The Poetess Ukon, from the series The Thirty-six Immortal Women Poets (Nishikizuri onna sanjurokkasen)

The Poetess Ukon belongs to Chobunsai Eishi's Thirty-six Immortal Women Poets (Nishikizuri onna sanjūrokkasen), the series that crystallizes his identity as the [ukiyo-e](/glossary/ukiyo-e) designer most attuned to classical literature. Ukon was a tenth-century court poet of the Heian period whose verses survive in the imperial anthologies, and her inclusion in the series places her among the celebrated women whose poems Edo readers continued to memorize. The Art Institute of Chicago preserves this impression and dates the series to about 1795. Eishi shows the poetess as a half-length figure poised before a cartouche containing one of her waka, allowing the viewer to read the poem and the portrait together as a single literary object. As Edo [bijin-ga](/glossary/bijin-ga), the print exhibits his trademark refinement: a slender silhouette, narrow shoulders, a tilted head, and softly distributed pigment that gives the colors a tender, almost painted quality. Trained in his youth under Kano Eisen-in, Eishi brings to this Kano-trained ukiyo-e a disciplined sense of line and a respect for empty space that feel quite different from the dense, fashion-forward prints of his rivals. The female poet here is dignified rather than glamorous, an idealized intellectual whose elegance is rooted in scholarship as much as in dress. Chobunsai Eishi thus uses the Nishikizuri onna sanjūrokkasen to reposition the historical canon of poetry for his contemporary audience, asking viewers to see Ukon and her peers as models for the cultivated women of his own era.