1090:
481:, incorporating, e.g., silver and gold powder in the painting, and softer colours. Angles are also more abrupt in composition. The representation of nature is remarkable in these paintings: very elaborate, it subtly emphasises the feelings of the characters as well as a certain melancholy, ultimately taking precedence over the characters. As is often the case in Japanese painting, the season is clearly portrayed; here, spring is represented by cherry blossoms and wisteria.
308:
36:
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288:), so that only a portion of text or image of about 60 cm (24 in) is visible. The narrative assumes a series of scenes, the rhythm, composition and transitions of which are entirely the artist's sensitivity and technique. The themes of the stories were very varied: illustrations of novels, historical chronicles, religious texts, biographies of famous people, humorous or fantastic anecdotes, etc.
1102:
1069:
440:(constructed painting) method. A first sketch of the scene is made in India ink, then the colour is applied in a precise order, from the large areas in the background to the final details, following the instructions of the master sometimes annotated directly on the paper. Finally, the outlines are drawn again or enhanced in ink to accentuate the depth.
351:), by whom she becomes pregnant, but there are many obstacles that make this love impossible, including the fact that the counsellor is promised to Nezame's older sister, Ōigimi. Nezame is therefore forced to marry another man older than herself, for whom she develops a certain affection in the absence of love.
379:. Three young girls, one playing the flute and two holding a fan, sit under the trees. The lower left part reveals the interior of a rich house. The significance of the scene is uncertain, but it may be Nezame's visit to his beautiful daughter. The second scene shows a courtesan resting on a veranda under a
384:
love. A reflection of the moon appears fleetingly in the garden stream, while the figures are visible through the openings of the veranda on the left. The fourth scene shows the emperor speaking with a priest about Nezame's letter; unlike the other scenes, the atmosphere here is religious and solemn.
383:
plant. Two people are playing music at the top of the stage, while Masako, Nezame's son, appears in the lower right corner. This is undoubtedly the visit of Masako to
Sadaijin-no-nyōgo, wife of the Emperor. The third scene is that of Masako's visit to a courtesan to whom he wishes to declare his
343:, a prose novel recounting the vicissitudes of life at the court of a young courtesan named Nakanokimi or Nezame, and constantly immersing the reader in Nezame's thoughts and feelings. The story centers on the romance between Nezame and a court counsellor (a
360:. It includes five sections of prose text and four illustrations, for a total length of 528 cm (208 in) and a height of 25.8 cm (10.2 in). The scroll probably covers the last part of the novel. The author and the sponsor are unknown.
532:
is lost nowadays, and only parts of it are known from copies; as the texts of the scroll were probably directly inspired by the original novel, the scroll presents a certain literary importance for the study and the comprehension of the original text.
451:
technique, involving the removal of building roofs, was used to depict both the interior of a building and its exterior, be it a garden or a veranda, in the same scene. The faces are realised according to the
416:
paintings are generally very stylized, elegant and refined, with rich, opaque colour used to represent the peaceful, romantic and often nostalgic atmosphere of the lives of the ladies at the
Imperial Court.
284:
texts and paintings. The reader discovers the story by progressively unrolling the scroll with one hand while rewinding it with the other hand, from right to left (according to the then
299:
became very fashionable at court, contributing to the professionalisation and improvement of the art of emaki which reached its maturity around the second half of the 12th century.
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of the
Imperial Court. It testifies to the refinement achieved by narrative court painting at the end of the Heian period, which heralds the golden age of the
1004:
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466:, that is to say that the faces are represented in abstract ways, with three lines (for the eyes and the nose) on a white background.
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519:. Since 22 November 1962, it has been classified as one of the National Treasures of Japan. The work is stored at the
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Originating in Japan in the sixth or seventh century through trade with the
Chinese Empire,
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999:. Arts of Japan series. Vol. 5. Translated by Ten Grotenhuis, Elizabeth. Weatherhill.
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234:("women's pictures") style of painting in the Heian period. It is also among the
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style fashionable from the 12th century to the end of the Heian period.
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consists of one or more long scrolls of paper narrating a story through
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genre. In particular, both paintings are effectuated according to the
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Fujiwara, Korefusa; Komatsu, Shigemi (1994). Chūō Kōronsha (ed.).
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314:
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preserved today, as well as one of the few extant examples of the
376:
368:
1044:. Shinshū Nihon emakimono zenshū (in Japanese). Vol. 17.
291:
During the Heian period, the illustrations of novels known as
781:
779:
637:] (in French). Paris: Éditions Mazenod. p. 272.
1042:寢覺物語繪卷, 駒競行幸繪卷, 小野雪見御幸繪卷, 伊勢物語繪卷, なよ竹物語繪卷, 葉月物語繪卷, 豐明繪草子
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728:
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The
Princeton Companion to Classical Japanese Literature
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956:. Nihon no emaki series (in Japanese). Vol. 1.
658:Miner, Earl Roy; Morrell, Robert E.; 小田桐弘子 (1988).
137:
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979:] (in French). Translated by Requien, Marcel.
367:against a rich background sprinkled with dust of
695:. Bloomsbury Publishing USA. pp. 560–561.
558:List of National Treasures of Japan (paintings)
286:horizontal writing direction of Japanese script
266:art spread widely among the aristocracy in the
200:
598:"(iii) Yamato-e (d) Picture scrolls and books"
354:Only one fairly damaged scroll remains of the
209:
166:
8:
501:of the Heian period, and, together with the
428:(c. 1120-1140), the most famous work of the
420:The pictorial style is close to that of the
602:Oxford Art Online, Oxford University Press
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1021:. Tout l’art series (in French). Paris:
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495:is one of the few remaining examples of
220:. The work is one of the oldest of the
187:(painted narrative handscroll) from the
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475:appears to be more decorative than the
238:, which enshrines the most inestimable
872:Museum of Japanese Art Yamato Bunkakan
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216:, which recounts a romance at the
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1100:
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507:, one of the oldest examples of
363:The first scene is dominated by
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565:Murasaki Shikibu Diary Emaki
1152:National Treasures of Japan
847:Agency for Cultural Affairs
563:
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523:(Yamato Bunkakan) in Nara.
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666:Princeton University Press
327:Fourth scene of the scroll
311:Second scene of the scroll
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214:, Wakefulness at Midnight)
1040:Shirahata, Yoshi (1969).
997:Narrative picture scrolls
572:National Treasure (Japan)
319:Third scene of the scroll
210:
167:
40:First scene of the scroll
33:
25:
995:Okudaira, Hideo (1973).
977:Japanese Painted Scrolls
973:Rouleaux peints japonais
635:The Art of Ancient Japan
1074:Nezame Monogatari Emaki
631:L'Art de l'ancien Japon
492:Nezame Monogatari Emaki
472:Nezame Monogatari Emaki
218:Imperial Court in Kyoto
161:Nezame Monogatari Emaki
21:Nezame Monogatari Emaki
971:Grilli, Elise (1962).
945:Encyclopedia Nipponica
897:Encyclopedia Nipponica
689:Moore, Steven (2013).
540:made by Kanō Osanobu (
521:Museum of Japanese Art
504:Genji Monogatari Emaki
478:Genji Monogatari Emaki
424:Genji Monogatari Emaki
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197:illuminated manuscript
145:Museum of Japanese Art
1076:at Wikimedia Commons
915:Tokyo National Museum
868:"寝覚物語絵巻（ねざめものがたりえまき）"
546:Tokyo National Museum
526:The original text of
460:technique typical of
392:The paintings in the
388:Style and composition
365:Japanese cherry trees
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195:(794–1185). It is an
668:. pp. 259–260.
761:, pp. 53, 135.
623:Elisseeff, Danielle
1015:Shimizu, Christine
329:
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1072:Media related to
1006:978-0-8348-2710-3
963:978-4-12-402651-1
702:978-1-4411-3336-6
627:Elisseeff, Vadime
544:) is held by the
240:cultural property
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132:National Treasure
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933:Bibliography
918:. Retrieved
911:"寝覚物語絵巻（模本）"
905:
899:on Kotobank.
887:
875:. Retrieved
862:
850:. Retrieved
843:"紙本著色寝覚物語絵巻"
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786:Shimizu 2001
773:, p. 1.
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295:monogatari-e
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268:Heian period
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59:Heian period
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984: [
803:Grilli 1962
542:Kanō school
303:Description
128:Designation
1141:Categories
1119:Literature
1032:2080137018
1023:Flammarion
578:References
538:Edo period
485:Provenance
246:Background
89:handscroll
1147:Emakimono
1054:768947820
516:emakimono
437:tsukuri-e
395:emakimono
357:emakimono
334:emakimono
273:emakimono
263:emakimono
252:Emakimono
223:emakimono
177:emakimono
87:on paper
74:Emakimono
1131:Painting
1017:(2001).
941:"寝覚物語絵巻"
893:"寝覚物語絵巻"
629:(1980).
552:See also
407:Yamato-e
381:Wisteria
347:Chūnagon
280:Yamato-e
256:Yamato-e
138:Location
106:Yamato-e
99:Movement
1081:Portals
981:Arthaud
920:8 April
877:8 April
852:7 April
114:Subject
57:End of
49:Unknown
1052:
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672:
641:
607:6 July
510:onna-e
463:onna-e
431:onna-e
413:Onna-e
401:onna-e
373:silver
230:onna-e
173:is an
168:寝覚物語絵巻
65:Medium
46:Artist
28:寝覚物語絵巻
988:]
975:[
633:[
583:Notes
270:. An
184:emaki
81:Paint
1050:OCLC
1027:ISBN
1001:ISBN
958:ISBN
922:2018
879:2018
854:2012
697:ISBN
670:ISBN
639:ISBN
609:2013
489:The
469:The
377:mica
375:and
369:gold
331:The
254:and
211:夜の寝覚
158:The
83:and
26:ja:
1107:Art
199:of
191:of
181:or
85:ink
1143::
1048:.
1025:.
986:fr
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