附註:Includes bibliographical references (pages 187-197) and index.
Pine trees as political iconography at Nijō Castle -- Chinese exemplars and virtuous rulers at Nagoya Castle -- Nikkō's Yōmeimon: sculpture and sacred landscape -- The Tōshō Daigongen engi as political propaganda.
摘要:In the first half of the seventeenth century both those who commissioned and those who viewed art in Japan were primarily the elite -- the shogun, the court, high-ranking daimyo, government officials, and certain wealthy merchants. Much of the artistic energy engaged by the political center during the early Tokugawa was directed at the creation of monumental structures decorated with symbolic and complex images, mainly of Chinese origin, initiated or approved by the shogunate to legitimate its own power and to give its rule an aura of cultured sophistication.
