The Hundred Poets of the Inkstand

(Sumi-ire hyaku-nin isshu)

Publisher: Sa-Ichi of Ichigaya

c. 1843

 

Hyaku-nin isshu is an anthology of 100 poems by 100 different poets compiled by the thirteenth-century critic and poet Fujiwara no Sadaie (also known as Teika).  The poems are all five-line poems of 31 syllables arranged as 5, 7, 5, 7 and 7.  This form was known as waka and is now known as tanka.  The 100 poets are in approximately chronological order from the seventh through the thirteenth centuries.  Some of the prints portray the poets, and some show scenes associated with their lives or poetry.  The poem and some descriptive text appear on each print.  The poems were translated by Clay MacCauley in his book ‘Single Songs of a Hundred Poets’ (1917, Kelly and Walsh, Yokohama).  The prints are each about 7 by 5 inches (18 by 13 centimeters), a size known as koban.

 

Number: 20

Poet: Prince Motoyoshi-shinnô

Scene: Prince Motoyoshi-shinnô and his lady by the Bay of Naniwa with distant sailboats in the background

Robinson: S27.20

 

The poem translates:

   In this dire distress

   my life is meaningless.

   So we must meet now,

   even though it costs my life

   in the Bay of Naniwa.

 

‘Robinson’ refers to listing in Kuniyoshi: The Warrior-Prints by Basil William Robinson (Cornell University Press, Ithaca, NY, 1982) and its unpublished supplement.

 

The other known prints in this series are listed below

Number: 1

Poet: Emperor Tenchi Tennô

Scene: Emperor Tenchi Tennô on a palace balcony overlooking a misty landscape

Robinson: S27.1

 

Number: 2

Poet: Empress Jitô Tennô

Scene: Empress Jitô Tennô and a maid looking back at a garden pavilion

Robinson: S27.2

 

Number: 3

Poet: Kakinomoto no Hitomaro

Scene: Poet Kakinomoto no Hitomaro at his writing desk, chin in hand, watching a pheasant in a tree

Robinson: S27.3

 

Number: 4

Poet: Yamabe no Akahito

Scene: Poet Yamabe no Akahito on the rocky sea-shore with Mount Fuji in the background

Robinson: S27.4

 

Number: 6

Poet: Chûnagon Yakamochi (Otomo no Yakamochi)

Scene: Poet Chûnagon Yakamochi on a veranda contemplating a building through the mist

Robinson: S27.6

 

Number: 7

Poet: Abe no Nakamaro

Scene: Poet Abe no Nakamaro seated on the foreign shore with two Chinese men, one of whom points across the sea towards Japan

Robinson: S27.7

 

Number: 8

Poet: The monk Kisen-hôshi

Scene: Two girls seated picking tealeaves while one of them rebukes a wandering child

Robinson: S27.8

 

Number: 9

Poet: Ono no Komachi

Scene: Poetess Ono no Komachi seated on a palace veranda

Robinson: S27.9

 

Number: 10

Poet: Semimaru

Scene: The blind poet Semimaru seated at the window of his hut listening to the sounds of passing travelers on the road

Robinson: S27.10

 

Number: 13

Poet: Emperor Yôzei-in

Scene: Emperor Yôzei-in bareheaded and seated on a veranda with mist and distant mountains in the background

Robinson: S27.13

 

Number: 14

Poet: Kawara no Sadaijin (Minamoto no Toru)

Scene: Poet Kawara no Sadaijin seated and dozing with folded arms with a river and drying clothes in the background

Robinson: S27.14

 

Number: 15

Poet: Emperor Kôkô Tennô

Scene: Two court ladies and three pages searching for young greens (wakana) in the snow

Robinson: S27.15

 

Number: 16

Poet: Chûnagon Yukihira (Ariwara no Yukihira)

Scene: Attendants carrying a palanquin under the watchful eyes of a supervisor with a wooded hill in the background

Robinson: S27.16

 

Number: 17

Poet: Ariwara no Narihira Ason

Scene: Poet Ariwara no Narihira with a page beside the Tatsuta river viewing the autumn maples

Robinson: S27.17

 

Number: 18

Poet: Fujiwara no Toshiyuki Ason

Scene: Poet Fujiwara no Toshiyuki Ason dozing at his writing table by lamplight with a screen behind him

Robinson: S27.18

 

Number: 19

Poet: Lady Ise

Scene: Lady Ise with a fan in hand walking by the sea-shore with distant sailboats in the background

Robinson: S27.19

 

‘Robinson’ refers to listing in Kuniyoshi: The Warrior-Prints by Basil William Robinson (Cornell University Press, Ithaca, NY, 1982) and its unpublished supplement.

 

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