Page 84 - JAPAN THE SHAPING OFDAIMYO CULTURE 1185-1868
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                   surviving panels, originally installed be-  poetry), calligraphy, tea, incense apprecia-  lifelong devout Buddhist and avid student
                   hind the emperor's seat, represent thirty-  tion, and flower arrangement. Striving for  of Zen,  in  1651 he took the  tonsure  and
                   two Chinese  historical luminaries,  a renaissance of cultural activities, he set  adopted  the Buddhist name Enjô. He be-
                   including famous ministers up to and dur-  for the  members  of the court  special days  came a patron and student  of many cul-
                   ing the  Tang Dynasty.         SY   for scholarly pursuits and published, in  tured Zen monks, most particularly
                                                       1621, Kôchô Ruien, a Japanese edition of  Takuan Sôhô (cat. 20), who shared his an-
                   19  The  emperor Go-Mizunoo         the mid-twelfth-century  Chinese  Huang-  ger at shogunal interference with imperial
                     Gen'yó Shónin (1634-1727)         chao Leiyuan (Classified quotations of  and clerical prerogatives.
                     hanging scroll; ink and  color on  silk  works by courtly scholars). Endowed with  Two portraits of the  emperor  Go-
                     100.6 x 55.8 (395/8 x 22)         artistic talent, he painted  and also de-  Mizunoo were painted  during his lifetime.
                     Edo period, no earlier than  1680  signed the garden for the  Shugakuin De-  One,  in Hanjuin, Kyoto, painted by Kano
                                                       tached  Palace in northeastern  Kyoto.  Tan'yu (1602-1674), bears an  inscribed
                     Unryuin, Kyoto                       Though he was an intelligent and ca-  waka composed  by the emperor  himself.
                   The emperor  Go-Mizunoo  (1596-1680),  pable man Go-Mizunoo as emperor en-  The  other, in Sennyüji, also in Kyoto, has
                   the third son of the emperor  Go-Yozei  dured repeated  frustrations and  two Japanese poems  inscribed and dated
                   (cat. 18), acceded  to the  throne  in  1611 and  humiliations at the hands of Tokugawa  to the nineteenth  day of the  second
                   in 1620 married a daughter  of Tokugawa  leyasu and Hidetada (particularly Hide-  month,  1673. The  portrait exhibited here,
                   Hidetada (1578-1631), the  second  shogun.  tada), who were determined  to assert their  painted after  Go-Mizunoo's death, is
                   Go-MizunoQ had  a penchant  for scholar-  authority over all spheres of Japanese life.  based on these  precedents.
                   ship and  was versed in waka (Japanese po-  After one too many heavy-handed sho-  This portrait was painted by Go-
                   etry), renga (linked verse), kanshi (Chinese  gunal interventions, Go-Mizunoo regis-  Mizunoo's granddaughter,  Gen'yô, a Zen
                                                       tered his disgust by abdicating in 1629. A


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