A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 32, Ki no Tomonori, no. 33, Fujiwara no Okikaze, and no. 34, Ki no Tsurayuki
(Hyakunin isshu esho: Ki no Tomonori, Fujiwara no Okikaze, Ki no Tsurayuki)
the left and right sheets signed Kunisada aratame Nidaime Toyokuni ga (Kunisada changing his name to Toyokuni II), and the center sheet similarly signed Kunisada aratame Nidai Toyokuni ga (Kunisada changing his name to Toyokuni II), all with his Toshidama seal, censor's seal Mura (Murata Sahei), followed by the publisher's seal Sanoki (Sanoya Kihei of Kikakudo), ca. 1844
oban tate-e triptych 14 1/4 by 30 in., 36.1 by 76.2 cm
The poems by the three poets are presented as the front and back of poem cards on each sheet:
no. 32, Ki no Tomonori (Hyakunin isshu no. 33)
haru no hi ni
hana no chiruran
In these spring days
with the tranquil light encompassing
the four directions,
why should the blossoms scatter
with disquieted hearts?
no. 33, Fujiwara no Okikaze (Hyakunin isshu no. 34)
Tare wo ka mo
shiru hiro ni sen
matsu mo mukashi no
tomo naranaku ni
Whom, then, shall I have
as someone who knows me?
since even the ancient pines
are no friends from my past...
no. 34, Ki no Tsurayuki (Hyakunin isshu no. 35)
Hiro ha iza
kokoro mo shirazu
hana zo mukashi no
ka ni nihohikeru
With people, well,
you can never know their hearts;
but inmy old village
the flowers brightly bloom with
the scent of the days of old
Joshua S. Mostow, The Hundred Poets Compared, 2007, pp. 101-104 (poem translations)
(inv. no. 10-5235)
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