Imagery of the Orchid Pavilion Gathering : visualizing Tokugawa cultural networks / Kazuko Kameda-Madar.

Intro
Imagery of the Orchid Pavilion Gathering
Copyright
Contents
Acknowledgments
INTRODUCTION: THE ORCHID PAVILION GATHERING AND CULTURAL NETWORKS IN THE EDO PERIOD
1 MYTH AND CANON FORMATION OF ORCHID PAVILION IMAGERY IN CHINA
The Orchid Pavilion Pedigree
Wang Xizhi in the Eastern Jin Dynasty
Tang Taizong and the Orchid Pavilion as Calligraphy
Orchid Pavilion Illustrations in the Song Dynasty
An Orchid Pavilion Painting Described by Song Lian
Engraving and Canonizing the Orchid Pavilion Images in the Ming Dynasty
2 ORCHID PAVILION IMAGERY AS AESTHETIC AUTHORITY: THE KYO-KANO WORKSHOP AND THEIR SOCIAL AND CULTURAL NETWORK
The Orchid Pavilion Paintings by Kano Sansetsu
Kano Sansetsu: Eccentricity Reconsidered
A Survival Strategy in the Kyō-Kano Texts
The Aristocratic Patronage Behind the Orchid Pavilion Paintings
Examining an Orchid Pavilion Screen by Kano Sansetsu
The Landscape of the Orchid Pavilion Screen
Architectural Elements in the Orchid Pavilion Screen
Representation of Human Figures
The Social and Cultural Signifi cance of the Tea Ceremony
Comparing the Orchid Pavilion Screen by Kano Einō
The Orchid Pavilion by the Edo-Kano Painters
Conclusion
3 THE ORCHID PAVILION AS AN ALTERNATIVE "CLASSICAL" THEME: PERFORMING LITERATI IDENTITY CONSTRUCTION
Chinese Wenren/ Japanese Bunjin
Sources for the Literati Orchid Pavilion Images in the East Asian Context
Ming and Qing Dynasty Chinese Models
Joseon Dynasty Korean Models
Conceptualizing a New Taste for Orchid Pavilion Imagery
Ike Taiga's Social Environment
Taiga's Votive Panel and Its Draft
Iconography of the Orchid Pavilion Gathering
Evolution of the Orchid Pavilion Folding Screens by Taiga
Possible Trajectories of Iconographical Combinations.

Comparing an Orchid Pavilion Screen by Yosa Buson
4 COPYING AND THEORY IN LITERATI PAINTING: ORCHID PAVILION IMAGERY BY NAKAYAMA KOYO AND NAKABAYASHI CHIKUTO
Nakayama Kōyō's Painting Theory
Koyō's Orchid Pavilion Gathering
Kōyō's Social Environment
Nakabayashi Chikutō's Painting Theory
Chikutō's Orchid Pavilion Gathering
Chikutō's Social Environment
Conclusion
5 ILLUSIONISTIC SPACE IN ORCHID PAVILION IMAGES: A RECONFIGURED CANON BY MARUYAMA OKYO AND HIS FOLLOWERS
Continuum of the Actual Space and the Illusionary Pictorial Space
Inspiration from the Chinese and Japanese Visual Traditions
Ōkyo's Realism and the Spread of Encyclopedia
Lively Sketches in the Ōkyo's Orchid Pavilion Screen
Bridging the Maruyama and the Literati Tradition
The Orchid Pavilion for the Poverty Relief Project
The Shijō School Variations of Aesthetic Arrangement
Various Orchid Pavilion Paintings in Kyoto After Ōkyo
Conclusion
6 ORCHID PAVILION IMAGERY AFTER IKE TAIGA: THE SINOPHILE SALONS OF THE OSAKA INTELLIGENTSIA
Transmitting the Orchid Pavilion Tradition from Kyoto to Osaka
Performing the Role of the Chinese Literati
Creativities Explored by the Eccentric Painters in Osaka
Naturalistic Paintings Absorbing the Literati Elements
7 THE NATIVIZATION OF ORCHID PAVILION IMAGERY: FUZOKUGA AND UKIYO-E ADAPTATIONS
Fūzokuga Adaptations of Kyokusuien Imagery
Nativization of the Orchid Pavilion through Waka Poetry
The Kyokusuien as a Courtly Ritual: Tsukioka Settei
Yamato-e Revival and the Kokugaku Ideology
Edo Rinpa Variation of the Kyokusuien Imagery
The Kyokusuien in the Floating World
Shunman's Intellectual Environment
The Contemporaneity of Classical Themes
Conclusion
EPILOGUE
Appendix
Endnotes
List of Characters
Bibliography
Index.