A Disguised Scene from The Tale of Genji (Fūryū Yatsushi Genji), Chapter 33, “Wisteria Leaves (Fuji no uraba)”

Art Historical Context

Chōbunsai Eishi's *A Disguised Scene The Tale of GenjiFūryū Yatsushi Genji)*, Chapter 33 “Wisteria Leaves (uji no uraba),” from around 1794, brings the elegance of Japan's Heian-era classic novel into the vibrant world of Edo-period. This triptych woodblock prints—ink and color on paper—icts a scene from Murasaki Shikibu'sThe Tale of Genji reimagined through the lens of *fūryū* (elegant or stylish disguise), where timeless courtly romance is transposed onto contemporary courtesans and urban settings. The three panels, each about 14½ by 10 inches, unfold a panoramic narrative centered on graceful women amid houses, evoking the chapter's themes of longing and subtle intrigue. Eishi, a master of the ukiyo-e (“pictures of the floating world”) tradition, was renowned for his refined bijin-ga (images of beautiful women), characterized by elongated figures, delicate lines, and subtle color gradations achieved through masterful woodblock printing. During the Edo period (1615–1868), such prints were affordable art for the rising merchant class, blending literature with everyday fashion and architecture. This work exemplifies Eishi's poetic style, rivaling contemporaries like Utamaro, and highlights the cultural obsession with Genji's romantic episodes. Part of the Metropolitan Museum of Art's Henry L. Phillips Collection, this triptych invites visitors to appreciate how 18th-century Japanese artists made ancient tales feel intimately modern, bridging centuries of storytelling through exquisite craftsmanship.

About the Artist

Chōbunsai Eishi · 1756–1829

Japanese, 1756–1829