30.7 cm x 39.7 cm x 2.3 cm (12 1/16 in. x 15 5/8 in. x 7/8 in.)
A view of a village by the river. Two pine trees and several cherry blossom trees are standing by the river. Several travelers are walking across the bridge, carrying parcels and goods. The river meanders and leads to the mountains in the distance.
People are appreciating the beauty of the cherry blossoms and some are having picnics under the trees. Below the highland where the cherry trees and the people are, the land leads to the fields and hills in the distance. The sky appears to be red along the edge of the hill, suggesting the time as early evening.
A colored image depicting a woman lounging in her chambers. She wears a kimono of red and blue with an artistic stylized pattern. Outside is a cherry tree blooming and the woman's young attendant in a grey kimono.
An elegantly-dressed courtesan reclining in her chambers and turning her head to listen as her attendant is leaning over the veranda to speak to her. The courtesan is comparible to the cherry tree outside her quarters, both being at the height of their beauty.
The sword is long and slightly curved; the metal smith's name is engraved on the metal handle.
Long swords (tachi) were the most important belongings for samurai, almost as equal to their lives; as many tragic stories attest, samurai could commit suicide when his sword was taken, stolen, or lost.
Among a gold and bright mineral pigmented landscape, Genji stands below a cherry tree in full bloom and watches Murasaki, who stands in an architectural structure. A distant stream and hilltops indicate the isolated setting.
On an excursion in the mountains, Genji discovers the villa of a tonsured noblewoman. The nun has temporary charge of her granddaughter, Murasaki. (Wakamurasaki means “the young Murasaki.”) Drawn by the commotion caused when a maid accidentally released Murasaki’s pet sparrow, Genji peeks through the fence. Struck by Murasaki’s beauty, he arranges to adopt her; she later became his favorite concubine. The cherry tree in full bloom suggests the blossoming of romance.
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. The style of these paintings looks back to the earliest Genji pictures of the eleventh and twelfth centuries, which had established a classical model for the theme: gold and bright mineral pigments are thickly applied to create a rich, jewel-like surface, and figures are drawn with stylized features to allow viewers to imaginatively project themselves into the scene.
An album of 28 pages. Cover is brown with a faded image at the center, possibly of leaves on an off-white background. The inside of the album primarily contains hand-written text, though some of the text has faded images in the background, and some of the pages are completely images. The first page depicts a seated man in formal attire. and across from him is a seperate painting of a landscape with green mountains. Other images contained within are of various topics with various colors and styles.
This twenty-seven leaf album contains letters, drafts of poems, and some sketches by Sakai Hôitsu. Many of the letters are addressed to his assistants, giving them detailed painting instructions, sometimes with sketches, and reminding them of their deadlines.