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grasses, 15, 23, 28, 140, 144 – 46, 146, 148 – 49, 166, 172 – 73, with goose flying across the full moon by Jōkasai, after Kano Seisen’in (1796 – 1846), Jōkasai’s inrō with goose flying
198 – 99 design by Seisen’in (cat. 58), 132, 142 across the full moon after design by, 132, 142
Grebe in Flight (cat. 49), 64, 128 – 30, 133 with stylized waves by Zeshin, after design by Kōrin Kano Yasunobu (1613 – 1685), 26, 27, 41n.39
(cat. 39), 102 – 3, 116 kanshitsu (dry-lacquer technique), 39
H irises, 23 – 26, 24 – 25, 36, 134, 167, 168, 180 – 84, 182, 187, 189. Kanzan (Ch: Hanshan), 90
haiku, 128 See also Yatsuhashi, theme of irises at Karasumaru Mitsuhiro (1579 – 1638), 62, 64
hakubyō (monochrome ink painting), 37 Irises (Kakitsubata) (Noh play), 24 Grebe in Flight (cat. 49), 64, 128 – 30, 133
Hanshan. See Kanzan Irises and Stream (cat. 90), 168, 189 Ten Ox-Herding Songs (cat. 16), 64, 74–75
Hara Yōyūsai (1772 – 1845), inrō with blossoming plum tree, Irises at Yatsuhashi (Eight Bridges) (Yatsuhashi zu byōbu) Kariganeya, 22
after design by Hōitsu (cat. 73), 147, 162 (cat. 84), 23 – 26, 40 – 41nn.26 – 32, 167, 168, 180 – 81 kasen. See Poetic Immortals
Hasegawa Sōya (b. 1590), underpainting of arrowroot vines Ise, Lady (ca. 875 – ca. 938), 71 Katsushika Hokusai, 41n.55, 100
(cat. 15), 72 – 73 Ise Stories, The (Ise monogatari), 15 – 16, 23 – 24, 30, 40n.8, Kawade Shibatarō (1861 – 1921), 35
Hattori Tadasaburō (d. 1939), 35, 169 44 – 45, 47, 61 imperial presentation vase with imperial chrysanthemum
brush holder with spiderwort flowers (cat. 98), 197 Kōrin’s Irises at Yatsuhashi (Eight Bridges) (Yatsuhashi zu crest (cat. 96), 35, 41n.64, 196
imperial presentation vase with lilies and imperial byōbu) and (cat. 84), 167 vase with poppies (cat. 99), 197
chrysanthemum crest (cat. 97), 35, 169, 196 “Mount Utsu” (Utsu no yama) or “Ivy Path” (Tsuta no kawarake (disposable stoneware dishes) with seasonal designs
Hayami Gyoshū (1894 – 1935), 32, 34, 41n.60 hosomichi ) episode of, 16, 167 by Kenzan (cat. 81), 27, 167, 178
Heian period (794 – 1185), 11 – 12, 16, 40n.2, 166 Roshū’s depiction of (cat. 2), 16, 30, 45, 49 Kayama Matazō (1927 – 2004), 38
calligraphy of, 60 – 62, 166 Sōtatsu’s depiction of (cat. 1), 16, 40n.8, 44, 48 Star Festival (Tanabata) (fig. 11), 38, 38 – 39
literary classics from, 42 – 47. See also Ise Stories, The (Ise Sōtatsu studio’s set of shikishi (poem cards) decorated with Thousand Cranes (Senzuru), 38
monogatari); Tale of Genji, The (Genji monogatari); Tale scenes from, 15 – 16, 44 – 45 Kazan’in Yoshinori (1755 – 1829), Rising Sun and Trees and
of the Heike, The (Heike monogatari) “Sumida River” (Sumidagawa) episode of, 102 Flowers of the Four Seasons (cat. 88), 186–87
Heike monogatari. See Tale of the Heike, The ivy, 167, 179 Kenzan. See Ogata Kenzan
hikime kagihana (“line for the eye, hook for the nose”), 16 Izumi Shikibu (b. ca. 976), 70 Kenzan ware, 27
Himeji family, 26 kigo (“season word”), 128
Hishida Shunsō (1874 – 1911), 32, 35 J Kii, Lady, of Princess Yūshi’s household (active late 11th
Hōchū. See Nakamura Hōchū Jakuren, depicted in Sekka’s “Three Evenings” (Sanseki), century), 70
Hōitsu. See Sakai Hōitsu from A Thousand Grasses (Chigusa) (fig. 7), 36, 37 Kiitsu. See Suzuki Kiitsu
Hokkyō (Bridge of the Law), artistic rank of, 23 Japan Art Institute (Nihon Bijutsuin), 34 kimonos:
hollyhocks, 68, 146, 150 – 51, 166 Japonisme, 35, 168 “Kōrin patterns” and, 28, 36, 102
Hon’ami Kōetsu (1558 – 1637), 15, 20, 21, 22, 23, 28, 29, 38, 40n.24 Jittoku (Ch: Shide), 90 with pines and clouds (cat. 70), 147, 159
calligraphy by, 61, 62 – 63, 64, 78, 131 Jurōjin, depictions of, 90 – 91, 130 with stylized flowing water (cat. 43), 103, 122
Heian models as inspiration for, 62 by Hōitsu (cat. 27), 95 Kimura Kenkadō (1736 – 1802), 32
innovative style in, 63 by Ōho (cat. 30), 91, 98 Ki no Tsurayuki (ca. 872 – 945), 171
letter with invitation to a tea gathering (cat. 11), 63, 67 by Sekka (cat. 31), 92, 98 Kishi Kōkei (1840 – 1922), 36
with poem by Fujiwara no Norinaga (cat. 75), 15, 166, 170 Jurōjin on a White Deer (cat. 30), 91, 98 Kitagawa Sōsetsu (active 1639 – 50), 20, 21, 22, 146
with poem by Kamo no Chōmei (cat. 10), 15, 66 Poppies (cat. 79), 166, 176
with poem by Kiyowara no Fukayabu (cat. 9), 63, 65 K Kiyomizudera, Kyoto, 95
with poems by Monk Sosei and Ariwara no Narihira Kabuki, 31 Kiyowara no Fukayabu (early 10th century), 65, 171
(cat. 17), 78, 80 – 81 Kakinomoto no Hitomaro (d. ca. 710), portrait of (cat. 22), Kōetsu. See Hon’ami Kōetsu
section of poetry scroll of One Hundred Poems by One 79, 86 Kōetsu Edition of the Thirty-six Poetic Immortals (Kōetsu
Hundred Poets (Hyakunin isshu) (cat. 76), 15, 166, 171 Kameda Bōsai (1752 – 1826), Morning Glories (cat. 92), sanjūrokkasen) (cat. 17), 78, 80–81
Hōitsu’s research on, 31 168, 192 Konoe Iehiro (1667 – 1736), 29 – 30
privileged upbringing of, 62 – 63 Kamisaka Sekka (1866 – 1942), 34, 36 – 38, 39 Kaiki, 18
signature of, 31, 63 Bamboo and Waves (cat. 41), 103, 118 – 19 Konoe Nobuhiro (1599 – 1649), thirty-six poems from
writing box (suzuri-bako) with woodcutter in style of (cat. 5), Flowers of a Hundred Worlds (Momoyogusa), 37 – 38 Anthology of Japanese and Chinese Poems (Wakan rōeishū)
28, 45, 54 “Bamboo in the Snow” (Setchū take) from (cat. 71), (cat. 15), 63 – 64, 72–73
Horikawa, Lady, of Retired Empress Taikenmon’in’s house- 37 – 38, 147, 160 Konoe Nobutada (1565 – 1614), 62, 64
hold (late 12th century), 70 “Cresting Wave” (Tatsunami) from (cat. 42), 38, 103, poetry screen (waka byōbu): six poems by women poets
horses, 59, 90, 95 120 – 21 (cat. 14), 63, 70–71
Hotei (Ch: Budai), 90 “Morning Glories” (Asagao) from (cat. 94), 168, 193 Kōrin. See Ogata Kōrin
Kōrin’s paintings of (cat. 26), 90, 94 “Puppies” (Enokoro) from (fig. 9), 37, 38 “Kōrin dyeing” (Kōrin-zome), 29
reproduced in Hōitsu’s One Hundred Paintings by “Rice Paddies in Spring” (Haru no tanomo) from Kōrin Painting Manual (Kōrin gafu), 32 – 33
Kōrin (Kōrin hyakuzu) (cat. 27), 90, 95 (fig. 10), 37, 38 “Kōrin patterns” (Kōrin moyō), 27, 28 – 29, 35 – 38, 41n.43,
“Six Poets” (Rokkasen) from (cat. 21), 79, 85 131 – 32, 140, 141
I “Windswept Pines by the Shore” (Sonare matsu) from Kōrin Patterns (Kōrin moyō; compiled by Furuya),
Ikeda, Marquis, 40n.26 (cat. 68), 147, 157 35 – 36
Ikeda Koson (1802 – 1867), 33, 34, 169 Gathering of Waka Poets (cat. 20), 79, 84 cormorants and waves and boatman poling a raft
Cypress Trees (cat. 65), 33, 146, 154 – 55 Jurōjin (cat. 31), 91, 99 from (cat. 36), 102, 111
design for writing box, from One Hundred Newly Selected tea cabinet with bamboo (cat. 72), 147, 161 irises at Yatsuhashi from (cat. 86), 183
Designs by Kōrin (Kōrin shinsen hyakuzu) (cat. 6), 28, 47, 55 A Thousand Grasses (Chigusa), 36 – 37, 41n.65 Kōrin’s Painting Style (Kōrin gashiki; published by
The Thirty-six Poetic Immortals (cat. 19), 79, 83 “Illustrated Handscroll” (Emakimono) from (fig. 8), Minwa), 90
Ike Gyokuran (1727 – 1784), 32 36, 37 Jurōjin and a crane and deer from (cat. 29), 90 – 91, 97
Ikenobō Senkei, 166 “Three Evenings” (Sanseki) from (fig. 7), 36, 37 puppies and morning glories from (cat. 93), 168, 193
Ike Taiga (1723 – 1776), 32 “Windswept Pines by the Shore” (Sonare matsu) from “Kōrin style” (Kōrin-fū), 28 – 29
I’nen seal, 19, 20, 22, 23, 40n.18, 166 (cat. 67), 36, 147, 157 Koson. See Ikeda Koson designing nature
Ink Traces of Kenzan (Kenzan iboku), plum tree and hollyhocks Kamishi (Paper Master) Sōji, 14
from (cat. 62), 146, 150, 151 Kamo no Chōmei (1153 – 1216), 66 L
inrō (small compartmented box): kana (Japanese phonetic characters), 15, 61 – 62, 63, 64 lacquerware, 23, 24, 25, 26, 34, 39, 168, 169
with blossoming plum tree by Yōyūsai, after design by kanji (Chinese characters used semantically), 15, 62, 63 footed tray with stylized waves by Okada (cat. 46), 39,
Hōitsu (cat. 73), 147, 162 Kano school, 13, 17, 23, 30, 31, 33, 132, 146 103, 125

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