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He was born in Tonda in Settsu (Osaka) and later adopted various pseudonyms; first Eikan, which he changed to Yukan, and then changing it to Saiun-Oh (lit. old gentleman of colored clouds) in old age. Yukan’s handwriting was ugly until the prime of his life. Upon strong advice from his wife, Yukan took up calligraphy practice under Shokado Shojo (1584-1639), one of the most celebrated calligraphers of the time, hailed as “Kanei-no-Sampitsu” (Three Brushes of the Kanei Era). Later, Yukan became one of Shojo’s best disciples and trained over a thousand students himself. He also showed talent as a waka poet and in brush-and-ink painting. The exhibit is a copy of Chapter 137 from Yoshida Kenko’s Tsurezure Gusa (Essays in Idleness). The brushstrokes are typical of the Shokado School. 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Calligraphy by Ota Nanpo","titleYomi":"オオタナンポヒツイチギョウショ"},"id":"keioobjecthub-1521","rdfindex":{"temporal":["1701～1800年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"1521","keioobjecthub-1-s":"大田南畝筆一行書","keioobjecthub-2-s":"Single-line Calligraphy by Ota 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As such, the plant, a hallmark of the desolate late-autumn fields, was a favorite theme in literature and works of art, especially in combination with white egrets.","id":"keioobjecthub-1967","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1967/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1967","ownerOrg":"keio_university","provider":"keiokemco","temporal":["AD17"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_14943_14943.jpg"],"title":"芦鷺蒔絵鏡箱　","titleYomi":"アシサギマキエカガミバコ"},"id":"keioobjecthub-1967","rdfindex":{"temporal":["1601～1700年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"1967","keioobjecthub-1-s":"芦鷺蒔絵鏡箱　","keioobjecthub-3-s":"アシサギマキエカガミバコ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1967","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_14943_14943.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1967/2.1/manifest.json","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"慶應義塾ミュージアム・コモンズ","keioobjecthub-18-u":"https://jpsearch.go.jp/organization/keiokemco","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-23-s":"漆","keioobjecthub-24-s":"AW-CEN-000980-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）","keioobjecthub-32-s":"ミュージアム・コモンズ"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_6072_6072.jpg"],"database":"keioobjecthub","dclass":"210","description":"「唐蘭船持渡鳥獣之図」は「鳥之図」2帖、「獣類之図」「馬之図」「犬之図」各1帖の5帖からなる図譜である。江戸時代後期、寛保～嘉永年間（1741–1854）に中国船・オランダ船によって長崎に渡来した珍しい鳥獣を極彩色で描いた225図が収録されている。「獣類之図」に収められた象の図は、象使いの道具4図や種々の動きを描写した絵も一緒に収められ、当時の人々が象に対していかに大きな関心を抱いていたかを伝えている。長崎の代官や町年寄を務めた高木家は、寛文年間（1661–1673）より長崎に渡来した品々を幕府に報告する役目を命じられ、珍鳥異獣については御用絵師に正確な絵を描かせ、その絵を江戸へ送って鳥獣を届けるべきか幕府の判断を仰いでいた。高木家は手許に残した控図を巻物として秘蔵し、それを明治時代に折帖に改めたのが本図譜である。各図に鳥獣の種名、渡来年、出所（出生地）、雌雄、寸法などの情報が記され、江戸時代に渡来した動物の歴史を詳細に伝える本図譜は、博物学史上において大変貴重な資料とされている。昭和32年（1957）、松永安左ヱ門氏より寄贈された。（三田メディアセンター 倉持隆）\n","id":"keioobjecthub-6366","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/6366/2.1/manifest.json","lastUpdatedDate":1665586800000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/6366","ownerOrg":"keio_university","provider":"keioartcoll","temporal":["18–19世紀（江戸時代中–後期）"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_6072_6072.jpg"],"title":"唐蘭船持渡鳥獣之図","titleEn":"Animals and Birds Imported by the Chinese and the Dutch","titleYomi":"トウランセンモンモチワタリ　チョウジュウノズ"},"id":"keioobjecthub-6366","rdfindex":{"temporal":["江戸時代"],"type":["芸術・美術"]},"keioobjecthub-0-s":"6366","keioobjecthub-1-s":"唐蘭船持渡鳥獣之図","keioobjecthub-2-s":"Animals and Birds Imported by the Chinese and the Dutch","keioobjecthub-3-s":"トウランセンモンモチワタリ　チョウジュウノズ","keioobjecthub-4-d":"2022/10/13","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/6366","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_6072_6072.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/6366/2.1/manifest.json","keioobjecthub-13-s":"18–19世紀（江戸時代中–後期）","keioobjecthub-17-s":"慶應義塾美術品管理運用委員会","keioobjecthub-18-u":"https://jpsearch.go.jp/organization/keioartcoll","keioobjecthub-19-s":"制作年:18–19世紀（江戸時代中–後期）","keioobjecthub-23-s":"紙本着色","keioobjecthub-24-s":"KAC-2020-0492","keioobjecthub-26-s":"40.5×29.5cm","keioobjecthub-28-s":"慶應義塾所蔵美術作品","keioobjecthub-32-s":"三田キャンパス"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_14121_14121.jpg"],"contributor":["藤原光長"],"database":"keioobjecthub","dclass":"756","description":"江戸時代の柄鏡には記名されていることが多いが、中でもしばしば見られる名前があり、すなわちその名を持つ鏡師が多くの鏡を残したことになる。この鏡に刻された藤原光長という名もその一つである。が、銘文に記された制作年や鏡の作風の違いを調査することにより、光長に限らず、たとえ名が同じであるとしても同一人物が制作したとは限らないことがわかる。すなわち、鏡師の名は代々受け継がれ、襲名した鏡師たちが新たに作品を生み出していったのである。","descriptionEn":"Edo Period handled mirrors often carry the signatures of the mirror makers, and some names appear more frequently than others, such as the name Fujiwara Mitsunaga seen on this mirror. The more frequent the name, the more prolific the craftsman. However, upon close scrutiny of the differences in design between years and makes, some mirrors were obviously not made by the same person. One can only conclude that the name of the master craftsman was passed on and that generations of consummated mirror makers practiced under his name.","id":"keioobjecthub-2120","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/2120/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/2120","ownerOrg":"keio_university","provider":"keiokemco","temporal":["AD18"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_14121_14121.jpg"],"title":"松菖蒲丸桔梗文柄鏡","titleEn":"Handled mirror with a pine-and-iris and circular bellflower motifs","titleYomi":"マツショウブマルキキョウモンエカガミ"},"id":"keioobjecthub-2120","rdfindex":{"temporal":["1701～1800年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"2120","keioobjecthub-1-s":"松菖蒲丸桔梗文柄鏡","keioobjecthub-2-s":"Handled mirror with a pine-and-iris and circular bellflower motifs","keioobjecthub-3-s":"マツショウブマルキキョウモンエカガミ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/2120","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_14121_14121.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/2120/2.1/manifest.json","keioobjecthub-12-s":"藤原光長","keioobjecthub-13-s":"AD18","keioobjecthub-17-s":"慶應義塾ミュージアム・コモンズ","keioobjecthub-18-u":"https://jpsearch.go.jp/organization/keiokemco","keioobjecthub-19-s":"制作年:AD18","keioobjecthub-20-s":"作者:藤原光長","keioobjecthub-23-s":"銅","keioobjecthub-24-s":"AW-CEN-002102-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）","keioobjecthub-31-s":"年記・署名\n藤原光長","keioobjecthub-32-s":"ミュージアム・コモンズ"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_13517_13517.jpg"],"contributor":["頼支峰"],"database":"keioobjecthub","dclass":"728","description":"頼支峰〈らいしほう・1823-89〉は、江戸末期の儒者。頼山陽〈らいさんよう・1780-1832〉の二男。名は復（あきお）、字は士剛（しごう）。父山陽の高弟の後藤松陰〈ごとうしょういん・1797-1864〉・牧百峰〈まきひゃくほう・1801-1863〉らに学び、詩文をよくした。支峰の子・潔〈きよし・1857-1929〉の箱書によると、支峰詠「秦蔵六画彜」と題する詩という。金工師・秦蔵六（はたぞうろく）の彜器（いき＝祭器）の画に対する賛として詠じた詩であろうか。一字一字、一点一画を丁寧に、筆を運ぶ。書き慣れた達筆を物語る。すがすがしい作品である。\n","id":"keioobjecthub-1479","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1479/2.1/manifest.json","lastUpdatedDate":1664118000000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1479","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD19"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_13517_13517.jpg"],"title":"頼支峰筆七言絶句","titleEn":"Seven-Syllable Quatrain by Rai Shiho","titleYomi":"ライシホウヒツシチゴンゼック"},"id":"keioobjecthub-1479","rdfindex":{"temporal":["1801～1900年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"1479","keioobjecthub-1-s":"頼支峰筆七言絶句","keioobjecthub-2-s":"Seven-Syllable Quatrain by Rai Shiho","keioobjecthub-3-s":"ライシホウヒツシチゴンゼック","keioobjecthub-4-d":"2022/09/26","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1479","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_13517_13517.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1479/2.1/manifest.json","keioobjecthub-12-s":"頼支峰","keioobjecthub-13-s":"AD19","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD19","keioobjecthub-20-s":"作者:頼支峰","keioobjecthub-24-s":"AW-CEN-000745-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）\n","keioobjecthub-31-s":"\n箱書\n箱書　頼潔 裏「大正乙丑立冬月」 表「支峰先生題秦蔵六畫彝詩直幀」","keioobjecthub-32-s":"斯道文庫"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15520_15520.jpg"],"contributor":["沢庵宗彭"],"database":"keioobjecthub","dclass":"210","description":"沢庵宗彭〈たくあんそうほう・1573-1645〉は臨済宗の僧。但馬国（兵庫県）出石（いずし）出身。生地で剃髪し、やがて京都の大徳寺へ行き春屋宗園〈しゅんおくそうえん・1529-1611〉の下で修行した。そして、一凍紹滴〈いっとうしょうてき・1539-1612〉に参じてその法を嗣ぎ、大徳寺第153世の住持に出世した。寛永４年〈1627〉、後水尾天皇〈ごみずのおてんのう・1596-1680〉の紫衣勅許をめぐる朝幕の対立に関わって、出羽（山形県）上山（かみのやま）に配流される。のち、許されて江戸に帰り、３代将軍徳川家光〈とくがわいえみつ・1604-51〉の帰依を受けて江戸品川に東海寺を開いた。正保２年〈1645〉73歳で示寂。後水尾天皇・徳川家光の信任篤く、詩歌・俳諧や茶道に通じた風雅の人であった。これは、南禅寺の以心崇伝〈いしんすうでん・1569-1633〉に宛てる。文中「当夏之合戦」、「仲夏（５月）末」の日付、脇付の「戦場下」などによって、元和元年〈1615〉５月に終局を迎えた大坂夏の陣を背景にした手紙とわかる。この戦乱の中、沢庵が住持をつとめる堺の南宗寺は被災炎上する。京都・大徳寺に避難の中での発信である。以心崇伝は、寛永４年〈1627〉、大徳寺・妙心寺の紫衣勅許事件に関して、幕府に抗議した沢庵・玉室らの処分にあたり、幕府側に立って厳科を主張して流罪に追いやった張本人である。同じ僧籍にありながら、宗教観は微妙に対立していた。この書状の文面を、後年起こったこの事件に重ね合わせると、極めて興味深い内容を含んでいる。「当夏之合戦」に始まる一条はまさに、沢庵が幕府の枢機にあずかり外交・寺社行政に深く参画しようとしていた崇伝へ、宗教者の矜恃を毅然と示した文言。文末に加えた皮肉とも思える「仏の前説法にて候。御免、御免。何事も聞かぬ顔にて馬の耳風が吹くとも思はざりけり」の言い回しには、沢庵の深謀が見え隠れするではないか。沢庵の心意気を示して余りある。数多い遺墨の中でも貴重な一通である。崇伝47歳、沢庵43歳。「因碩より状参り候。其れに就き因碩見舞い申さるべきの処、貴老御抑留の由、満足せしめ候。一々御書中納得申し候。万言万答申すに及ばず候。御息災の由承り喜悦に候。御床しき計りに候。／一、僧正（天海）、日光御在山の由に候。御所労如何、如何。御心元無く候。去りながら、然のみの御事とは聞こえず候。珍重に候。／一、賀州（加賀国）へ長老（崇伝）御下りの事は、先書に申し候間、申すに及ばず候。／一、世上の事、何事も思いままならぬ事、今に始まらぬ御事に候。／一、当夏の御合戦も漸く末に成り候。勝利得られ候哉。御満足察せしめ候。いまだ太平の天下には油断候はぬ御境界（胸懐）痛はしく存じ候へども、楽は其れ程々にある事に候間、無間の底をさへ彼の衆生は楽しむよし候へば、其の外の御事は余儀無く候。先ず先ず如何程も合戦を楽しみ候て、生々の後に御合点の時に至るべく候。修羅闘諍の武夫も刀子を研ぎ磨きて、これを楽しみとする事に候。寂滅楽（寂滅為楽）を楽しむ事は、はるかに遠き有様、目前の御事に候。錆びたる兵具成りとも、求め候て合力申し度く候。猶も嗔（瞋）恚の焔を強くと御嗜み、目出かるべく候。あなかしこ、あなかしこ。／智慧を真法に嫌ひ候が、老子の道にも然も候や。智慧出て、大偽有りと哉らん見え候しか。／仲夏（五月）の末宗彭（花押）／仏の前説法にて候。御免、御免。／何事も聞かぬ顔にて馬の耳風が吹くとも思はざりけり／（花押）／以（心崇）伝長老戦場下」","id":"keioobjecthub-536","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/536/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/536","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD17"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15520_15520.jpg"],"title":"沢庵宗彭筆書状","titleEn":"Letter by Takuan Soho","titleYomi":"タクアンソウホウヒツショジョウ"},"id":"keioobjecthub-536","rdfindex":{"temporal":["1601～1700年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"536","keioobjecthub-1-s":"沢庵宗彭筆書状","keioobjecthub-2-s":"Letter by Takuan Soho","keioobjecthub-3-s":"タクアンソウホウヒツショジョウ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/536","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15520_15520.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/536/2.1/manifest.json","keioobjecthub-12-s":"沢庵宗彭","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:沢庵宗彭","keioobjecthub-24-s":"AW-CEN-002150-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）","keioobjecthub-31-s":"\n\n箱書\n田山方南箱書","keioobjecthub-32-s":"斯道文庫"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_13007_13007.jpg"],"contributor":["源仲家"],"database":"keioobjecthub","dclass":"911","description":"源仲家〈みなもとのなかいえ・生没年未詳〉は、鎌倉時代初頭の歌人。源仲盛〈なかもり・生没年未詳〉の子で、醍醐天皇の皇子・源高明〈たかあきら・914-982〉９世の孫。式部大丞、右馬権助、隠岐守を歴任している。「熊野懐紙（くまのかいし）」は、後鳥羽上皇〈ごとばじょうこう・1180-1239〉が熊野御幸の道すがら、随行の廷臣ともども、当座の歌会において詠じた和歌懐紙を総称しての名称。上皇の熊野御幸は生涯27回にも及ぶが、正治２年〈1200〉と建仁元年〈1201〉の際の懐紙34枚が現存する（西本願寺ほか蔵）。上皇以下、源通親〈みちちか・1149-1202〉、源家長〈いえなが・?-1234〉、寂蓮〈じゃくれん・1139-1202〉、藤原定家〈ふじわらのさだいえ・1162-1241〉ら14名の遺墨が確認されている。懐紙の遺品としては、いずれも歌題２首を詠んだ二首懐紙である。この「熊野懐紙」と同時期に、同一の筆者らによって書かれ、書風・書式の類似した一首懐紙の一群がある。これらは熊野御幸の途次に詠まれたという確証がないため、「熊野類懐紙」と呼び、区別している。この作品は、そのうちの一紙。記録により、歌題「暁紅葉」は、正治２年〈1200〉以前の歌会において詠まれたものと判明する。同題では、ほかに飛鳥井雅経〈あすかいまさつね・1170-1221〉・藤原長房〈ふじわらのながふさ・1170-1243〉ら４人の遺墨が確認されている。仲家の生没が不明のため、この懐紙の執筆年代は不明。しかしながら、位署や、字形・字配りに未熟の影がただよう書きぶりからみて、比較的若い頃の筆であろうか。「「暁の紅葉」を詠める和歌／右馬権助源仲家／うすくこきいろこそ見えねもみぢばやたつたのやまのあけくれのそら」","descriptionEn":"Minamoto-no-Nakaie (years of birth and death unknown) was a poet of the early Kamakura Period. The exhibited kaishi of his is one of those classified as “Kumano Rui-Kaishi (also Rui-Gaishi),” in the sense that it differs from the original “Kumano Kaishi” series. The latter was a generic term given to a collection of poems written by Retired Emperor GoToba (1180-1239) and the court nobles who accompanied him, at impromptu poetry parties held during His Majesty’s visits to the Grand Shrine of Kumano. Altogether, the emperor made 27 such visits, but only 34 Kumano Kaishi remain today from among those written during the pilgrimages of 1200 and 1201. The extant kaishi are preserved at Nishi (West) Honganji Temple and elsewhere. So far, 14 authentic writers have been identified, including Retired Emperor GoToba, Minamoto-no-Michichika (1149-1202), Minamoto-no-Ienaga (?-1234), Priest Jakuren (1139-1202), Fujiwara-no-Sadaie (also pronounced “Teika”: 1162-1241) and others. All of the 34 kaishi have two poems written on each sheet. Around the time when the Kumano Kaishi poems were made, the same writers produced another set of kaishi, adopting very similar poem-writing techniques and calligraphic skills, but each kaishi in this group contains only one waka. Devoid of evidence authenticating that this group was written at the emperor’s shrine visits, they are called Kumano Rui-Kaishi (Rui means Similarity), and the exhibited poem is one of them. Records show that “Tinted Foliage in the Dawn” was composed at a waka party in 1200. Four other poets, including Asukai Masatsune (1170-1221) and Fujiwara-no-Nagafusa (1170-1243), have so far been identified as also attending this party. The time of the making of the exhibited kaishi cannot be determined since Nakaie’s years of birth and death are not known. From the official title and amateur writing style and structure, Nakaie was perhaps quite young when he wrote this poem.","id":"keioobjecthub-877","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/877/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/877","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD12"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_13007_13007.jpg"],"title":"源仲家筆熊野類懐紙","titleEn":"Kumano Rui-Kaishi by Minamoto no Nakaie","titleYomi":"ミナモトノナカイエヒツクマノルイカイシ"},"id":"keioobjecthub-877","rdfindex":{"temporal":["1101～1200年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"877","keioobjecthub-1-s":"源仲家筆熊野類懐紙","keioobjecthub-2-s":"Kumano Rui-Kaishi by Minamoto no Nakaie","keioobjecthub-3-s":"ミナモトノナカイエヒツクマノルイカイシ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/877","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_13007_13007.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/877/2.1/manifest.json","keioobjecthub-12-s":"源仲家","keioobjecthub-13-s":"AD12","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD12","keioobjecthub-20-s":"作者:源仲家","keioobjecthub-24-s":"AW-CEN-002541-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）","keioobjecthub-32-s":"斯道文庫"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15640_15640.jpg"],"database":"keioobjecthub","dclass":"210","description":"　保元・平治の乱後、平清盛（1118–81）一族は勢力を増し、後白河法皇（1127–92）と側近の貴族たちを脅かす存在となっていった。やがて平氏打倒を企てた鹿ヶ谷の陰謀がおこり、首謀者の1人として、藤原成親（1138–77）が西八条邸に捕らえられた。そこへ清盛の嫡男・重盛（1138–79）が現れ、成親を死罪ではなく配流するようにと進言する。\n\n　本図は烏帽子に直衣姿の重盛が西八条邸に参上する場面である。『平家物語』の描写に則り、重盛とその一行は武装していないが、その周りを清盛方の武士たちが取り囲む。また重盛の左下には、巻き上げられた赤旗を掲げる武士が描かれており、この邸宅が平氏の陣営であることを示している。\n\n　本図は絵巻を裁って掛軸に改装した断簡であるゆえに、当然ながら原本や同一筆者の別場面本が想定されるが、いまだ見いだせていない。図像の異なる別本に林原美術館本などがある。（小松）\n\n［参考文献］櫻井陽子「資料紹介『平家物語絵巻断簡』」『軍記と語り物』第53号、2017年3月\n\n文字景 —— センチュリー赤尾コレクションの名品にみる文と象」展（2021.4 慶應義塾ミュージアム・コモンズ）図録 掲載\n","descriptionEn":"This painting depicts a scene from ‘The Lesser Admonition,’ part of Chapter 2 of The Tale of the Heike. After the Hōgen (1156) and Heiji (1160) Rebellions, TAIRA no Kiyomori (1118–81) and his clan grew in power and became a threat to the retired Emperor Go-shirakawa (1127–92) and the nobles on his side. A plot to overthrow Kiyomori and the Taira clan was devised at Shishigatani in 1177, but the conspiracy failed and one of its ringleaders, the nobleman FUJIWARA no Narichika (1138–77), was captured at the Nishi-Hachijō Residence. TAIRA no Shigemori (1138–79), Kiyomori’s eldest son, visited the scene and advised that Narichika be exiled instead of being put to death.\n\n\n\nIn this painting, Shigemori, wearing a nobleman’s eboshi hat and an unstarched outer robe, arrives at the Nishi-Hachijō Residence. As written in The Tale of the Heike, Shigemori and his party are unarmed, but they are surrounded by Kiyomori’s warriors. To Shigemori’s left there is a warrior holding a rolled-up red flag, marking the residence as a Heike territory.\n\nSince this painting is a fragment of a handscroll that was cut and mounted as a hanging scroll, it would be natural to assume that an original by the same artist exists. However, such a scroll has not been found to this day, and there are only a few other works in museums such as the Hayashibara Museum of Art that depict the same scene in a different way.\n\n\n\nDescription from the exhibition Catalogue "Letter-scape: Century Akao Collection, A World of Letters and Figures", Keio Museum Commons, April 2021\n","id":"keioobjecthub-1807","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1807/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1807","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["江戸時代初期（17世紀）"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15640_15640.jpg"],"title":"平家物語絵巻断簡（巻第2・小教訓）","titleEn":"Part of Didactic Lessons from Volume 2 of The Tale of the Heike","titleYomi":"ヘイケモノガタリエマキダンカン マキノダイ2 コギョウクン"},"id":"keioobjecthub-1807","rdfindex":{"temporal":["1601～1700年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"1807","keioobjecthub-1-s":"平家物語絵巻断簡（巻第2・小教訓）","keioobjecthub-2-s":"Part of Didactic Lessons from Volume 2 of The Tale of the Heike","keioobjecthub-3-s":"ヘイケモノガタリエマキダンカン マキノダイ2 コギョウクン","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1807","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15640_15640.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1807/2.1/manifest.json","keioobjecthub-13-s":"江戸時代初期（17世紀）","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:江戸時代初期（17世紀）","keioobjecthub-23-s":"紙本着色","keioobjecthub-24-s":"AW-CEN-002284-0000","keioobjecthub-26-s":"35.0×98.6","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）\n","keioobjecthub-31-s":"箱書\n外箱側面貼付「土佐光茂／保元平治／の乱」。","keioobjecthub-32-s":"斯道文庫"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12364_12364.jpg"],"contributor":["藤原定家"],"database":"keioobjecthub","dclass":"914","description":"『明月記』は、藤原定家〈ふじわらのさだいえ・1162-1241〉の日記。欠落部分もあるが、治承４年〈1180〉２月（定家19歳）から嘉禎元年〈1235〉12月（同74歳）までの56年間の記事が現存する。その内容は、鎌倉時代初期の貴族社会の内面や、政治の情勢が詳しく綴られるほか、勅撰集の編纂、作歌活動、古歌や古典の書写・研究などの記事も多く、歌人・歌学者としての定家の活動がうかがえる貴重な資料である。ここに見られるように、定家独自の特異な書風である。「其の字鬼の如し」と、みずからは悪筆を自認したが、歌道における定家尊崇の風潮と相まって、その子孫を中心として一つの書流「定家流」が形成された。この断簡は、正治元年〈1199〉７月15日の条にあたり、活字本（国書刊行会本）を補正するもの。「関東女子穢気」は、鎌倉幕府征夷大将軍源頼朝の死去（同年正月13日薨）にともなって、そのむすめ（源義基室たりし女子か）が喪に服していることを意味する。そのため、宮中における仗議（国政議定。陣定とも）および勅使の派遣が９月に延期になったことを記すもの。「十五日陰（くも）り。辰（午前８時ごろ）の後に雨下る。始めて秋の景気あり。大臣殿（内大臣藤原良通・31歳） に終日参る。夜に入りて退下す。明日、仗議延引と云々。関東女子の穢気不審の間、公卿勅使、延引す。九月に発遣さるべし。仍って、此の仗議又急がるべからざるに依り、延ばさるると云々」\n","descriptionEn":"Meigetsuki was Fujiwara-no-Sadaie (also Teika, 1162-1241) ’s diary. Although some leaves are missing, the entries in the diary span 56 years between February 1180, when Sadaie was 19, to December 1235, when he was 74 years old. The diary describes the aristocratic high society of the early Kamakura Era, social aspects and political developments in great detail, while many entries refer to the compilation of imperially commissioned poetry anthologies, poetry composition, the hand-copying of classics and the research involved. The diary is a priceless document evidencing the life of Sadaie as a poet and literary scholar.The segment shows the typical eccentric hand particular to Sadaie, as he himself admitted his hand was ‘like that of a monster’. However, fanned by reverence for Sadaie in the world of tea ceremony (chado or sado) , his style was established into the Teika (Sadaie) School by his descendants. This piece is the entry of July 15, 1199, modifying the entry in print format. It describes that a daughter is in mourning after the death of her father, the Generalissimo Minamoto-no-Yoritomo, and due to this, some court ceremony and the dispatch of the emperor’s convoy were being delayed.\n","id":"keioobjecthub-200","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/200/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/200","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD12"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12364_12364.jpg"],"title":"記録切（明月記断簡）","titleEn":"Segment from the Meigetsuki","titleYomi":"キロクギレ（メイゲツキダンカン）"},"id":"keioobjecthub-200","rdfindex":{"temporal":["1101～1200年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"200","keioobjecthub-1-s":"記録切（明月記断簡）","keioobjecthub-2-s":"Segment from the Meigetsuki","keioobjecthub-3-s":"キロクギレ（メイゲツキダンカン）","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/200","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12364_12364.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/200/2.1/manifest.json","keioobjecthub-12-s":"藤原定家","keioobjecthub-13-s":"AD12","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD12","keioobjecthub-20-s":"作者:藤原定家","keioobjecthub-24-s":"AW-CEN-001407-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）\n","keioobjecthub-32-s":"斯道文庫"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15145_15145.jpg"],"contributor":["豊蔵坊信海"],"database":"keioobjecthub","dclass":"911","description":"下方に、西行〈さいぎょう・1118-90〉が霊峰富士を眺め、嘆賞する様子を描き、上部には、富士を詠んだ西行の歌を３行に書写する。書画ともに豊蔵坊信海〈ほうぞうぼうしんかい・1635?-88〉の自筆。豊蔵坊信海は、石清水八幡宮豊蔵坊の社僧。名は孝雄、字は子寛。出自は不明であるが、豊蔵坊孝仍（こうじょう）に師事し、住坊を継いだ。狂歌師としても高名で、将軍家光の御前で披露したとも伝える。歌集に『狂歌鳩杖集』がある。また、書画に巧みで、同じく石清水八幡宮の社僧であった松花堂昭乗〈しょうかどうしょうじょう・1584-1639〉に私淑し、松花堂流（滝本流）の能書としても知られる。信海はまた、富士山の狂歌を好んで揮毫し、遺品もいくつか伝存しており、この富士見西行図もかれの得意とする画題であったのだろう。賛の一首は、『新古今和歌集』（巻第17・雑歌）に西行の詠歌として収められる。まさに、松花堂流の書風、加えて軽妙洒脱の描写は、信海の面目躍如の作品といえる。","descriptionEn":"Priest Saigyo (1118-90) is depicted at the bottom of this hanging scroll, admiring the holy Mount Fuji. Across the top, Hozobo Shikai (1635?-1688) wrote Saigyo’s poem in three lines. Shinkai was a Buddhist priest but served at the Iwashimizu Hachiman Shrine. Although not much is known about his origin, Shinkai is known to have trained under Reverend Hozobo Kojo and to have succeeded his master as the shrine priest. He was well-known as a kyoka (comical or satirical poem) writer and was known to have been invited to recite his works in the audience of Shogun Tokugawa Iemitsu. He left behind a poetry collection Kyoka Hato-no-Tsue Shu (Collection of Comical Poems by the Pigeon Staff.) (Note: A walking stick with a pigeon decorating its top was often made a longevity gift as pigeons don’t choke on their food.) Skilled in both India ink-and-brush calligraphy and painting, he admired Shokado Sojo (1584-1639), another priest of the Iwashimizu Hachiman Shrine, whose Shokado School (also called Takimoto School) style he adopted. Shinkai was fond of writing kyoka (humorous poem) depicting Mt. Fuji, several of which have survived to this day. One can assume that Priest Saigyo against the backdrop of Mt. Fuji was Shinka’s favorite motif. The poem is cited from Chapter 17 of the New Collection of Ancient and Modern Japanese Poems (Jp. Shin Kokin-Wakashu) . The Shokado-style hand and the humorous and unique brush art reveal Shinkai’s versatility.","id":"keioobjecthub-1774","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1774/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1774","ownerOrg":"keio_university","provider":"keiokemco","temporal":["AD17"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15145_15145.jpg"],"title":"豊蔵坊信海筆富士見西行図","titleEn":"Priest Saigyo Admiring Mt. Fuji by Hozobo Shinkai","titleYomi":"ホウゾウボウシンカイヒツフジミサイギョウズ"},"id":"keioobjecthub-1774","rdfindex":{"temporal":["1601～1700年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"1774","keioobjecthub-1-s":"豊蔵坊信海筆富士見西行図","keioobjecthub-2-s":"Priest Saigyo Admiring Mt. Fuji by Hozobo Shinkai","keioobjecthub-3-s":"ホウゾウボウシンカイヒツフジミサイギョウズ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1774","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15145_15145.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1774/2.1/manifest.json","keioobjecthub-12-s":"豊蔵坊信海","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"慶應義塾ミュージアム・コモンズ","keioobjecthub-18-u":"https://jpsearch.go.jp/organization/keiokemco","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:豊蔵坊信海","keioobjecthub-23-s":"紙本墨画","keioobjecthub-24-s":"AW-CEN-001343-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）","keioobjecthub-31-s":"年記・署名\n「信海」印\n\n箱書\n信海法印自画賛","keioobjecthub-32-s":"ミュージアム・コモンズ"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_13004_13004.jpg"],"contributor":["鷹司教平"],"database":"keioobjecthub","dclass":"914","description":"鷹司教平〈たかつかさのりひら・1609-68〉は、江戸初期の公卿。関白鷹司信尚の子で、母は後陽成天皇の皇女清子内親王。寛永９年〈1632〉、24歳にして右大臣にまで昇りつめるが、同13年より病気のため、連年、籠居（家にとじこもること）したという記録が残る。その後も昇進を続け、承応４年〈1655〉には従一位に至るが、後半生は散位として過ごした。この懐紙は、「霞添山気色」の歌題から、寛永13年〈1636〉１月９日、後水尾院の御会始の時のものと知る。荒々しいまでに豪快、かつ大胆な筆致であるが、その書風には、明らかに近衛流が見てとれる。28歳の教平は、この年の年末より籠居している。位署に官位が書かれていないことなどから推して、病により出仕できず、自邸にあっての揮毫とも考えられる。当日の御会に思いを馳せ、鬱々たる思いを筆に託し、紙にぶつけた教平の姿を想像することができる。「春の日、同じく「霞、山の気色に添う」ということを詠める倭歌／教平／佐保姫の霞の衣も色はへて早たちそむる四方の山の端」\n","id":"keioobjecthub-874","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/874/2.1/manifest.json","lastUpdatedDate":1662908400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/874","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD17"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_13004_13004.jpg"],"title":"鷹司教平筆和歌懐紙","titleEn":"Waka Kaishi by Takatsukasa Norihira","titleYomi":"タカツカサノリヒラヒツワカカイシ"},"id":"keioobjecthub-874","rdfindex":{"temporal":["1601～1700年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"874","keioobjecthub-1-s":"鷹司教平筆和歌懐紙","keioobjecthub-2-s":"Waka Kaishi by Takatsukasa Norihira","keioobjecthub-3-s":"タカツカサノリヒラヒツワカカイシ","keioobjecthub-4-d":"2022/09/12","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/874","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_13004_13004.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/874/2.1/manifest.json","keioobjecthub-12-s":"鷹司教平","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:鷹司教平","keioobjecthub-24-s":"AW-CEN-002498-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）\n","keioobjecthub-32-s":"斯道文庫"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15356_15356.jpg"],"contributor":["和久半左衛門（是安）"],"database":"keioobjecthub","dclass":"728","description":"和久半左衛門〈わくはんざえもん・1578-1638〉は江戸時代前期の書家。名は俊英（としひで）、字は宗友（そうゆう）、号を是安（ぜあん）という。半左衛門は通称。幼少より書道に秀で、近衛信尹〈このえのぶただ・1565-1614〉に入門し、三藐院流（近衛流）の書を学ぶ。早くから豊臣秀頼〈とよとみひでより・1593-1615〉に仕えていたが、能書の才により右筆に抜擢登用され、優遇をうけた。一方、父・宗是（そうぜ）はのちに伊達政宗〈だてまさむね・1567-1636〉の傘下に寓したが、元和元年〈1615〉５月の大坂の陣において戦死。政宗はこれを哀れみ、そのとき大坂に在った子息・半左衛門を仙台に招いた。以後は政宗の庇護のもと書法伝授につとめて、数多くの弟子を育成した。『千載和歌集』（巻第四・秋歌上）の寂然法師〈じゃくぜん・生没年未詳〉の歌を書写したこの色紙には、全面に微塵の砂子が撒かれ、さらに上部分には蠟箋がほどこされ、龍の文様があらわされる。近衛信尹の近衛流の影響が顕著に認められる半左衛門の奔放闊達な筆さばきに、並々ならぬ力量のほどがうかがえる。","descriptionEn":"Waku Hanzaemon (1578-1638) was a calligrapher of the early Edo Period. He went by his common name of Hanzaemon, but his real name was Toshihide and his pseudonym Zean. Hanzaemon showed an amazing talent in calligraphy even in his youth, studying the Sanmyaku-In Style (also called Konoe School) under Konoe Nobutada (1565-1614). He began service to Toyotomi Hideyori (1593-1615) at a young age, working as his private secretary, thanks to his mastery of calligraphy, and was treated well. Hanzaemon’s father, Waku Soze, later went to serve General Date Masamune (1567-1636) but was killed during the Summer Campaign at the Osaka Castle in May 1615. Taking pity on the young fatherless Hanzaemon, General Date invited him to live in the Date domain in Sendai. Thereafter, Hanzaemon lived under Lord Date’s patronage and dedicated his life to training numerous local youngsters. The shikishi shows a copy of Priest Jakuzen’s poem from the Senzai Wakashu (Anthology of Japanese Poems of a Thousand Years; Vol. IV, “Autumn Poems”) written over miniscule gold foils scattered across the paper. Running across the shikishi’s top is a design made by rubbing it on carved printing blocks with wax, thus creating a glossy motif of a dragon. Hanzaemon’s unrestricted writing style shows Konoe Nobutada’s influence and yet reveals his originality.","id":"keioobjecthub-1331","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1331/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1331","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD17"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15356_15356.jpg"],"title":"和久半左衛門筆色紙","titleEn":"Shikishi by Waku Hanzaemon","titleYomi":"ワクゼアンヒツシキシ"},"id":"keioobjecthub-1331","rdfindex":{"temporal":["1601～1700年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"1331","keioobjecthub-1-s":"和久半左衛門筆色紙","keioobjecthub-2-s":"Shikishi by Waku Hanzaemon","keioobjecthub-3-s":"ワクゼアンヒツシキシ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1331","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15356_15356.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1331/2.1/manifest.json","keioobjecthub-12-s":"和久半左衛門（是安）","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:和久半左衛門（是安）","keioobjecthub-24-s":"AW-CEN-001749-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）","keioobjecthub-31-s":"年記・署名\n料紙　蝋箋","keioobjecthub-32-s":"斯道文庫"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12709_12709.jpg"],"contributor":["近衛信尋"],"database":"keioobjecthub","dclass":"289","description":"近衛信尋〈このえのぶひろ・1599-1649〉は、江戸時代前期の公卿。後陽成天皇〈ごようぜいてんのう・1571-1617〉の第４皇子。伯父信尹〈のぶただ・1565-1614〉に嫡子が無かったため、７歳でその養嗣子となった。弱冠25歳で関白・氏長者に至るという飛躍的な累進を遂げた。一方、茶道は古田織部〈ふるたおりべ・1543-1615〉に学び、関白（元和９年〈1623〉に関白となって以後、諧謔して「セキシロ」と自称）と称して島原の遊郭へ通っては、名妓吉野太夫に執心するという磊落な粋人ぶりも発揮した。また、その書は、養父信尹に就いて幼齢より手習いに励み、彼此まがうばかりの酷似に達した。筆力の強い気宇壮大な筆運びは、単なる継承者の域を越えて、まさにその真髄に迫るもの。一字名は、梧（きり）、桐。この書状は、寛永９年〈1632〉８月、将軍家光の下命による乳母春日局の上洛中に書かれたもの。同19日、春日局が入京。29日、後水尾院の仙洞御所で操り人形が催されたという記録（『史料綜覧』）から、これはその誘いの手紙と思われる。この時、信尋は34歳、後水尾上皇は37歳、春日局は54歳。短い一通の手紙ながら、歴史の一齣を的確にとらえるものとして、きわめて貴重である。「二十九日の事、過分に候。隙に候間、必ず参るべく候。春日局、院参の由に候へども、我等は参らず候。かしく。返すがえす、二十九日の午剋（正午）計、参るべく候。即辰（即刻）（花押）御報」","descriptionEn":"Early Edo aristocrat Konoe Nobuhiro (1599-1649) was the fourth son of Emperor Goyozei (1571-1617). At age 7, he was adopted by his uncle Nobutada (1565-1614), who was heirless. Nobuhiro’s promotion in the government hierarchy was spectacular. He was only 25 when appointed Regent and Head of Clan. While he was trained in the aristocratic ways of tea by Furuta Oribe (1543-1615), Nobuhiro had a humorous character and a carefree lifestyle. For example, even after he assumed Regency, he frequented the noted Shimabara night entertainment quarters and courted the then famous high-class geisha Yoshino Dayu. In this way, Nobuhiro was quite a man of the world. Since childhood, he practiced calligraphy under his adoptive father, Nobutada, and later attained such thorough mastery that one can hardly tell apart the works done by these two men. The powerful and dynamic flow of brush strokes, however, is Nobuhiro’s own. He was more than a faithful successor, reaching the highest level of attainment.This letter was written in August 1632 (9th year of the Kan-ei Era) when Shogun Tokugawa Iemitsu’s governess, Lady Kasuga-no-Tsubone, was visiting Kyoto. From historical records, it is known that Kasuga arrived in Kyoto on the 19th, and a puppet show was held at Sento Palace for Retired Emperor Gomizunoo on the 29th. So this letter is likely a letter of invitation to the puppet show. At the time of this writing, Nobuhiro was 34 years old, Retired Emperor Gomizunoo, 37, and Kasuga, 54. Although this is a simple, short letter, it is of priceless value as it captures a historical moment involving key players of the time.","id":"keioobjecthub-558","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/558/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/558","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD17"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12709_12709.jpg"],"title":"近衛信尋筆書状","titleEn":"Letter by Konoe Nobuhiro","titleYomi":"コノエノブヒロヒツショジョウ"},"id":"keioobjecthub-558","rdfindex":{"temporal":["1601～1700年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"558","keioobjecthub-1-s":"近衛信尋筆書状","keioobjecthub-2-s":"Letter by Konoe Nobuhiro","keioobjecthub-3-s":"コノエノブヒロヒツショジョウ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/558","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12709_12709.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/558/2.1/manifest.json","keioobjecthub-12-s":"近衛信尋","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:近衛信尋","keioobjecthub-24-s":"AW-CEN-000159-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）","keioobjecthub-32-s":"斯道文庫"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15820_15820.jpg"],"contributor":["烏丸光広"],"database":"keioobjecthub","dclass":"911","description":"　中世の歌学を江戸時代に伝えた、高名な武将歌人細川幽斎（1534–1610）の歌道の教えを、弟子の公家烏丸光広（1579–1638）が、慶長三年八月から幽斎の田辺籠城を挟む同七年十二月まで、70回以上にわたって記録した聞書の自筆原本である。質素な茶表紙の中央に光広の手で「耳底記」と記され、裏表紙にも同筆で「一二記」とある。前遊紙裏に光広花押が書かれ、内題は「幽斎口義　光廣記之」とある。1丁目表のみ平仮名書きで、同丁裏以降は速筆できる片仮名書きである。墨色は転変して墨滅も目立ち、末尾に白紙も多く残るなど、原本の趣をよく示している。系統立たない雑多な歌話の集成であるが、幽斎の動静とともに、幽斎が学んだ三条西家の正統的な歌学思想がうかがえる貴重な資料である。\n\n　本書の「耳底記　光廣卿自筆」との箱書は、飛鳥井雅章（1611–79）筆と思われ、天理図書館蔵本の飛鳥井家蔵自筆本を写したとする安永五年（1776）の烏丸光祖奥書の記述と整合する。（佐々木）\n\n［参考文献］大谷俊太『和歌史の「近世」─道理と余情─』ぺりかん社、2007年／\n\n　『耳底記』は細川幽斎（1534–1610）・烏丸光広（1579–1638）師弟の高名さもあって尊重され、写本も少なくなく、版本も寛文元年（1661）・元禄二年（1689）・同十五年（「和歌奥義抄」）本や数種の無刊記本などの多数を確認できる。公家関係の歌書が江戸前期に刊行された珍しい例として注目されるものである。\n\n　本書は伝本の多い、末尾に「林和泉掾開版」とのみある刊本である。初丁表の解題と凡例的な文章には、俗言は改めずに、片仮名は童蒙の為に平仮名に改めたこと、部分的な歌の引用を一首全体の形にしたこと等が記される。また自筆本の外題と花押を透き写しして「首に冠らしむ」とある通り、初丁裏にそれらが模刻されている。刊行に際して3巻に分かっており、本文冒頭に「耳底記巻之一（二・三）」との内題も加えられている。自筆本との最大の違いは、「光廣卿別紙」にあるという「詠歌制之詞」を追加していることである。自筆本との比較ができるように、一具として保管されてきたものである。（佐々木）\n\n［参考文献］小松茂美『古筆学大成』第6巻、講談社、1989年\n\n文字景 —— センチュリー赤尾コレクションの名品にみる文と象」展（2021.4 慶應義塾ミュージアム・コモンズ）図録 掲載\n","descriptionEn":"This is an original manuscript by the court noble KARASUMARU Mitsuhiro (1579–1638), who recorded the teachings in poetry of his instructor HOSOKAWA Yūsai (1534–1610), a high-ranking general and poet who introduced medieval poetry to a wide audience in the Edo period (1603–1868), over 70 times from the eighth month of the third year of Keichō (1598) until the twelfth month of the seventh year of the same era (1602) at Tanabe Castle. The title of the manuscript, Deep in the Ear, appears at the center of the simple brown cover of the manuscript, and on the back there is “ichi ni ki” in the same handwriting. Mitsuhiro’s seal appears on the reverse side of the cover page, and the title inside the book reads: “Yusai’s lectures recorded by Mitsuhiro.” Only the cover is inscribed with hiragana script, while the back and subsequent pages are written in katakana, which could be written more quickly than hiragana. The ink color has changed and there is noticeable loss of ink and a lot of blank paper at the end, all clear indications of an original. Although Deep in the Ear is a collection of miscellaneous waka poetics arranged in an unsystematic way, it is a valuable source about Yūsai's ideas and the orthodox thought on poetry of the Sanjō-Nishike family, with whom he studied. The calligraphy of the box of this manuscript, which reads “Deep in the Ear, in the handwriting of Lord Mitsuhiro,” is thought have been inscribed by ASUKAI Masaaki (1611–79), and is consistent with the colophon by KARASUMARU Mitsumoto in the Asukai family’s own handwritten manuscript from the fifth year of the An’ei era (1776) in the Tenri Library Collection. ／\n\nDeep in the Ear was highly valued due to the eminent reputations of HOSOKAWA Yūsai (1534–1610) and his disciple KARASUMARU Mitsuhiro (1579–1638), and many manuscripts of the text are still extant. There are also printed editions from the first year of the Kanbun era (1661), the second year of the Genroku era (1689), the fifteenth year of the same era (1702), and several unpublished printed editions. This edition is noteworthy as a rare example of a printed book on poetry related to court nobles from the early Edo period (1603–1868). It is one of many printed editions of the book that has been handed down from generation to generation, and was published with the text “Hayashi Izumi no jō edition” at the end. The preface states that common words were left unchanged, katakana was changed to hiragana for the sake of children, and quotations from poems were transcribed as complete poems instead. Also, the signature and seal found on the back of the first page of the book can be traced back to the original. At the time of publication, this edition was divided into three volumes, and the titles “volume one, two and three of Deep in the Ear,” can be found at the beginning of the books. The biggest difference between this printed edition and the original manuscript is the addition of a list of prohibited words in composing poetry, which is said to have been transcribed from an appendix by Mitsuhiro. The printed editions are displayed here as one set, so they can be compared with Mitsuhiro’s manuscript.\n\nDescription from the exhibition Catalogue "Letter-scape: Century Akao Collection, A World of Letters and Figures", Keio Museum Commons, April 2021\n","id":"keioobjecthub-1603","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1603/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1603","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["慶長三−七年 （1598−1602）"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15820_15820.jpg"],"title":"耳底記","titleEn":"Jiteiki","titleYomi":"ジテイキ"},"id":"keioobjecthub-1603","rdfindex":{"temporal":["1601～1700年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"1603","keioobjecthub-1-s":"耳底記","keioobjecthub-2-s":"Jiteiki","keioobjecthub-3-s":"ジテイキ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1603","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15820_15820.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1603/2.1/manifest.json","keioobjecthub-12-s":"烏丸光広","keioobjecthub-13-s":"慶長三−七年 （1598−1602）","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:慶長三−七年 （1598−1602）","keioobjecthub-20-s":"作者:烏丸光広","keioobjecthub-23-s":"紙本墨書","keioobjecthub-24-s":"AW-CEN-002558-0000","keioobjecthub-26-s":"23.3×20.3","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）","keioobjecthub-32-s":"斯道文庫"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15377_15377.jpg"],"contributor":["烏丸光広"],"database":"keioobjecthub","dclass":"911","description":"後水尾天皇〈ごみずのおてんのう・1596-1680〉の二条城行幸は、寛永３年〈1626〉９月６日より５日間、執り行なわれた。その華麗な行粧と、舞楽・和歌・管弦・能楽などの盛大な催しの様子は、『寛永行幸記』『徳川実紀』などに詳述されている。この懐紙は、二条城行幸の時の徳川秀忠〈とくがわひでただ・1579-1632〉・家光〈いえみつ・1604-51〉・後水尾天皇の詠歌を、烏丸光広〈からすまるみつひろ・1579-1638〉が書き留めたもの。光広はこのとき48歳、和歌会の講師を務めた。「「竹、遐年を契る」ということを詠める和歌／左大臣源秀忠／呉竹のよろづ代までとちぎるかなあふぐにあかぬ君がみゆきを／右大臣源家光／御幸するわが大きみは千代ふべきちひろの竹をためしとぞおもふ／御製／もろこしの鳥もすむべき呉竹のすぐなる代こそかぎり知られね」","descriptionEn":"The visit by Emperor GoMizuno-o (1596-1680) to the Nijo Castle was a five-day extravaganza, starting on September 6, 1626．The supreme leader of the nation was entertained at the Nijo Castle built by the military ruler, or shogun. The gala event was marked by performances of bugaku (ancient sacred dance and music dedicated to shrines), poetry parties and concerts of instrumental music and performances of Noh theatre. The extravaganza is described in great detail in the Record of Emperor’s Visit in the Kannei Era (Jap. Kannei Gyoko-Ki) and other documents.                The exhibited kaishi, written by Karasumaru Mitsuhiro (1579-1638), shows poems by General Tokugawa Hidetada (1579-1632), his son Iemitsu (1604-51) and Emperor GoMizuno-o. Mitsuhiro, aged 48 then, served the important office of the reader, a person who sonorously reads out the poems just composed by the participating dignitaries.","id":"keioobjecthub-803","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/803/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/803","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD17"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15377_15377.jpg"],"title":"烏丸光広筆二条城行幸和歌懐紙","titleEn":"Waka Kaishi upon Emperor’s Visit to the Nijo Castle","titleYomi":"カラスマルミツヒロヒツニジョウジョウギョウコウワカカイシ"},"id":"keioobjecthub-803","rdfindex":{"temporal":["1601～1700年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"803","keioobjecthub-1-s":"烏丸光広筆二条城行幸和歌懐紙","keioobjecthub-2-s":"Waka Kaishi upon Emperor’s Visit to the Nijo Castle","keioobjecthub-3-s":"カラスマルミツヒロヒツニジョウジョウギョウコウワカカイシ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/803","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15377_15377.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/803/2.1/manifest.json","keioobjecthub-12-s":"烏丸光広","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:烏丸光広","keioobjecthub-24-s":"AW-CEN-001869-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）","keioobjecthub-32-s":"斯道文庫"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_14857_14857.jpg"],"contributor":["烏丸光広"],"database":"keioobjecthub","dclass":"911","description":"烏丸光広〈からすまるみつひろ・1579-1638〉は江戸時代初期の公卿・歌人。准大臣光宣〈みつのぶ・1549-1611〉の子。叙爵（従五位下に叙せられる）以来、順調に昇進したが、慶長14年〈1609〉、宮廷女房らと集団密通事件を起こし、後陽成天皇〈ごようぜいてんのう・1571-1617〉の勅勘を蒙り配流の身となった。が、徳川家康〈とくがわいえやす・1542-1616〉の仲介により赦され、還任後は正二位・権大納言にまで至った。多才多芸にして和歌や連歌・書画・茶道などを能くし、また一絲文守〈いっしぶんしゅ・1608-46〉に帰依して禅をも修めた。和歌は細川幽斎〈ほそかわゆうさい・1534-1610〉に学び、古今伝授を受けて、家集『黄葉和歌集（こうようわかしゅう）』を残した。また能書家としても知られ、「寛永の三筆」と並び称される。当初は公卿の子弟が学ぶ、伝統的な持明院流の書を学んだが、光悦流・定家流を経て、後年、光広流ともいえる不羈奔放な自流の書風を生み出した。「霞添山色」を歌題とした詩歌会は、光広の生存期間中、文禄５年〈1596〉・元和２年〈1616〉の和歌御会始と、寛永13年〈1636〉の院和歌御会始（歌題は「霞添山気色」と若干異なっている）の３度開催されたことが確認できる。この懐紙は、その書風から察するに、最晩年の寛永13年１月９日、仙洞御所（後水尾院）にて催された院和歌御会始での自詠を、のちに再揮毫したものと思われる。光広はこの年58歳。大胆な書きぶりに、「光広流」ともいうべき独特の書風が顕著に見える。「「霞、山色を添える」ということを詠める和歌／光広／遠近も今朝は霞薄く濃く山のみどりも春の色添ふ」","descriptionEn":"Karasumaru Mitsuhiro (1579-1638) was an Edo-Period aristocrat and noted poet, who was the son of the Minister Equivalent Mitsunobu (1549-1611). Although he advanced smoothly in the official hierarchy, his entanglement in a palace group sex scandal involving several ladies-in-waiting (1609) angered Emperor Goyozei (1571-1617) so much so that he was banished into exile. Later, General Tokugawa Ieyasu (1542-1616) worked to have Mitsuhiro pardoned. After being released from banishment, he reassumed a public office, eventually becoming the Provisional Major Counselor of the Senior Second Rank. Versatile artist and free-spirited character, Mitsuhiro showed skills in waka, renga (linked waka poems), brush-ink calligraphy and painting, as well as the formalized art of the tea ceremony (chanoyu). He practiced Zen under Priest Isshi-Bunshu (1608-1646). Training in waka composition under Hosokawa Yusai (1534-1610), he left a private collection of his works, Koyo Wakashu（lit. Golden Leaf Poems). Hailed as one of the most outstanding calligraphers of the era, Mitsuhiro was often referred to as one of the “Kannei-no-Sampitsu,” or the Three Brushes of the Kannei Era. He was originally trained in the traditional Jimyo-In School calligraphy, as was the custom among aristocrats. But he taught himself the Koetsu style and later the Teika style, finally establishing an unstructured and almost freestyle calligraphy that can aptly be called the Mitsuhiro Style.A poetry party convened under the theme of “mist-covered peaks” was held three times in Mitsuhiro’s lifetime – in 1596, 1616 (New Year’s poetry party) and 1636 (retired emperor’s poetry party). Judging from Mitsuhiro’s writing style, the exhibit was most likely written on January 9, 1936, at a poetry party held at the palace of Emperor GoMizuno-o (1596-1680). Obviously, Mitsuhiro later made a clean copy of the original poem written on that occasion. He was 58 years old by then. The bold, unrestricted style shows what can be called the Mitsuhiro School.","id":"keioobjecthub-819","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/819/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/819","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD17"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_14857_14857.jpg"],"title":"烏丸光広筆和歌懐紙","titleEn":"Waka Kaishi by Karasumaru Mitsuhiro","titleYomi":"カラスマルミツヒロヒツワカカイシ"},"id":"keioobjecthub-819","rdfindex":{"temporal":["1601～1700年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"819","keioobjecthub-1-s":"烏丸光広筆和歌懐紙","keioobjecthub-2-s":"Waka Kaishi by Karasumaru Mitsuhiro","keioobjecthub-3-s":"カラスマルミツヒロヒツワカカイシ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/819","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_14857_14857.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/819/2.1/manifest.json","keioobjecthub-12-s":"烏丸光広","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:烏丸光広","keioobjecthub-24-s":"AW-CEN-000847-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）","keioobjecthub-32-s":"斯道文庫"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15738_15738.jpg"],"contributor":["烏丸光広"],"database":"keioobjecthub","dclass":"911","description":"烏丸光広〈からすまるみつひろ・1579-1638〉は江戸時代初期の公卿・歌人。准大臣光宣〈みつのぶ・1549-1611〉の子。叙爵（従五位下に叙せられる）以来、順調に昇進したが、慶長14年〈1609〉、宮廷女房らと集団密通事件を起こし、後陽成天皇〈ごようぜいてんのう・1571-1617〉の勅勘を蒙り配流の身となった。が、徳川家康〈とくがわいえやす・1542-1616〉の仲介により赦され、還任後は正二位・権大納言にまで至った。多才多芸にして和歌や連歌・書画・茶道などを能くし、また一絲文守〈いっしぶんしゅ・1608-46〉に帰依して禅をも修めた。和歌は細川幽斎〈ほそかわゆうさい・1534-1610〉に学び、古今伝授を受けて、家集『黄葉和歌集（こうようわかしゅう）』を残した。また能書家としても知られ、「寛永の三筆」と並び称される。当初は公卿の子弟が学ぶ、伝統的な持明院流の書を学んだが、光悦流・定家流を経て、後年、光広流ともいえる不羈奔放な自流の書風を生み出した。この懐紙は、光広が50歳代に入ってからの執筆と考えられ、かれの面目を躍如とする見事な書である。この詠歌は、木下長嘯子〈きのしたちょうしょうし・1569-1649〉の家集『挙白集』に入集する一首。が、この筆跡はまさしく光広の自筆疑いなきものである。とすれば、これは光広の詠歌と考えるのがふつう。では、なにゆえに長嘯子の家集に入集するのか、不思議な現象。あるいは一気呵成の筆致から、酔いにまかせて、交友の長嘯子の詠歌が脳裏に浮かんだのであろうか。「閑中春雨／光広／春雨はふるともみえず軒端よりなみだしたゝる音計して」\n","descriptionEn":"Karasumaru Mitsuhiro (1579-1638) was an Edo-Period aristocrat and noted poet, who was the son of the Minister Equivalent Mitsunobu (1549-1611). Although he advanced smoothly in the official hierarchy, his entanglement in a palace group sex scandal involving several ladies-in-waiting (1609) angered Emperor Goyozei (1571-1617) so much so that he was banished into exile. Later, General Tokugawa Ieyasu (1542-1616) worked to have Mitsuhiro pardoned. After being released from banishment, he reassumed a public office, eventually becoming the Provisional Major Counselor of the Senior Second Rank. Versatile artist and free-spirited character, Mitsuhiro showed skills in waka, renga (linked waka poems), brush-ink calligraphy and painting, as well as the formalized art of the tea ceremony (chanoyu). He practiced Zen under Priest Isshi-Bunshu (1608-1646). Training in waka composition under Hosokawa Yusai (1534-1610), he left a private collection of his works, Koyo Wakashu（lit. Golden Leaf Poems). Hailed as one of the most outstanding calligraphers of the era, Mitsuhiro was often referred to as one of the “Kannei-no-Sampitsu,” or the Three Brushes of the Kannei Era. He was originally trained in the traditional Jimyo-In School calligraphy, as was the custom among aristocrats. But he taught himself the Koetsu style and later the Teika style, finally establishing an unstructured and almost freestyle calligraphy that can aptly be called the Mitsuhiro Style.From the bold, unique and unrestricted manner in which the brush flows, this kaishi was likely written by Mitsuhiro in his 50s. The poem is cited from the private collection Kyohaku-Shu, an anthology of Kinoshita Choshoshi (1569-1649). The origin of the poem presents an unanswered question: The brush is the authentic writing of Mitsuhiro, which suggests that he also composed this poem. So why is this poem included in Choshoshi’s private collection? Could it be, perhaps, that he was very drunk when writing this poem and just jotted down a poem ringing in his head, which happened to be written by his friend?\n","id":"keioobjecthub-873","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/873/2.1/manifest.json","lastUpdatedDate":1662908400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/873","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD17"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15738_15738.jpg"],"title":"烏丸光広筆和歌懐紙","titleEn":"Waka Kaishi by Karasumaru Mitsuhiro","titleYomi":"カラスマルミツヒロヒツワカカイシ"},"id":"keioobjecthub-873","rdfindex":{"temporal":["1601～1700年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"873","keioobjecthub-1-s":"烏丸光広筆和歌懐紙","keioobjecthub-2-s":"Waka Kaishi by Karasumaru Mitsuhiro","keioobjecthub-3-s":"カラスマルミツヒロヒツワカカイシ","keioobjecthub-4-d":"2022/09/12","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/873","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15738_15738.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/873/2.1/manifest.json","keioobjecthub-12-s":"烏丸光広","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:烏丸光広","keioobjecthub-24-s":"AW-CEN-002476-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）\n","keioobjecthub-32-s":"斯道文庫"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12856_12856.jpg"],"contributor":["烏丸光広"],"database":"keioobjecthub","dclass":"911","description":"烏丸光広〈からすまるみつひろ・1579-1638〉は江戸時代初期の公卿・歌人。准大臣光宣〈みつのぶ・1549-1611〉の子。叙爵（従五位下に叙せられる）以来、順調に昇進したが、慶長14年〈1609〉、宮廷女房らと集団密通事件を起こし、後陽成天皇〈ごようぜいてんのう・1571-1617〉の勅勘を蒙り配流の身となった。が、徳川家康〈とくがわいえやす・1542-1616〉の仲介により赦され、還任後は正二位・権大納言にまで至った。多才多芸にして和歌や連歌・書画・茶道などを能くし、また一絲文守〈いっしぶんしゅ・1608-46〉に帰依して禅をも修めた。和歌は細川幽斎〈ほそかわゆうさい・1534-1610〉に学び、古今伝授を受けて、家集『黄葉和歌集（こうようわかしゅう）』を残した。また能書家としても知られ、「寛永の三筆」と並び称される。当初は公卿の子弟が学ぶ、伝統的な持明院流の書を学んだが、光悦流・定家流を経て、後年、光広流ともいえる不羈奔放な自流の書風を生み出した。これは、元和元年〈1615〉９月９日の重陽の節会に、「菊花久芳」の歌題を冠して詠まれた和歌懐紙である。光広の書風は、持明院流、光悦流、定家流を経て、独自の光広流へと変遷するが、これはまさしく定家流で書かれる。かれが上代様を好み、ことに歌道において、定家の筆跡に追慕の情を示した様子がうかがわれる遺墨である。このとき、光広は41歳。同年に権大納言・従二位に昇った。「重陽、同じく「菊花、久しく芳る」ということを詠める和歌／権大納言藤原光広／思ふより今日待ち出でし匂ひ哉まして千年の秋の白菊」","id":"keioobjecthub-723","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/723/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/723","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD17"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12856_12856.jpg"],"title":"烏丸光広筆和歌懐紙","titleEn":"Waka Kaishi by Karasumaru Mitushiro","titleYomi":"カラスマルミツヒロヒツワカカイシ"},"id":"keioobjecthub-723","rdfindex":{"temporal":["1601～1700年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"723","keioobjecthub-1-s":"烏丸光広筆和歌懐紙","keioobjecthub-2-s":"Waka Kaishi by Karasumaru Mitushiro","keioobjecthub-3-s":"カラスマルミツヒロヒツワカカイシ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/723","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12856_12856.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/723/2.1/manifest.json","keioobjecthub-12-s":"烏丸光広","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:烏丸光広","keioobjecthub-24-s":"AW-CEN-002171-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）","keioobjecthub-32-s":"斯道文庫"}]}