Illustration from Tale of Ise, episode 71, Visiting the Ise Grand Shrine
Mount: 55 x 17 3/8 inches (139.7 x 44.13 cm)
Masters of Japanese Calligraphy, Japan House, New York, NY, Oct. 1984- Jan. 1985, pl. 94.
Early Romantic Tales in Japanese Art, Metropolitan Museum of Art, New York, NY, May 12- July 9, 1989.
Word
in Flower: The Visualization of Classical Literature in 17th Century
Japan, Yale
University Art Gallery, New Haven, CT, Sept. 22- Nov. 12, 1989, no. 28.
This painting illustrates a scene from the Tales of Ise, a classic Japanese literary work from the tenth century. The protagonist visits the chief priestess at the Ise Grand Shrine, one of the most important shrines. Although forbidden to have a romantic relationship with a man, the priestess falls in love with the protagonist. Here she stands in front of the grand shrine gate, the boundary between the sacred and secular worlds. In response to her emotional poem, the man replies:
If you are so inclined,
Pray, come,
For the mighty gods
Forbid no one
To travel the path of love!
With Masuda Takashi(November 12, 1848-December 28, 1938), until December 28, 1938
Inherited by Tarō Takashi, December 28, 1938 until 1945 (possibly)
With Setsu Gatodo, Possibly 1945 – June 4, 1968
With Mrs. George H. Bunting Jr., June 4, 1968 -1974;
Her gift to The Nelson-Atkins Museum of Art, Kansas City, MO,1974.Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, 1988) 197, no. 111 (repro.)
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with The Nelson-Atkins Museum of Art, 1993), 364 (repro.)
Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: The Nelson-Atkins Museum of Art, 2008), 391, no.37 (repro.)
Chizawa Teiji, “Sōtatsu” in Nihon no bijutsu 31 (Toyko: Shinbundō, 1968), color pl. 20.(repro).
Nelson-Atkins Museum of Art, Nelson Gallery-Atkins Museum Bulletin, Vol. 5 (Kansas City, MO: The Nelson-Atkins Museum of Art, Feb. 1976), no. 3, p.47.(Repro.)
Shimada Shūrjirō, Zaigai hihō, Vol. 1, Ōbei shūzō nihon kaiga shūsei (Tōkyō: Gakushū kenkyūsha, 1969), p.46.
Yoshiaki Shimizu and John Rosenfield, Masters of Japanese Calligraphy 8th-9th Century, exh. cat. (New York: Asia Society Galleries: Japan House Gallery, 1985), pl.94. (repro.)
Harold P. Stern, Rimpa: Masterworks of the Japanese Decorative School, exh. cat. (New York: The Japan Society, 1971), no. 10 (repro).
Yamane Yūzō, Rinpa kaiga zenshū, Vol. 1, Sōtatsu School (Tōkyō: Nihon keizai shinbunsha, 1977), pl.54 (repro.).
Yamane Yūzō et al. Zaigai nihon no shihō, vol. 5, Rimpa (Tōkyō: Mainichi shinbunsha, 1979) pl. 2 (repro.).
Yamato Bunkakan, “Yamato Bunka,” Biannual Journal of Eastern arts May 1962- Sept. 1988, No. 59 (March 1974), pl.71. (repro.).
Carolyn Wheelwright, Word in Flower: The Visualization of Classical Literature in Seventeenth-Century Japan, exh. cat. (New Haven: Yale Univeristy Art Gallery, 1989), Fig. 39, cat. 28. (repro.).
Yasushi Murashige, Rimpa Painting, Vol. 4, Scenes from Literature, People (Kyoto:Shikosha, 1991) pl. 1-17. (repro.).
