February 2023 – amelia’s narratives

show and tell 2

For my show and tell assignment, I decided to create an art piece from the week’s readings. This is my depiction of how the story of Aoi and Lady Rokujō’s Spirit in the Tale of Genji looks like in my head. I incorporated clouds like how most traditional Japanese art pieces look of the Tale of Genji, where they would separate scenes or stories with the clouds. I chose to separate the three different figures from this story: Aoi, Genji, and Lady Rokujō’s spirit. The spirit is in the top left of my drawing, Genji is looking in through the curtain at the bottom, and Aoi (as i interpreted) is being possessed by the spirit. In this story, there are themes of jealousy and its destructive power, as a lover of Genji becomes so in love with him, that it manifested into a spirit full of wrath. The chapter introduces Lady Rokujō, Genji’s mistress, who becomes increasingly jealous of his wife Aoi, particularly after discovering that she is pregnant with Genji’s child. Lady Rokujō’s jealousy turns into an obsession, and she begins to experience supernatural phenomena, such as strange illnesses and ghostly apparitions. Lady Rokujō’s was jealous and becomes fixated on Aoi and sees her as a rival for Genji’s love and attention. The ‘supernatural’ events that occur throughout the chapter serve to heighten the drama and create an eerie and unsettling atmosphere, which i wanted to portray in this drawing. I chose to draw the clouds, referencing the japanese art style of clouds, or ‘Kumo’. The Japanese were influenced by China and their way of portraying the color and shape of the clouds. In ancient China, it was believed that clouds correlated with gods or spirits and a source of all universal things. Japan started to create various designs of clouds, which was directed by how the Chinese drew them. Clouds affect weather with movement, so I wanted to show this type of particular movement, like in traditional japanese art pieces. I reflected the japanese “yamato-e” style, like used in the Take of Genji, with outlines and think opaque colors: the pink (which is a shade of red that represents luck, like clouds). I have detailed line work with this drawing, like during the Heian period and used the clouds as a transition for the different characters I drew; the clouds I lined in yellow, as most japanese art pieces have clouds painted in a shade of yellow. I wanted to emphasize my art piece with bright color choices and having the spirit and Aoi with a shade of purple to draw the viewers attention to them, as they are the overall feature of the story, along with the white line work, truly representing the depiction of the spirit and possession.

Helen Craig McCullough, translator. Genji & Heike: Selections from The Tale of Genji and The Tale of Heike, Stanford: Stanford University Press, 1994.

For the design of the I referenced these art pieces: Heartvine ‘Aoi’ and The Tale of Genji and Murasaki Shikibu .

Anon, Kumo (Clouds) Project Japan 2014, https://project-japan.jp/kumo-clouds/

Jaanus yamato-e やまと絵, www.aisf.or.jp, https://www.aisf.or.jp/~jaanus/deta/y/yamatoe.htm

week 6

During the Heian period, Murasaki Shikibu, wrote the Tale of Genji. In this traditional Japanese novel, the author explains her views with fiction romance literature. The type of story like the tale of Genji helped the readers of its time to get a sense of what honest love is with both good and bad parts of it. Writing like this keeps the reader engaged and invested in the story as a whole, not even just the romantic parts; it corresponds to Buddhahood and earthly lust (bodai and bonnō), as stated in “Murasaki Shikibu: On the Art of Fiction”, which connects to the buddhist beliefs on enlightenment (bonnō soku bodai).
Genji is the son of the emperor and considered very intelligent and talented, making him very popular. In “Kritsubo”, Genji is visited by a woman who has fallen in love with him, but whom he does not reciprocate her feelings. In order to discourage her, he shows her a broom tree outside his window and tells her that he is like the tree (i guess implying that he is dry and dying which is so dramatic). The woman leaves after saying a random poem expressing her sadness. In “Aoi”, which tells the story of the battle of the carriages, Genji’s wife, Lady Aoi, is possessed by a bad spirit that causes her to become ill, while she is currently pregnant. I don’t really know what was going on in this story all that much, but men on horseback were making a ruckus and this spirit also was there. In “Lady Rokujo’s spirit”, Lady Rokujo is one of Genji’s former lovers, who has been consumed by jealousy and cold bitterness oooo and haunts Genji’s wife while she is trying to give birth. I think she then gets possessed by this spirit and it says a depressing poem and leaves again. The baby is born safely and they all say vows, hoping for the good omen of this baby’s birth to stay.
The Tale of Genji is a great traditional Japanese fiction novel, with themes of love, jealousy, and power. The characters with complex relationships, and intricate plots have influenced generations of writers and continue to engage readers around the world.

Heartvine (Aoi) chapter from The Tale of Genji (Genji monogatari) - handscroll, Japan, detail (MET, 2015.300.29) — source

“Murasaki Shikibu: On the Art of Fiction.” In Sources of Japanese Tradition, Volume One: From Earliest Times to 1600. 2nd edition, edited by Ryūsaku Tsunoda, Wm. Theodore De Bary, and Donald Keene, 201-202. New York: Columbia University Press, 2002.

Helen Craig McCullough, translator. Genji & Heike: Selections from The Tale of Genji and The Tale of Heike, Stanford: Stanford University Press, 1994.

week 5

While reading about the Kokinshū japanese poems, I found the comparison between this and haikus interesting, which is another form of japanese poetry. Kokinshū poems usually consisted of 31 syllables, arranged in a pattern of 5-7-5-7-7, with themes like seasons, love, and mourning. The kokinshū poems were meant to be read aloud, and were often accompanied by music or dance. Haikus are a more recent form of Japanese poetry that consist of 17 syllables arranged in a pattern of 5-7-5, with common themes of nature and seasons. Haikus are more minimalist than kokinshū poems, using simple and direct language describing a specific moment or image, whereas kokinshū poems are more elaborate and literary. Kokinshū poems were written by courtiers and aristocrats and haikus were widespread, written and read by many. Both kokinshū poems and haikus are forms of Japanese poetry that explore similar themes, they differ in terms of structure, style, and accessibility. The earliest Japanese piece of literature written in kana is the Taketori Monogatari. The message that the writer is trying to send to the aristocracy is that they should have noble traits which the aristocrats in the story didn’t have to be respectful of others [kaguya was stalked/spied] to be truthful and never deceive, and to never be greedy. Even the Emperor, Mikado, failed to see Kaguya, and his army was useless, but he still respected her space and only exchanged waka poems. His burning of the elixir of life and the feathered robe of heavenly beings and letter through the burning of these gifts; it can be interpreted that aristocrats should strive to be like Mikado— for he was not greedy like others. But it can also be interpreted that this was a bad omen, cause smoke came from the mountain [active volcano].

traditional japanese art piece of princess kaguya — source

Shirane, Haruo, ed. Traditional Japanese Literature : An Anthology, Beginnings to 1600. Abridged ed. Translations from the Asian Classics. New York: Columbia University Press, 2012. http://docs.tdh.bergbuilds.domains/267/hst267-5-1-kokinshi-selection.pdf

Britannica, The Editors of Encyclopaedia. “haiku”. Encyclopedia Britannica, 22 Aug. 2022, https://www.britannica.com/art/haiku. Accessed 19 February 2023.

“The Tale of the Bamboo Cutter” (Taketori monogatari).In Traditional Japanese Literature : An Anthology, Beginnings to 1600. Abridged ed., edited by Haruo Shirane. Translations from the Asian Classics. New York: Columbia University Press, 2012. https://www.japanese-wiki-corpus.org/literature/Taketori%20Monogatari%20(The%20Tale%20of%20the%20Bamboo%20Cutter).html

week 4

Buddhism in Japan, and Nara and Heian:

Nara was similar to China’s capital Chang’an, which was based on canonical Confucian text. It is interesting that Heian’s model deviated from Nara and Chang’an, as it does not have any walls to border off the city. In one of the readings [of State Sponsorship and Control of Buddhism], it explores how religion was used in order to control people. From Emperor Shomu in, the Shoku Nihongi in Rikkokushi III they have erected an “image of Lochana Buddha in gold and copper.” He hoped that others will join in the way to “Buddhahood,” and that all who join must be pure and sincerely pious in order to receive blessings and pay daily homage to the statue. The Emporer is also sympathetic to those who cannot pay, and have nothing to offer, writing that the officials and authorities should not bother them; Buddhism was used in order to control the people. It instilled social values [being pure and pious], and also accepted those that were impoverished. It would help the Emperor to be on good terms with the people, and to keep himself and the state in control while feigning equality. The people and the Emporer are only equal in their paths to Enlightenment, but the Emperor still has control over the people. I did not know how intricate Buddhism was. I was aware that there were separate sects, but the division between Nara and Heian Buddhism, with Kukai and Tendai and Shingon, helped me to understand the divisions of Buddhism further. I was vaguely aware of the four noble truths (suffering, the origins of suffering, the end of suffering, and the truth of the path). We also got to see the Heian mandalas, and while I knew that mandalas were a traditional Indian art form, it was cool to see how Buddhism was able to mesh into traditional Japanese culture/art/beliefs. With the mandalas, it is clear that it stays true to Indian mandalas because it retains a geometric form and symmetry. But unlike the figures in Indian mandalas, the figures drawn in Japanese mandalas draw from traditional practices. The figures relate more to typical Japanese art, showing how they have been able to utilize their own practices in Buddhism. Seeing the different Buddhist temples were also impressive. It shows how Japan was able to embrace the religion, and still be able to use their own aspects of culture and merge everything together.

traditional japanese buddhist statue — source

Sources of Japanese Tradition, Volume One: From Earliest Times to 1600 2nd edition, edited by William Th. de Bary. New York: Columbia University Press, 2002. http://docs.tdh.bergbuilds.domains/267/hst267-4-1-narra_buddhism.pdf

week 3

The Meiji Restoration of 1868 marked a significant turning point in Japanese history. The Japanese wanted to return to their founding myths and the creation of their nation, which was characterized by the restoration of imperial power and the eventual rise of imperialism (myths and art continue to influence Japanese culture to this day). One of the oldest myths in Japanese history is the story of the goddess Amaterasu, who was locked in a cave and symbolizes the entrenchment of the Japanese people in their shrines (those who were dedicated to the Kami, the spirits and deities of the Shinto religion). Shinto, which did not have a name until outside forces brought attention to it, can be traced back for centuries. Another important aspect of Japanese history during this time was the Kofun period, when Queen Himiko ruled, prior to the beginning of the Kofun era. During this time, Japan also saw the importation of mirrors, swords, and metal from China, as well as the creation of Haniwa, clay figures that were used in burial rituals. These figures were used in burial rituals and were placed around the perimeter of burial mounds to protect and honor the deceased. The cultural exchanges continued to shape and influence Japanese culture for centuries to come. During the Sui and Tang dynasties in China, there was significant influence and exchange between the two nations, introducing Buddhism, Chinese writing and culture, and the Chinese also established diplomatic and trade relationships with the Japanese court. The exchanging of ideas/knowledge between China and Japan during the Sui and Tang dynasties had a lasting impact on Japanese history and helped to shape the development of Japanese society and culture. The Seventeen Article Constitution of Prince Shōtoku (Shōtoku Oath) was a political and ethical document created in 604 AD in Japan, which was a code of conduct for the ruling class and seen an important development of Japan’s political framework; it emphasized the importance of education, ethical behavior, and the promotion of Buddhism, and served as a model for future Japanese constitutions.

variety of haniwa clay figures surrounded by green scenery: trees, rocks with moss, and leaves. — source

show and tell 1: Queen Himiko

For my show and tell topic, I wanted to create an art piece of Queen Himiko, who was a legendary ruler of Yamato, Japan, and a divine descendant of the Shinto sun goddess, Amaterasu. This powerful woman was known as a shaman/high priestess and was revered by her people for her leadership and spiritual prowess. In my art piece, I have Queen Himiko as the central focus, surrounded by sun rays that symbolize her divine heritage as a descendant of Amaterasu. I chose to have her standing tall and proud, holding a branch from a Matsu tree, which is a powerful symbol in Japanese culture. The Matsu tree branch represents strength, courage, perseverance, and longevity, which I believe are all qualities that describe Queen Himiko. Queen Himiko was the first legendary woman to rule Japan, and her reign was characterized by her power and influence. She spent much of her time in her fortress, much like how Amaterasu is said to have “shut herself away in a cave”. This, I believe, is an interesting parallel between these two powerful women and highlights the strength and resolve that Queen Himiko possessed. The Wei Dynasty in China respected Queen Himiko and saw her as the ruler of all of Japan. Emperor Wei, emperor of China, once said, “You live so far away across the sea; yet you have sent an embassy with tribute. Your loyalty and filial piety we appreciate exceedingly. We confer upon, therefore, the title “Queen of Wa, Friendly to Wei””. This statement shows the respect that Queen Himiko commanded from other nations, and her ability to form strong relationships and alliances with those she encountered. My art piece depicts the legendary and powerful Queen Himiko. With her being surrounded by sun rays and holding a Matsu tree branch, I wanted to capture her divine heritage, her power and influence as the first legendary woman to rule Japan, and her relationship with other nations, particularly the Wei Dynasty in China. Through Queen Himiko being the center focus and holding a Matsu branch, this piece symbolizes her strength, courage, perseverance, and longevity, and her legacy that continues to inspire and influence people today.