Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

The Politics of Screen Poetry: Michinaga, Sanesuke, and the Court Entrance of Shōshi

The Politics of Screen Poetry: Michinaga, Sanesuke, and the Court Entrance of Shōshi Abstract: This essay examines the use by important statesman Fujiwara no Michinaga of economic and cultural clout in the 999 entrance of his daughter Shōshi into the court of Emperor Ichijō. The court entrance ceremony was part of his larger plan to elevate Shōshi, at the expense of a rival consort, in order to forge his own position among the high-ranking members at court. The uncommonly detailed historical records reveal the intricate process of commissioning, composing, selecting, and inscribing the poems for the painted screens presented at the event. The extended criticisms that Fujiwara no Sanesuke discloses in his diary, Shōyūki, underscore the unprecedented nature of the event and lay bare Michinaga’s deliberate transformation of financial and cultural resources into political gain. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Journal of Japanese Studies Society for Japanese Studies

The Politics of Screen Poetry: Michinaga, Sanesuke, and the Court Entrance of Shōshi

The Journal of Japanese Studies , Volume 38 (1) – Feb 1, 2012

Loading next page...
 
/lp/society-for-japanese-studies/the-politics-of-screen-poetry-michinaga-sanesuke-and-the-court-nAvrkB9diU
Publisher
Society for Japanese Studies
Copyright
Copyright © Society for Japanese Studies.
ISSN
1549-4721
Publisher site
See Article on Publisher Site

Abstract

Abstract: This essay examines the use by important statesman Fujiwara no Michinaga of economic and cultural clout in the 999 entrance of his daughter Shōshi into the court of Emperor Ichijō. The court entrance ceremony was part of his larger plan to elevate Shōshi, at the expense of a rival consort, in order to forge his own position among the high-ranking members at court. The uncommonly detailed historical records reveal the intricate process of commissioning, composing, selecting, and inscribing the poems for the painted screens presented at the event. The extended criticisms that Fujiwara no Sanesuke discloses in his diary, Shōyūki, underscore the unprecedented nature of the event and lay bare Michinaga’s deliberate transformation of financial and cultural resources into political gain.

Journal

The Journal of Japanese StudiesSociety for Japanese Studies

Published: Feb 1, 2012

There are no references for this article.