teranovaake988
Thirty-Six Poetic Immortals
Thirty-Six Poetic Immortals, mid 1700s. Attributed to Tatebayashi Kagei (Japanese, active mid-1700s). Two-fold screen; ink, color, and gold on paper; image: 170 x 182.8 cm (66 15/16 x 71 15/16 in.); overall: 174.4 x 187.2 cm (68 11/16 x 73 11/16 in.); closed: 94 x 4 cm (37 x 1 9/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund 1960.183
Fujiwara no Kintō (996–1075), a Japanese subject, researcher, and writer, ordered select models by the most praised arrangers of 31-syllable sonnets (waka) from the 600s to the 1000s. Painters before long made these "36 lovely immortals" a most loved subject, customarily introducing the writers in successive, glorified pictures combined with their sonnets. In this translation, a sequentially unimaginable social event of these incredible abilities is in progress. The screen's arrangement follows one formulated by plan virtuoso Ogata Kōrin (1658–1716).
Thirty-Six Poetic Immortals
Thirty-Six Poetic Immortals, mid 1700s. Attributed to Tatebayashi Kagei (Japanese, active mid-1700s). Two-fold screen; ink, color, and gold on paper; image: 170 x 182.8 cm (66 15/16 x 71 15/16 in.); overall: 174.4 x 187.2 cm (68 11/16 x 73 11/16 in.); closed: 94 x 4 cm (37 x 1 9/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund 1960.183
Fujiwara no Kintō (996–1075), a Japanese subject, researcher, and writer, ordered select models by the most praised arrangers of 31-syllable sonnets (waka) from the 600s to the 1000s. Painters before long made these "36 lovely immortals" a most loved subject, customarily introducing the writers in successive, glorified pictures combined with their sonnets. In this translation, a sequentially unimaginable social event of these incredible abilities is in progress. The screen's arrangement follows one formulated by plan virtuoso Ogata Kōrin (1658–1716).