히카루겐지의 영화 구축을 위한 방법 고찰

Abstract

As its name suggests, the volume of ‘Eawase’ describes the power relationship in the Imperial Court and the transition of the change, together with the splendid whole picture of Eawase (A Picture Contest) held in the Imperial Court. Eawase that took place twice is not merely a confrontation between Saigu no Nyogo and Kokiden no Nyougo, the empress of Emperor Reizei. Actually, it was a confrontation between Hikaru Genji and Gon Chunagon (a provisional vice-councilor of state) behind it. In Eawase that did not draw superiority and inferiority, Genji grabbed a victory with a picture diary of the Suma retreat era. As a result, the Emperor’s affection for Saigu no Nyogo was increasingly deepened, and she rose to the first position of the emperor’s courtyard. At the same time, her guardian, Genji’ was able to gain a political power, supported Emperor Reizei and built a foundation on which to lead the Imperial Court. However, the significance of this picture contest is not just that Genji won politically. By redefining Hikaru Genji’s ideals as a man of culture and a politician, it also shows that the future world of story does not merely seek a visible power, but a greater emphasis is placed on the spirit that is its essence. The portrayal of Eawase is based on various aspects of ‘Tentoku Dairi Uta-awase’ which were accepted thoroughly. The portrayal of this picture contest is that it thoroughly accepted Tentoku Dairi Uta-awase (Imperial Palace Poetry Contest of the Tentoku era) in various aspects. However, considering the theme of the story of building the era that leads to the reign of Emperor Murakami as well as the development from this, it created a new court event called a picture contest, which could not be found before The Tale of Genji.