What kind of poem is this?

What is especially noteworthy: Although this poem is well-known as the context of the “Hyakunin-Isshu” selection, it was composed by a monk (hōshi, here Shunkei) who imagined himself adopting the persona of a woman calling out for her lover.

“Composed as a love-poem” — The curious arrangement in the Senzai Wakashū’s “Koi Ni” section

The Senzai Wakashū (an imperial anthology compiled by Fujiwara Shunzei) is known for distinctive treatment of theme-poems and kotobagaki (prefatory words) in its structure.

In the section “恋二” (“Love II”), there are six successive poems all listed under the same kotobashiraki: “恋歌とてよめる” (“read as a love-poem”).

It is quite uncommon even among other imperial anthologies that several poems under the same prefatory note are grouped together in this way; this grouping is one of the structural features of the Senzai Wakashū.

What makes it particularly interesting: all six of those poems were composed by men, and four of them were by monks. The fact that monks — who might be expected to be detached from romantic entanglement — are composing love-poems suggests that Shunzei saw in them a depth of emotion (“jō”) transcending ordinary romantic affair.

In that sense, the Senzai Wakashū’s spirit may be said to treat the very act of thinking or yearning (思う omou) as the essence of the poem, rather than the external reality of love alone.

What kind of verse?

Genji, while visiting a temple in the northern hills, happens upon a young girl being raised by her grandmother, the nun. Struck by the girl’s beauty—so reminiscent of his beloved stepmother, Lady Fujitsubo—Genji is captivated. It is in this moment that he exchanges poems with the nun.

Echoes of Genji

Behold this elegant calligraphic rendition of “The Gift Poem of Genji and the Nun” from The Tale of Genji, meticulously created around the year 1008. Rendered in the refined kana calligraphy style, this piece exquisitely captures the emotional language of Heian-era poetry.

This rare and emotionally resonant creation brings together centuries of Japanese aesthetic and literary heritage. It stands as a silent witness to unspoken longing, rendered through sweeping strokes that embody both restraint and yearning.

Now, this masterpiece seeks a worthy home—someone with the vision and space to appreciate its scale, nuance, and poetic depth.

For inquiries, commissions, or further details, please feel free to reach out at any time.

What kind of verse?

When Sei Shonagon was staying at Kiyomizu, Empress Teishi deliberately sent a messenger to deliver a waka written in sōgana on precious red Chinese paper.

The meaning of the poem is something like, “With every toll of the evening bell at the temple near the mountains (Kiyomizudera), you will understand how many times my heart longs for you.”

brief comment

In “The Pillow Book,” it is clear that Sei Shonagon, the author, felt delighted and proud to receive a waka—a type of love poem—from her master, Empress Teishi.

What intrigued me was that Teishi wrote the waka not in “kana” (women’s script), but in “sōgana” (cursive kana). The later is cursive script of Chinese characters, and looks formal than “kana”.

I had always assumed that women of that era typically wrote in “kana.” Especially when writing to someone close, I thought they would use the softer, more intimate “kana” script. Thus, it was surprising to learn that Teishi wrote to Sei Shonagon in “sōgana.”

This work is written in “kana,” which rapidly developed around this era, rather than in the “sōgana” script used by Empress Teishi. Someday, I would like to create a piece in “sōgana” as well.

What verse?

The Tale of Genji is a classic work of Japanese, and is said the world’s first novel. There are many poems created by Hikaru Genji, who is the main character of this tale. As a matter of course they were created by Murasaki Shikibu author of this tale.

What verse?

The wrong side of a clothes and inside of heart are expressed by the same word “ura” in Japanese in this verse.

What verse?

The left hand work is the same as #52. In this time, the paper is more beautiful which is shine and change the color by light and angle.

What kind of verse?

The author introduced clouds that are often metaphor of sadness, and was down‐hearted with image of that the clouds had the same feeling as himself. At least this work was created as bright and simple.