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Extra info for Art and Palace Politics in Early Modern Japan, 1580s-1680s (Japanese Visual Culture)
Most evident, perhaps, is an odd transition in scale from foreground to distance. The two spatial zones, separated by bands of gold mist, meet near the center of the composition. Here, ﬁgures at the head of the emperor’s procession pass through the gateway and over the bridge to Jurakutei. These are markedly smaller than the ﬁgures just behind them but not yet through the gate, creating a jarring transition. Notwithstanding, the event portrayed in the screens of the Imperial Excursion to Jurakutei expresses the wealth and power of the Toyotomi, and thus the screens were overall useful as political tools.
Each panel 184 x 98 cm. Ohiru-no-ma, Chief Abbot’s Quarters, Nanzenji, Kyoto. Important Cultural Property. indd 49 12-07-11 14:17 art and palace politics 12 Kano painter. Chinese Court Ladies and Children. Ca. 1601. Originally from the palace of Shinjōtōmon’in. Detail of one sliding-door panel from a set; ink, colors, and gold on paper. Now in the Narutaki-no-ma in the Chief Abbot’s Quarters of Nanzenji, Kyoto. Important Cultural Property. indd 50 12-07-11 14:17 hideyoshi restores glory to the palace (J: Ōshikyō), who supposedly left the world and ascended into the heavens on the back of a white crane.
About 1601 it was remade into the residence of GoYōzei’s mother, Shinjōtōmon’in. 103 The ﬁrst segment preserved in the Nanzenji Chief Abbot’s Quarters is installed in the Ohiru-no-ma— Twenty-four Paragons of Filial Piety While none of the Kano paintings created for GoYōzei’s dairi are known with certainty to survive, there do still exist two segments of panel painting that originally stood within the contemporary dairi compound. These were apparently created by Kano artists around the time of Go-Yōzei’s palace construction and sized to ﬁll speciﬁc spaces within their respective complexes.