Poem by Nôin Hôshi: Tatsuta no mae and Sukune Tarô, from the series Ogura Imitations of One Hundred Poems by One Hundred Poets (Ogura nazorae hyakunin isshu)

「小倉擬百人一首 能因法師 立田の前 宿祢太郎」

Japanese
Edo period
about 1845–48 (Kôka 2–Kaei 1)
Artist Utagawa Hiroshige I (Japanese, 1797–1858), Publisher Ibaya Senzaburô (Dansendô) (Japanese), Blockcutter Yokokawa Takejirô (Hori Take)


Catalogue Raisonné

Herwig and Mostow, The Hundred Poets Compared (2007), #69; Robinson, Kuniyoshi: The Warrior-Prints (1982), list #S46.69

Dimensions

Vertical ôban; 36.7 x 25 cm (14 7/16 x 9 13/16 in.)

Accession Number

11.30342

Medium or Technique

Woodblock print (nishiki-e); ink and color on paper

Not On View

Collections

Asia, Prints and Drawings

Classifications

Prints

No. 69 from a series jointly designed by Hiroshige, Kunisada, and Kuniyoshi.

Inscription

Poem: Arashi fuku/ Mimuro no yama no/ momijiba wa/ Tatsuta no kawa no/ nishiki narikeri
あらしふく みむろの山の もみぢ葉は たつたの川の 錦なりけり

舅ハ非道の剣を研 夫ハ邪見の刃を磨く 慕むべし 此貞婦諫を拒む二人が為に 二月の池の氷と消て 水に血しほの紅をながすハ 我名の竜田に因むとやいハん
 柳下亭種員筆記

Signed

Hiroshige ga
広重画

Markings

Censor's seal: Murata
Blockcutter's mark: Hori Take
改印:村田
彫師:彫竹

Provenance

By 1911, purchased by William Sturgis Bigelow (b. 1850 - d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: August 3, 1911)

NOTES:
[1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.

Credit Line

William Sturgis Bigelow Collection