 40:, a classic 12th century 12177:Japanese art terminology 10296:Japanese Scroll Painting 10268:; Hasé, Akihisa (1959). 10246:Okudaira, Hideo (1973). 10237:Okudaira, Hideo (1962). 10179:Rouleaux peints japonais 9442:(in French). hors-série 8677: 8547:Encyclopædia Universalis 8295:Araki, James T. (1981). 6969: 6879:Kitano Tenjin Engi Emaki 6869:Kitano Tenjin Engi Emaki 6857:Kitano Tenjin Engi Emaki 6373:, which burned in 1180. 6109:Sustained production of 5604:The narrative rhythm of 5590:Kitano Tenjin Engi Emaki 5439:Kitano Tenjin Engi Emaki 4904:, monochrome version of 4871:. Monochrome version of 4753:Kitano Tenjin Engi Emaki 4410:Kiyomizu-dera Engi Emaki 4378:and the famous floating 4196:Kitano Tenjin Engi Emaki 4163:techniques, such as the 4023:Kitano Tenjin Engi Emaki 3359:Artistic characteristics 3132:Kiyomizu-dera Engi Emaki 2916:: for example, the monk 2895:Kiyomizu-dera Engi Emaki 2814:Kitano Tenjin Engi Emaki 2771:Kitano Tenjin Engi Emaki 2083:Ishiyama-dera Engi Emaki 2046:Kitano Tenjin Engi Emaki 2016:Ishiyama-dera Engi Emaki 2012:(1517), a scroll of the 2001:Kiyomizu-dera Engi Emaki 1860:Kiyomizu-dera Engi Emaki 1697:Taima Mandara Engi Emaki 1400:Kitano Tenjin Engi Emaki 1333:Kitano Tenjin Engi Emaki 12167:History of art in Japan 10646:Murase, Miyeko (1996). 10621:History of Japanese Art 10554:Illouz, Claire (1985). 10515:L'Art de l'ancien Japon 10472:Shirane, Haruo (2008). 10440:Murase, Miyeko (1962). 10381:(inactive 2024-04-12). 10371:University of Hong Kong 10218:Murase, Miyeko (1983). 10046:10.3406/crai.1985.14304 9855:10.3406/arasi.2001.1466 9802:Murase, Miyeko (1993). 9403:Yamamura, Kōzō (1998). 9346:Namigata, Riyo (2011). 9140:Iwao & Iyanaga 2002 9099:10.3406/arasi.2005.1533 9018:; Nishi, Kazuo (1998). 8845:Encyclopædia Britannica 8228:Iwao & Iyanaga 2002 7851:Nakano, Chieko (2009). 7809:Iwao & Iyanaga 2002 7373:Encyclopædia Britannica 7149:Iwao & Iyanaga 2002 7078:"Entry Details for 絵巻物" 6136:A large project of the 6073:Historiographical value 5894:were therefore used on 5680:Kibi Daijin Nittō Emaki 5664:Gosannen Kassen Ekotoba 5624:burning of Sanjō Palace 5347:) in the 12th century. 4875:Saigyō Monogatari Emaki 4763:('boneless painting'). 3153:(12th century) and the 2933:, historians designate 2891:Copyist monks at work, 2448:Saigyō Monogatari Emaki 2318:Features and production 1766:Saigyō Monogatari Emaki 1325:The vengeful spirit of 1093:Nezame Monogatari Emaki 981:belong to the genre of 762:Kibi Daijin Nittō Emaki 681:Nezame Monogatari Emaki 677:Painting of the court, 523:(seventh scroll, 1299, 356:, often abbreviated as 65:Illustrated handscrolls 12162:Entertainment in Japan 11320:Structural and spatial 10363:Chan, Yuk-yue (2006). 10177:Grilli, Elise (1962). 10142:Works specialising in 9894:; et al. (2008). 9315:Seckel & Hasé 1959 9128:Seckel & Hasé 1959 8682:Museum of Japanese Art 8634:Seckel & Hasé 1959 8593:University of Michigan 8482:Seckel & Hasé 1959 8467:Seckel & Hasé 1959 8019:Seckel & Hasé 1959 7643:Seckel & Hasé 1959 7586:Seckel & Hasé 1959 7404:"The Rise of Yamato-e" 6872: 6827: 6721: 6665:Heiji Monogatari Emaki 6658: 6655:Heiji Monogatari Emaki 6643:Heiji Monogatari Emaki 6620:Genji Monogatari Emaki 6596: 6523:Genji Monogatari Emaki 6516: 6513:Genji Monogatari Emaki 6501:Genji Monogatari Emaki 6475:Heiji Monogatari Emaki 6233: 6175:Heiji Monogatari Emaki 6106: 5955:Genji Monogatari Emaki 5939:Genji Monogatari Emaki 5870: 5865:Heiji Monogatari Emaki 5854: 5630:Heiji Monogatari Emaki 5619:Genji Monogatari Emaki 5482:Genji Monogatari Emaki 5447:Perspective techniques 5410:Genji Monogatari Emaki 5377:Genji Monogatari Emaki 5370: 5365:Genji Monogatari Emaki 5311:Kokawa-dera Engi Emaki 5200:Heiji Monogatari Emaki 5110:Kegon Gojūgo-sho Emaki 4998:Kegon Gojūgo-sho Emaki 4972:Heiji Monogatari Emaki 4572:Genji Monogatari Emaki 4520:Genji Monogatari Emaki 4248:Heiji Monogatari Emaki 4192:Colours and dynamism, 4166:Heiji Monogatari Emaki 4083:Among the most famous 4037:Heiji Monogatari Emaki 4001:, the two currents of 3912:Kokawa-dera Engi Emaki 3807:Heiji Monogatari Emaki 3765:Genji Monogatari Emaki 3681:Genji Monogatari Emaki 3565:Genji Monogatari Emaki 3512:meaning "woman"), and 3506:("painting of woman", 3189: 3149:Heiji Monogatari Emaki 3138:Gonssamen kassen emaki 2907: 2839:were produced for the 2836:Heiji Monogatari Emaki 2829:Heiji Monogatari Emaki 2544: 2460: 2353: 2310:Heiji Monogatari Emaki 2187: 2099: 2060:Genji Monogatari Emaki 1876: 1739: 1605: 1503:Heiji Monogatari Emaki 1488:Hōgen Monogatari Emaki 1448: 1443:Heiji Monogatari Emaki 1338: 1259:) Buddhist paintings ( 1229: 1170: 1140: 1100:Genji Monogatari Emaki 1066:Genji Monogatari Emaki 1030:Genji Monogatari Emaki 1023: 1018:Genji Monogatari Emaki 905: 767: 686: 603: 318:Heiji Monogatari Emaki 147:(1185–1333), Japanese 61: 57:Genji Monogatari Emaki 47: 36:Genji Monogatari Emaki 10800:Japanese architecture 10737:La Peinture japonaise 10608:La Peinture japonaise 10579:Maisonneuve et Larose 9876:Duke University Press 9868:Archives of Asian Art 9787:(in Italian): 68–70. 9113:Hase, Miyuki (1990). 8264:Archives of Asian Art 7859:University of Arizona 6938:Kasuga Gongen Genki E 6885:Sugawara no Michizane 6866: 6821: 6715: 6684:Siege of Sanjō Palace 6652: 6590: 6510: 6441:Fujiwara no Michinaga 6211: 6085: 5860: 5844: 5684:, the tower to which 5433:Sugawara no Michizane 5353: 4844:Makura no Sōshi Emaki 4705:Makura no Sōshi Emaki 4656:Even though coloured 4264:Realist portrait, or 3846:Konjaku Monogatarishū 3473:Styles and techniques 3182: 3109:, were headed by the 2944:as the author of the 2890: 2644:Tokyo National Museum 2633:visible, 13th century 2619:Tokyo National Museum 2535: 2444: 2339: 2164: 2079: 1917:Kasuga Gongen Genki E 1856: 1821:Makura no Sōshi Emaki 1714: 1595: 1430: 1406:Sugawara no Michizane 1327:Sugawara no Michizane 1324: 1219: 1160: 1130: 1005: 908:Experts believe that 877: 812:Heian Imperial Palace 757: 676: 589: 525:Tokyo National Museum 393:, "scroll" or "book") 53: 46:of the imperial court 31: 10856:Imperial Crown Style 10764:at Wikimedia Commons 10463:] (PhD). Paris: 10294:Toda, Kenji (1969). 9413:. pp. 139–140. 9103:(résumé en français) 7857:(PhD dissertation). 7811:, Volume 2, p. 2260. 7258:Reischauer, Edwin O. 7056:for further details. 6696:Ban Dainagon Ekotoba 6195:Ban Dainagon Ekotoba 5827:Ban Dainagon Ekotoba 5749:Narrative techniques 5725:Ban Dainagon Ekotoba 5646:Ban Dainagon Ekotoba 5636:Emperor Go-Shirakawa 5533:Ban Dainagon Ekotoba 5083:Obusuma Saburo Emaki 4725:Toyo no Akari Ezōshi 4631:Kubo version (using 4595:Ban Dainagon Ekotoba 4541:technique (see also 4500:constructed painting 4447:Pictorial techniques 4099:Fujiwara no Tamenobu 4066:Fujiwara no Nobuzane 4062:Fujiwara no Takanobu 4045:Ban Dainagon Ekotoba 3932:Ban Dainagon Ekotoba 3863:Ban Dainagon Ekotoba 3731:Ise Monogatari Emaki 3518:("painting of man", 3413:then Imperial Palace 3156:Tōshō Daigongen Engi 3057:Fujiwara no Takanobu 3025:, aristocrat of the 3023:Fujiwara no Nobuzane 2948:Ban Dainagon Ekotoba 2303:Tōshō Daigongen Engi 2202:depict all sorts of 2098:, early 19th century 1556:Fujiwara no Nobuzane 1437:Fujiwara no Nobuyori 1372:Ban Dainagon Ekotoba 1224:Ban Dainagon Ekotoba 1189:Ban Dainagon Ekotoba 1161:Animals frolicking, 1124:("men's painting"). 362:, is made up of the 197:Heian imperial court 12182:Japanese chronicles 11959:Metabolist Movement 10705:Thames & Hudson 10507:Elisseeff, Danielle 10446:Columbia University 10433:New York University 10416:New York University 10379:10.5353/th_b3585305 10108:Monumenta Nipponica 9914:. pp. 82–115. 9691:, pp. 198–200. 9631:, pp. 135–137. 9526:, pp. 107–108. 9357:University of Tokyo 9275:, pp. 358–362. 9263:, pp. 117–119. 9068:, pp. 125–128. 8943:, pp. 120–124. 8919:, pp. 116–118. 8879:, pp. 159–162. 8867:, pp. 121–123. 8767:, pp. 183–185. 8725:, pp. 124–125. 8663:, pp. 116–118. 8452:, pp. 160–162. 8301:Monumenta Nipponica 8172:, pp. 163–164. 8094:, pp. 201–203. 8082:, pp. 195–196. 8058:, pp. 185–187. 7977:, pp. 196–197. 7950:, pp. 102–106. 7729:, pp. 102–103. 7699:, pp. 122–123. 7630:, pp. 565–571. 7552:, pp. 146–148. 7163:, pp. 107–108. 6603:Shigisan Engi Emaki 6593:Shigisan Engi Emaki 6581:Shigisan Engi Emaki 6423:Shigisan Engi Emaki 6365:Shigisan Engi Emaki 6183:Mōko Shūrai Ekotoba 6145:Shigisan Engi Emaki 6138:Kanagawa University 5802:Shigisan Engi Emaki 5763:iji-dō-zu technique 5713:Shigisan Engi Emaki 5674:Minamoto no Yoshiie 5462:Shigisan Engi Emaki 5296:Eshi no Soshi Emaki 5180:Chōjū-jinbutsu-giga 4964:Shigisan Engi Emaki 4807:Free ink painting, 4791:Chōjū-jinbutsu-giga 4787:Free ink painting, 4678:Chōjū-jinbutsu-giga 4309:Sanjūrokkasen Emaki 4173:Mōko Shūrai Ekotoba 4143:Sanjūrokkasen Emaki 3983:Mōko Shūrai Ekotoba 3936:, late 12th century 3892:Shigisan Engi Emaki 3856:Shigisan Engi Emaki 3839:Shigisan Engi Emaki 3799:Shigisan Engi Emaki 3783:The current of the 3415:, which illustrate 3014:Shigisan Engi Emaki 2851:Mōko Shūrai Ekotoba 2528:Religious paintings 2488:Military accounts ( 2031:Seikō-ji Engi emaki 1985:, it produced many 1907:(the longest known 1542:Sanjūrokkasen emaki 1516:Mōko Shūrai Ekotoba 1396:. For example, the 1392:Shigisan Engi Emaki 1228:, late 12th century 1177:Chōjū-jinbutsu-giga 1165:Chōjū-jinbutsu-giga 1147:Shigisan Engi Emaki 1135:Shigisan Engi Emaki 889:) haunting humans, 487:Chōjū-jinbutsu-giga 131:that dates back to 12041:National Treasures 11856:Chōzuya (Temizuya) 10670:Shimizu, Christine 10612:Éditions Rencontre 10298:. Greenwood Press. 10241:. C. E. Tuttle Co. 9781:"Pittura a rotoli" 9737:(1): 29–61+63–70. 9538:, pp. 99–100. 8735:Stanley-Baker 2014 8543:"Heiji monogatari" 8336:, p. 278–279. 8242:, p. 217–226. 8213:, p. 100–101. 7894:, pp. 98–102. 7601:Stanley-Baker 2014 7221:Japan Encyclopedia 6994:see the index here 6873: 6828: 6753:Pure Land Buddhism 6722: 6659: 6597: 6517: 6234: 6107: 5871: 5855: 5563:Taima Mandala Engi 5371: 5245:oblique projection 4983:Dōjō-ji Engi Emaki 4372:Itsukushima Shrine 4305:poet Saigū Nyōgo, 4123:Zuijin Teiki Emaki 4110:Fujiwara no Gōshin 3494:, and thus in the 3190: 3159:(17th century) by 3033:Zuijin Teiki Emaki 3029:and author of the 2908: 2545: 2482:setsuwa monogatari 2461: 2419:Pure Land Buddhist 2354: 2238:Hyakki Yagyō Emaki 2188: 2186:, Muromachi period 2175:Hyakki Yagyō Emaki 2100: 1925:Dōjō-ji Engi Emaki 1877: 1740: 1606: 1571:Pure Land Buddhism 1550:Zuijin Teiki Emaki 1449: 1339: 1230: 1171: 1141: 1024: 1006:Noble playing the 906: 804:sliding partitions 788:Pure Land Buddhism 768: 687: 604: 95:illustrated scroll 62: 48: 12081: 12080: 12077: 12076: 11415:Nightingale floor 11339:Disordered piling 11278: 11277: 11274: 11273: 11071:Types of building 11052: 11051: 11048: 11047: 10760:Media related to 10691:978-2-08-013701-2 10638:978-0-13-117601-0 10595:978-2-7068-1633-8 10565:978-2-905519-03-0 10546:978-0-8348-1016-7 10511:Elisseeff, Vadime 10489:978-0-231-14237-3 10257:978-0-8348-2710-3 10229:978-0-87848-060-9 10117:Sophia University 10026:Terukazu, Akiyama 10010:Terukazu, Akiyama 9931:on 10 March 2018. 9600:978-0-8248-2078-7 9577:, pp. 69–87. 9561:978-0-8014-3630-7 9498:978-4-8053-0956-8 9483:Turnbull, Stephen 9420:978-0-521-22354-6 9386:978-4-8053-0956-8 9371:Turnbull, Stephen 9305:, pp. 81–82. 9251:, pp. 53–56. 9227:, pp. 89–90. 9157:, pp. 67–70. 9029:978-4-8315-0795-2 8830:, pp. 81–83. 8818:, pp. 76–77. 8803:, pp. 56–57. 8779:, pp. 70–71. 8752:, pp. 52–53. 8691:978-4-09-699701-7 8648:, pp. 92–94. 8636:, pp. 18–20. 8619:, pp. 83–88. 8569:, pp. 12–14. 8517:Terukazu, Akiyama 8484:, pp. 39–41. 8469:, pp. 41–43. 8436:978-0-7618-1671-3 8409:978-0-8248-2178-4 8115:978-0-8348-1003-7 7992:, pp. 95–98. 7962:, pp. 33–34. 7921:, pp. 41–42. 7714:, pp. 42–43. 7663:. pp. 4–12. 7645:, pp. 44–45. 7531:, pp. 22–25. 7474:Terukazu, Akiyama 7463:, pp. 68–69. 7448:, pp. 66–67. 7389:, pp. 53–60. 7345:978-0-521-22353-9 7231:978-0-674-01753-5 7139:, pp. 75–78. 6736:, founder of the 6728:Ippen Shōnin Eden 6718:Ippen Shōnin Eden 6706:Ippen Shōnin Eden 6530:The Tale of Genji 6336:Ippen Shōnin Eden 6303:school in Japan. 6288:Hōnen Shōnin Eden 6272:Nenjū Gyōji Emaki 6228:Ippen Shōnin Eden 6094:Hōnen Shōnin Eden 5733:Ippen Shōnin Eden 5549:Interior view of 5427:Ippen Shōnin Eden 5389:ladies-in-waiting 5280:Ippen Shōnin Eden 5272:the size (of the 5013:Tengu Zōshi Emaki 4906:The Tale of Genji 4811:Shōgun-zuka Emaki 4587:Wailing women at 4390:Ippen Shōnin Eden 4351:Ippen Shōnin Eden 4272:Taira no Kiyomori 4228:Ippen Shōnin Eden 4181:Realist paintings 3141:). The competing 2956:Nenjū Gyōji Emaki 2930:Ippen Shōnin Eden 2873:Hōnen Shōnin Eden 2821:Ippen Shōnin Eden 2690:The Tale of Genji 2650: 2649: 2539:Ippen Shōnin Eden 2479:Popular legends ( 2437:Secular paintings 2323:Themes and genres 2199:otogi-zōshi emaki 2143:otogi-zōshi emaki 2094:, recent work by 1896:Hōnen Shōnin Eden 1799:The Tale of Genji 1734:Ippen Shōnin Eden 1685:, as well as the 1642:). The religious 1638:Ippen Shōnin Eden 936:Yamato Monogatari 519:Ippen Shōnin Eden 445:Hōnen Shōnin Eden 342: 341: 300:Ippen Shōnin Eden 12199: 12134: 12133: 12132: 12122: 12121: 12120: 12110: 12109: 12098: 12097: 12096: 12089: 12069:Other structures 11972: 11971: 11133: 11132: 11075: 11074: 11060: 10904: 10903: 10811: 10810: 10792: 10785: 10778: 10769: 10768: 10759: 10744: 10731: 10718: 10695: 10665: 10642: 10615: 10604:Lésoualc'h, Théo 10599: 10587: 10569: 10550: 10528: 10493: 10468: 10449: 10436: 10419: 10404: 10398: 10390: 10356: 10345: 10343: 10341: 10324: 10322: 10320: 10299: 10290: 10277: 10266:Seckel, Dietrich 10261: 10242: 10233: 10222:. Asia Society. 10214: 10193: 10191: 10173: 10171: 10169: 10147: 10136: 10101: 10084:(1/2): 115–145. 10066: 10049: 10021: 10005: 9987: 9977: 9932: 9930: 9924:. Archived from 9909: 9900: 9892:Shibusawa, Keizō 9887: 9858: 9833: 9816:(1/2): 262–289. 9798: 9775: 9754: 9704: 9698: 9692: 9686: 9680: 9674: 9668: 9662: 9656: 9650: 9644: 9638: 9632: 9626: 9620: 9614: 9605: 9604: 9584: 9578: 9572: 9566: 9565: 9545: 9539: 9533: 9527: 9521: 9515: 9509: 9503: 9502: 9479: 9473: 9472: 9470: 9468: 9454: 9448: 9447: 9431: 9425: 9424: 9400: 9391: 9390: 9367: 9361: 9360: 9354: 9343: 9337: 9331: 9318: 9312: 9306: 9300: 9291: 9285: 9276: 9270: 9264: 9258: 9252: 9246: 9240: 9234: 9228: 9222: 9213: 9212: 9186: 9180: 9179: 9177: 9175: 9164: 9158: 9152: 9143: 9142:, Vol 2, p 2260. 9137: 9131: 9125: 9119: 9118: 9110: 9104: 9102: 9078: 9069: 9063: 9057: 9051: 9034: 9033: 9012: 9003: 9002: 8979: 8973: 8967: 8956: 8950: 8944: 8938: 8932: 8926: 8920: 8914: 8905: 8899: 8880: 8874: 8868: 8862: 8856: 8855: 8853: 8851: 8837: 8831: 8825: 8819: 8813: 8804: 8798: 8792: 8786: 8780: 8774: 8768: 8762: 8753: 8747: 8738: 8732: 8726: 8720: 8711: 8710:, pp. 9–11. 8705: 8696: 8695: 8675:Nihon bijutsukan 8670: 8664: 8658: 8649: 8643: 8637: 8631: 8620: 8614: 8605: 8604: 8576: 8570: 8564: 8558: 8557: 8555: 8553: 8535: 8529: 8528: 8513: 8507: 8506: 8504: 8502: 8491: 8485: 8479: 8470: 8464: 8453: 8447: 8441: 8440: 8420: 8414: 8413: 8393: 8387: 8381: 8368: 8367: 8355: 8349: 8343: 8337: 8331: 8325: 8324: 8292: 8281: 8280: 8254: 8243: 8237: 8231: 8225: 8214: 8208: 8202: 8196: 8185: 8179: 8173: 8167: 8161: 8160: 8126: 8120: 8119: 8101: 8095: 8089: 8083: 8077: 8071: 8065: 8059: 8053: 8044: 8043: 8041: 8039: 8028: 8022: 8016: 8010: 8004: 7993: 7987: 7978: 7972: 7963: 7957: 7951: 7945: 7939: 7933: 7922: 7916: 7907: 7901: 7895: 7889: 7883: 7877: 7871: 7870: 7868: 7866: 7848: 7839: 7833: 7827: 7821: 7812: 7806: 7800: 7794: 7788: 7782: 7769: 7768:, p. 45–46. 7763: 7757: 7751: 7742: 7736: 7730: 7724: 7715: 7709: 7700: 7694: 7688: 7682: 7673: 7672: 7652: 7646: 7640: 7631: 7625: 7616: 7610: 7604: 7598: 7589: 7583: 7577: 7571: 7565: 7559: 7553: 7547: 7532: 7526: 7520: 7514: 7508: 7507: 7490:(1/2): 144–167. 7470: 7464: 7458: 7449: 7443: 7432: 7431: 7408:The Art Bulletin 7399: 7390: 7384: 7378: 7377: 7368: 7362: 7356: 7350: 7349: 7325: 7319: 7313: 7307: 7306: 7297:(1/2): 135–157. 7282: 7276: 7275: 7254: 7248: 7242: 7236: 7235: 7212: 7206: 7205:, p. 85–86. 7200: 7194: 7193:, p. 62–67. 7188: 7179: 7173: 7164: 7158: 7152: 7146: 7140: 7134: 7125: 7119: 7110: 7104: 7093: 7092: 7090: 7088: 7074: 7057: 7002: 6996: 6991: 6980: 6955: 6941: 6932: 6911: 6905: 6894: 6882: 6871: 6859: 6837: 6834:Kegon Engi Emaki 6826: 6824:Kegon Engi Emaki 6814: 6812:Kegon Engi Emaki 6797: 6791: 6780: 6774: 6765: 6750: 6731: 6720: 6708: 6699: 6691: 6668: 6657: 6645: 6636: 6628: 6622: 6616: 6606: 6595: 6583: 6574: 6568: 6560: 6552: 6546: 6540: 6526: 6515: 6503: 6494: 6485:Notable examples 6478: 6460: 6450: 6436: 6426: 6412: 6390:Mongol invasions 6387: 6380: 6368: 6356: 6350: 6339: 6327: 6319: 6311: 6298: 6296: 6282: 6280: 6267: 6261: 6247: 6241: 6231: 6223: 6204: 6198: 6186: 6178: 6169: 6160: 6154: 6148: 6132: 6114: 6104: 6102: 6068: 6060: 6054: 6048: 6038:(literally 'the 6037: 6029: 6020: 6014: 6008: 6002: 5996: 5990: 5984: 5978: 5964: 5957: 5951: 5942: 5934: 5928: 5922: 5909: 5899: 5893: 5884: 5873:As noted in the 5868: 5852: 5830: 5822: 5815: 5805: 5797: 5790: 5780: 5778: 5765: 5760:Scene using the 5757: 5744: 5741:Kegon Engi Emaki 5736: 5728: 5716: 5708: 5702: 5696: 5683: 5667: 5659: 5649: 5640:Ōtenmon Incident 5633: 5621: 5615: 5609: 5600:Narrative rhythm 5593: 5583: 5573: 5571: 5558: 5546: 5536: 5528: 5520: 5509: 5495: 5485: 5475: 5465: 5455: 5442: 5430: 5421: 5412: 5406: 5399: 5386: 5380: 5368: 5360: 5346: 5335: 5329: 5323: 5314: 5306: 5304: 5291: 5283: 5263: 5255: 5238: 5231: 5225: 5219: 5203: 5193: 5183: 5173: 5155: 5140: 5137:Kegon Engi Emaki 5130: 5120: 5118: 5103: 5093: 5091: 5076: 5065: 5051: 5034: 5023: 5021: 5008: 5006: 4993: 4991: 4975: 4967: 4959: 4953: 4944: 4938: 4928: 4903: 4895: 4885: 4883: 4864: 4854: 4852: 4839: 4831: 4821: 4819: 4804: 4794: 4784: 4774: 4762: 4756: 4748: 4739: 4733: 4727: 4721: 4715: 4713: 4700: 4694: 4681: 4673: 4667: 4661: 4645: 4636: 4628: 4618: 4608: 4598: 4584: 4574: 4558: 4548: 4540: 4531: 4522: 4512: 4506: 4504: 4501: 4498: 4495: 4492: 4488: 4487: 4481: 4479: 4466: 4456: 4440: 4437:Kegon Engi Emaki 4430: 4420: 4418: 4403: 4393: 4385: 4367: 4354: 4346: 4343:Kegon Engi Emaki 4334: 4328: 4312: 4304: 4299:portrait of the 4298: 4291: 4281: 4269: 4261: 4251: 4241: 4231: 4223: 4209: 4199: 4189: 4176: 4168: 4162: 4156: 4146: 4138: 4132: 4126: 4118: 4107: 4096: 4089:scrolls are the 4088: 4079: 4073: 4059: 4048: 4040: 4032: 4026: 4018: 4012: 4006: 3986: 3972: 3962: 3960: 3945: 3935: 3925: 3915: 3905: 3895: 3885: 3876: 3866: 3858: 3849: 3841: 3831: 3825: 3816: 3810: 3802: 3794: 3788: 3779: 3767: 3761: 3751: 3741: 3739: 3726: 3719: 3709: 3701: 3694: 3684: 3676: 3670: 3668: 3654: 3645: 3636: 3629: 3617: 3608: 3601: 3595: 3589: 3587: 3574: 3568: 3559: 3551: 3541: 3535: 3529: 3523: 3517: 3511: 3505: 3499: 3493: 3483: 3468: 3459: 3444: 3438: 3428: 3422: 3406: 3400: 3394: 3388: 3379: 3354: 3352: 3346: 3345: 3338: 3336: 3330: 3329: 3322: 3321: 3318: 3312: 3311: 3304: 3302: 3296: 3295: 3288: 3281: 3275: 3269: 3261: 3247: 3238: 3213: 3197: 3188: 3158: 3152: 3140: 3134: 3124: 3118: 3108: 3102: 3096: 3094: 3088: 3087: 3076: 3074:Kegon Engi Emaki 3054: 3052: 3044: 3043: 3036: 3017: 3009: 3008: 3005: 2999: 2998: 2991: 2985: 2982:Kegon Engi Emaki 2978:for part of the 2977: 2966: 2964: 2951: 2943: 2935:Tokiwa Mitsunaga 2932: 2926: 2915: 2905: 2903: 2883: 2881: 2868: 2862: 2854: 2838: 2832: 2824: 2816: 2810: 2809: 2806: 2798: 2797: 2790: 2780: 2774: 2765: 2756: 2746: 2740: 2734: 2733: 2730: 2724: 2723: 2717: 2703: 2697: 2687: 2679: 2669: 2663: 2657: 2642: 2641: 2628: 2617: 2616: 2605: 2604: 2592: 2583: 2574: 2568: 2562: 2553: 2542: 2522: 2514: 2502: 2493: 2484: 2475: 2469: 2458: 2456: 2432: 2426: 2416: 2414: 2401: 2390: 2383: 2372: 2360: 2350: 2332: 2314:(13th century). 2313: 2305: 2278:Tawaraya Sōtatsu 2272: 2266: 2260: 2254: 2248: 2246: 2233: 2230:Tsuchigumo Sōshi 2225: 2219: 2217:Buncho no sasshi 2209: 2201: 2195: 2185: 2183: 2170: 2157: 2151: 2145: 2135: 2129: 2123: 2115: 2107: 2093: 2091: 2072: 2068:The Tales of Ise 2063: 2055: 2049: 2041: 2039: 2026: 2024: 2011: 2009: 1996: 1990: 1984: 1962:Muromachi period 1959: 1953: 1938:Chinese Song art 1935: 1933: 1920: 1912: 1906: 1904: 1890: 1884: 1870: 1868: 1849: 1839: 1831: 1829: 1816: 1807: 1794:Murasaki Shikibu 1791: 1776: 1774: 1761: 1737: 1729: 1707: 1705: 1692: 1689:Kegon Engi Emaki 1680: 1669: 1654: 1647: 1641: 1633: 1627: 1619: 1618: 1613: 1603: 1600:Kegon Engi Emaki 1588: 1578: 1553: 1545: 1537: 1531: 1519: 1506: 1498: 1496: 1483: 1477: 1468: 1460: 1446: 1415: 1403: 1395: 1387: 1381: 1375: 1367: 1359: 1350: 1336: 1317: 1307: 1300: 1291: 1285: 1283: 1265:) – such as the 1264: 1258: 1227: 1208: 1202: 1192: 1180: 1168: 1150: 1138: 1123: 1117: 1111: 1102: 1096: 1088: 1082: 1074: 1068: 1059: 1053: 1043: 1033: 1021: 1013: 998: 992: 986: 980: 966: 960: 954: 948: 939: 931: 925: 919: 913: 903: 901: 888: 870: 856: 854: 848: 847: 836: 834: 821: 801: 795: 777: 765: 749:Murasaki Shikibu 740: 734: 728: 704: 684: 659: 643: 631: 600: 522: 514: 506: 496: 490: 482: 476: 470: 464: 455: 453: 440: 434: 428: 418: 409: 407: 406: 400: 394: 392: 391: 385: 379: 377: 376: 370: 361: 355: 349: 334: 333: 320: 311: 310: 302: 293: 292: 276: 275: 262: 253: 247: 241: 235: 223: 217: 210: 204: 194: 188: 179: 171: 161: 152: 145:Kamakura periods 126: 124: 123: 117: 107: 105: 99: 96: 93: 90: 87: 83: 82: 76: 59: 45: 39: 32:Detail from the 12207: 12206: 12202: 12201: 12200: 12198: 12197: 12196: 12142: 12141: 12140: 12130: 12128: 12118: 12116: 12104: 12094: 12092: 12084: 12082: 12073: 12035: 11991:Japanese garden 11963: 11937: 11889: 11848:Outdoor objects 11843: 11760: 11651: 11593: 11503: 11489: 11315: 11270: 11198: 11124: 11066: 11061: 11044: 10996: 10895: 10802: 10796: 10752: 10747: 10715: 10692: 10662: 10639: 10596: 10581: 10566: 10547: 10525: 10501: 10496: 10490: 10429:Garland Science 10392: 10391: 10358: 10348: 10339: 10337: 10318: 10316: 10258: 10230: 10211: 10185: 10167: 10165: 10149: 10139: 10125:10.2307/2385487 10090:10.2307/3249997 9985: 9928: 9922: 9907: 9898: 9896:"Shigisan engi" 9843:Arts Asiatiques 9822:10.2307/3250519 9795: 9772: 9743:10.2307/3249637 9718: 9713: 9708: 9707: 9701:Lésoualc'h 1967 9699: 9695: 9687: 9683: 9675: 9671: 9663: 9659: 9651: 9647: 9639: 9635: 9627: 9623: 9615: 9608: 9601: 9585: 9581: 9573: 9569: 9562: 9546: 9542: 9534: 9530: 9522: 9518: 9510: 9506: 9499: 9480: 9476: 9466: 9464: 9456: 9455: 9451: 9432: 9428: 9421: 9401: 9394: 9387: 9368: 9364: 9352: 9344: 9340: 9332: 9321: 9313: 9309: 9301: 9294: 9286: 9279: 9273:Saint-Marc 2000 9271: 9267: 9259: 9255: 9247: 9243: 9235: 9231: 9223: 9216: 9209: 9187: 9183: 9173: 9171: 9166: 9165: 9161: 9153: 9146: 9138: 9134: 9126: 9122: 9111: 9107: 9093:(60): 103–120. 9087:Arts Asiatiques 9079: 9072: 9064: 9060: 9052: 9037: 9030: 9013: 9006: 8999: 8980: 8976: 8972:, pp. 7–8. 8968: 8959: 8951: 8947: 8941:Saint-Marc 2000 8939: 8935: 8927: 8923: 8915: 8908: 8902:Saint-Marc 2001 8900: 8883: 8875: 8871: 8863: 8859: 8849: 8847: 8839: 8838: 8834: 8826: 8822: 8814: 8807: 8799: 8795: 8787: 8783: 8775: 8771: 8763: 8756: 8748: 8741: 8733: 8729: 8723:Saint-Marc 2000 8721: 8714: 8706: 8699: 8692: 8679: 8671: 8667: 8659: 8652: 8644: 8640: 8632: 8623: 8615: 8608: 8577: 8573: 8565: 8561: 8551: 8549: 8536: 8532: 8514: 8510: 8500: 8498: 8493: 8492: 8488: 8480: 8473: 8465: 8456: 8448: 8444: 8437: 8421: 8417: 8410: 8394: 8390: 8382: 8371: 8356: 8352: 8344: 8340: 8332: 8328: 8313:10.2307/2384084 8293: 8284: 8255: 8246: 8238: 8234: 8226: 8217: 8209: 8205: 8197: 8188: 8180: 8176: 8168: 8164: 8127: 8123: 8116: 8102: 8098: 8090: 8086: 8078: 8074: 8066: 8062: 8054: 8047: 8037: 8035: 8030: 8029: 8025: 8017: 8013: 8005: 7996: 7988: 7981: 7973: 7966: 7958: 7954: 7946: 7942: 7934: 7925: 7919:Lésoualc'h 1967 7917: 7910: 7902: 7898: 7890: 7886: 7878: 7874: 7864: 7862: 7849: 7842: 7834: 7830: 7822: 7815: 7807: 7803: 7797:Reischauer 1989 7795: 7791: 7783: 7772: 7766:Lésoualc'h 1967 7764: 7760: 7752: 7745: 7737: 7733: 7725: 7718: 7712:Lésoualc'h 1967 7710: 7703: 7695: 7691: 7683: 7676: 7661:Kadokawa Shoten 7653: 7649: 7641: 7634: 7626: 7619: 7611: 7607: 7599: 7592: 7584: 7580: 7572: 7568: 7560: 7556: 7548: 7535: 7527: 7523: 7515: 7511: 7496:10.2307/3250512 7471: 7467: 7459: 7452: 7444: 7435: 7400: 7393: 7385: 7381: 7370: 7369: 7365: 7357: 7353: 7346: 7334:. Vol. 2. 7326: 7322: 7314: 7310: 7283: 7279: 7272: 7255: 7251: 7243: 7239: 7232: 7216:Frédéric, Louis 7213: 7209: 7201: 7197: 7189: 7182: 7174: 7167: 7159: 7155: 7147: 7143: 7135: 7128: 7120: 7113: 7105: 7096: 7086: 7084: 7076: 7075: 7071: 7066: 7061: 7060: 7003: 6999: 6984:Keiō University 6981: 6977: 6972: 6967: 6945:Moving panorama 6918: 6897:Kitano Tenmangū 6861: 6816: 6759: 6740: 6710: 6671:Heiji rebellion 6647: 6585: 6565:hikime kagibana 6505: 6487: 6480: 6469:Heiji rebellion 6461: 6452: 6437: 6428: 6413: 6344: 6290: 6274: 6254: 6096: 6080: 6075: 5971: 5946:The text of an 5875:history section 5839: 5832: 5816: 5807: 5791: 5782: 5772: 5758: 5670:Kanazawa Castle 5602: 5595: 5584: 5575: 5565: 5547: 5538: 5521: 5512: 5503: 5496: 5487: 5476: 5467: 5456: 5298: 5212: 5205: 5194: 5185: 5174: 5165: 5156: 5142: 5131: 5122: 5112: 5104: 5095: 5085: 5077: 5068: 5059: 5052: 5015: 5000: 4985: 4921: 4916: 4909: 4896: 4887: 4877: 4865: 4856: 4846: 4832: 4823: 4813: 4805: 4796: 4785: 4769:Popular style: 4707: 4654: 4647: 4629: 4620: 4609: 4600: 4585: 4576: 4559: 4502: 4499: 4496: 4493: 4482: 4473: 4459: 4449: 4442: 4431: 4422: 4412: 4404: 4395: 4368: 4321: 4314: 4292: 4283: 4262: 4253: 4242: 4233: 4210: 4201: 4190: 4112: 4101: 3999:Kamakura period 3995: 3988: 3973: 3964: 3954: 3946: 3937: 3926: 3917: 3906: 3897: 3886: 3781: 3774:Popular style: 3769: 3758:hikime kagibana 3752: 3743: 3733: 3720: 3711: 3695: 3686: 3662: 3655: 3626:hikime kagibana 3581: 3553: 3486: 3475: 3451:Kamakura period 3372: 3366: 3361: 3340: 3324: 3319: 3306: 3290: 3177: 3082: 3038: 3006: 2993: 2971: 2958: 2937: 2920: 2897: 2875: 2843:(winner of the 2807: 2792: 2731: 2718: 2711: 2698:) and diaries ( 2652:The authors of 2639: 2614: 2608:External images 2603: 2530: 2450: 2439: 2408: 2366: 2344: 2327:In essence, an 2325: 2320: 2240: 2212:genre paintings 2177: 2085: 2033: 2018: 2003: 1927: 1921:(1309) and the 1898: 1862: 1851: 1823: 1768: 1719: 1699: 1674: 1663: 1490: 1433:Heiji rebellion 1343:Kamakura period 1319: 1277: 1252: 1211:Kamakura period 1046:Imperial Palace 973: 895: 842: 828: 735:) and diaries ( 671: 666: 637: 594: 540: 535: 528: 507: 447: 401: 386: 371: 331: 308: 290: 274: 143:(794–1185) and 118: 97: 94: 91: 88: 77: 26: 17: 12: 11: 5: 12205: 12195: 12194: 12189: 12184: 12179: 12174: 12169: 12164: 12159: 12154: 12139: 12138: 12126: 12114: 12102: 12079: 12078: 12075: 12074: 12072: 12071: 12066: 12061: 12056: 12051: 12045: 12043: 12037: 12036: 12034: 12033: 12026: 12019: 12012: 12005: 11998: 11988: 11981: 11975: 11969: 11968:Related topics 11965: 11964: 11962: 11961: 11956: 11951: 11945: 11943: 11939: 11938: 11936: 11935: 11928: 11921: 11914: 11907: 11899: 11897: 11891: 11890: 11888: 11887: 11880: 11873: 11866: 11859: 11851: 11849: 11845: 11844: 11842: 11841: 11834: 11827: 11813: 11806: 11799: 11792: 11785: 11778: 11770: 11768: 11762: 11761: 11759: 11758: 11751: 11744: 11737: 11730: 11723: 11716: 11709: 11702: 11695: 11688: 11681: 11674: 11667: 11659: 11657: 11653: 11652: 11650: 11649: 11642: 11637: 11630: 11623: 11616: 11609: 11601: 11599: 11595: 11594: 11592: 11591: 11577: 11570: 11563: 11556: 11549: 11542: 11535: 11528: 11521: 11514: 11506: 11504: 11502: 11501: 11498: 11494: 11491: 11490: 11488: 11487: 11480: 11473: 11466: 11459: 11452: 11445: 11438: 11431: 11424: 11417: 11412: 11404: 11397: 11390: 11383: 11376: 11369: 11362: 11359:Irimoya-zukuri 11355: 11348: 11341: 11336: 11329: 11327:Burdock piling 11323: 11321: 11317: 11316: 11314: 11313: 11306: 11299: 11292: 11286: 11284: 11280: 11279: 11276: 11275: 11272: 11271: 11269: 11268: 11261: 11254: 11251:Shichidō garan 11247: 11242: 11237: 11230: 11223: 11216: 11208: 11206: 11200: 11199: 11197: 11196: 11189: 11184: 11177: 11170: 11163: 11156: 11149: 11141: 11139: 11130: 11126: 11125: 11123: 11122: 11115: 11108: 11101: 11094: 11087: 11081: 11079: 11072: 11068: 11067: 11055: 11053: 11050: 11049: 11046: 11045: 11043: 11042: 11035: 11028: 11021: 11014: 11006: 11004: 10998: 10997: 10995: 10994: 10987: 10980: 10973: 10966: 10959: 10952: 10945: 10938: 10927: 10920: 10912: 10910: 10901: 10897: 10896: 10894: 10893: 10886: 10879: 10872: 10865: 10858: 10853: 10846: 10839: 10832: 10825: 10817: 10815: 10808: 10804: 10803: 10795: 10794: 10787: 10780: 10772: 10766: 10765: 10751: 10750:External links 10748: 10746: 10745: 10743:. p. 217. 10732: 10719: 10713: 10696: 10690: 10674:L'Art japonais 10666: 10660: 10652:Livre de Poche 10648:L'Art du Japon 10643: 10637: 10616: 10600: 10594: 10570: 10564: 10551: 10545: 10533:Ienaga, Saburō 10529: 10523: 10502: 10500: 10497: 10495: 10494: 10488: 10469: 10450: 10437: 10420: 10405: 10359: 10357: 10349: 10347: 10346: 10325: 10300: 10291: 10278: 10262: 10256: 10243: 10234: 10228: 10215: 10210:978-8857565521 10209: 10194: 10174: 10150: 10148: 10140: 10138: 10137: 10102: 10067: 10050: 10040:(4): 565–571. 10022: 10014:Acta Artistica 10006: 9978: 9933: 9920: 9888: 9859: 9834: 9799: 9794:978-8893886901 9793: 9776: 9770: 9755: 9719: 9717: 9714: 9712: 9709: 9706: 9705: 9693: 9681: 9669: 9657: 9645: 9633: 9621: 9606: 9599: 9579: 9567: 9560: 9540: 9528: 9516: 9504: 9497: 9474: 9449: 9426: 9419: 9392: 9385: 9362: 9338: 9334:Shibusawa 2008 9319: 9307: 9292: 9290:, p. 325. 9277: 9265: 9253: 9241: 9239:, p. 109. 9229: 9214: 9207: 9181: 9159: 9144: 9132: 9120: 9105: 9070: 9058: 9035: 9028: 9004: 8997: 8974: 8957: 8945: 8933: 8921: 8906: 8881: 8869: 8857: 8832: 8820: 8805: 8793: 8791:, p. 276. 8781: 8769: 8754: 8739: 8727: 8712: 8697: 8690: 8665: 8650: 8638: 8621: 8606: 8585:Ars Orientalis 8571: 8559: 8539:Sieffert, René 8530: 8521:Acta Artistica 8508: 8486: 8471: 8454: 8442: 8435: 8415: 8408: 8388: 8369: 8350: 8348:, p. 286. 8338: 8326: 8282: 8244: 8232: 8215: 8203: 8201:, p. 194. 8186: 8184:, p. 131. 8174: 8162: 8149:10.2307/133086 8121: 8114: 8096: 8084: 8072: 8060: 8045: 8023: 8011: 8009:, p. 160. 7994: 7979: 7964: 7952: 7940: 7923: 7908: 7906:, p. 125. 7896: 7884: 7872: 7840: 7838:, p. 193. 7828: 7826:, p. 125. 7813: 7801: 7789: 7770: 7758: 7743: 7741:, p. 136. 7731: 7716: 7701: 7689: 7674: 7647: 7632: 7617: 7615:, p. 140. 7605: 7590: 7578: 7576:, p. 275. 7566: 7564:, p. 272. 7554: 7533: 7521: 7509: 7465: 7450: 7433: 7414:(4): 351–379. 7391: 7379: 7363: 7361:, p. 119. 7351: 7344: 7338:. p. 13. 7320: 7308: 7277: 7270: 7249: 7237: 7230: 7207: 7195: 7180: 7165: 7153: 7141: 7126: 7111: 7107:Willmann 2012n 7094: 7068: 7067: 7065: 7062: 7059: 7058: 7051: 7050: 7047: 7044: 7043:Annual events; 7041: 7038: 7035: 7034:Death, burial; 7032: 7029: 7026: 7023: 7020: 7017: 7014: 7011: 7008: 6997: 6974: 6973: 6971: 6968: 6966: 6963: 6962: 6961: 6956: 6947: 6942: 6933: 6924: 6917: 6914: 6860: 6853: 6815: 6808: 6709: 6702: 6646: 6639: 6629:fits into the 6609:Chōgosonshi-ji 6584: 6577: 6557:fukinuki yatai 6504: 6497: 6486: 6483: 6482: 6481: 6479:, 13th century 6462: 6455: 6453: 6451:, 13th century 6438: 6431: 6429: 6427:, 12th century 6414: 6407: 6405: 6324:shinden-zukuri 6253: 6250: 6232:, 13th century 6105:, 14th century 6079: 6076: 6074: 6071: 6012:fukinuki yatai 5970: 5969:A Japanese art 5967: 5869:, 13th century 5853:, 13th century 5838: 5835: 5834: 5833: 5831:, 12th century 5817: 5810: 5808: 5806:, 12th century 5792: 5785: 5783: 5781:, 12th century 5759: 5752: 5750: 5686:Kibi no Makibi 5657:hampuku byōsha 5601: 5598: 5597: 5596: 5585: 5578: 5576: 5574:, 13th century 5556:fukinuki yatai 5548: 5541: 5539: 5537:, 12th century 5526:fukinuki yatai 5522: 5515: 5513: 5497: 5490: 5488: 5486:, 12th century 5477: 5470: 5468: 5466:, 12th century 5457: 5450: 5448: 5404:Fukinuki yatai 5397:fukinuki yatai 5384:fukinuki yatai 5369:, 12th century 5358:fukinuki yatai 5339:Prince Shōtoku 5333:fukinuki yatai 5327:fukinuki yatai 5260:fukinuki yatai 5211: 5208: 5207: 5206: 5204:, 13th century 5195: 5188: 5186: 5184:, 12th century 5175: 5168: 5166: 5157: 5150: 5148: 5144: 5143: 5141:, 13th century 5132: 5125: 5123: 5121:, 12th century 5105: 5098: 5096: 5078: 5071: 5069: 5053: 5046: 5044: 5032:rusōgata-shiki 5026: 5025: 4977: 4951:rusōgata-shiki 4946: 4920: 4917: 4915: 4912: 4911: 4910: 4908:, 16th century 4897: 4890: 4888: 4886:, 15th century 4866: 4859: 4857: 4855:, 13th century 4833: 4826: 4824: 4822:, 13th century 4806: 4799: 4797: 4795:, 12th century 4786: 4779: 4777: 4653: 4650: 4649: 4648: 4646:, 14th century 4641:Ise Monogatari 4630: 4623: 4621: 4619:, 13th century 4610: 4603: 4601: 4599:, 12th century 4589:Tomo no Yoshio 4586: 4579: 4577: 4575:, 12th century 4561:Emperor calls 4560: 4553: 4551: 4458: 4450: 4448: 4445: 4444: 4443: 4441:, 13th century 4432: 4425: 4423: 4405: 4398: 4396: 4369: 4362: 4360: 4320: 4317: 4316: 4315: 4313:, 13th century 4293: 4286: 4284: 4282:, 14th century 4263: 4256: 4254: 4252:, 13th century 4243: 4236: 4234: 4211: 4204: 4202: 4200:, 13th century 4191: 4184: 4182: 3994: 3991: 3990: 3989: 3987:, 13th century 3974: 3967: 3965: 3963:, 12th century 3952:Yamai no Sōshi 3947: 3940: 3938: 3927: 3920: 3918: 3916:, 12th century 3907: 3900: 3898: 3896:, 12th century 3887: 3880: 3878: 3780: 3772: 3771: 3770: 3768:, 12th century 3753: 3746: 3744: 3742:, 14th century 3721: 3714: 3712: 3710:, 13th century 3696: 3689: 3687: 3685:, 12th century 3656: 3649: 3647: 3552: 3544: 3485: 3476: 3474: 3471: 3368:Main article: 3365: 3362: 3360: 3357: 3176: 3173: 3127:Tosa Mitsunobu 3092:Kyūtei edokoro 2969:Enichibō Jōnin 2738:kyūtei edokoro 2648: 2647: 2635: 2634: 2610: 2609: 2602: 2599: 2595: 2594: 2585: 2576: 2555: 2543:, 13th century 2529: 2526: 2525: 2524: 2516: 2507: 2504: 2495: 2486: 2477: 2438: 2435: 2324: 2321: 2319: 2316: 1873:Tosa Mitsunobu 1850: 1842: 1812:Ise Monogatari 1748:wash technique 1738:, 13th century 1604:, 13th century 1569:) gave way to 1554:attributed to 1461:; indeed, the 1447:, 13th century 1337:, 13th century 1318: 1310: 1169:, 12th century 1139:, 12th century 1079:fukinuki yatai 1022:, 12th century 975:If almost all 972: 969: 904:, 12th century 766:, 12th century 685:, 12th century 670: 667: 665: 662: 647:Gautama Buddha 616:Chinese Empire 577:Genre painting 539: 536: 534: 531: 530: 529: 508: 501: 340: 339: 327: 326: 322: 321: 304: 303: 286: 285: 281: 280: 279:External media 273: 270: 15: 9: 6: 4: 3: 2: 12204: 12193: 12190: 12188: 12185: 12183: 12180: 12178: 12175: 12173: 12170: 12168: 12165: 12163: 12160: 12158: 12155: 12153: 12150: 12149: 12147: 12137: 12127: 12125: 12115: 12113: 12108: 12103: 12101: 12100:Ancient Japan 12091: 12090: 12087: 12070: 12067: 12065: 12062: 12060: 12057: 12055: 12052: 12050: 12047: 12046: 12044: 12042: 12038: 12032: 12031: 12027: 12025: 12024: 12020: 12018: 12017: 12013: 12011: 12010: 12006: 12004: 12003: 11999: 11996: 11992: 11989: 11987: 11986: 11982: 11980: 11977: 11976: 11973: 11970: 11966: 11960: 11957: 11955: 11952: 11950: 11947: 11946: 11944: 11942:Organizations 11940: 11934: 11933: 11929: 11927: 11926: 11922: 11920: 11919: 11915: 11913: 11912: 11908: 11906: 11905: 11901: 11900: 11898: 11896: 11892: 11886: 11885: 11881: 11879: 11878: 11874: 11872: 11871: 11867: 11865: 11864: 11860: 11858: 11857: 11853: 11852: 11850: 11846: 11840: 11839: 11835: 11833: 11832: 11828: 11825: 11824: 11819: 11818: 11814: 11812: 11811: 11807: 11805: 11804: 11800: 11798: 11797: 11793: 11791: 11790: 11786: 11784: 11783: 11779: 11777: 11776: 11772: 11771: 11769: 11767: 11763: 11757: 11756: 11752: 11750: 11749: 11745: 11743: 11742: 11738: 11736: 11735: 11731: 11729: 11728: 11724: 11722: 11721: 11717: 11715: 11714: 11710: 11708: 11707: 11703: 11701: 11700: 11696: 11694: 11693: 11689: 11687: 11686: 11682: 11680: 11679: 11675: 11673: 11672: 11668: 11666: 11665: 11661: 11660: 11658: 11654: 11648: 11647: 11643: 11641: 11638: 11636: 11635: 11631: 11629: 11628: 11624: 11622: 11621: 11617: 11615: 11614: 11610: 11608: 11607: 11603: 11602: 11600: 11596: 11589: 11588: 11583: 11582: 11578: 11576: 11575: 11571: 11569: 11568: 11564: 11562: 11561: 11557: 11555: 11554: 11550: 11548: 11547: 11543: 11541: 11540: 11536: 11534: 11533: 11529: 11527: 11526: 11522: 11520: 11519: 11515: 11513: 11512: 11508: 11507: 11505: 11499: 11496: 11495: 11492: 11486: 11485: 11481: 11479: 11478: 11474: 11472: 11471: 11467: 11465: 11464: 11460: 11458: 11457: 11453: 11451: 11450: 11446: 11444: 11443: 11439: 11437: 11436: 11432: 11430: 11429: 11425: 11423: 11422: 11418: 11416: 11413: 11411: 11409: 11405: 11403: 11402: 11398: 11396: 11395: 11391: 11389: 11388: 11384: 11382: 11381: 11377: 11375: 11374: 11370: 11368: 11367: 11363: 11361: 11360: 11356: 11354: 11353: 11349: 11347: 11346: 11342: 11340: 11337: 11335: 11334: 11330: 11328: 11325: 11324: 11322: 11318: 11312: 11311: 11307: 11305: 11304: 11300: 11298: 11297: 11293: 11291: 11288: 11287: 11285: 11281: 11267: 11266: 11262: 11260: 11259: 11255: 11253: 11252: 11248: 11246: 11243: 11241: 11238: 11236: 11235: 11231: 11229: 11228: 11224: 11222: 11221: 11217: 11215: 11214: 11210: 11209: 11207: 11205: 11201: 11195: 11194: 11190: 11188: 11187:Shinto shrine 11185: 11183: 11182: 11181:Setsumatsusha 11178: 11176: 11175: 11171: 11169: 11168: 11164: 11162: 11161: 11157: 11155: 11154: 11150: 11148: 11147: 11143: 11142: 11140: 11138: 11134: 11131: 11127: 11121: 11120: 11116: 11114: 11113: 11109: 11107: 11106: 11102: 11100: 11099: 11095: 11093: 11092: 11088: 11086: 11083: 11082: 11080: 11076: 11073: 11069: 11065: 11064:Himeji Castle 11059: 11041: 11040: 11036: 11034: 11033: 11029: 11027: 11026: 11022: 11020: 11019: 11015: 11013: 11012: 11008: 11007: 11005: 11003: 10999: 10993: 10992: 10988: 10986: 10985: 10981: 10979: 10978: 10974: 10972: 10971: 10967: 10965: 10964: 10960: 10958: 10957: 10953: 10951: 10950: 10946: 10944: 10943: 10939: 10937: 10936: 10934: 10928: 10926: 10925: 10921: 10919: 10918: 10914: 10913: 10911: 10909: 10905: 10902: 10898: 10892: 10891: 10887: 10885: 10884: 10880: 10878: 10877: 10873: 10871: 10870: 10866: 10864: 10863: 10859: 10857: 10854: 10852: 10851: 10847: 10845: 10844: 10840: 10838: 10837: 10833: 10831: 10830: 10826: 10824: 10823: 10819: 10818: 10816: 10812: 10809: 10805: 10801: 10793: 10788: 10786: 10781: 10779: 10774: 10773: 10770: 10763: 10758: 10754: 10753: 10742: 10738: 10733: 10729: 10725: 10720: 10716: 10714:9780500204252 10710: 10706: 10702: 10697: 10693: 10687: 10683: 10679: 10675: 10671: 10667: 10663: 10661:2-253-13054-0 10657: 10653: 10649: 10644: 10640: 10634: 10630: 10629:Prentice Hall 10626: 10622: 10617: 10613: 10609: 10605: 10601: 10597: 10591: 10585: 10580: 10576: 10571: 10567: 10561: 10557: 10552: 10548: 10542: 10538: 10534: 10530: 10526: 10524:2-85088-010-8 10520: 10516: 10512: 10508: 10504: 10503: 10491: 10485: 10481: 10477: 10476: 10470: 10466: 10462: 10458: 10457: 10451: 10447: 10443: 10438: 10434: 10430: 10426: 10421: 10417: 10413: 10412: 10406: 10402: 10396: 10388: 10384: 10380: 10376: 10372: 10368: 10367: 10361: 10360: 10355: 10335: 10331: 10326: 10314: 10310: 10308: 10301: 10297: 10292: 10288: 10284: 10279: 10275: 10271: 10267: 10263: 10259: 10253: 10249: 10244: 10240: 10235: 10231: 10225: 10221: 10216: 10212: 10206: 10202: 10201: 10195: 10189: 10184: 10180: 10175: 10163: 10162: 10157: 10152: 10151: 10146: 10134: 10130: 10126: 10122: 10118: 10114: 10110: 10109: 10103: 10099: 10095: 10091: 10087: 10083: 10079: 10078: 10077:Artibus Asiae 10073: 10068: 10064: 10060: 10056: 10051: 10047: 10043: 10039: 10036:(in French). 10035: 10031: 10027: 10023: 10019: 10015: 10011: 10007: 10003: 9999: 9995: 9991: 9984: 9979: 9975: 9971: 9967: 9963: 9959: 9955: 9951: 9947: 9943: 9942:Art Education 9939: 9934: 9927: 9923: 9921:9784990301750 9917: 9913: 9906: 9905: 9897: 9893: 9889: 9885: 9881: 9877: 9873: 9869: 9865: 9860: 9856: 9852: 9848: 9845:(in French). 9844: 9840: 9835: 9831: 9827: 9823: 9819: 9815: 9811: 9810: 9809:Artibus Asiae 9805: 9800: 9796: 9790: 9786: 9782: 9777: 9773: 9767: 9763: 9762: 9756: 9752: 9748: 9744: 9740: 9736: 9732: 9731: 9730:Artibus Asiae 9726: 9721: 9720: 9702: 9697: 9690: 9685: 9678: 9673: 9666: 9661: 9654: 9649: 9643:, p. 13. 9642: 9637: 9630: 9629:Okudaira 1973 9625: 9618: 9617:Terukazu 1985 9613: 9611: 9602: 9596: 9592: 9591: 9583: 9576: 9571: 9563: 9557: 9553: 9552: 9544: 9537: 9536:Terukazu 1961 9532: 9525: 9520: 9514:, p. 94. 9513: 9512:Okudaira 1973 9508: 9500: 9494: 9490: 9489: 9484: 9478: 9463: 9459: 9453: 9445: 9441: 9437: 9430: 9422: 9416: 9412: 9408: 9407: 9399: 9397: 9388: 9382: 9378: 9377: 9372: 9366: 9358: 9351: 9350: 9342: 9335: 9330: 9328: 9326: 9324: 9317:, p. 47. 9316: 9311: 9304: 9303:Okudaira 1973 9299: 9297: 9289: 9284: 9282: 9274: 9269: 9262: 9257: 9250: 9245: 9238: 9237:Okudaira 1973 9233: 9226: 9225:Terukazu 1961 9221: 9219: 9210: 9208:2-87730-568-6 9204: 9200: 9197:(in French). 9196: 9195:Japon Pluriel 9192: 9185: 9169: 9163: 9156: 9155:Okudaira 1973 9151: 9149: 9141: 9136: 9130:, p. 46. 9129: 9124: 9116: 9109: 9100: 9096: 9092: 9088: 9084: 9077: 9075: 9067: 9066:Okudaira 1962 9062: 9055: 9054:Watanabe 1998 9050: 9048: 9046: 9044: 9042: 9040: 9031: 9025: 9021: 9017: 9011: 9009: 9000: 8998:2-87730-367-5 8994: 8990: 8987:(in French). 8986: 8985:Japon Pluriel 8978: 8971: 8966: 8964: 8962: 8955:, p. 15. 8954: 8949: 8942: 8937: 8931:, p. 73. 8930: 8929:Terukazu 1961 8925: 8918: 8913: 8911: 8903: 8898: 8896: 8894: 8892: 8890: 8888: 8886: 8878: 8873: 8866: 8861: 8846: 8842: 8836: 8829: 8828:Terukazu 1961 8824: 8817: 8816:Terukazu 1961 8812: 8810: 8802: 8801:Okudaira 1973 8797: 8790: 8785: 8778: 8777:Okudaira 1973 8773: 8766: 8761: 8759: 8751: 8750:Okudaira 1973 8746: 8744: 8736: 8731: 8724: 8719: 8717: 8709: 8704: 8702: 8693: 8687: 8683: 8676: 8669: 8662: 8657: 8655: 8647: 8642: 8635: 8630: 8628: 8626: 8618: 8613: 8611: 8602: 8598: 8594: 8590: 8586: 8582: 8575: 8568: 8563: 8548: 8545:(in French). 8544: 8540: 8534: 8526: 8522: 8518: 8512: 8496: 8490: 8483: 8478: 8476: 8468: 8463: 8461: 8459: 8451: 8446: 8438: 8432: 8428: 8427: 8419: 8411: 8405: 8401: 8400: 8392: 8386:, p. 12. 8385: 8380: 8378: 8376: 8374: 8365: 8361: 8354: 8347: 8342: 8335: 8330: 8322: 8318: 8314: 8310: 8306: 8302: 8298: 8291: 8289: 8287: 8278: 8274: 8270: 8266: 8265: 8260: 8253: 8251: 8249: 8241: 8236: 8229: 8224: 8222: 8220: 8212: 8211:Terukazu 1961 8207: 8200: 8195: 8193: 8191: 8183: 8182:Okudaira 1973 8178: 8171: 8166: 8158: 8154: 8150: 8146: 8142: 8138: 8137: 8132: 8125: 8117: 8111: 8107: 8100: 8093: 8088: 8081: 8076: 8069: 8064: 8057: 8052: 8050: 8033: 8027: 8021:, p. 16. 8020: 8015: 8008: 8003: 8001: 7999: 7991: 7990:Terukazu 1961 7986: 7984: 7976: 7971: 7969: 7961: 7960:Okudaira 1973 7956: 7949: 7944: 7937: 7932: 7930: 7928: 7920: 7915: 7913: 7905: 7900: 7893: 7892:Okudaira 1962 7888: 7882:, p. 32. 7881: 7880:Okudaira 1973 7876: 7860: 7856: 7855: 7847: 7845: 7837: 7832: 7825: 7820: 7818: 7810: 7805: 7798: 7793: 7787:, p. 11. 7786: 7781: 7779: 7777: 7775: 7767: 7762: 7756:, p. 29. 7755: 7754:Okudaira 1973 7750: 7748: 7740: 7735: 7728: 7723: 7721: 7713: 7708: 7706: 7698: 7693: 7687:, p. 53. 7686: 7685:Okudaira 1973 7681: 7679: 7670: 7666: 7662: 7658: 7651: 7644: 7639: 7637: 7629: 7628:Terukazu 1985 7624: 7622: 7614: 7609: 7603:, p. 84. 7602: 7597: 7595: 7588:, p. 68. 7587: 7582: 7575: 7570: 7563: 7558: 7551: 7546: 7544: 7542: 7540: 7538: 7530: 7529:Okudaira 1973 7525: 7519:, p. 94. 7518: 7513: 7505: 7501: 7497: 7493: 7489: 7485: 7484: 7483:Artibus Asiae 7479: 7475: 7469: 7462: 7461:Terukazu 1961 7457: 7455: 7447: 7446:Terukazu 1961 7442: 7440: 7438: 7429: 7425: 7421: 7417: 7413: 7409: 7405: 7398: 7396: 7388: 7387:Terukazu 1961 7383: 7375: 7374: 7367: 7360: 7355: 7347: 7341: 7337: 7333: 7332: 7324: 7317: 7312: 7304: 7300: 7296: 7292: 7288: 7281: 7273: 7267: 7263: 7259: 7253: 7247:, p. 67. 7246: 7241: 7233: 7227: 7223: 7222: 7217: 7211: 7204: 7199: 7192: 7187: 7185: 7177: 7172: 7170: 7162: 7157: 7150: 7145: 7138: 7137:Okudaira 1973 7133: 7131: 7123: 7118: 7116: 7108: 7103: 7101: 7099: 7083: 7079: 7073: 7069: 7055: 7048: 7045: 7042: 7039: 7036: 7033: 7030: 7027: 7024: 7021: 7019:Work, trades; 7018: 7015: 7012: 7009: 7006: 7005: 7001: 6995: 6990: 6985: 6979: 6975: 6960: 6957: 6954: 6953: 6948: 6946: 6943: 6940: 6939: 6934: 6931: 6930: 6925: 6923: 6920: 6919: 6913: 6910: 6904: 6898: 6893: 6892: 6886: 6881: 6880: 6870: 6865: 6858: 6852: 6850: 6846: 6841: 6836: 6835: 6825: 6820: 6813: 6807: 6805: 6801: 6800:wash painting 6796: 6790: 6785: 6779: 6773: 6771: 6763: 6758: 6754: 6748: 6744: 6739: 6735: 6730: 6729: 6719: 6714: 6707: 6701: 6698: 6697: 6690: 6685: 6680: 6676: 6672: 6667: 6666: 6656: 6651: 6644: 6638: 6635: 6634: 6627: 6621: 6615: 6610: 6605: 6604: 6594: 6589: 6582: 6576: 6573: 6567: 6566: 6559: 6558: 6551: 6545: 6539: 6538: 6532: 6531: 6525: 6524: 6514: 6509: 6502: 6496: 6493: 6477: 6476: 6470: 6466: 6459: 6454: 6449: 6448: 6442: 6435: 6430: 6425: 6424: 6418: 6411: 6406: 6403: 6402: 6401: 6399: 6395: 6391: 6386: 6379: 6374: 6372: 6367: 6366: 6360: 6355: 6348: 6343: 6338: 6337: 6331: 6326: 6325: 6318: 6317: 6310: 6304: 6302: 6297: 6294: 6289: 6281: 6278: 6273: 6266: 6260: 6249: 6246: 6240: 6230: 6229: 6222: 6221: 6215: 6210: 6206: 6203: 6197: 6196: 6190: 6185: 6184: 6177: 6176: 6168: 6162: 6159: 6153: 6147: 6146: 6139: 6134: 6131: 6126: 6122: 6118: 6113: 6103: 6100: 6095: 6089: 6084: 6070: 6067: 6066: 6059: 6053: 6047: 6041: 6036: 6035: 6034:mono no aware 6028: 6022: 6019: 6013: 6007: 6001: 5995: 5989: 5983: 5977: 5966: 5963: 5956: 5950: 5944: 5941: 5940: 5933: 5927: 5921: 5916: 5911: 5908: 5903: 5898: 5892: 5887: 5883: 5882: 5876: 5867: 5866: 5859: 5851: 5850: 5843: 5829: 5828: 5821: 5814: 5809: 5804: 5803: 5796: 5789: 5784: 5779: 5776: 5771: 5764: 5756: 5751: 5748: 5747: 5746: 5743: 5742: 5735: 5734: 5727: 5726: 5720: 5715: 5714: 5707: 5701: 5695: 5689: 5687: 5682: 5681: 5675: 5671: 5666: 5665: 5658: 5651: 5648: 5647: 5641: 5637: 5632: 5631: 5625: 5620: 5614: 5608: 5592: 5591: 5582: 5577: 5572: 5569: 5564: 5557: 5552: 5545: 5540: 5535: 5534: 5527: 5519: 5514: 5511:, 8th century 5510: 5507: 5502: 5494: 5489: 5484: 5483: 5474: 5469: 5464: 5463: 5454: 5449: 5446: 5445: 5444: 5441: 5440: 5434: 5429: 5428: 5420: 5414: 5411: 5405: 5398: 5392: 5390: 5385: 5379: 5378: 5367: 5366: 5359: 5352: 5348: 5345: 5340: 5334: 5328: 5322: 5316: 5313: 5312: 5305: 5302: 5297: 5290: 5289: 5282: 5281: 5275: 5270: 5265: 5262: 5261: 5254: 5248: 5246: 5242: 5237: 5230: 5224: 5218: 5202: 5201: 5192: 5187: 5182: 5181: 5172: 5167: 5163: 5162: 5154: 5149: 5146: 5145: 5139: 5138: 5129: 5124: 5119: 5116: 5111: 5102: 5097: 5094:, 8th century 5092: 5089: 5084: 5075: 5070: 5067:, 8th century 5066: 5063: 5058: 5050: 5045: 5042: 5041: 5040: 5036: 5033: 5022: 5019: 5014: 5007: 5004: 4999: 4992: 4989: 4984: 4978: 4974: 4973: 4966: 4965: 4958: 4957:renzoku-shiki 4952: 4947: 4943: 4937: 4936:danraku-shiki 4932: 4931: 4930: 4927: 4907: 4902: 4894: 4889: 4884: 4881: 4876: 4870: 4867:Landscape in 4863: 4858: 4853: 4850: 4845: 4838: 4830: 4825: 4820: 4817: 4812: 4803: 4798: 4793: 4792: 4783: 4778: 4775: 4773: 4766: 4765: 4764: 4761: 4755: 4754: 4747: 4741: 4738: 4732: 4726: 4720: 4714: 4711: 4706: 4699: 4693: 4687: 4685: 4680: 4679: 4672: 4666: 4660: 4644: 4642: 4635: 4627: 4622: 4617: 4616: 4607: 4602: 4597: 4596: 4590: 4583: 4578: 4573: 4568: 4564: 4557: 4552: 4549: 4547: 4543:Court style: 4539: 4535: 4534: 4533: 4530: 4524: 4521: 4516: 4511: 4480: 4477: 4472: 4465: 4455: 4439: 4438: 4429: 4424: 4419: 4416: 4411: 4402: 4397: 4392: 4391: 4384: 4383: 4377: 4373: 4366: 4361: 4358: 4357: 4356: 4353: 4352: 4345: 4344: 4338: 4333: 4327: 4311: 4310: 4303: 4297: 4290: 4285: 4280: 4279: 4273: 4268: 4260: 4255: 4250: 4249: 4240: 4235: 4230: 4229: 4222: 4221: 4215: 4212:Landscape of 4208: 4203: 4198: 4197: 4188: 4183: 4180: 4179: 4178: 4175: 4174: 4167: 4161: 4155: 4150: 4145: 4144: 4137: 4131: 4125: 4124: 4116: 4111: 4105: 4100: 4095: 4094: 4087: 4081: 4078: 4072: 4067: 4063: 4058: 4057: 4050: 4047: 4046: 4039: 4038: 4031: 4025: 4024: 4017: 4011: 4005: 4000: 3985: 3984: 3978: 3971: 3966: 3961: 3958: 3953: 3944: 3939: 3934: 3933: 3924: 3919: 3914: 3913: 3904: 3899: 3894: 3893: 3884: 3879: 3875: 3871: 3870: 3869: 3865: 3864: 3857: 3851: 3848: 3847: 3840: 3835: 3830: 3824: 3818: 3815: 3809: 3808: 3801: 3800: 3793: 3787: 3778: 3766: 3760: 3759: 3750: 3745: 3740: 3737: 3732: 3725: 3718: 3713: 3708: 3707: 3700: 3693: 3688: 3683: 3682: 3675: 3669: 3666: 3661: 3653: 3648: 3644: 3640: 3639: 3638: 3635: 3628: 3627: 3621: 3616: 3610: 3607: 3600: 3594: 3588: 3585: 3580: 3573: 3572:mono no aware 3567: 3566: 3558: 3550: 3546:Court style: 3543: 3540: 3534: 3528: 3522: 3516: 3510: 3504: 3498: 3492: 3482: 3470: 3467: 3461: 3458: 3452: 3448: 3443: 3437: 3431: 3427: 3421: 3420: 3414: 3410: 3405: 3399: 3393: 3387: 3385: 3378: 3371: 3356: 3351: 3335: 3317: 3301: 3287: 3280: 3274: 3268: 3267: 3260: 3254: 3252: 3246: 3240: 3237: 3232: 3228: 3224: 3220: 3215: 3212: 3211: 3205: 3201: 3196: 3187: 3183:Format of an 3181: 3172: 3170: 3166: 3162: 3157: 3151: 3150: 3144: 3139: 3133: 3128: 3123: 3117: 3112: 3107: 3101: 3093: 3079: 3075: 3070: 3066: 3062: 3058: 3051: 3050: 3035: 3034: 3028: 3027:Fujiwara clan 3024: 3019: 3016: 3015: 3004: 2990: 2984: 2983: 2975: 2970: 2965: 2962: 2957: 2950: 2949: 2941: 2936: 2931: 2924: 2919: 2914: 2904: 2901: 2896: 2889: 2885: 2882: 2879: 2874: 2867: 2861: 2860: 2853: 2852: 2846: 2842: 2841:Minamoto clan 2837: 2831: 2830: 2823: 2822: 2815: 2805: 2804: 2789: 2783: 2779: 2773: 2772: 2764: 2758: 2755: 2750: 2745: 2739: 2729: 2715: 2710: 2705: 2702: 2696: 2691: 2686: 2685: 2678: 2672: 2668: 2662: 2656: 2645: 2636: 2632: 2627: 2626: 2620: 2611: 2606: 2598: 2591: 2586: 2582: 2577: 2573: 2567: 2561: 2556: 2552: 2547: 2546: 2541: 2540: 2534: 2521: 2517: 2513: 2508: 2505: 2501: 2496: 2492: 2487: 2483: 2478: 2474: 2468: 2463: 2462: 2457: 2454: 2449: 2443: 2434: 2431: 2425: 2420: 2415: 2412: 2407: 2400: 2399: 2392: 2389: 2382: 2377: 2373: 2370: 2365: 2359: 2352:, 8th century 2351: 2348: 2343: 2338: 2334: 2331: 2315: 2312: 2311: 2304: 2299: 2295: 2291: 2287: 2283: 2279: 2274: 2271: 2265: 2259: 2253: 2247: 2244: 2239: 2232: 2231: 2224: 2218: 2213: 2208: 2207: 2200: 2194: 2184: 2181: 2176: 2169: 2163: 2159: 2156: 2150: 2144: 2139: 2134: 2128: 2122: 2121: 2114: 2113: 2106: 2097: 2092: 2089: 2084: 2078: 2074: 2071: 2069: 2062: 2061: 2054: 2048: 2047: 2040: 2037: 2032: 2025: 2022: 2017: 2010: 2007: 2002: 1995: 1989: 1983: 1978: 1973: 1971: 1967: 1966:Tenshō Shūbun 1963: 1958: 1952: 1947: 1943: 1939: 1934: 1931: 1926: 1919: 1918: 1911: 1905: 1902: 1897: 1889: 1883: 1874: 1869: 1866: 1861: 1855: 1848: 1841: 1838: 1837: 1830: 1827: 1822: 1815: 1813: 1806: 1801: 1800: 1795: 1790: 1789: 1782: 1780: 1775: 1772: 1767: 1760: 1759: 1753: 1749: 1745: 1736: 1735: 1727: 1723: 1718: 1713: 1709: 1706: 1703: 1698: 1691: 1690: 1684: 1678: 1673: 1667: 1662: 1658: 1653: 1646: 1640: 1639: 1632: 1626: 1625: 1612: 1602: 1601: 1594: 1590: 1587: 1582: 1577: 1572: 1568: 1564: 1559: 1557: 1552: 1551: 1544: 1543: 1536: 1530: 1529: 1523: 1518: 1517: 1510: 1505: 1504: 1497: 1494: 1489: 1482: 1476: 1475: 1467: 1466: 1459: 1454: 1445: 1444: 1438: 1434: 1429: 1425: 1423: 1419: 1414: 1413: 1407: 1402: 1401: 1394: 1393: 1386: 1380: 1374: 1373: 1366: 1365: 1358: 1352: 1349: 1344: 1335: 1334: 1328: 1323: 1316: 1309: 1306: 1299: 1293: 1290: 1284: 1281: 1276: 1270: 1269: 1263: 1256: 1251: 1247: 1243: 1239: 1235: 1226: 1225: 1218: 1214: 1212: 1207: 1201: 1196: 1191: 1190: 1184: 1179: 1178: 1167: 1166: 1159: 1155: 1152: 1149: 1148: 1137: 1136: 1129: 1125: 1122: 1116: 1110: 1104: 1101: 1095: 1094: 1087: 1081: 1080: 1073: 1067: 1061: 1058: 1052: 1047: 1042: 1037: 1032: 1031: 1020: 1019: 1012: 1011: 1004: 1000: 997: 991: 985: 979: 968: 965: 959: 953: 947: 941: 938: 937: 930: 924: 918: 912: 902: 899: 894: 887: 886: 880: 879:Hungry ghosts 876: 872: 869: 864: 860: 853: 838: 835: 832: 827: 820: 819: 813: 809: 805: 800: 794: 789: 785: 781: 776: 775: 764: 763: 756: 752: 750: 746: 745: 744:Tale of Genji 739: 733: 727: 726: 720: 716: 712: 708: 703: 702: 701:mono no aware 696: 692: 683: 682: 675: 661: 658: 652: 651:Six Dynasties 648: 644: 641: 636: 630: 625: 621: 617: 613: 609: 602:, 8th century 601: 598: 593: 588: 584: 582: 578: 574: 569: 565: 561: 557: 553: 548: 545: 526: 521: 520: 513: 505: 500: 499: 498: 495: 489: 488: 481: 475: 469: 463: 457: 454: 451: 446: 439: 433: 427: 421: 417: 411: 399: 384: 378:, "painting") 369: 365: 360: 354: 348: 337: 328: 323: 319: 314: 305: 301: 296: 287: 282: 277: 269: 267: 261: 255: 252: 246: 240: 234: 229: 227: 222: 216: 209: 203: 198: 193: 187: 181: 178: 177: 170: 165: 160: 154: 151: 146: 142: 138: 135:(710–794 CE) 134: 130: 116: 115: 114: 104: 75: 74: 73: 66: 58: 52: 44: 38: 37: 30: 24: 19: 12172:Illustration 12157:Buddhist art 12028: 12021: 12014: 12007: 12000: 11983: 11930: 11923: 11916: 11909: 11902: 11895:Measurements 11882: 11875: 11868: 11861: 11854: 11836: 11829: 11821: 11815: 11808: 11801: 11794: 11787: 11780: 11773: 11753: 11746: 11739: 11732: 11725: 11718: 11711: 11704: 11697: 11690: 11683: 11677: 11676: 11669: 11662: 11644: 11632: 11625: 11618: 11611: 11604: 11585: 11579: 11572: 11565: 11558: 11551: 11544: 11537: 11530: 11523: 11516: 11509: 11482: 11475: 11468: 11461: 11454: 11447: 11440: 11433: 11426: 11419: 11407: 11399: 11392: 11385: 11378: 11371: 11364: 11357: 11350: 11343: 11331: 11308: 11301: 11294: 11263: 11256: 11249: 11232: 11225: 11218: 11211: 11191: 11179: 11172: 11165: 11158: 11151: 11144: 11117: 11110: 11103: 11096: 11089: 11037: 11030: 11023: 11016: 11009: 10989: 10982: 10975: 10968: 10961: 10954: 10947: 10940: 10932: 10929: 10922: 10915: 10888: 10881: 10874: 10867: 10860: 10848: 10841: 10834: 10827: 10820: 10798:Elements of 10741:Albert Skira 10736: 10728:Albin Michel 10723: 10701:Japanese Art 10700: 10678:Japanese Art 10677: 10673: 10647: 10620: 10607: 10574: 10555: 10536: 10514: 10474: 10460: 10455: 10441: 10424: 10410: 10365: 10338:. Retrieved 10333: 10317:. Retrieved 10312: 10306: 10295: 10286: 10282: 10273: 10269: 10247: 10238: 10219: 10199: 10178: 10166:. Retrieved 10159: 10112: 10106: 10081: 10075: 10058: 10054: 10037: 10033: 10017: 10013: 9993: 9990:Eras Journal 9989: 9945: 9941: 9926:the original 9903: 9871: 9867: 9846: 9842: 9813: 9807: 9784: 9760: 9734: 9728: 9711:Bibliography 9696: 9684: 9677:Kaufman 1983 9672: 9660: 9648: 9636: 9624: 9589: 9582: 9570: 9550: 9543: 9531: 9519: 9507: 9487: 9477: 9467:10 September 9465:. Retrieved 9452: 9443: 9439: 9429: 9405: 9375: 9365: 9348: 9341: 9310: 9268: 9256: 9249:Shirane 2008 9244: 9232: 9198: 9194: 9190: 9184: 9172:. Retrieved 9162: 9135: 9123: 9114: 9108: 9090: 9086: 9061: 9019: 9016:Chino, Kaori 8988: 8984: 8977: 8948: 8936: 8924: 8872: 8860: 8848:. Retrieved 8835: 8823: 8796: 8784: 8772: 8737:, Chapter 4. 8730: 8681: 8674: 8668: 8641: 8588: 8584: 8574: 8562: 8550:. Retrieved 8533: 8524: 8520: 8511: 8499:. Retrieved 8489: 8445: 8425: 8418: 8398: 8391: 8363: 8359: 8353: 8341: 8329: 8304: 8300: 8268: 8262: 8235: 8206: 8199:Shimizu 2001 8177: 8165: 8140: 8134: 8124: 8105: 8099: 8087: 8080:Shimizu 2001 8075: 8068:Akiyama 1971 8063: 8056:Shimizu 2001 8036:. Retrieved 8026: 8014: 7975:Shimizu 2001 7955: 7943: 7936:Sumpter 2009 7899: 7887: 7875: 7863:. Retrieved 7861:. p. 14 7853: 7836:Shimizu 2001 7831: 7804: 7792: 7761: 7734: 7692: 7656: 7650: 7608: 7581: 7569: 7557: 7550:Shimizu 2001 7524: 7512: 7487: 7481: 7468: 7411: 7407: 7382: 7371: 7366: 7354: 7330: 7323: 7311: 7294: 7290: 7280: 7261: 7252: 7240: 7220: 7210: 7203:Shimizu 2001 7198: 7178:, p. 4. 7156: 7144: 7124:, p. 6. 7085:. Retrieved 7082:楽しい Japanese 7081: 7072: 7000: 6978: 6952:Wayang beber 6874: 6829: 6804:Song dynasty 6723: 6660: 6598: 6528: 6518: 6488: 6396:or even the 6375: 6305: 6255: 6235: 6163: 6135: 6115:through the 6108: 6023: 5972: 5945: 5935:), like the 5912: 5872: 5690: 5652: 5603: 5499: 5415: 5393: 5372: 5317: 5266: 5249: 5213: 5159: 5055: 5037: 5027: 4922: 4905: 4742: 4688: 4655: 4637:technique), 4525: 4461:The classic 4460: 4337:Song dynasty 4322: 4082: 4064:and his son 4051: 3996: 3852: 3833: 3820:If the term 3819: 3782: 3611: 3554: 3487: 3462: 3447:Heian period 3432: 3373: 3255: 3241: 3229:for yellow, 3216: 3191: 3080: 3069:Song dynasty 3020: 2909: 2784: 2759: 2744:jiin edokoro 2706: 2689: 2673: 2651: 2596: 2459:, Edo period 2393: 2376:Tang dynasty 2362: 2355: 2340: 2326: 2275: 2189: 2101: 2027:(1497), the 1974: 1878: 1797: 1796:, author of 1783: 1752:Tang dynasty 1744:Song dynasty 1741: 1607: 1581:Amida Buddha 1560: 1450: 1353: 1340: 1294: 1266: 1231: 1172: 1153: 1142: 1105: 1062: 1054:subgenre of 1036:Hikaru Genji 1025: 974: 942: 907: 861:Hall at the 839: 769: 742: 711:Kofun period 707:Tang dynasty 691:Heian period 688: 633: 624:Tang dynasty 605: 590: 581:Song dynasty 564:Zhou dynasty 549: 541: 458: 422: 412: 343: 256: 230: 182: 155: 112: 111: 71: 70: 64: 63: 18: 11656:Furnishings 11283:Roof styles 10582: [ 10395:cite thesis 10186: [ 9665:Murase 1996 9653:Tomita 1925 9641:Grilli 1962 8970:Grilli 1962 8953:Grilli 1962 8877:Murase 1996 8865:Ienaga 1973 8708:Ienaga 1973 8661:Illouz 1985 8646:Illouz 1985 8617:Illouz 1985 8567:Illouz 1985 8450:Ienaga 1973 8384:Grilli 1962 8366:(3): 32–33. 8307:(1): 1–20. 8170:Murase 1996 8032:"Nise-e 似絵" 8007:Murase 1996 7904:Ienaga 1973 7865:11 December 7785:Grilli 1962 7739:Murase 1996 7727:Ienaga 1973 7613:Ienaga 1973 7517:Ienaga 1973 7359:Murase 1996 7316:Murase 1996 7245:Murase 1996 7176:Grilli 1962 7161:Ienaga 1973 7122:Grilli 1962 7087:11 December 6922:Cantastoria 6760: [ 6741: [ 6623:. So, this 6575:technique. 6467:during the 6345: [ 6291: [ 6275: [ 6097: [ 5837:Calligraphy 5773: [ 5566: [ 5504: [ 5299: [ 5161:Hell Scroll 5113: [ 5086: [ 5060: [ 5016: [ 5001: [ 4986: [ 4878: [ 4847: [ 4814: [ 4708: [ 4474: [ 4413: [ 4113: [ 4102: [ 3997:During the 3955: [ 3734: [ 3663: [ 3582: [ 3409:Nara period 3161:Kanō Tan'yū 3143:Kanō school 3111:Tosa school 2972: [ 2959: [ 2938: [ 2927:signed the 2921: [ 2898: [ 2876: [ 2847:), and the 2712: [ 2520:Otogi-zōshi 2497:Scrolls on 2451: [ 2409: [ 2367: [ 2345: [ 2290:Kanō Tan'yū 2286:Kanō school 2252:otogi-zōshi 2241: [ 2223:Sazare-ichi 2193:otogi-zōshi 2178: [ 2112:Otogi-zōshi 2096:Tani Bunchō 2086: [ 2034: [ 2019: [ 2004: [ 1977:Tosa school 1970:Sesshū Tōyō 1928: [ 1899: [ 1863: [ 1847:otogi-zōshi 1824: [ 1769: [ 1720: [ 1700: [ 1675: [ 1664: [ 1491: [ 1278: [ 1268:Hell Scroll 1253: [ 1173:First, the 1026:First, the 896: [ 829: [ 638: [ 620:Nara period 595: [ 560:Han dynasty 468:kotoba-gaki 448: [ 164:calligraphy 133:Nara-period 129:handscrolls 12187:Monogatari 12146:Categories 12124:Literature 12054:Residences 11995:rock (Zen) 11766:Partitions 11500:Approaches 11011:Daibutsuyō 10949:Ishi-no-ma 10682:Flammarion 10444:(Thesis). 10427:(Thesis). 10414:(Thesis). 10369:(M Phil). 10340:9 December 10319:9 December 10168:9 December 9849:: 91–109. 9771:0889201420 9261:Swann 1967 9174:15 January 8850:16 January 8552:10 January 8501:10 January 8038:8 November 7948:Swann 1967 7824:Swann 1967 7697:Swann 1967 7271:0394585275 7191:Swann 1967 7022:Transport; 7007:Dwellings; 6965:References 6929:Kamishibai 6784:Kamo River 6751:school of 6394:Genpei War 6330:Tang China 5770:Gaki Zōshi 5697:is called 5660:). In the 5551:Taima-dera 5292:). In the 4214:Mount Kōya 3727:painting, 3634:monogatari 3221:for blue, 2845:Genpei War 2695:monogatari 2467:monogatari 2298:Sekigahara 2282:Yosa Buson 2149:nara-emaki 1957:suiboku-ga 1750:) and the 1275:Gaki Zōshi 1246:six realms 1242:Genpei War 893:Gaki Zōshi 732:monogatari 715:literature 695:Genpei War 408:, "thing") 353:e-makimono 228:Buddhism. 103:emaki-mono 12152:Emakimono 12023:Wabi-sabi 11870:Ishigantō 11678:Emakimono 11613:Daidokoro 11606:Chashitsu 11587:Mihashira 11421:Onigawara 11401:Nakazonae 11240:Main Hall 11227:Hōkyōintō 11129:Religious 11091:Chashitsu 11062:Model of 11018:Ōbaku Zen 10984:Sumiyoshi 10931:Hiyoshi ( 10900:Religious 10762:Emakimono 10309:Painting" 10287:Emakimono 10145:emakimono 10119:: 59–84. 10002:1445-5218 9974:158869725 9952:: 25–32. 9878:: 71–81. 8495:"edokoro" 8271:: 71–81. 7669:768947820 7151:, vol. 1. 7064:Citations 7037:Children; 6989:nara-ehon 6909:emakimono 6789:emakimono 6778:emakimono 6689:emakimono 6626:emakimono 6572:tsukuri-e 6544:emakimono 6492:emakimono 6385:emakimono 6378:Emakimono 6354:Emakimono 6309:emakimono 6301:Pure Land 6265:emakimono 6259:emakimono 6245:emakimono 6239:emakimono 6167:emakimono 6130:Emakimono 6125:Muromachi 6112:emakimono 6058:emakimono 6046:emakimono 6018:emakimono 6000:izi-dō-zu 5988:emakimono 5982:emakimono 5976:emakimono 5962:emakimono 5949:emakimono 5920:emakimono 5915:East Asia 5897:emakimono 5886:syllabary 5820:Iji-dō-zu 5795:Iji-dō-zu 5737:. In the 5706:Iji-dō-zu 5700:iji-dō-zu 5694:emakimono 5607:emakimono 5419:emakimono 5321:emakimono 5253:emakimono 5236:emakimono 5229:emakimono 5217:emakimono 4926:emakimono 4837:tsukuri-e 4746:emakimono 4737:emakimono 4698:emakimono 4692:tsukuri-e 4684:Toba Sōjō 4659:emakimono 4634:Tsukuri-e 4538:Tsukuri-e 4529:tsukuri-e 4471:tsukuri-e 4464:emakimono 4457:technique 4454:Tsukuri-e 4332:emakimono 4220:shan shui 4154:emakimono 4071:emakimono 4030:emakimono 3877:paintings 3814:tsukuri-e 3724:Tsukiri-e 3699:Tsukiri-e 3660:Tsukuri-e 3646:paintings 3593:emakimono 3579:tsukuri-e 3497:emakimono 3466:emakimono 3457:emakimono 3442:emakimono 3377:emakimono 3286:emakimono 3279:emakimono 3259:Emakimono 3245:emakimono 3236:iwa-enogu 3231:malachite 3225:for red, 3223:vermilion 3195:emakimono 3186:emakimono 3122:emakimono 2989:emakimono 2913:emakimono 2866:emakimono 2788:emakimono 2778:emakimono 2763:emakimono 2754:emakimono 2749:colophons 2677:emakimono 2667:tsukuri-e 2661:emakimono 2655:emakimono 2566:kōsōden-e 2430:emakimono 2424:emakimono 2388:emakimono 2381:emakimono 2358:Emakimono 2330:emakimono 2270:emakimono 2258:nara-ehon 2155:emakimono 2133:nara-ehon 2127:emakimono 2105:emakimono 1988:emakimono 1910:emakimono 1888:emakimono 1882:emakimono 1805:tsukuri-e 1758:shan shui 1746:(via the 1652:emakimono 1645:emakimono 1631:emakimono 1611:emakimono 1586:emakimono 1546:, or the 1535:emakimono 1481:emakimono 1458:emakimono 1453:sculpture 1357:emakimono 1348:emakimono 1315:emakimono 1305:emakimono 1298:emakimono 1250:destinies 1115:emakimono 1072:emakimono 1041:tsukuri-e 978:emakimono 958:emakimono 946:emakimono 929:emakimono 923:emakimono 917:emakimono 719:syllabary 657:emakimono 629:emakimono 618:. 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