section_path: Legacy
section_name: Legacy
paragraph_text: Legacy
  
  Murasaki's reputation and influence have not diminished since her lifetime when she, with other Heian women writers, was instrumental in developing Japanese into a written language. Her writing was required reading for court poets as early as the 12th century as her work began to be studied by scholars who generated authoritative versions and criticism. Within a century of her death she was highly regarded as a classical writer. In the 17th century, Murasaki's work became emblematic of Confucian philosophy and women were encouraged to read her books. In 1673, Kumazawa Banzan argued that her writing was valuable for its sensitivity and depiction of emotions. He wrote in his Discursive Commentary on Genji that when "human feelings are not understood the harmony of the Five Human Relationships is lost."
  
  The Tale of Genji was copied and illustrated in various forms as early as a century after Murasaki's death. The Genji Monogatari Emaki, is a late Heian era 12th century handscroll, consisting of four scrolls, 19 paintings, and 20 sheets of calligraphy. The illustrations, definitively dated to between 1110 and 1120, have been tentatively attributed to Fujiwara no Takachika and the calligraphy to various well-known contemporary calligraphers. The scroll is housed at the Gotoh Museum and the Tokugawa Art Museum.
  
  Female virtue was tied to literary knowledge in the 17th century, leading to a demand for Murasaki or Genji inspired artifacts, known as genji-e. Dowry sets decorated with scenes from Genji or illustrations of Murasaki became particularly popular for noblewomen: in the 17th century genji-e symbolically imbued a bride with an increased level of cultural status; by the 18th century they had come to symbolize marital success. In 1628, Tokugawa Iemitsu 's daughter had a set of lacquer boxes made for her wedding; Prince Toshitada received a pair of silk genji-e screens, painted by Kanō Tan'yū as a wedding gift in 1649.
  
  Murasaki became a popular subject of paintings and illustrations highlighting her as a virtuous woman and poet. She is often shown at her desk in Ishiyama Temple, staring at the Moon for inspiration. Tosa Mitsuoki made her the subject of hanging scrolls in the 17th century. The Tale of Genji became a favorite subject of Japanese ukiyo-e artists for centuries with artists such as Hiroshige, Kiyonaga, and Utamaro illustrating various editions of the novel. While early Genji art was considered symbolic of court culture, by the middle of the Edo period the mass-produced ukiyo-e prints made the illustrations accessible for the samurai classes and commoners.
  
  In Envisioning the "Tale of Genji" Shirane observes that " The Tale of Genji has become many things to many different audiences through many different media over a thousand years... unmatched by any other Japanese text or artifact." The work and its author were popularized through its illustrations in various media: emaki (illustrated handscrolls); byōbu-e (screen paintings), ukiyo-e (woodblock prints); films, comics, and in the modern period, manga. In her fictionalized account of Murasaki's life, The Tale of Murasaki: A Novel, Liza Dalby has Murasaki involved in a romance during her travels with her father to Echizen Province.
  
  The Tale of the Genji is recognized as an enduring classic. McCullough writes that Murasaki "is both the quintessential representative of a unique society and a writer who speaks to universal human concerns with a timeless voice. Japan has not seen another such genius." Keene writes that The Tale of Genji continues to captivate, because, in the story, her characters and their concerns are universal. When Waley's translation (The Tale of Genji: A Novel in Six Parts) was published in 1933, reviewers compared Genji to Austen, Proust, and Shakespeare. Mulhern says of Murasaki that she is similar to Shakespeare, who represented his Elizabethan England, in that she captured the essence of the Heian court and as a novelist "succeeded perhaps even beyond her own expectations." Like Shakespeare, her work has been the subject of reams of criticism and many books.
  
  Kyoto held a year-long celebration commemorating the 1000th anniversary of Genji in 2008, with poetry competitions, visits to the Tale of Genji Museum in Uji and Ishiyama-dera (where a life size rendition of Murasaki at her desk was displayed), and women dressing in traditional 12-layer Heian court jūnihitoe and ankle-length wigs. The author and her work inspired museum exhibits and Genji manga spin-offs. The design on the reverse of the first 2000 yen note commemorated her and The Tale of Genji. A plant bearing purple berries has been named after her.
  
  A Genji Album, only in the 1970s dated to 1510, is housed at Harvard University. The album is considered the earliest of its kind and consists of 54 paintings by Tosa Mitsunobu and 54 sheets of calligraphy on shikishi paper in five colors, written by master calligraphers. The leaves are housed in a case dated to the Edo period, with a silk frontispiece painted by Tosa Mitsuoki, dated to around 1690. The album contains Mitsuoki's authentication slips for his ancestor's 16th century paintings.