Title Page -- Copyright Page -- Dedication Page -- Contents -- Preface -- Acknowledgments -- Notes to the Reader -- Introduction: State of the Field -- The Emperor-Warlord Cultural Dynamic -- Art and the Emperor-Warlord Dynamic -- Resources for the Study of Gendered Aristocratic Roles -- 1 Hideyoshi Restores Glory to the Palace -- Characteristics of Emperor-Warlord Relations -- Imperial Excursion to Jurakutei -- Watching a Nō Performance -- Rebuilding Go-Yōzei's Palace -- Kano Paintings for Royal Chambers -- Thirty-two Chinese Sages -- Twenty-four Paragons of Filial Piety -- Cypress -- Tale of Genji -- Hideyoshi Posthumously Deified -- 2 Go-Yōzei's Imperial Imperative as Cultural Arbiter -- Printed Books and Notions of Imperial Authority -- The Emperor and Poetic Traditions -- Calligraphy from the Imperial Hand -- The Emperor as Amateur Painter -- Kano Takanobu as Court Painter -- Palace Relations with Military Authorities -- Go-Yōzei Relinquishes the Throne -- 3 Tokugawa Shoguns and Patronage for the Throne -- The Tokugawa Assertion of Political Dominance -- A New Palace for Go-Mizunoo -- Takanobu's Paintings for the Keichō Palace -- Peonies and Tang Figures from the Keichō Palace -- The Emperor's Role in the Deification of Ieyasu -- 4 Go-Mizunoo's Ritual and Cultural Agenda -- The Court's Observance of Annual Rites and Ceremonies -- Copying the Scrolls of Annual Rites and Ceremonies -- Revival of an Esoteric Buddhist New Year's Rite -- Religious Prerogatives of a Divine Monarch -- The Emperor as Patron of Literature -- Go-Mizunoo's Skills as a Calligrapher -- The Palace as Bastion of Aristocratic Culture -- 5 Art and Architecture for Empress Tōfukumon'in -- The Royal Wedding for a Warlord's Daughter -- Wedding Procession -- A Palace Built for an Empress -- Kano Paintings for an Empress's Palace -- Panels from the Daikakuji Shinden.

Panels from the Enman'in Shinden -- Panels from the Shōren'in Shinden -- Additional Panels from the Empress's Palace -- Roles of Noblewomen in the Early Edo-Period Court -- Tōfukumon'in, Art, and Religion -- 6 Paintings of the Imperial Excursion to Nijō Castle -- Precedents and Preparations for an Imperial Visit -- Paintings Commissioned for Nijō Castle -- Nijō Imperial Excursion -- Other Visual Records of the Emperor's Excursion to Nijō -- 7 Emperor and Empress as Patrons of Kyoto Culture -- The Royal Couple's Sponsorship of Kano Painters -- Royal Screen Paintings by Tosa Mitsuoki -- Beginnings of the Sumiyoshi Atelier -- The Townsman Painter Sōtatsu's Entrée to the Court -- Scroll of an Imaginary Poetry Contest of Artisans -- The Art of Floral Arrangement -- Tea Gatherings and Aesthetic Priorities -- Palace Interaction with Kyoto Townspeople -- 8 Visual Documents of the Emperor-Warlord Relationship -- Go-Mizunoo's Abrupt Abdication -- Empress Meishō's Accession to the Throne -- Relations between the Dairi and Bakufu Leaders -- The Shogunate's Korean Connection -- Go-Mizunoo's Progeny and the Imperial Lineage -- The Imperial Retreat at Shugakuin -- 9 Closing Comments -- Endnotes -- Appendix 1: Emperors and Reigning Empresses -- Appendix 2: Members of the Imperial Family -- Appendix 3: Imperial Palace Documents, Buildings, and Panel Paintings -- Appendix 4: List of Chinese Characters -- Bibliography -- Illustrations and Photo Credits -- Index.