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Additional resources for Art and Palace Politics in Early Modern Japan, 1580s-1680s (Japanese Visual Culture)
57 The emperor’s form is obscured by the blinds, but we do see him; in fact, this is as much as we ever see of the emperor outside the dairi in illustrations of historical events. Apparently Hideyoshi is nearby on the veranda; he is the ﬁgure wearing a black tunic and holding an opened fan sitting among men who are presumably his closest advisors. Across the veranda are the ladies of his household. Originally performed by small troops scattered across the country, Nō became a favorite theatrical form of Muromachi-period military lords.
Legitimacy and who sponsored the paintings. indd 51 12-07-11 14:17 art and palace politics 14 Attributed to Kano Eitoku. Cypress. Late 16th century. Eight-panel folding screen; ink, colors, and gold on paper. 170 x 461 cm. Tokyo National Museum, Tokyo. National Treasure. The full thematic range of paintings at GoYōzei’s palace is unknown. While these paintings can be related to a group of themes by then traditional in the imperial palace and shogunal castles or mansions, new themes also began to appear around this time.
Detail of one sliding-door panel from a set; ink, colors and gold on paper. Each panel 184 x 98 cm. Now in the Ohiru-no-ma in the Chief Abbot’s Quarters, Nanzenji, Kyoto. Important Cultural Property. Nanzenji in Kyoto (ﬁgs. 102 The Nanzenji Ōhōjō is widely acknowledged to have been originally constructed as part of a palace, but there are conﬂicting theories about which palace and what function it served there. It may have been built in 1585 or 1586 to serve as the Taimenjo audience suite of Ōgimachi’s retirement palace, or in 1591 as the Seiryōden of GoYōzei’s palace.