Autumn Special Exhibition
[MIYABI: The Courtly Elegance of Classical Japan] The Enchanting World of The Tale of Genji

CHAPTER 1: The Ultimate Author, Lady Murasaki Shikibu
Lady Murasaki Shikibu lived when Heian imperial culture was at its most majestic time. Fujiwara no Michinaga, who wielded great power during the reign of Emperor Ichijō, Fujiwara no Yukinari, an exceptional calligrapher, Fujiwara no Sanesuke, an expert in court etiquette and customs, were all politicians who wrote diaries that are important historical records. Other talented people who populated the court like glittering stars included Fujiwara no Kintō, known for compiling the Wakan rōeishū, Japanese and Chinese Poems to Sing; Sei Shonagon, the author of the Pillow Book; as well as Fujiwara no Michitsuna’s mother, Akazome Emon, and Izumi Shikibu. The Tale of Genji was created in the midst of this unequaled richly cultured era of Japanese history.
Murasaki Shikibu was born the daughter of Fujiwara no Tametoki, a Chinese studies scholar, and from a young age she was surrounded not only by Japanese poetry and prose, but also by Chinese classics. The reputation of her work, The Tale of Genji, eventually reached Michinaga’s ears and he called her to work in the palace as a lady-in-waiting to his daughter Shōshi, consort to Emperor Ichijō. While serving Shōshi, Murasaki created a clean copy of the tale and presented it to Emperor Ichijō, which brought The Tale of Genji to the attention of aristocratic society and the tale was an instant success, widely read and beloved.

CHAPTER 2: Reading and Re-envisioning The Tale of Genji through the Ages
Though The Tale of Genji is an exceptionally long tale, it was transmitted from person to person via manuscript, resulting in an enormous number of extant manuscripts. Unfortunately, most Heian period copies, including the original manuscript penned by Lady Murasaki herself, have been lost. We can gain a sense of what the tale was during the Heian period from the textual portions of the National Treasure Illustrated Tale of Genji scroll. It is believed that the tale was being illustrated almost immediately after it was written and the oldest surviving illustrations are that of the National Treasure Illustrated Tale of Genji scroll, produced just a hundred or so years after the tale’s creation. Though the illustrations and textual portions of the scroll are short excerpts from the tale, they are valuable as the scroll dates back to the Heian period.
In the Kamakura period, Fujiwara no Sadaie and the father and son duo Minamoto no Mitsuyuki and Chikayuki attempted to correct the many variants of the tale into standard versions. Sadaie created the Aobyōshi-bon version and Mitsuyuki and Chikayuki created the Kawachi-bon version. At the same time, the tale was viewed as a necessary manual for composing waka poetry and its authority as a literary classic grew. There are also many commentaries and digest versions, making The Tale of Genji a true monument of Japanese literature.

CHAPTER 3: Genji-e: Envisioning The Tale of Genji
“The Picture Contest” chapter of The Tale of Genji includes a scene where illustrations of extant tales like The Tale of Utsuho and The Tale of the Bamboo Cutter are judged against each other. In other words, by the time Lady Murasaki wrote her tale during the Heian period, illustrations of literary works were already a popular facet of aristocratic culture. As soon as The Tale of Genji was written, memorable scenes from each of the fifty-four chapters were turned into paintings, and the vast genre known as “Genji-e,” or Genji pictures, was born.
During the early Edo period, when printing technology was rapidly improving, The Tale of Genji was printed using woodblocks and the tale, which had previously been read only by the upper strata of society, was suddenly available to the general public. Despite the difficulties and constraints, such as interpreting the story and depicting court customs described in The Tale of Genji, artists of each school of painting created their own version of Genji pictures creating a sudden boom in the number of Genji pictures. Pictorial depictions of the tale like the “Hatsune Furnishings” and designs based on symbolic motifs linked to chapter titles and stories appear in the arts and crafts, unveiling a beautiful world of The Tale of Genji that can be enjoyed visually.

CHAPTER 4: The Spread of The Tale of Genji
The appeal of The Tale of Genji cannot be summed up in a single word: its turbulent plotlines, unique characters crafted with deep human insight, and the exceptionally refined aesthetic sense displayed in its beautiful and poetic prose are several aspects. The scenes are narrated vividly, and elegant Heian lifestyle is described in detail, including descriptions of the characters’ clothes and interior decorations within their mansions, ceremonies and annual events, and even pastimes like calligraphy, music, and takimono, the art of blended incense.
Countless works of art, literature, and dramatic plays have been inspired by this visually rich world. In the traditional incense-smelling ceremony, there are scent matching games called “Genji-kō” and “Uji-kō.” In the Noh performing arts, plays were based on the characters Yūgao and Lady Rokujō. Nise Murasaki Inaka Genji, A Fraudulent Murasaki’s Bumpkin Genji, an adaptation of the tale into contemporary Edo period language by Ryūtei Tanehiko, became extremely popular in part due to its gorgeous illustrations putting the characters of the Heian period tale in Edo period dress and situations.
The Tale of Genji continues to inspire even to the present-day giving rise to novels, manga, and TV dramas based on the tale. The tale has been translated into over thirty languages and will continue to inspire and influence far into the future.

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