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Tale of the Genji
The Tale of Genji Emaki (Genji Emaki) is a Japanese picture scroll depicting the Tale of Genji, a literary work from the Heian period (794-1192), which is also the setting for the historical drama ‘To the Luminous Prince’ currently being broadcast on NHK.
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The ‘Hikaru-kun’ of the title of Hikaru-kun refers to Hikaru Genji, the protagonist of The Tale of Genji, and Fujiwara no Michinaga, the powerful man of the time, as described in Kofukuji Temple and the Sacred Place of Martial Arts, and depicts aristocratic society, focusing on the relationship between Murasaki Shikibu, the author of The Tale of Genji, and Fujiwara no Michinaga.
This emaki occupies a very important position in the history of Japanese painting, as described in ‘Fluctuating Beauty – Japanese Painting and Japanese Calligraphy’, and is considered to be particularly late Heian period work.
The Tale of Genji picture scrolls are characterised by their extremely elaborate depictions and detailed lines, even in the surviving sections alone, and are a valuable source for understanding the aristocratic culture and lifestyle of the time. The story is visually reproduced and supplemented by a scene from the story.
The extant Genji emaki are partial and cannot be seen in their entirety, but particularly well-known sections include the Azumaya, Yugiri and Takekawa scrolls, which are preserved at the Tokyo National Museum and the Goto Museum of Art, and are scheduled to be exhibited at the Tokugawa Art Museum in Nagoya in 2024.
The Genji Emaki is a highly accomplished picture scroll, and the way in which it combines painting and storytelling has had a significant impact on Japanese art and has been designated as a Japanese national treasure.
Techniques used in the Tale of Genji picture scrolls
The Tale of Genji picture scroll uses a variety of techniques characteristic of Heian-period Japanese painting, which add to the overall beauty and narrative of the picture scroll, as shown below.
1. fukinuki-yatai: a technique in which the roof and walls of a building are removed to reveal the interior, allowing the viewer to see at a glance the events unfolding within the building and the positioning of the characters, making the progress of the story visually comprehensible. The atrium stall also makes it possible to depict several people and scenes simultaneously in the same picture, emphasising the continuity and relationships between scenes.
2. hikime kagihana: a technique of simplifying a character’s face, expressing the eyes with thin lines and drawing the nose with hooked lines, which skilfully expresses the character’s emotions and personality while omitting facial expressions. The hooked nose allows for a dignified and restrained depiction of the character’s personality and emotions without exaggerating them, thus maintaining the elegance of the work as a whole.
3. unki: a technique used to depict clouds and haze in picture scrolls to express scene breaks; these clouds and haze are used to symbolically express scene changes and the emotions of the characters. Clouds and haze allow for natural scene changes and smooth progression of the story, even when different times and places are depicted on the same screen. It also gives the entire picture scroll a fantastic and mysterious atmosphere.
4. colour gradation: a technique in which complex colour gradations are used for costumes and backgrounds, such as kasane-no-irome, where the layering of colours and blurring techniques create a three-dimensional effect and shading, giving depth to the picture. This technique gives depth to a flat picture plane and allows for richer depictions of characters and narrative scenes, while the use of colour emphasises the emotion of the story and the sense of the seasons.
5. compositional devices: the composition of picture scrolls shows techniques for effectively placing important elements within the picture plane. In particular, the use of diagonal and triangular compositions creates a sense of stability and movement. The compositional devices maintain visual balance and allow the viewer’s gaze to be naturally guided. In addition, the emphasis on important elements and characters in the story enhances the understanding of the story.
6. use of gold and silver: As noted in ‘On the Road to Sado’, gold and silver have been widely calculated in Japan since ancient times, and were used not as currency but as decoration. One such decoration was gold and silver mud. Gold mud. Silver mud refers to paint made from pure or near-pure gold or silver that has been powdered and dissolved in glue water (water containing glue). These techniques are used to express luxury and solemnity, and in the Tale of Genji picture scrolls they are used especially for the borders of the costumes and the background. The gold or silver paint gives the scrolls a lustre, creating a noble atmosphere, and also increases their visual appeal as they sparkle in different light and look different depending on the angle from which they are viewed. 7.
7. continuous scene: a technique whereby multiple times or scenes are depicted simultaneously on a single canvas, allowing the flow of a story to be represented continuously in a single picture. Continuous scenes allow the viewer to follow the progress of the story at a glance, create movement on the screen and, by having characters appear in multiple scenes, gain a deeper understanding of their behaviour and emotional changes.
These techniques are important elements in ensuring that The Tale of Genji Picture Scroll is not merely a visualisation of the story, but also a skillful conveyance of delicate emotional expression and narrative progression, with each technique interacting with the other to bring a rich narrative and aesthetic value to the picture scroll as a whole.
Features of the design structure of the Tale of Genji picture scrolls
Here, the characteristics of the design structure of The Tale of Genji Picture Scroll are further described.
1. chapter structure: The Tale of Genji Picture Scroll depicts selected scenes from all 54 chapters of the original work, The Tale of Genji. Rather than depicting the story in order throughout, specific important scenes are selected to visually convey the highlights of the story.
2. combination of lyrics and pictures: each volume contains a set of ‘pictures’ depicting scenes from the story and ‘lyrics’ explaining the scene and describing the characters’ feelings, etc. The lyrics complement the story and deepen the understanding of the pictures.
3. shifting scenes: the paintings use the technique of representing different times and places within the same picture plane. This allows multiple scenes to be combined within a single picture and allows the viewer to visually follow the flow of the story and the movements of the characters.
4. painting style: the paintings are drawn in the style of Heian-period ‘Yamato-e’, as described in ‘Sesshu and Freedom’, and are characterised by delicate lines and soft colours, with detailed depictions of landscapes and buildings. The emotions and relationships of the figures can also be read from their expressions and postures. 5.
5. building perspective (vaulted stalls): when depicting the interior of a building, the technique of omitting the roof and walls to show the interior is used. This makes it easier to depict the movement of the figures and the development of the scene.
These features not only serve as artworks, but also as hints for good UX design. They are described below.
Application to the UX of the application
The tips for application UX design that can be derived from the structure of The Tale of Genji Picture Scroll, which has these characteristics, can be applied to metaverse design, for example, in the following applications.
1. chapter structure: it is conceivable to design the metaverse in such a way that users can select specific places or scenes to experience, while having an overall story or theme within the metaverse, for example by creating a mechanism where special scenes or events are developed when users enter certain areas of the metaverse, and 1. the user can experience the story in fragments within the metaverse.
2. a combination of narrative and pictures: as an interactive element in the metaverse, information and narration can be displayed in line with the environment and the avatar’s movements, and when the user approaches a particular place or object, a text or audio guide explaining its background and meaning can be automatically displayed. When incorporated, this can provide a deeper understanding and sense of immersion.
3. shifting scenarios: multiple storylines and events can be simultaneously developed in the metaverse by incorporating effects that change time and location in the same area, for example, a particular viewpoint could be designed to recreate a past event, while another viewpoint could be used to develop a future scenario. Such designs are conceivable.
4. painting style (Yamato-e aesthetics): by incorporating the aesthetics of Heian-era ‘Yamato-e’ in the visual design of the metaverse, traditional and elegant spaces can be created, with areas designed with a focus on colour and composition, providing users with a visually attractive and welcoming environment 4. the use of a building’s perspective (e.g. the building’s elevation)
5. building perspective (vaulted stalls): in the design of buildings and structures in the metaverse, perspective can be used to allow users to look into the interior, creating a sense of depth and complexity in the space, and this also allows users to grasp the situation inside even when they are outside the building, thus The range of interactions will be expanded.
The compositional features of The Tale of Genji Picture Scroll provide a lot of inspiration for storytelling, interaction and visual design in the design of the metaverse, providing users with a deep narrative experience and designing a visually sophisticated space that further enhances the immersion and attractiveness within the metaverse. This shall enhance the immersion and attractiveness within the metaverse.
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