Recommendation
(Koichi Nakano, Koichiro Matsuura, Jakucho Setouchi, and Masami Ogawatsu)
Genji-e” That Challenges the Depths of the Tale
By Koichi Nakano, Professor Emeritus, Waseda University, Ph.D. in Literature
Paintings inspired by The Tale of Genji are generally referred to as “Genji-e.” Since ancient times, a wide variety of such works have been handed down, ranging from the National Treasure Genji Monogatari Emaki of the late Heian period to picture scrolls, folding screens, paintings, and woodblock prints.
Amid this long tradition, a truly unique modern style has emerged — the “Genji-e” of Juné Imayoshi.
The most notable feature of Imayoshi’s work is her sensuous, imaginative expression that transcends realism. In this sense, her style resonates with elements of surrealism.
Rather than being confined to surface representations, her attempt to portray the refined aesthetic world of classical Japan through hyperreal sensory methods is an unprecedented and bold artistic adventure. It is a groundbreaking accomplishment without precedent and deserves great attention.
Especially when tackling the profound spiritual world underpinning The Tale of Genji, the challenge lies in how to visualize such depth. This requires an intimate and nuanced understanding of the original work — a foundation Imayoshi firmly possesses through her serious studies as a listener at Waseda University’s graduate program.
Her innate sensitivity and rich expressive abilities further enhance her work, enabling her to capture the dreamlike inner world of The Tale of Genji with remarkable success.
The delicate linework, bold brushstrokes, and harmoniously layered colors in her paintings can be seen as expressions of the chaos that lies at the heart of the tale. Through this refined visual composition, the viewer may discern the emotional states of noblemen lost in love, princesses lamenting unrequited passion, and court ladies tossed by fate.
To fully appreciate Imayoshi’s “Genji-e,” one must reflect upon their own understanding of The Tale of Genji. Her unprecedented artistic endeavor to visualize traditional Japanese elegance through a fresh, supra-realistic lens will surely continue to evolve.
Having long observed the growth and achievements of Juné Imayoshi’s work, I sincerely wish her continued success and deeper artistic accomplishment.
Juné Imayoshi and The Tale of Genji
By Koichiro Matsuura, Former Director-General of UNESCO
I first encountered Juné Imayoshi’s paintings in the late 1990s when she held a solo exhibition at a gallery in Paris. I was deeply moved by the classical atmosphere her works conveyed, even at that time. Over the past 14–15 years, I have continuously followed her career and am consistently impressed by her growth as an artist.
She has since poured her heart and soul into depicting the 54 chapters of The Tale of Genji. These paintings evoke the spirit of the original narrative with exceptional sensitivity. Each episode from the tale resurfaces vividly through her brushwork.
In the autumn of 2008, marking the millennium of The Tale of Genji, we organized an exhibition of her Genji series at UNESCO Headquarters in Paris. The exhibition was a great success. It deeply moved not only those familiar with The Tale of Genji but also many viewers who had never heard of it. As UNESCO covers almost every country in the world, the exhibition drew visitors from many nations, including representatives and staff working at UNESCO, all of whom were highly impressed.
At that time, Imayoshi also gave a lecture on The Tale of Genji, which held the audience’s attention until the very end. This year, I hear she is scheduled to give a lecture on the tale at Waseda University and hold a solo exhibition there as well. I hope these events will further deepen people’s appreciation for her perspective on The Tale of Genji and the artworks it inspired.
I also look forward to her continuing to mature as an artist.
A Transparent and Tranquil World
By Jakucho Setouchi
Juné Imayoshi has read The Tale of Genji and developed a completely original interpretation, which she expresses in her unique abstract paintings. When I first saw her work, I was struck by how it revealed a new, abstract artistic dimension of the tale.
Take, for example, the scene of Lady Rokujo’s spirit possession — it portrays a soul freely moving between the realms of reality and unreality. Imayoshi’s paintings seem to stem from a spiritual struggle to express truths that words and gestures cannot capture. Yet the final result is always transparent and serene.
I hope many people will see her work and explore new depths of The Tale of Genji through her vision.
A Truly Original Genji Monogatari
By Masami Ogawatsu, Member of the Japan Art Institute
Juné Imayoshi’s interpretation of The Tale of Genji is truly unique. Over the past few years of our acquaintance, I have had almost nothing to teach her.
Master Yasuda Hiko once said in Gaso (“Thoughts on Painting”):
“Reading history and constructing a composition from chosen materials is not so difficult. But to give it a sense of its era and infuse it with modern sensibility is a true challenge.”
Imayoshi’s Genji-e meets that challenge. Her works are classical and elegant, yet abstract and modern. I was astonished and deeply impressed.
She has also boldly employed the tarashikomi technique of the Rimpa school, using it not just in parts but across entire surfaces. Works like Mandala of Noble Ladies are magnificently and uniquely executed in this way, bringing an unprecedented beauty and originality to Genji-e.
This truly feels like a new Genji-e — a Genji Monogatari Emaki for the new century.
I encouraged her to share her work with confidence. Thanks to the excellent guidance she received from her mentor, Tokiko Yasuda, her depictions have become sharper and more refined. Her world now appears clearer and more beautifully serene.
Her art seems to allow glimpses into distant pasts and futures yet to come.