of waka poems by the celebrated poet Kino Tsurayuki. Many of these waka po-at the time highly valued as an official literary art form. The poems were then in-scribed on cartouches sectioning off one part of the painting, and it became cus-tomary to jointly appreciate the poem with the painting. In the latter half of the 9th century, however, aristocrats began requesting paintings of the more familiar Japanese landscape and scenes of everyday life. Waka poems composed on those scenes were then inscribed on the cartouches, and the simultaneous appreciation of the painting content and poetic sentiment came to be enjoyed. This taste in painting was closely connected to a trend in lit-erature, where waka became widely loved at court, supplanting Chinese poems as the main focus. This preference first compilation of waka poems by imperial command soon followed. This was the Kokinshu of 905, ordered by Emperor Daigo (r. 898-931). Also in this period, kana, which expressed Japanese using Chinese characters phonetically, shifted to a flowing style called "so", or grass script, which played an important role in formally heightening the harmony be-tween poetry and painting. Such sliding-door and folding-screen paintings, especially the latter, were often presented between coutiers and aristocrats on various celebratory occasions, for which it was popular to have a famous poet compose a series of waka. Many examples of this type of waka poem, commonly called a "byobu uta", or screen poem, survive in waka collections and imperial compilations from the late 9th to the 10th centuries. For example, screen poems comprise four of the ten volumes ems are accompanied by prose prefaces that tell us when they were composed, and for what purpose, as well as describing the compositions of their correspond-ing paintings. Moreover, we know that for screen paintings in which a group of ten or more waka formed a set, there existed certain fixed formulas. For exam-ple, there were paintings called tsukinami-e, or monthly event paintings, and shiki-e, or four seasons paintings, that followed the progression of the twelve months of the year or the four seasons. Resonant scenes of nature and the customs of people of all classes were selected and painted within this framework to form -680-
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