figures in the paintings. The oldest handscroll of this type is none other than the Genji Monogatari Emaki in the collections of the Tokugawa and Goto Museums, and dated to be-tween 1120 and 1140. When we closely investigate the Genji emaki in conjunc-tion with documentary evidence, an image begins to emerge of the appearance of earlier handscrolls from the beginning of the narrative genre to the 11th century, which no longer servive. Moreover, the detailed paintings-within-paintings in this handscroll suggest the actual appearance of sliding-door and folding-screen paintings from the height of the courtly period. By the latter half of the 12th cen-tury, setsuwa bungaku, or stories based on folktales and legends. These paint-ings, such as the Shigisan Engi Emaki and the Ban Dainagon Emaki, with their long, expansive painting surfaces that incorporate a temporal progression, and their dynamic and free expression of human figures, expanded the possibilities of Japanese narrative scrolls to an even grater extent. This Japanization of painting, realized in the Heian period (9th-12th centu-ries), and the original aesthetic that it engendered, formed the very basis of Japanese painting history, which continued to develop in various ways from the later medieval to the early modern period. -682-
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