In mid-Edo Period the poets of the Dōjō school composed waka poems on the shoji paper doors at the “kirokujo” judicial office under the auspices of Emperor Sakuramachi. The aim of this paper is to trace the historical background of this work and explicate its exquisite treatment of the landscapes and histories of the famous places. It was a by-product of the two preceding works on the byōbu folding screens. One was produced at the “daijōe” imperial enthronement ceremony which was revived after the last one for Emperor Go-Tsuchimikado held about two hundred and seventy years. The other was the poems of the four seasons in the famous places of the Kantō district composed by the major poets of the imperial waka circle at the request of Tokugawa-Yoshimune. The shoji poetry was modeled after them, but it was an innovation. Until the Hōei Period the rooms in the imperial court had been furnished in Chinese style by the government. With waka poems and “yamoto-e” paintings the emperor boldly renovated them into the space of Japanese art. Later in the Kansei Period it inspired Emperor Kōkaku to make an unprecedented attempt to neo-classically ornament the Seiryō-den Palace with shoji poems. The collaboration of architecture, literature, and art had changed the palace into a site symbolic of the ideal of the country.

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秋里籬島という怪人物が編纂した『東海道名所図会』(寛政九年刊)は、他の一連の「名所図会」と違って、一つの狙いがあった。既に言われていることだが、東国江戸に対して皇都京の文化的優越性を示すことだが、これを東海道五十三駅およびその周辺の地誌・歴史・景観・歓楽のガイドブックとして、巧妙に内容を組み立てる形でやってのけた。禁裡御用絵師と上方文人が適宜にコーディネートされ(豊富な資金が謝金として準備され、惜しみなく使用されたようだ)江戸の二重王権があばかれる端緒ともなった。なかんずく東海道・江戸・日本のポイントとしての「富士山」の扱いに、籬島は二転三転、苦心した形跡がある。秀峰富士の形式的通俗的美化と国粋化に反発した上田秋成は、火山富士の醜悪かつ凶暴な一面を指摘した。秋成の一文は、籬島に求められ、内容のために突っかえされたもので、ひょっとしたらあったかも知れない。ただし、この件は何の根拠もない。しかし、面白い対立ではないか。

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Ishū retsuzō is a set of portraits of twelve Ainu chiefs-painted by Kakizaki Hakyō (Kakizaki Shōgen Hirotoshi, 1764–1826), a painter and poet who was also a house elder of the Matsumae domain. It was created in the aftermath of an Ainu uprising in the eastern Ezo districts of Kunashiri and Menashi in the fifth month of Kansei 1 (1789). After the completion of the set, which took a whole year, it was first taken to Kyoto, where it was viewed by Confucian scholars, court nobles, and finally Emperor Kōkaku.In those days, the Tokugawa shogunate was increasingly vigilant against foreign ships such as Russia approaching the Ezo districts.The Ishū retsuzō paintings represent the Ainu chiefs as loyal vassals (kōshinzu) in the same manner as the Kenjō no sōji, a set of wall panels for the Shishinden Hall in the imperial palace in Kyoto. Based on that style, trade goods and products of Ezo are elaborately depicted in a manner resembling natural history illustrations. This choice of mode, following the Kenjō no sōji, suggests that the intention was to convey loyalty to the emperor. Moreover, the preface and the appendices by Matsumae Hironaga also reiterate the Matsumae domain’s position as “the keystone of defense in the north.”Utilizing these “Ezo” paintings by the rising artist Hakyō, the main purpose of this project must have been to introduce the Matsumae’s cultural maturity to the emperor, whom the domain lord admired, as well as to court nobles and the most famous Confucian scholars of the day in Kyoto, thus further strengthening ties between Kyoto, with the imperial court, and the Matsumae domain.

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