@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002654,
 author = {Leggeri-Bauer, Estelle and LEGGERI-BAUER, Estelle},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {25},
 month = {Mar},
 note = {pdf, It is commonly thought that narrative painting simply takes an existing work of literature and turns the text into pictures. For this reason, when analyzing a work, most often the contents of the painting's text (kotobagaki) are compared with the motif and construction of the painting. However, recent studies have employed different methods. As opposed to viewing a work as having been inspired from the reading of the text, examination of the heritage of the images and the patterns in construction have been emphasized when trying to explain the process of the creation of a work. I believe that this kind of analysis combined with passages and testimonies in historical records concerning narrative paintings is important when considering the appraisal and process of creation of classical and medieval narrative paintings.
With this approach, during this presentation I would like to first look at the petition (kana chinjô) attached to the Genji Higishô held in the Imperial collection which records a debate over shiki-shi pictures of the Tale of Genji made for the Shogun's estate in the mid 13th century, and consider the views of visual depiction of the Tale of Genji of the time. This kana chinjô consists of two petitions presented by Kosaishô no Tsubone, a woman employed by the Shogun's family, criticizing the presentation of the picture as well as the two painters, but each presents its own outlook on how to depict a textual work. Kosaishô no Tsubone argues that the painters should be as faithful as possible to the original textual work, taking into consideration the quality of their own copy of it, as well as looking at commentaries. The painters retort by indirectly insisting that older paintings have greater credence than a text which contains too many difficulties to understand passages.
Next, I would like to look at how these two different views reflect on works left to us today. To do this I will employ the analysis methods of the art historian E. Panofsky to look at the evolution of narrative illustrations such as those of Genji, and determine the place of the views expressed in these petitions.},
 pages = {77--87},
 publisher = {国文学研究資料館},
 title = {研究発表　13世紀半ばにおける文学作品の絵画化観　―源氏絵陳状をめぐって―},
 year = {2002},
 yomi = {レジェリ-ボーエル, エステル}
}