Genryaku-koubon Manyoushuu (Anthology of Ten Thousand Leaves, Genryaku Edition). E-Museum, https://emuseum.nich.go.jp/detail?&langId=en&webView=null&content_base_id=100167&content_part_id=0.

Accessed 11 Sept. 2023.

Quotation:

"In the late seventeenth century, these volumes belonged to Nakagawa Jôu (n.d.) of Matsusaka, a city near Ise Shrine. Later, they were acquired by the princely Arisugawa family, which passed on six volumes to the newly-formed princely Takamatsu family. The other fourteen volumes, which first became the possession of the Kuwana Matsudaira family, were later owned by the high-ranking government official Mizuno Tadakuni (1794-1851), and then by the Kogawa family before all twenty books came into the collection of the Tokyo National Museum."

My Thoughts:

This quote reflects the historical trend where wealthy families and individuals own knowledge and literary heritage that hold cultural significance. This practice limits the privilege and access of education to the wealthy class. Due to the private ownership of these historical artifacts, only a few could enjoy this privilege. These rich and powerful owners kept these texts secret to enrich their wealth and power with culturally significant artifacts. I find it interesting that the passing of these texts reflects the shifts in power dynamics. I believe the volumes publicly displayed in the Tokyo National Museum indicate progress towards the equity of education and allow all to benefit from the literary heritage within the poems.

Tsunenobu, Kano. 1670-1680. Genji espies Murasaki from the Wakamurasaki chapter of The Tale of Genji for the first time. UMMA Exchange.
https://exchange.umma.umich.edu/resources/30246/view

Quotation:

"In the seventeenth century, large-scale folding screens of Genji themes became popular trousseau items among members of the military aristocracy. For these auspicious purposes, artists chose scenes that idealized courtly love, rather than the darker moments in the novel."

My Thoughts:

This quote reflects the historical trend where those unable to confront issues of the past are doomed to repeat it. To appeal to the wealthy military aristocracy who collect the folding screens, artists tend to focus on courtly love rather than confront dark themes of abuse. I find it interesting that the army elite avoids truths of the past and ignores the themes of The Tale of Genji by covering it up with courtly love. Failure to acknowledge and understand the past results in overlooking valuable advice folklore advises to teach us.

Chang, Ed. Music of the BIWA. Hogaku: Japanese Traditional Music.
https://japanesetradmusic.blogspot.com/p/biwa-music-satsumachickuzenheike.html

Quotation:

"Heike-biwa (平家琵琶, Heikyoku): In contrast to moso-biwa, the biwa elements here begin to act more as "commentary" or provide "sympathetic responses". This style (scattered fast arpeggios and drones) is so-named because it was used to support recitations of the Heike Monogatari (Tale of the Heike). In this adaptation of the epic Heike war poem, 200 verses are each phrased in a characteristic style. At the time of its greatest popularity, Heike-biwa melded elements from the earlier Gagaku, Shomyo chant and moso-biwa traditions. It is, however, rarely performed today in its original form."

My Thoughts:

I find the Heike-Biwa variant of the biwa most fascinating and culturally significant. The style was made to accompany the Tale of Heike retellings as a part of the story. The Tale of Heike imposes great cultural significance on the people of Japanese and allows the folklore to be passed down with music. I find the passion and dedication behind Japanese culture impressive since 200 verses, each phrased in a characteristic style, are composed for the tale. Lastly, I am surprised that the Heike-Biwa is rarely performed today in its original form, and I am curious what impacted the decline in tradition.