by MURASAKI SHIKIBU 紫式部
Complete in 54 vols. Small 4to (172 x 174 mm.), orig. decorated semi-stiff smooth paper wrappers, each with clouds of gold (kindei), many with individual motifs (various plants, flowers, & objects) in pigments & gold, according to the contents of each chapter; bound in the retchoso manner; bright gold endpapers, each with a floral motif; written on fine-quality pale yellow torinoko paper in a beautiful & highly skilled calligraphic cursive hand. 10 columns of text per page, orig. manuscript title-slips, each with gold borders, in center of each upper cover. Preserved in the original dark brown lacquer wooden book cabinet with six shelves. [Japan]: copied early to mid-Edo period.
A fine, quite early, manuscript of Lady Murasaki’s Tale of Genji, the first novel ever written, and presented in the classic style of the Edo period. It has been said, with only some exaggeration, that during Edo times, a manuscript of Tale of Genji in a finely lacquered wooden box would be present in the dowry of every high-class or noble bride . Our example is lacquered in dark brown, and the 54 volumes are housed inside a tastefully carved bookcase/desk with six shelves.
Our 54 volumes are beautifully bound, each with a different pattern of gold clouds and sprays. Many have painstakingly painted motifs or ornaments added in gold and different pigments related to the chapter. These are of the greatest subtlety and include many flowers and plants, leaves, go boards, waves, shells, stars, streams of water with floating flowers, landscapes, fireflies, fields, incense burners (?), trembling mirages, little fish, rivers, rice paddies, etc. Each volume has bright gold endpapers with floral patterns. The calligrapher’s hand is sure and skilled.
It is hard to overestimate the cultural significance of Tale of Genji, a work that has resonated throughout art and literature, in all periods, both in Japan and the rest of the world. Murasaki Shikibu finished her work in 1021. She was named after Murasaki, the beloved wife of Genji. The work recounts the life of Genji, the second son of the Japanese emperor, and comprises some 400 dramatis personae.
This large novel is in 54 chapters with a separate volume for each chapter. There are some 300 surviving manuscripts, the oldest fragmentary copies from the 13th century, while an illustrated scroll from the 12th century survives as well. All the manuscripts have textual differences. They are classified into three main text recensions: the readable Kawachibon, based on the “Chikayuki” manuscript, edited in 1236-55; Aobyoshibon recension, based on the Fujiwara no Teika (1162-1241) manuscript, the most conservative and difficult-to-read version, believed to best represent the lost autograph; and Beppon recension, representing all other mixed manuscripts as well as commentaries. We will leave to scholars to determine which recension our manuscript is.
Our manuscript is written on torinoko paper, characterized by a smooth surface with sheen.
In fine condition. The outer box thast houses the shelves is a little worn.
❧ John T. Carpenter, Melissa McCormick et al., The Tale of Genji. A Japanese Classic Illuminated (Metropolitan Museum of Art, 2019). (Inventory #: 10735)
A fine, quite early, manuscript of Lady Murasaki’s Tale of Genji, the first novel ever written, and presented in the classic style of the Edo period. It has been said, with only some exaggeration, that during Edo times, a manuscript of Tale of Genji in a finely lacquered wooden box would be present in the dowry of every high-class or noble bride . Our example is lacquered in dark brown, and the 54 volumes are housed inside a tastefully carved bookcase/desk with six shelves.
Our 54 volumes are beautifully bound, each with a different pattern of gold clouds and sprays. Many have painstakingly painted motifs or ornaments added in gold and different pigments related to the chapter. These are of the greatest subtlety and include many flowers and plants, leaves, go boards, waves, shells, stars, streams of water with floating flowers, landscapes, fireflies, fields, incense burners (?), trembling mirages, little fish, rivers, rice paddies, etc. Each volume has bright gold endpapers with floral patterns. The calligrapher’s hand is sure and skilled.
It is hard to overestimate the cultural significance of Tale of Genji, a work that has resonated throughout art and literature, in all periods, both in Japan and the rest of the world. Murasaki Shikibu finished her work in 1021. She was named after Murasaki, the beloved wife of Genji. The work recounts the life of Genji, the second son of the Japanese emperor, and comprises some 400 dramatis personae.
This large novel is in 54 chapters with a separate volume for each chapter. There are some 300 surviving manuscripts, the oldest fragmentary copies from the 13th century, while an illustrated scroll from the 12th century survives as well. All the manuscripts have textual differences. They are classified into three main text recensions: the readable Kawachibon, based on the “Chikayuki” manuscript, edited in 1236-55; Aobyoshibon recension, based on the Fujiwara no Teika (1162-1241) manuscript, the most conservative and difficult-to-read version, believed to best represent the lost autograph; and Beppon recension, representing all other mixed manuscripts as well as commentaries. We will leave to scholars to determine which recension our manuscript is.
Our manuscript is written on torinoko paper, characterized by a smooth surface with sheen.
In fine condition. The outer box thast houses the shelves is a little worn.
❧ John T. Carpenter, Melissa McCormick et al., The Tale of Genji. A Japanese Classic Illuminated (Metropolitan Museum of Art, 2019). (Inventory #: 10735)
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