[6] Like the romantic novel Genji, the diary deals with emotions and human relationships, particularly with Murasaki Shikibu's constraints at the court of Akiko, and her loneliness and feelings of futility after her husband's death (in 1001).

[3] Emaki, which are long paper scrolls telling a story through texts and paintings, came to Japan through exchange with the Chinese Empire around the 6th century and spread widely among the Heian aristocracy.

[nb 1][11][12][7][13] It transcribes the solitude and the observations of palace life from the diary but adds to the text a certain nostalgia for the glorious past of the Heian court which is typical for the 13th century, giving an overall feeling of "lost golden age", according to Mason, even during happy events such as parties.

[3][14] Two elements are found in the illustrations of the emaki: people indoors engaging in activities typical of the aristocracy of the period, such as writing letters, playing instruments, exchanging poems or talking to each other; and the gardens outside their buildings.

[1][11][18][19] Typical for onna-e, the paintings depict life at the palace with a sense of nostalgia, timeless and very retained, but purely decorative elements such as landscapes and contemplative scenes are added.

[2] It is done in three stages: a first sketch of the scene is made with Indian ink (probably by a master of the workshop), then the color is applied on the entire surface of the paper in a specific order, from large areas in the background to fine details.

[21] However, a visible change in style may again be noted, because the pigments are here less opaque than usual, and the more subtle shades are highlighted by fine outlines in ink; and in addition, the decorative aspect emerges strongly through extensive use of gold dust, and sometimes of silver.

[2] According to Mason, the technique seems to be less careful than in the past, as can be seen in elements of the architectural interior (such as sliding doors and screens) which lack detail or in the silver powder which is used much less often in general compared to gold.

[7] Abandoning the Heian period hikime kagibana ("slit eyes, hooked nose") style,[nb 4] figures were painted individual features and facial expressions that conveyed emotions and moods.

[5][17][20] More generally, M. Murase notes that the expression of feelings subtly changed compared to the scrolls of the 12th century; here the rooms (or the inner space, because it depends on the fusuma) in the palace are larger and less intimate or private, and nobles come and go naturally and determined.

[17] The pace that is intentionally slow in tsukuri-e, here seems slightly faster with illustrations depicting a single occurrence in time and temporally related events positioned close to each other in the emaki.

[13][28] The Hachisuka scroll starts with a description of a banquet given by the queen's majordomo and managed by the governor of Ōmi Province on Kankō 5, 9th month, 13th day (October 14, 1008), the third night of the birth of Atsuhira-shinnō, the later Emperor Go-Ichijō.

Other people involved in the ceremony included uneme (women selected for their beauty), mohitori (officials in charge of wells, soy sauce and ice-houses), migusiage (attendants whose hair was done up with hairpins), tonomori (King's housekeepers, kanmori no nyokwan (cleaners) and door keepers.

[32] The relatively short fourth scene describes that the maids of honour exit from the queen's room which had been partitioned off by misu[nb 5] entering the torch-lit garden.

[34] The short fifth passage is a continuation of the previous events and relates an exchange of courtesies between court ladies and a monk who had kept night watch telling religious and other stories.

Naishi spread the rumour that Murasaki Shikibu was proud of her Chinese learning (which in the Heian period was the domain of the male aristocracy) and gave her the name "Japanese Chronicle Lady".

The text in the emaki relates how Empress Shōshi requested that Murasaki Shikibu read to her in Chinese and teach her the poetical works of Bai Juyi (in particular the part known as shingafu (新楽府)) in secrecy.

[38] Formerly in possession of the Akimoto clan (秋元家), rulers of the Tatebayashi Domain in Kōzuke Province, the extant Fujita scroll alternates five sections of text and five paintings.

During the evening ceremony, Murasaki Shikibu catches a glance of the queen, remarking that she appeared weary, having lost weight and gaining a pale complexion.

A sixth text section of the Fujita scroll has been preserved in the form of a copy from the original manuscript made by Tanaka Shinbi (田中親美) (1875–1975), researcher and collector of Japanese fine arts who also assisted in the reproduction of old writings and ancient paintings including the Genji Monogatari Emaki.

The painting located in the emaki after the fifth text section, at the end of the extant Fujita scroll and originally before the sixth scene, illustrates this inspection of boats.

[47][48] Penelope Mason sees this diverse composition as a nostalgic representation of the 13th century Imperial Court past its golden age, as despite the "gaiety and splendor the scene is permeated with fleeting nature of joy and pleasure.

[28] The scene dated to Kankō 5, 10th month, 17th day (November 17, 1008), shows two drunk courtiers trying to gain entrance to Murasaki Shikibu quarters after she had enjoyed the garden outside her apartment.

[4] First to arrive at the scene is the palace steward Sangi Fujiwara no Sanenari (藤原実成) (on right) who opens the upper part of Murasaki's lattice door and inquires whether anybody is at home.

It consists of a single scene with a very short illustration showing the inside of a traditional Japanese style room with fusuma sliding doors, tatami and a curtain.

[nb 19] Set on the evening of Kankō 5, 12th month, 29th day (January 27, 1009), in this scene, Murasaki Shikibu returns to the Imperial Court after a visit to her parents' home.

[nb 20] This scene from an unknown day in the year Kankō 6 (1009) shows Murasaki asleep at night in a room close to the corridor; a man is knocking on the door.

[68] Murasaki Shikibu then describes the day's festivities: the Queen and her audience, the clothing, names and titles of the participants which included the Emperor, the infant prince and various court ladies.

As the nurse, Madam Nakadaka comes away from the Emperor and Queen under the canopy, carrying the prince in her arms, Murasaki Shikibu praises her dignified demeanour, tranquility and earnestness.

Lower rank officials later joined them on the steps below where the royalty is seated to perform music with a lute (biwa), harp (koto) and flute (shō).