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Sanjuurokkasen@ŽO\˜Z‰Με
CATEGORY:@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 “‘Œ΄Œφ”C (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 ŽO\˜ZlW, of which the exquisitely decorated paper and calligraphy make the 12c Nishihonganji Ό–{ŠθŽ› 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 ŽO\˜Z‰ΜεŠGŠͺ, known as the Satake ²’| version after the former owner (now fragmented and in various collections). It is a work in the *kasen-e ‰ΜεŠG tradition that arose at the same time as the interest in realistic portraiture *nise-e Ž—ŠG in the late 12c. The second oldest version is the Agedatami γτ 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 ŠG”n 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 ”φŒ`Œυ—Τ (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 —Τ”h artist . The 36 immortal poets are: Kakinomoto no Hitomaro Š`–{l–› (see *Hitomarozou l–›‘œ); Ki no Tsurayuki ‹IŠΡ”V; Oushikouchi no Mitsune –}‰Ν“ΰηZP; Ise ˆΙ¨; Ootomo no Yakamochi ‘ε”Ί‰ΖŽ; Yamabe no Akahito ŽR•”Τl; Ariwara no Narihira έŒ΄‹Ζ•½ (see *Ise monogatari-e ˆΙ¨•¨ŒκŠG); Bishop Henjou (Henjou Soujou •ΥΖ‘m³); the priest Sosei (Sosei Houshi ‘f«–@Žt); Ki no Tomonori ‹I—F‘₯; Sarumaru Dayuu ‰ŽŠΫ‘Ύ•v; Ono no Komachi ¬–쏬’¬ (see *nanakomachi Ž΅¬’¬); Fujiwara no Kanesuke “‘Œ΄Œ“•γ; Fujiwara no Asatada “‘Œ΄’©’‰; Fujiwara no Atsutada “‘Œ΄“Φ’‰; Fujiwara no Takamitsu “‘Œ΄‚Œυ; Minamoto no Kintada ŒΉŒφ’‰; Mibu no Tadamine pΆ’‰›¨; Saiguu no Nyougo Φ‹{—Œδ; Ounakatomi no Yorimoto ‘ε’†b—ŠŠξ; Fujiwara no Toshiyuki “‘Œ΄•qs; Minamoto no Shigeyuki ŒΉd”V; Minamoto no Muneyuki ŒΉ@˜°; Minamoto no Saneakira ŒΉM–Ύ; Fujiwara no Nakafumi “‘Œ΄’‡•Ά; Oonakatomi no Yoshinobu ‘ε’†b”\ι; Mibu no Tadami pΆ’‰Œ©; Taira no Kanemori •½Œ“·; Fujiwara no Kiyotada “‘Œ΄΄’‰; Minamoto no Shitagou ŒΉ‡; Fujiwara no Okikaze “‘Œ΄‹»•—; Kiyohara no Motosuke ΄Œ΄Œ³•γ; Sakanoue no Korenori βγ₯‘₯; Fujiwara no Motozane “‘Œ΄Œ³^; Kodai no Kimi ¬‘εŒN; and Nakatsukasa ’†–± .
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Satakebon sanjurokasen-e sumiyoshimyoujin ²’|–{ŽO\˜Z‰ΜεŠGZ‹g–Ύ_ at Tokyo National Museum
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