family of painters, who possibly lived and worked during the mid-late thirteenth century. However, the unsubstantiated facts surrounding both his work and his connection to the handscrolls make definitive claims near impossible. Art historian Ikeda Shinobu of Chiba University theorizes that given the grandiosity of the scroll, its sexualized depiction of female bodies amidst violence, and the ordered uniformity of the belligerents, the original commissioner or intended recipient was a male aristocrat. Given the rising power of the Samurai in the wake of the Heiji Rebellion and its subsequent decades leading into the Kamakura Period, Shinobu asserts, the martial order of the warriors in the painting in conjunction with the lack of aristocratic depictions mount a compelling argument for the recipient being an upper-class court scholar. Coupled with evidence of aristocrats of the era entertaining E-awasé ("picture contests") for amusement, the stylistic composition and the magnificence of the Night Attack can be traced to a unique atmosphere among high-class commissioners pushing artists toward more inventive, ambitious Yamato-é compositions. This has led some art historians, such as Kojiro Tomita former head of the Asiatic Arts collection of the Museum of Fine Arts, to laud the handscroll, saying "whether the roll was by Keion or an artist now forgotten, its greatness will remain forever unquestioned." More recently, the infusion of intersectional lenses onto art history, such as Shinobu's gendered deconstruction, have placed the work in a more nuanced light. According to Shinobu, the "sexualized imprint" of the female bodies portrayed in the scroll, emphasized by the outsized number of female to male victims (20 female victims to 3 male), many of which are corpses with exposed breasts, forces reconsideration of the scroll as depicting a "form of pornography to male viewers." This assertion also reinforces the notion of the barbaric invaders as an inferior "other" to be seen as uncivilized brutes contrasting aristocratic sophistication. Acquisition controversy, ownership Amidst the Japanese Imperial Household Museum's nationalist acquisition of historical treasures at the turn to the 20th century, a number of backroom deals were undertaken to finalize a linear canon of Japanese art. This point, considered to be the genesis of Japanese art history, saw art historians Ernest Francisco Fenollosa and Okakura Ten Shin bring this nascent field to the United States. Taking root in Boston at Harvard University and the Museum of Fine Arts, Boston, Fenollosa reportedly may have paid hush money to the