Genji and the Young Damsels (Right-hand sheet of a triptych), from the series of “Popular Stories of Prince Genji” (Furyu Yatsushi Genji): Wakana no jô (chapter 34)
Hosoda Eishi
Description
Hosoda Eishi
Japan, 1756–1829
Genji and the Young Damsels from the series Stylish Genji Disguises
(Fūryū Yatsushi Genji)
Edo period (1615–1868)
Late 18th century
Triptych, woodblock print on paper
Bequest of Margaret Watson Parker, 1948/1.190–192
For the series Stylish Genji Disguises, Hosoda Eishi created fifty-four
scenes, one for each chapter of The Tale of Genji. Each set of three
prints depicts a male dressed in ancient court robes and female
characters in modern dress.
This print relates to a moment in chapter thirty-four when a young
courtier playing kickball with his friends falls in love with a princess
he has glimpsed through blinds. But Eishi has reversed the gender
roles: instead of a group of men, now there is only one, who is
surrounded by women, several of whom are eyeing him. This playful
subversion allowed Eishi to showcase the most up-to-date womens’
fashions and hairstyles. Examples of some of the objects shown in this
print, such as the hair accessories and the scroll box in the left panel,
can be seen in the nearby case.
Summer 2024 Gallery Rotation
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The painter and print designer Hosoda Eishi was best known for his images of the courtesans of Edo. As was common at the end of the eighteenth century, he often designed prints in large series as a subtle way to persuade the public to buy more of his work. For the series “Stylish Genji Disguises,” Eishi created fifty-four scenes, one for each chapter of the novel. Each triptych depicts a male dressed in ancient court robes (contemporary with the period when the novel was written), while the female characters are garbed in the most up-to-date urban fashions.
This particular image relates to a moment in the thirty-fourth chapter of The Tale of Genji when a young courtier playing kickball with his friends falls hopelessly in love with a princess, whom he has glimpsed through the blinds. Eishi expects his viewers to know the tale and understand his playful reversal of gender roles: instead of several men engaged in athletic activity, now there is only one, who stands forlornly with his ball in his hand; and instead of his stealing a glimpse of a shy, hidden maiden, he is surrounded by women, several of whom are eyeing him.
Maribeth Graybill, Senior Curator of Asian Art
Exhibited in "Stories from the Past: Narrative in Asian Art"
January 24–July 25, 2004
Subject Matter:
The Label Copy details most of the subject matter.
Chapter 34, Wakana, also details the story of Genji falling in love with Murasaki when he is married to another, Nyosan. After realizing immature Nyosan is not fit for him, he turns to the intelligent Murasaki, comes into being an uncle/grandfather, and stays by her side when she falls ill. A priest is present during the course of her illness and when it takes a turn for the worse calls upon a young boy and performs an exorcism. The demon enters the young boy's body and leaves Murasaki who is now a shell of her former self. Distraught, Genji does not leave her side to check on Nyosan who is now pregnant with another man's child due to rape.
Physical Description:
Part of a triptych, this third depicts four individuals. The person on the left is a Shinto priest and holds a cylindrical object with a cloth. Two of the people on the right are kneeling while one stands holding a fan to her chest. They are outside. There is a signature on the right edge in the middle. Below it in the bottom left corner are two seals.
Usage Rights:
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