Artwork

百人一首小式の内持|Koshikibu no Naishi (999–1025), from "Hyakunin Isshu" (One Hundred Poems by One Hundred Poets)

百人一首小式の内持|Koshikibu no Naishi (999–1025), from "Hyakunin Isshu" (One Hundred Poems by One Hundred Poets) is an ink print by the Romanticist artist Suzuki Harunobu. It dates from 1768 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

It depicts a quiet interior scene with two figures engaged in a contemplative moment, rendered in delicate ink and color on paper.

This woodblock print, dated around 1768, is part of Suzuki Harunobu’s series illustrating the Hyakunin Isshu anthology. It depicts a quiet interior scene with two figures engaged in a contemplative moment, rendered in delicate ink and color on paper. The composition balances stillness and subtle motion, reflecting the poetic tradition it illustrates. The print is currently held in the collection of The Metropolitan Museum of Art.

Subject & Meaning

The scene portrays Koshikibu no Naishi, a Heian-period poet, and an attendant. The figure kneeling with a scroll suggests the act of reading or composing poetry, while the standing figure, holding a fan, implies quiet observation. Autumn leaves falling outside the window evoke transience, a central theme in classical Japanese verse. The pairing of image and text invites reflection on the emotional weight of the poem attributed to the poet.

Technique & Style

Harunobu employed nishiki-e, a multi-block color printing method, to achieve subtle gradations and soft hues. Fine linework defines the figures’ robes and the interior architecture, while the exterior landscape is rendered with minimal detail, enhancing the sense of intimacy. The use of muted tones—particularly the orange sashes against pale backgrounds—draws attention without disrupting the calm atmosphere of the scene.

History & Provenance

Created during the Edo period, this print was produced as part of a popular series that made classical poetry accessible to a broader audience. Harunobu’s prints were widely distributed, often sold as collectible items. The work entered The Metropolitan Museum of Art’s collection through documented acquisitions in the 20th century, preserving its place in the history of Japanese printmaking.

Context

The Hyakunin Isshu anthology, compiled in the 13th century, selected one poem from each of a hundred poets, spanning centuries. By the 18th century, these poems were commonly illustrated in prints, blending literary culture with visual art. Harunobu’s series responded to a growing urban interest in refined aesthetics, connecting Heian-era poetry with contemporary Edo tastes through intimate, domestic scenes.

Legacy

Harunobu’s prints helped define the ukiyo-e genre’s capacity for lyrical expression beyond theatrical or erotic subjects. His delicate handling of emotion and environment influenced later artists and contributed to the enduring appeal of the Hyakunin Isshu as a cultural touchstone. This print remains a representative example of how poetry and visual art intersected in Edo-period Japan.