Title: Genji e Shikishi Gachō (Genji Picture Colored Paper Sketchbook), Circa 1550-1600. A Masterfully Illuminated and Hand Painted Selection of Seven Yamato-E Paintings and Seven Sheets of Corresponding of Calligraphy, Comprising of Different Chapters from the Tale of Genji
Author: Attributed to the Circle of Tosa Mitsuyoshi (1539–1613), Likely Chojiro; Calligraphy in the Style of Konoe Nobutada
Condition: Very Good
An extraordinarily rare Azuchi-Momoyama, mid to late 16th century suite of 7 sumptuously illuminated and hand painted Yamato-E paintings, and 7 matching pieces of calligraphy on shikishi format paper, for a Nara Ehon narrative or painting album, comprising of chapters of Murasaki Shikibu’s Genji Monogatari, or The Tale of Genji. This series of paintings, and the expert work displayed, is not just an example of the Tosa School, but very much attributable to the masterful work of the Circle of Tosa Mitsuyoshi (1539-1613), and more specifically his apprentice, Chojiro, who helped to complete some of his of his Genji shikishi albums.
The Genji Monogatari is Shikibu’s greatest literary work, often considered to be history’s first novel, and the first by a woman to have global recognition. The text itself is broken down in 54 chapters, depicting the lives of highborn courtiers of the Heian Period, and the text itself was originally written in hiragana. The first section, being chapters 1-33, focus on the life and experiences of Hikaru Genji, the titular protagonist, who is the son of Japanese Emperor Kiritsubo, and a low-ranking concubine. The second section of chapters 34-41 focus on his senior years and death, while the final section of chapters 42-54 focuses on Genji’s grandson Niou, and presumed son, Kaoru.
Each painting has been produced on fine paper (possibly torinoko) and sumptuously produced with profuse usage of gold leaf, gold inks, gold sprays, and clouds to decorate the painting, and even the backgrounds show application of illumination. The detailing to each figure and building are also finely painted, the faces of various figures with great care and effort placed, showing age lines and wrinkles to the soldiers and servants. There is masterful attention to detail on the vestments and kimono patterns, and additional gold work to each figure, making them more distinctive. There is considerable detail to the courtyards and mansion halls, and shading techniques are used to make even wooden beams stand out. The fukinuki yatai technique is used here as well, where we can see beyond the roof of the buildings where individuals may be residing. The detail is truly stunning, with background folding screen paintings in scenes being impeccably detailed, and even the individual petals on a tree being produced expertly. That such a partial album survives is an absolute rarity.
The pages of calligraphy are also quite beautiful, each one painted with golden reeds in the background, and swooping calligraphy, very much in the style of Konoe Nobutada (1565–1614).
For a very recent, and extremely close comparison, we can refer to Lot 633 sold at the Fine Japanese and Korean Art Sale of March 20, 2025, at Bonhams, where a Genji painting from the Circle of Tosa Mitsuyoshi hammered for 5120 USD. From the gold leaf illumination to the background detailing, and the design of the figures, the style is almost virtually identical on numerous aspects, even down to the small flower designs to the wooden structures. Other comparable examples include the Tale of Genji Handbook at the Kuboso Memorial Museum of Art, and the Tale of Genji Picture Album at the Kyoto National Museum. It is plausible that at least one of the paintings in our album was produced by Mitsuyoshi himself, but that would be simply conjecture.
Tosa Mitsuyoshi was said to be the second son of Tosa Mitsushige, but the prevailing theory is that he was sired by one of Mitsushige’s disciples. Mitsushige's successor Mitsumoto, joined Toyotomi Hideyoshi’s campaign against the Yamana Clan, but perished during battle, and Mitsuyoshi was entrusted by Mitsumoto with raising his three surviving children, and is believed to have inherited the Tosa Family's inherited art books, fiefs, and documents. After this, he shaved his head and took the name Kyugo, remaining in Skai for the rest of his life. Mitsuyoshi played a rather key role in helping to bridge the gap between medieval and early modern Yamato-e painting. His surviving works reflect the spirit of the Momoyama period and feature a scale and decorativeness not seen in previous Tosa-ha artists. Most of his surviving works are those based on the Tale of Genji, such as this one.
Konoe Nobutada was a Momoyama period Japanese courtier well regarded as a poet, calligrapher, painter and diarist. In Japanese calligraphy he is distinguished as one of the Kan'ei Sanpitsu or "Three Brushes of the Kan'ei period", named in imitation of the Heian period Sanpitsu.
He was the son of Konoe Sakihisa by a lady of waiting whose name is unknown. In 1577 he held his Genpuku (coming of age ceremony) and was named Nobumoto. Oda Nobunaga himself led the ceremony and gave one letter of his name 信 (Nobu) to the young noble. Later he changed his name to Nobusuke, and in 1580 was appointed to Naidaijin (Inner Minister), and Sadaijin (Minister of the Left) in 1585. He was also the tutor of the noble lady, calligrapher and poet, Ono Otsu. In 1594 Nobutada angered Emperor Go-Yōzei and was exiled to Bonotsu in Satsuma province, Kyūshū. He stayed there for three years until he received the imperial permission to return to Kyoto and held his Sadaijin position again. In 1605 he was further appointed to Kampaku (Imperial Regent).
From the Muromachi to Mid Edo Period, Nara Ehon were produced in both booklet and scroll format, typically drawing from tales of the Otogi-zōshi, regular scenes of life, and other sources. There is a theory that they were created by Buddhist sculptors such as those at Kofuku-ji Temple in Nara, but the name was created after the Meiji period, and the relationship to Nara is unknown.
The paintings and calligraphy have been laid down and bound in a modern album. There is an earlier wooden to accompany it, preserving the album.
One painting album with 7 Nara Ehon, shikishi format paintings on fine paper, and 7 pieces of illuminated calligraphy in shikishi format, 25.2 x 22 main album size
This painting album is in very good shape, with some wear to the background of the shikishi leaves of calligraphy, heavier to the margins. There are a few, small, repaired worm tracks. The paintings have some wear and several minor cracks, though only one figure is more heavily affected. Some of the gold ink spray to the clouds has oxidized, causing a contrast against the gold leaf that still shines brightly. A few faces to the figures have worn away.