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Sanjuurokkasen@O\ZΜε | ||||||
KEY WORD :@art history / paintings | ||||||
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Lit. thirty-six immortal poets. Imaginary portraits of the 36 outstanding poets from the 7c to 10c selected by Fujiwara no Kintou ‘΄φC (966-1041). While Kintou's original anthology has been lost, his selection provided the model for the compendium Anthologies of The Thierty-six Poets SANJUUROKUNINSHUU O\ZlW, of which the exquisitely decorated paper and calligraphy make the 12c Nishihonganji Ό{θ version one of the most important extant works of Heian design and calligraphy now partially dispersed in various collections. In painting, the earliest existing portrayal of the poetic genii is the 13c handscroll, Sanjuurokkasen emaki O\ZΜεGͺ, known as the Satake ²| version after the former owner (now fragmented and in various collections). It is a work in the *kasen-e ΜεG tradition that arose at the same time as the interest in realistic portraiture *nise-e G in the late 12c. The second oldest version is the Agedatami γτ version (also fragmented and in various collections) produced in early 13c takes its title from the *tatami τ mat dais on which each poet is placed. In these handscrolls, text with brief biography of each figure and a representative poem are placed to the right of each figure which is depicted with realistic detail as if a portrait although none are based on sketches from life. The 36 immortal poets were often depicted on votive tablets *ema Gn during the Muromachi and Momoyama periods, usually in sets of 36. Each portrait was inscribed with a representative poem. In the Edo period, Ogata Kourin φ`υΤ (1658-1716) painted a two-fold screen of the Thirty-six Immortal Poets in which all 36 poets are grouped together and humorously endowed with an exaggerated expressions (Private Collection). This version where the poems no longer are written, inspired copies by many *Rinpa Τh artist. The 36 immortal poets are: Kakinomoto no Hitomaro `{l (see *Hitomarozou l); Ki no Tsurayuki IΡV; Oushikouchi no Mitsune }ΝΰηZP; Ise Ι¨; Ootomo no Yakamochi εΊΖ; Yamabe no Akahito RΤl; Ariwara no Narihira έ΄Ζ½ (see *Ise monogatari-e Ι¨¨κG); Henjou Soujou ΥΖm³ (Bishop Henjou); Sosei Houshi f«@t (the priest Sosei); Ki no Tomonori IF₯; Sarumaru Dayuu ΫΎv; Ono no Komachi ¬μ¬¬ (see *nanakomachi ΅¬¬); Fujiwara no Kanesuke ‘΄γ; Fujiwara no Asatada ‘΄©; Fujiwara no Atsutada ‘΄Φ; Fujiwara no Takamitsu ‘΄υ; Minamoto no Kintada Ήφ; Mibu no Tadamine pΆ¨; Saiguu no Nyougo Φ{δ; Oonakatomi no Yorimoto εbξ; Fujiwara no Toshiyuki ‘΄qs; Minamoto no Shigeyuki ΉdV; Minamoto no Muneyuki Ή@°; Minamoto no Saneakira ΉMΎ; Fujiwara no Nakafumi ‘΄Ά; Oonakatomi no Yoshinobu εb\ι; Mibu no Tadami pΆ©; Taira no Kanemori ½·; Fujiwara no Kiyotada ‘΄΄; Minamoto no Shitagou Ή; Fujiwara no Okikaze ‘΄»; Kiyohara no Motosuke ΄΄³γ; Sakanoue no Korenori βγ₯₯; Fujiwara no Motozane ‘΄³^; Kodai no Kimi ¬εN; and Nakatsukasa ±. | ||||||
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Satakebon sanjurokasen-e sumiyoshimyoujin ²|{O\ZΜεGZgΎ_ at Tokyo National Museum | ||||||
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(C)2001 Japanese Architecture and Art Net Users System.@No reproduction or republication without written permission. fΪΜeLXgEΚ^ECXgΘΗASΔΜRecΜ³f‘»E]ΪπΦΆά·B |
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