@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002639,
 author = {Mostow, Joshua and MOSTOW, Joshua},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {24},
 month = {Mar},
 note = {pdf, Pictorializations of the One Hundred Poets, One Poem Each (Hyakunin isshu) collection of Fujiwara no Teika are an innovation of the Edo period. By this time, of course, the exegetical tradition surrounding the anthology was several hundred years old. How did pictorializations of the individual poems respond to the variety of interpretive possibilities, and were they always dependent on some previous, written, commentary?
Such questions invite us to consider “historical readings” of the poems, and the reception history of the work. I argue that illustrations, too, can be understood as “readings” of the poems. In fact, in the colophon of some Edo-period editions, we find the assertion that the artists has drawn “the heart of the poem” as a picture.
However, visual artists did not simply re-duplicate the accompanying written notes and commentaries. Rather, they supplemented such writing, by either pictorializing interpretations not favored by the written commentaries, or by suggesting interpretations not found in the exegetical tradition at all. To demonstrate these points, I examine pictures of poems in this collection by Hishikawa Moronobu (ca. 1618- 1694), Katsushika Hokusai (1760-1849), Kuniyoshi (1797-1861), Kunisada (1786- 1864), and other members of the Utagawa school.},
 pages = {133--148},
 publisher = {国文学研究資料館},
 title = {研究発表　人物画の世界　百人一首の絵画化　―享受と解釈―},
 year = {2001},
 yomi = {モストウ, ジョシュア}
}