A Hundred Poets from the Literary Heroes of Our
Country
(Honchô bunyû hyaku-nin isshu, 本朝文雄百人一首)
Publisher: Murata-ya Tetsu
c. 1842-1843
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This
series of prints portrays historical figures who are known to have written
extant poetry, which is reproduced in a square panel on each print. On many of the prints, the hero-poet’s
personal seal (kakihan)
is reproduced in red. The prints in
this series are each about 10 by 7 inches (25 by 18 centimeters), a size
known as chûban. |
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Scene: Abe Munetô (安倍宗任) wearing court
robes over half-armor and holding a bow and arrows Robinson: S22.1 |
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Scene: Akugenda Yoshihira (悪源太義平) seated and glaring
to his left Robinson: S22.2 |
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Scene: Asahina Saburô Yoshihide (朝比奈三郎義秀) standing in
court robes with a fan Robinson: S22.3 |
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Another state of the above design |
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Scene: Ashikaga Tadayoshin (足利直義) seated before
a large mirror dressing for a noh dance Robinson: S22.4 |
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Scene: Chinzei Hachirô Tametomo (鎮西八郎為朝) standing in
court robes and cap with a fan; a spray of cherry-blossom thrown at him by
the maids at the time of his betrothal to Shiranui-hime
Robinson: S22.5 |
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Scene: Kazusa Akushichibyôe Kagekiyo (上総悪七兵衛景清) standing
holding a closed fan and a wide straw hat Robinson: S22.6 I am grateful to Ward Pieters for locating this image. |
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Scene: Kajiwara Genda Kagesue (梶原源太景季) standing
holding a wide straw hat Robinson: S22.7 |
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Scene: Komatsu Naidaijin Shigemori (小松内大臣重盛) standing in
black brocade court robes holding the infant Emperor Antoku
on his shoulder Robinson: S22.8 |
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Scene: Kô Musashi no Kami Moronao (高武藏間獅直) standing
holding a card on which is written his love- poem to the lady Kaoyo-gozen in a scene from the first act of the kabuki play Kanadehon Chûshingura Robinson: S22.9 |
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Scene: Matsushima no
Tsubone (松嶋局) seated with
her child before her Robinson: S22.10 |
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Another state of the above design with a red title cartouche |
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Scene: Kiitchi’s daughter, Minazuru-hime
(Kiitchi no musume Minazuru-hime, 鬼一の娘みなずる姫) standing
barefoot and shielding a lantern with her sleeve (she obtained copies of her
father’s scrolls of strategy for her love, Yoshitsune)
Robinson: S22.11 |
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Scene: Minamoto no
Yoritomo (源頼朝) standing in
court robes and cap holding a fan with a sword in a tiger skin scabbard Robinson: S22.12 |
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Scene: Onzôshi Ushiwaka Maru (御曹子牛若丸) seated
examining the strategic scroll Sanryaku-no-maki
in Ki-ichi Hôgen’s house Robinson: S22.13 |
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Scene: Sarashina-hime (更科姫) with her son Shikanosuke and a bear cub Robinson: S22.14 |
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Scene: Satô Shirobei Tadanobu (佐藤四郎兵衛忠信) seated
grasping his sword and leaning on a go
board Robinson: S22.15 |
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Scene: Satsuma no
Kami Tadanori (薩摩守忠度) seated at a writing-table
with brush in hand Robinson: S22.16 |
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Scene: Mimyô, the twelfth century Shirabyôshi dancer (白拍子微妙) crouching and
holding a wide black hat amid falling cherry petals Robinson: S22.17 |
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Scene: Tametomo’s wife Shiranui-hime (白縫姫) standing with
a branch of cherry blossom and covering the lower part of her face with her
sleeve Robinson: S22.18 |
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Scene: Soga Gorô
Tokimune (曾我五郎時宗) in boyhood
with his hands clasped in prayer before an image of the god Fudô Robinson: S22.19 |
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Scene: Tomoe-jo (巴女) seated and
holding Yoshinaka’s helmet in the smoke from a small incense burner with a
storage chest for armor behind her Robinson: S22.20 |
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“Robinson” refers to listing in Kuniyoshi: The Warrior-Prints by Basil William Robinson (Cornell University Press, Ithaca, NY, 1982) and its privately published supplement. CLICK HERE TO RETURN TO MAIN
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