不同时代的诗人之间的竞争（Jidai fudōuta awase），描绘了诗人Minamoto no Hitoshi - 美国大都会艺术博物馆展品查阅

品名（中）	不同时代的诗人之间的竞争（Jidai fudōuta awase），描绘了诗人Minamoto no Hitoshi
品名（英）	Competition Between Poets of Different Eras (Jidai fudō uta awase), depicting the poet Minamoto no Hitoshi
入馆年号	1975年，1975.268.34
策展部门	亚洲艺术（Asian Art）
创作者	Fujiwara no Nobuzane【1176 至 1265】【日本人】
创作年份	公元 1200 - 公元 1265
创作地区
分类	绘画（Paintings）
尺寸	图像: 11 3/4 x 7 1/2 英寸 (29.8 x 19.1 厘米) 整体: 57 1/2 x 17 7/8英寸 (146.1 x 45.4 厘米)
介绍（中）	这幅卷轴展示了50位过去诗人之间的一场想象中的诗歌比赛的一部分。传统上，从旧选集中挑选诗歌并将其排列成"竞争"对的做法被认为是后藤天皇（1180–1236）的功劳，他可能是日本诗歌的最大赞助人。大都会的绘画展示了第六十一轮，其中南本无仁（880–951）与一宫姬夫人（约1113年）对决。三次诗歌交流中的第一次是在男诗人肖像上方的一只柔软的宽大的手上记录的：为什么爱在深深隐藏的时候仍然存在，就像中午长满青草的田野 Ichinomiya Kii回答：马诺的灌木三叶草田野在秋风中纠缠和颠簸 <露水附着在花朵上，没有休息的地方这个虚构的交流的其余部分和木井一宫的肖像都在一个单独的卷轴上，现在在日本的私人收藏中。这个版本的吉代福多utaawase中还有其他几个片段，包括东京国立博物馆中的一个。镰仓时期，著名诗人的简单水墨肖像与他们最著名的作品搭配在一起非常流行。肖像画遵循了他们那个时代的惯例：一个人坐在风格化的四分之三或侧面视图中，扁平的长袍强调社会地位，所有的个人表情都保留在脸上。这些卷轴中有趣的人物是对文化英雄和女英雄的奇特再创造，这是一个独特的群体，在他们的诗歌中不朽。
介绍（英）	This hanging scroll illustrates part of an imaginary poetry competition among fifty poets from the past. The selection of poems from old anthologies and their arrangement into "competing" pairs is traditionally attributed to Emperor Gotoba (1180–1236), perhaps Japanese poetry's greatest patron. The Metropolitan's painting shows the sixty-first round, which pits Minamoto no Hitoshi (880–951) against the Lady Ichinomiya Kii (d. ca. 1113). The first of three poetry exchanges is recorded in a soft broad hand above a portrait of the male poet: Why is it that love persists when deeply hidden, as a field overgrown in bamboo grass at midday? Ichinomiya Kii replies: The fields of bush clover at Mano are tangled and tossed in the autumn wind; for the dew that clings to its blossoms there is no repose. The rest of this fictional exchange and the portrait of Ichinomiya Kii are on a separate hanging scroll now in a private collection in Japan. Several other segments from this version of the Jidaifudo utaawase exist, including one in the Tokyo National Museum. Simple ink portraits of famous poets paired with their most well known works were extremely popular in the Kamakura period. The portraits follow the conventions of their time: a person seated in a stylized three-quarter or profile view, with flattened robes emphasizing social ranking, and all individual expression reserved for the face. The playful figures in these scrolls are fanciful re-creations of cultural heroes and heroines, a unique group immortalized within the intimate lines of their poetry.