{"facets":[{"counts":{"incr":4250581,"edu":1082752,"noncom":1081387,"com":991162,"pdm":811291,"others":524124,"nocr_cont":354385,"uneval":194729,"ccby":111839,"ccbyncsa":75940,"undet":64731,"ccbysa":54232,"ccbynd":22113,"ccbyncnd":21074,"ccbync":14285,"cc0":13800,"nocr_other":1559,"incr_edu":1365},"key":"rights"},{"counts":{"not_exist":7853849,"restricted":4200609,"internet":2261672,"iiif":1772698,"image":1393339,"text":168061,"pdf":54627,"sound":48732,"video":629,"thumb":2500842,"description":349226},"key":"contents"},{"counts":{"periodical":1377326,"book":1296384,"ancdoc":584870,"docs":404625,"archeology":159700,"media":125932,"article":168167,"offdoc":64917,"other":33991,"photo":19573,"recording":15220,"map":8935,"video":7505,"postcard":4926,"natural":7348,"ematerial":4229,"paint":4813,"arts":3002,"mscore":2332,"3d":77,"poster":2},"key":"type"},{"counts":{"bibnl":6803137,"dignl":4844890,"fukui":601392,"arc_books":585202,"ukobe":326247,"adeac":269025,"nmj02":195913,"utokyo_da":174031,"okura":168276,"nin01":154385,"saga":146515,"kyudai":129334,"THERS_da":128838,"artmuseb":105099,"ishikawa":87639,"Showa_book":82036,"miyagi":81594,"bjfl":73494,"kochi":73385,"tokyo":66109,"nier_mode":44828,"minamata":43353,"Showa_magazine":42128,"hpmm_magazine":39368,"hpmm_book":33994,"miemug":33756,"aokenshida_txt":26018,"rih01":21337,"ukobe_s":20731,"aozora":17797,"aokenshida_lib":17368,"keioobjecthub":16480,"toyama_koshibun":16293,"osaka":12808,"wkym_kankoubutu":11663,"tokei":8416,"shimane_u":7514,"ibaraki_u":7284,"nme_umesaoWW":7030,"ryukoku":6601,"ukansai":6291,"hiroshima_u_7540":6032,"gakugei_archive":5689,"sapporo":5403,"Showa_dmagazine":5380,"miemub":4994,"kyoto":3296,"meiji_u":2865,"yamanashi":2723,"daito":2576,"nier_postw":2543,"sdcommons_npl":2516,"oitacityarchive":2411,"chiba":2310,"tnricp_uritate":2303,"saitama_digi_lib":2047,"hpmm_audio":2014,"tdc":1885,"gyosei":1828,"uryukyu":1755,"doshisha":1538,"narabook":1532,"gunma":1514,"kamakura":1176,"irc06":1061,"maibunb":915,"bungakukan_yamanashi":794,"chiba_u":686,"aomori":667,"library":610,"Chigamu":515,"aichi":416,"ibaraki":345,"Showa_dbook":275,"lib":257,"utokushima":214,"kyusan":175,"nier_rare":168,"shudo":167,"papermuseum_tokyo":165,"yamagata":116,"suisan":114,"nier_orai":107,"u001":96,"tokushima":95,"iwate":88,"sf001":82,"u002":8},"key":"db"},{"counts":{"book":15612065,"humanities":1296035,"cultural":331199,"science":307863,"regional":225525,"official":179720,"art":112378,"map":3932},"key":"cm"},{"counts":{"heisei":5580712,"showa":5510253,"reiwa":922922,"meiji":734487,"taisyo":551345,"edo":421626,"muromachi":8064,"heian":5582,"aduchi":4612,"kamakura":3702,"ancient":3516,"nara":1862,"asuka":327},"key":"tempo"}],"from":0,"hit":15612065,"list":[{"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_12753_12753.jpg"],"database":"keioobjecthub","dclass":"188","description":"一休宗純〈いっきゅうそうじゅん・1394-1481〉は室町時代の禅僧。文明６年〈1474〉大徳寺住持の勅命があったが入寺しなかった。後小松天皇〈ごこまつてんのう・1377-1433〉の皇胤。別に狂雲子（きょううんし）とも号した。字の一休とは、煩悩と悟りの間に「ひとやすみする」の意。一休は権力に媚びず、常に堂々と心境を披瀝し行動したため、奇行の人としても知られる。また、彼は優れた洒脱な詩才を示し、多くの詩や偈頌を残したほかに、著作として『狂雲集』がある。飯尾宗祇〈いいおそうぎ・1421-1502〉や宗長〈そうちょう・1448-1532〉らと交友を結んだことも知られる。この詠草（歌を書き付けたもの）は、一休が森女（森侍者）に送ったもの。これと同じ歌が書かれた自筆詠草（書簡）の存在が知られており（個人蔵）、これはその写しと見られる。森女は盲目の旅芸人で、文明3年〈1471〉、一休78歳の頃より、一休のもとで暮らすようになった。一休は88歳で亡くなるまでの11年間、若く美しい森女のことを溺愛した。一休の詩文を集めた『狂雲集』には、森女との愛欲生活を詠んだ漢詩が数多く収められている。","descriptionEn":"Priest Ikkyu (1394-1481) is believed to be the son of Emperor GoKomatsu. He joined priesthood when he was a little boy. Ikkyu is known to have been a strange person, and said to have led a very unusual life. He kept his hair long although priests were supposed to shave it off completely. He dared to violate the Buddhist Commandments by walking around the town of Kyoto wearing a sword in a red-sheath, and by enjoyng relations with women.This poem was witten by Priest Ikkyu, sent to Shinjo, Ikkyu’s lover. Shinjo was a beautiful young woman but blindness, and a strolling entertainer. Ikkyu and Shinjo started the cohabitation in 1471, Ikkyu was 78 years old. (Probably Shinjo was 20’s or 30’s.) Ikkyu had doted upon her until his die in 1481, he was 88 years old.","id":"keioobjecthub-620","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/620/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/620","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD15"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12753_12753.jpg"],"title":"一休宗純詠草（写しか）","titleYomi":"イッキュウソウジュンエイソウ（写シ）"},"id":"keioobjecthub-620","rdfindex":{"temporal":["1401～1500年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"620","keioobjecthub-1-s":"一休宗純詠草（写しか）","keioobjecthub-3-s":"イッキュウソウジュンエイソウ（写シ）","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/620","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12753_12753.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/620/2.1/manifest.json","keioobjecthub-13-s":"AD15","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD15","keioobjecthub-23-s":"紙本墨書","keioobjecthub-24-s":"AW-CEN-000954-0000","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箱書\n「一休禅師歌」","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_14566_14566.jpg"],"database":"keioobjecthub","dclass":"721","description":"京都の市中とその郊外を描いた洛中洛外図屏風は、室町時代末期のころに成立、近世初期に流行をみせる。広い都の景観を俯瞰して、名所や四季の行事、市井の生業などを細緻な画面で構成する。それは当世の政治・経済・文化のさまを克明に投影するものであった。この屏風は、金銀の砂子を一面に撒いて表現した雲の間から、京の景物が見え隠れする。右隻は、鴨川を越えて、方広寺の大仏・鐘撞堂などを中心に、清水寺・知恩院・三十三間堂・祇園等々、東山一帯の景観を配置する。また、左隻には、北野社を中程に配して、周囲に高尾・金閣寺・嵯峨天竜寺・臨川寺など、洛北・洛西の北山・嵯峨野一帯を望む。本屏風は、細密に描かれる洛中洛外図屏風とはいくぶん趣を異にし、ゆったりと穏やかな画面構成、建物や人物の簡略な描法に素朴な味わいが特徴である。\n","id":"keioobjecthub-1858","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1858/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1858","ownerOrg":"keio_university","provider":"keiokemco","temporal":["AD16"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_14566_14566.jpg"],"title":"京洛風俗図屏風（左隻）","titleYomi":"キョウラクフウゾクズビョウブ（サセキ）"},"id":"keioobjecthub-1858","rdfindex":{"temporal":["1501～1600年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"1858","keioobjecthub-1-s":"京洛風俗図屏風（左隻）","keioobjecthub-3-s":"キョウラクフウゾクズビョウブ（サセキ）","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1858","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_14566_14566.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1858/2.1/manifest.json","keioobjecthub-13-s":"AD16","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:AD16","keioobjecthub-23-s":"絹本墨書","keioobjecthub-24-s":"AW-CEN-000094-0002","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":"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_13081_13081.jpg"],"contributor":["一休宗純"],"database":"keioobjecthub","dclass":"188","description":"後小松天皇〈ごこまつてんのう・1377-1433〉の皇胤として生まれた一休〈いっきゅう・1394-1481〉は、諱を宗純（そうじゅん）、別に狂雲子とも号した。６歳のとき安国寺に入り、その後は諸所を転住。文明６年〈1474〉大徳寺住持の勅命があったが、入寺しなかった。禅僧として、名利を求めず、権力に媚びず、常に堂々と心境を披瀝し行動したため、一般からは奇行の人とみなされた。優れた詩才を示し、著作として『狂雲集』がある。飯尾宗祇〈いいおそうぎ・1421-1502〉や宗長〈そうちょう・1448-1532〉と交友を結んだことも知られる。一休の気風は自由奔放な書にも反映しており、眼も止まらぬ早書きとともに流麗な筆致ながら、極めて個性の強いものとなっている。これは、『源氏物語』（夕顔巻）の光源氏の歌を書したもの。下の句の「け（さ）のあさがほ」の「さ」を不用意に脱したため、小さく右に傍注している。２行目の１字目を１字分下げて書くのは、古歌を書写する故実。署名を記さないのも同様。歌意に添って、金泥で籬に咲く朝顔を下絵にあしらう装飾料紙を使用。一休宗純の短冊は類例きわめて稀有で、この一葉は、その中の貴重な遺墨である。\n","id":"keioobjecthub-960","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/960/2.1/manifest.json","lastUpdatedDate":1662908400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/960","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD15"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_13081_13081.jpg"],"title":"一休宗純筆短冊","titleEn":"Tanzaku by Ikkyu Sojun","titleYomi":"イッキュウソウジュンヒツタンザク"},"id":"keioobjecthub-960","rdfindex":{"temporal":["1401～1500年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"960","keioobjecthub-1-s":"一休宗純筆短冊","keioobjecthub-2-s":"Tanzaku by Ikkyu Sojun","keioobjecthub-3-s":"イッキュウソウジュンヒツタンザク","keioobjecthub-4-d":"2022/09/12","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/960","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_13081_13081.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/960/2.1/manifest.json","keioobjecthub-12-s":"一休宗純","keioobjecthub-13-s":"AD15","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD15","keioobjecthub-20-s":"作者:一休宗純","keioobjecthub-24-s":"AW-CEN-001771-0000","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_14589_14589.jpg"],"contributor":["近衛信尹　"],"database":"keioobjecthub","dclass":"210","description":"近衛信尹〈このえのぶただ・1565-1614〉は、桃山時代の公卿。関白太政大臣前久〈さきひさ・1536-1612〉の嫡男として生まれ、天正５年〈1577〉13歳で元服。加冠の役をつとめた織田信長〈おだのぶなが・1534-82〉の一字を与えられて信基、ついで信輔と称した。わずか21歳で従一位・左大臣に昇進。文禄元年〈1592〉正月、左大臣を辞す（28歳）。同年12月、文禄の役に際して朝鮮渡海を企て、肥前（佐賀県）名護屋に下向したが、豊臣秀吉〈とよとみひでよし・1527-98〉の上奏により後陽成天皇〈ごようぜいてんのう・1571-1617〉の勅勘を蒙り、同３年、薩摩国坊津（ぼうのつ・鹿児島県川辺郡坊津町）へ配流された。平安時代末期以来、薩摩は近衛家の所領であったために、藩主島津氏の厚遇を得て、和歌・連歌・茶の湯の明け暮れであった。慶長元年〈1596〉９月、赦されて帰京。同４年、信尹と改名。同６年には左大臣に還任して、同10年７月、関白・氏長者となり、牛車・兵仗を勅許された。同８年、准三后を賜わる。同19年11月25日、50歳で没した。院号は三藐院（さんみゃくいん）。一字名は杉。歌道・書道に優れ、絵画もまた能くした。ことに書においては、本阿弥光悦〈ほんあみこうえつ・1558-1637〉・松花堂昭乗〈しょうかどうしょうじょう・1582-1639〉とともに「寛永の三筆」の一人に挙げられる傑出した能書として有名である。この書状は、信尹と同年代の大名茶人たる古田織部〈ふるたおりべ・1554-1615〉に宛てたもの。信尹の使いの者が、織部のもとへ真夜中に参上したことの無礼を詫びる内容。略儀に用いられる「杉」の一字名が記されていることから、両者がきわめて親しい間柄であったことがうかがえる。「返札披閲、使いに参らせ候者、宵とも暁とも知れぬ時分に参り候事、先剋（刻）聞き申し、驚き入り候。うつけのぬからす立て（筋、趣）も、却って物の邪魔に成る事、了簡無く候。かしく。二十日／古（田）織部殿（花押「杉」）」\n","descriptionEn":"Konoe Nobutada (1565-1614) was a court official who lived during the Momoyama Period. He was born into nobility as the legitimate first son of Senior Regent Konoe Sakihisa (1536-1612). His initiation rite was held in 1577 when he turned 13, with Lord Oda Nobunaga (1534-82) assuming the honorary role of placing the headgear. Nobunaga gave the boy a character from his own name, and thereafter Nobutada was called Nobumoto, which was later changed to Nobusuke. Nobusuke was only 21 when he was appointed Minister of the Left, but he resigned from this office in January 1592 at age 28. In December of the same year, he planned to sail to the Korean Peninsula to fight in the Battle of Bunroku and went as far down as Nagoya, in Hizen (today’s Saga Pref.). Nobutada later incurred the displeasure of Emperor Goyozei (1571-1617) due to a rivalry Nobutada had with Regent Toyotomi Hideyoshi (1527-98), and he was exiled to Bonotsu in Satsuma (today’s Kagoshima Pref.) in 1594. Ever since the end of the Heian Period, Satsuma had been Konoe family property, so he was received warmly by Lord Shimazu, the ruler of Satsuma. Nobutada spent his time in exile completely absorbed in art, as well as waka and renga composing and tea ceremony. In 1596, Nobutada was pardoned and allowed to return to Kyoto; thereupon, he assumed the name Nobutada, by which he is traditionally known. In 1601, he was reinstituted as Minister of the Left and was promoted to Regent and head of the family in 1605. He died at age 50 on November 25, 1614. The posthumous Buddhist name Sanmyaku-In was bestowed upon him.Nobutada was thoroughly familiar with the art of waka, calligraphy and painting. In calligraphy, he was hailed as one of the ‘Three Brushes of the Kan-ei Era’, the other two being Hon-ami Koetsu (1558-1637) and Shokado Shojo (1582-1639). This letter is addressed to feudal lord and tea connoisseur Furuta Oribe (1554-1615), and Nobutada apologizes that his messenger has arrived at Oribe’s residence at an untimely midnight hour. It is signed simply with a single character meaning ‘cedar’: This practice of using a partial name was customary among close friends, thus implying a close association between Nobutada and Furuta Oribe.\n","id":"keioobjecthub-425","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/425/2.1/manifest.json","lastUpdatedDate":1662562800000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/425","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD16"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_14589_14589.jpg"],"title":"近衛信尹筆書状","titleEn":"Letter by Konoe Nobutada","titleYomi":"コノエノブタダヒツショジョウ"},"id":"keioobjecthub-425","rdfindex":{"temporal":["1501～1600年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"425","keioobjecthub-1-s":"近衛信尹筆書状","keioobjecthub-2-s":"Letter by Konoe Nobutada","keioobjecthub-3-s":"コノエノブタダヒツショジョウ","keioobjecthub-4-d":"2022/09/08","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/425","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_14589_14589.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/425/2.1/manifest.json","keioobjecthub-12-s":"近衛信尹　","keioobjecthub-13-s":"AD16","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD16","keioobjecthub-20-s":"作者:近衛信尹　","keioobjecthub-24-s":"AW-CEN-000131-0000","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_15436_15436.jpg"],"contributor":["松花堂昭乗"],"database":"keioobjecthub","dclass":"728","description":"松花堂昭乗〈しょうかどうしょうじょう・1584-1639〉は、江戸時代初期の真言宗の僧。法名は昭乗、俗名は中沼式部。惺々翁とも号した。出家して、山城国（京都府）男山の石清水八幡宮滝本坊実乗の跡を嗣いだが、のち乗淳（昭乗の兄中沼左京の子）に譲り、自らは境内に松花堂を営んで移り住み、風雅の生活を送った。関白近衛信尋〈このえのぶひろ・1599-1649〉をはじめ、小堀遠州〈こぼりえんしゅう・1579-1647〉・石川丈山〈いしかわじょうざん・1583-1672〉・江月宗玩〈こうげつそうかん・?-1643〉・沢庵宗彭〈たくあんそうほう・1573-1645〉ら公卿・禅僧・儒者・茶人など名士との交遊も広く、当時の一級の文化人として聞こえた。書画を能くしたが、ことに書道においては、まず、青蓮院尊朝法親王〈そんちょうほうしんのう・1595-1669〉に書法の伝授をうけ、やがては上代様の和様を加味して流麗瀟洒な書風を確立した。松花堂流とよばれ広く受け容れられ、手習手本としておびただしい数の版本・墨拓本も作られた。また、一方において、真言の祖・弘法大師空海〈くうかい・774-835〉を渇仰、その書風大師流の書も得意とし、この書風も僧侶を中心に一世を風靡する流行をみた。さらに画技にも長じた昭乗は、茶の湯の席で掛物としての宋元画に接する機会が多く、ことに南宋末期の禅僧画家・牧谿（もっけい）の作品に私淑した。この藤原俊成〈ふじわらのとしなり・1114-1204〉の画像の描も、その牧谿の道釈画（道教や仏教に関する人物画）の筆致に倣うものである。画像は、俊成の出家後の法体姿を描くものであるが、簡素な筆ながら、歌仙俊成の面貌を活描している。賛の歌は、俊成が『千載和歌集』の撰者であった時の歌で、『新古今和歌集』（巻第十八・雑歌下）に「千載集えらびはべりける時、ふるき人々の歌をみて」という詞書をもって所収される。\n","descriptionEn":"Shokado Shojo (1584-1639) was a Shingon Sect abbot of the early Edo Period. “Shojo” is a Buddhist name; his real name was Nakanuma Shikibu, but he sometimes called himself “Seisei-Oh” in old age. He joined the Shinto-Shingon Buddhist shrine of Iwashimizu Hachimangu, or Mt. Otokoyama (Mt. Otoko) Hachiman Shrine, near Kyoto to start religious training under the Reverend Takimoto-Bo Jitsujo and succeeded his mentor after his demise. Later, Shojo left the archbishop’s post to his disciple Jojun (the son of Shojo’s own brother, Nakanuma Sakyo) and retired to live a life dedicated to art and literature in the Shokado (lit. “Pine and Flower Hut”) that he had erected on the shrine compounds, hence his literary pseudonym. Associating with the educated and high-society members among his contemporaries, such as Regent Konoe Nobuhiro (1599-1649), Kobori Enshu (1579-1647), Ishikawa Jozan (1583-1672), Kozetsu Sokan (?-1643) and Takuan Soho (1573-1645), Shojo was one of the top-rate men of culture. Though trained by Princely Priest Soncho (1552-1597) of the Shoren-In School of calligraphy, Shojo was soon attracted to the Daishi School originated by the ancient religious leader Kobo Daishi Kukai (774-835). Some years later, Shojo developed an elegant and chic style of his own, departing from the Shoren-In School foundation. Hailed as the Shokado School, or Takimoto School, Shojo’s own style became a fad among calligraphy aficionados and students. Being a Buddhist priest, Shojo naturally had many occasions to see hanging scrolls decorating tea rooms, often at tea ceremonies. He was particularly attracted to the works of Zen priest painter Muqi (Jp: Mokkei) of China’s Sung Dynasty. The portrait drawing of Fujiwara-no-Toshinari (also Shunzei, 1114-1204) was made by loyally following the tradition of depicting Taoist and Buddhist saints. Toshinari is depicted as a seeker of Buddhism, which he turned to in old age. Although the brushstrokes run in a simple manner, it still portrays the ancient poet who was revered through the centuries as “a demigod of poetry.” The cited poem was composed by Toshinari when he was browsing ancient poems, when he was appointed (1183) to select pomes for the imperial Anthology of Japanese Poems of a Thousand Years (Jp: Senzai Wakashu), commissioned by the Retired Emperor GoShirakawa (1127-1192). Toshinari’s poem appears in Chapter 18 of the New Collection of Ancient and Modern Japanese Poems (Jp. Shin Kokin-Wakashu).\n","id":"keioobjecthub-1769","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1769/2.1/manifest.json","lastUpdatedDate":1664895600000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1769","ownerOrg":"keio_university","provider":"keiokemco","temporal":["AD17"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15436_15436.jpg"],"title":"松花堂昭乗筆釈阿入道（藤原俊成）自画賛","titleEn":"Image of Fujiwara no Toshinari Painted by Shokado Shojo","titleYomi":"ショウカドウショウジョウヒツシャクアニュウドウ（フジワラノトシナリ）ジガサン"},"id":"keioobjecthub-1769","rdfindex":{"temporal":["1601～1700年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"1769","keioobjecthub-1-s":"松花堂昭乗筆釈阿入道（藤原俊成）自画賛","keioobjecthub-2-s":"Image of Fujiwara no Toshinari Painted by Shokado Shojo","keioobjecthub-3-s":"ショウカドウショウジョウヒツシャクアニュウドウ（フジワラノトシナリ）ジガサン","keioobjecthub-4-d":"2022/10/05","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1769","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15436_15436.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1769/2.1/manifest.json","keioobjecthub-12-s":"松花堂昭乗","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:松花堂昭乗","keioobjecthub-23-s":"紙本淡彩","keioobjecthub-24-s":"AW-CEN-001959-0000","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":"年記・署名\n「昭乗」朱文方印\n\n箱書\n紙貼付「瀧本筆」。墨書「釋阿之畫賛」。紙貼付「百十七行末ハ」。覆紙「松花堂釋阿ノ畫讃／箱同筆明治六年癸酉六月／了仲極漆」","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_14750_14750.jpg"],"database":"keioobjecthub","dclass":"728","description":"日本書道史上の能書を称えて、「三筆（嵯峨天皇・空海・橘逸勢）」「三跡（小野道風・藤原佐理・藤原行成）」と称する習慣は、江戸時代の貝原益軒〈かいばらえきけん・1630-1714〉が『和漢名数』（１冊・延宝２年〈1674〉刊）に挙げたのが始まりである。が、それよりも以前、三跡の１人藤原行成〈ふじわらのゆきなり・972-1027〉の６代の孫・伊行〈これゆき・?-1175〉が、むすめ（建礼門院右京大夫〈けんれいもんいんうきょうのだいぶ・生没年未詳〉）のために書いた書道秘伝書『夜鶴庭訓抄（やかくていきんしょう）』には、弘法大師空海・天神菅原道真・小野道風を「三聖」と記録する。また、尊円親王〈そんえんしんのう・1298-1356〉の『入木抄』には「野跡（小野道風）・佐跡（藤原佐理）・権跡（藤原行成）、此三賢を末代の今にいたるまで、此道（書道）の規模（規範）としてこのむ」と記して、「三賢」の名称を用いている。本図は、左上方に、「筆峯三迹」（たくましい書を書く３人の名人）の題字を書いているので、３人の名筆家の画像であることを示している。衝立障子を背に、繧繝縁の上畳を置き、その上に錦の褥を敷いて、笏を手に坐すのは、嵯峨天皇である。その前に、香色の法服、五条袈裟をかけ、金銅の五鈷杵を手にするのが弘法大師空海〈くうかい・774-835〉。三筆の２人である。空海に向き合って描かれるのは、天神社に祀られ、学問の神・書道の神と崇敬された菅原道真〈すがわらのみちざね・845-903〉である。かれも平安時代初期から中期にかけて、能書として古くから謳われた人物である。この作品は、その描写様式から、鎌倉時代末期・14世紀初めのものと推定される。当時、この３人を「三迹（＝跡）」として称していたことが知られ、ほかに類例のない希有の遺品として貴重な作品である。\n","descriptionEn":"Inscrived in its upper left corner with the words Hippo Sanseki (Three Masters of Invigorated Calligraphy), this painting is judged from its style to belong to the latter years of the Kamakura period. Seated prominently on the tatami mat, on a cushion made from a colourful silk brocade, and holding a sceptere, is Emperor Saga (786-842). Immediately in front of the emperor, clad in the faint yellow-red of a priest’s robe, is the priest Kukai (774-835), the man revered as the first master of calligraphy in Japan. In his right hand is a gilt bronze ritual pestle with a five-pronged handle, and over his sholder a cassock, which is made to appear as if it is made up of a patchwork of discarded or second-hand cloth. To Kukai’s left is the scholar statesman Sugawara no Michizane (845-903), a man posthumously deified and worshipped as the tutelary god of learning and calligraphy. In the history of Japanese Calligraphy, the Sanpitsu (Three Masters of the Writing Brush, namely Emperor Saga, Priest Kukai and Tachibana no Hayanari) and the Sanseki (Three Great Calligraphists, Ono no Michikaze, Fujiwara no Sukemasa and Fujiwara no Yukinari) are listed in the Wakan Meisu (Denominate Numbers of Japan and China) compiled by Kaibara Ekiken (1630-1714), a scholar in Edo period. Besides Fujiwara no Koreyuki (dates of birth and death unknown), the sixth-generation descendant of Fujiwara no Yukinari (972-1027), in his book on the secrets of the calligraphic art, Yakaku Teikinsho, refferd to priest Kukai, Sugawara no Michizane and Ono no Michikaze as the Sansei (Three sains of calligraphy).\n","id":"keioobjecthub-1758","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1758/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1758","ownerOrg":"keio_university","provider":"keiokemco","temporal":["AD14"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_14750_14750.jpg"],"title":"三迹（三跡）画像","titleEn":"Portrait of Three Great Calligraphers","titleYomi":"サンセキガゾウ"},"id":"keioobjecthub-1758","rdfindex":{"temporal":["1301～1400年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"1758","keioobjecthub-1-s":"三迹（三跡）画像","keioobjecthub-2-s":"Portrait of Three Great Calligraphers","keioobjecthub-3-s":"サンセキガゾウ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1758","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_14750_14750.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1758/2.1/manifest.json","keioobjecthub-13-s":"AD14","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:AD14","keioobjecthub-23-s":"紙本淡彩","keioobjecthub-24-s":"AW-CEN-000377-0000","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_15923_15923.jpg"],"database":"keioobjecthub","dclass":"188","description":"空海〈くうかい・774-835〉は真言宗の開祖。延暦23年〈804〉、31歳の時、留学僧として入唐。恵果に師事して密教の奥義を受け、帰朝にあたっては、中国の文物を数多く日本にもたらした。教王護国寺（東寺）を拠点に密教の宣布に努め、弘仁７年〈816〉には、高野山に金剛峯寺を開き、即身成仏と社会教化を宗旨として幅広く活躍し、大きな業績を残した。62歳の時、高野山で示寂。弘法大師と諡された。空海に対する篤い信仰は、死後まもないころから始まるが、平安末期のころには貴族社会にも大きな広まりをもっていた。そうした大師信仰の中に、真言八祖の１図として、あるいは単独像としても数多く描かれた。この画は、背もたれのない牀座に坐す姿に描かれる。これは、八祖様と呼ばれるもので、空海将来の真言五祖（金剛智・善無畏・不空・恵果・一行）に龍智・龍猛を加えた真言七祖に倣って作られた空海像。すなわち真言八祖像のうちの空海画像の系譜である。醍醐寺五重塔初層壁画はその最も古い遺例である。仏画としても絹地彩色の大幅で、しかるべき大寺あるいは名家の伝来を思わせる。じつは、本図の左端下に「嘉禎四年戊戌正月十八日僧厳海」の墨書銘がある。厳海の名は、藤原定家の日記『明月記』にしばしば登場する僧名で、それらを総合すると、かれは教王護国寺（東寺）の僧で、法印まで進み、定家と親交を結んだ人であった。また、九条兼実の曾孫・厳恵がこの厳海の弟子であったという（『尊卑分脈』）。これらにより、厳海は鎌倉時代・13世紀半ばころに活躍した真言宗の僧侶ということになる。とすると、この画像は、かれの願趣により制作されたと考えるのが妥当ではなかろうか。さらに、この軸の背面には、「奉為芸陽太守御武運長久御息災延命御子孫繁昌万民安全五穀成就」の墨書が記されている。芸陽太守は、芸州広島藩主浅野家氏のこと。たまたま浅野家に仕える家臣団の真言信徒が、主君浅野氏の武運長久ならびに息災延命等々の祈りを込めて寄進したものではなかったか。\n","id":"keioobjecthub-1630","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1630/2.1/manifest.json","lastUpdatedDate":1664290800000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1630","ownerOrg":"keio_university","provider":"keiokemco","temporal":["AD13"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15923_15923.jpg"],"title":"弘法大師（空海）像","titleEn":"Portrait of Priest Kukai","titleYomi":"コウボウダイシ（クウカイ）ゾウ"},"id":"keioobjecthub-1630","rdfindex":{"temporal":["1201～1300年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"1630","keioobjecthub-1-s":"弘法大師（空海）像","keioobjecthub-2-s":"Portrait of Priest Kukai","keioobjecthub-3-s":"コウボウダイシ（クウカイ）ゾウ","keioobjecthub-4-d":"2022/09/28","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1630","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15923_15923.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1630/2.1/manifest.json","keioobjecthub-13-s":"AD13","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:AD13","keioobjecthub-23-s":"絹本着色","keioobjecthub-24-s":"AW-CEN-001854-0000","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":"年記・署名\n嘉禎四年戊戌正月僧厳海","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_14823_14823.jpg"],"contributor":["後陽成天皇"],"database":"keioobjecthub","dclass":"210","description":"後陽成天皇〈ごようぜいてんのう・1571-1617〉は、第107代天皇で初名は和仁（かずひと）、のち周仁（かたひと）と改名。天正14年〈1586〉、16歳で元服・即位し、慶長16年〈1611〉政仁親王〈ことひとしんのう＝後水尾天皇・1596-1680〉に譲位するまで、26年間在位した。以後、没年まで院政を執る。天皇は、天正16年には、関白豊臣秀吉〈とよとみひでよし・1536-98〉の奏請により聚楽第に行幸、朝廷の威儀を示した。その後、秀吉や徳川家康〈とくがわいえやす・1542-1616〉の援助を受けながら、戦国の世にあって権威の凋落した朝廷内に政治・文化の両面から新風を送り、皇室の尊厳回復に努めた。また、好学の天皇として名高く、和漢の学を細川幽斎〈ほそかわゆうさい・1534-1610〉、舟橋秀賢〈ふなばしひでかた・1575-1614〉に学び、自らも『伊勢物語』『詠歌大概』などを講じている。さらに慶長勅版本とよばれる朝鮮伝来の古活字を用いた古典を刊行し、文芸活動の発展に多大な影響を及ぼした。この「天神名号」は、平安時代以来、菅原道真〈すがわらのみちざね・845-903〉の怨霊鎮魂のためにつくられたもので、鎌倉時代には京都北野社で天神法楽のために行われる詩歌会の際、座の正面に掛けるものとして珍重されてきた。以来、能書の貴族たちに揮毫された名号が伝存している。この１幅は、金泥で梅樹が下絵に描かれており、濃墨を駆って太細を書き分けたうねりのある筆致には堂々とした存在感がある。署名はないが、筆跡から後陽成天皇の自筆疑いなきものである。","descriptionEn":"Japan’s 107th imperial ruler, Emperor GoYozei (1571-1617) was 16 when he came of age (1586) and ascended the throne. He reigned for 26 years until he abdicated the throne to Emperor GoMizuno-o (1596-1680) in 1611. Thereafter, he continued to exercise power as the ruling Retired Emperor. In 1588, two years prior to GoYozei’s abdication, Kampaku (Regent) Toyotomi Hideyoshi (1536-98) arranged the invitation of Emperor GoYozei to the newly-erected Jurakutei Castle. The grandiose event helped to recover the age-old glory associated with the throne. Supported by the two most powerful military rulers of Japan, Hideyoshi and then Shogun Tokugawa Ieyasu (1542-1616), Emperor GoYozei was instrumental in restoring faith in imperial authority, while refreshing both the political and cultural arenas. Emperor GoYozei was acknowledged widely for his academic inclinations, studying Chinese and Japanese classics under Hosokawa Yusai (1534-1610) and Funahashi Hidetaka (1575-1614), while he himself lectured on The Tales of Ise (Jp. Ise Monogatari). Furthermore, he published a book on classics that had been composed using ancient writing systems brought over from Korea. All of the emperor’s activities cast a deep and wide influence over Japan’s literary world. The exhibited piece, “Calligraphic Talisman of Heavenly God (Tenjin)'s Name” (Sacred Name Dedicated to Deified Spirit of Sugawara-no-Michizane), was done to pacify the soul of ancient scholar Sugawara-no-Michizane (845-903), who died in disgrace. During the Kamakura Period, this hanging scroll was often hoisted during poetry parties held at Kitano Shrine, in Kyoto. Calligraphic masters of the day, most often aristocrats, made similar brushworks for similar purposes. Fortunately, many of them have survived to this day. The exhibited dedication is framed with a decoration of plum trees painted with gold mud. The brushwork features bold as well as slim lines created by deftly varying the amount of ink, while some of the lines surge with apparent dignity. Although this piece is not signed, its authenticity is beyond any doubt when considering all existing authentic works by the emperor.","id":"keioobjecthub-1306","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1306/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1306","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD16"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_14823_14823.jpg"],"title":"後陽成天皇筆天神名号","titleEn":"Calligraphic Talisman of Tenjin (Heavenly God)'s Name by Emperor GoYozei","titleYomi":"ゴヨウゼイテンノウヒツテンジンミョウゴウ"},"id":"keioobjecthub-1306","rdfindex":{"temporal":["1501～1600年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"1306","keioobjecthub-1-s":"後陽成天皇筆天神名号","keioobjecthub-2-s":"Calligraphic Talisman of Tenjin (Heavenly God)'s Name by Emperor GoYozei","keioobjecthub-3-s":"ゴヨウゼイテンノウヒツテンジンミョウゴウ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1306","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_14823_14823.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1306/2.1/manifest.json","keioobjecthub-12-s":"後陽成天皇","keioobjecthub-13-s":"AD16","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD16","keioobjecthub-20-s":"作者:後陽成天皇","keioobjecthub-23-s":"紙本墨書","keioobjecthub-24-s":"AW-CEN-000683-0000","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箱書\n蓋表「後陽成院宸翰」／蓋裏「天神神号　昭和六十三年十一月十一日　文学博士小松茂美鑑［印］」","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_15447_15447.jpg"],"contributor":["霊元天皇"],"database":"keioobjecthub","dclass":"210","description":"霊元天皇〈れいげんてんのう・1654-1732〉は後水尾天皇〈ごみずのおてんのう・1596-1680〉の第19皇子。諱名は識仁、幼称は高貴宮。寛文３年〈1663〉即位、在位24年、貞享４年〈1687〉東山天皇〈ひがしやまてんのう・1675-1709〉に譲位、その後元禄６年〈1693〉まで院政、正徳３年〈1713〉落飾、享保17年に79歳で死去。とくに、久しく中絶していた大嘗祭・立太子式などの朝儀の復興に尽力したことで知られる。文芸の才が豊かな天皇で、とりわけ歌道に天賦の才能を発揮、一代の詠歌は1600首、撰著も30を数えるという。さらに、歴代屈指の能書帝でもあった。父・後水尾天皇、兄・後西天皇〈ごさいてんのう・1637-85〉の影響をうけながら独自の書風を確立、霊元院流と呼ばれて尊重された。この手紙は、難波宗量〈なんばむねかず・1642-1704〉に宛てたもの。年代を決すべき徴証は何もないが、登場する「花山」は、正二位・内大臣の花山院定誠〈かざんいんさだのぶ・1640-1704〉、「五条」は、従四位下・大学頭の五条為致〈ごじょうためむね・1649-1719〉、もしくはもしくはその養子で従五位上・侍従の為房〈ためふさ・1672-89〉のことであろう。前日に相談した用件を花山院に伝達したか否かを確認したもの。闊達自在の筆致は、能書の面目躍如たるものがある。見られる独特の結構（文字の構え）は、霊元院流の特徴である。「昨日、申し談じ候儀、花山（院）へ具さに相語られ候哉、如何。委しくは明日、聞き申すべく候えども、先々、如何と心元無さ、此の如くに候。又、五条が事、今日にても、明後日にても申し渡すべく候。我が意、花山へ申し伝えらるべく候なり。尚々、相続くの事は、重ねて日を定むべく候なり。四日。難波殿／（花押）」","descriptionEn":"Emperor Reigen (1654-1732) was born the 19th prince of Emperor Gomizunoo. He was enthroned in 1663 and reined for 24 years, until abdicating in 1687and being succeeded by Emperor Higashiyama. However, this long-reigning sovereign remained a powerful administrator as a retired emperor, known as “insei.” Finally, after leaving office in 1693, he took the tonsure in 1713 and passed away at age 79 in 1732. Emperor Reigen is remembered well for reviving the ancient palatial rites of the Great Food Festival and Investiture of the Crown Prince. Literally inclined, he also showed innate abilities here, especially in waka composition, composing some 1,600 waka poems and publishing thirty imperially compiled poetry anthologies. Other recognition he earned was for his mastery of calligraphy. While he was influenced by the brushworks of his father Emperor Gomizunoo and his elder brother Emperor Gosai, Reigen perfected his own style, which was much admired later as the Reigen-In School.Emperor Reigen sent this letter to Namba Munekazu (1642-1704), but it contains no information that would help determine the time of its writing. One can assume that the names appearing in the letter, “Kazan” and “Gojo,” are likely Kazanin Sadanobu (1640-1704) and Gojo Tamemune (1649-1719) respectively. The former was the Minister of the Interior. The emperor asks Namba if he conveyed to Lord Kazanin the issues discussed the previous day. The unaffected and free-flowing strokes are proof of Reigen’s competence in calligraphy, and the unique way the characters are structured is a fine example of brushwork rendered in his style.","id":"keioobjecthub-361","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/361/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/361","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD17"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15447_15447.jpg"],"title":"霊元天皇筆書状","titleEn":"Letter by Emperor Reigen","titleYomi":"レイゲンテンノウヒツショジョウ"},"id":"keioobjecthub-361","rdfindex":{"temporal":["1601～1700年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"361","keioobjecthub-1-s":"霊元天皇筆書状","keioobjecthub-2-s":"Letter by Emperor Reigen","keioobjecthub-3-s":"レイゲンテンノウヒツショジョウ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/361","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15447_15447.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/361/2.1/manifest.json","keioobjecthub-12-s":"霊元天皇","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:霊元天皇","keioobjecthub-24-s":"AW-CEN-002010-0000","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_15664_15664.jpg"],"contributor":["冷泉為恭"],"database":"keioobjecthub","dclass":"721","description":"冷泉為恭〈れいぜいためちか・1823-64〉は、幕末の復古大和絵派の画家。画家狩野永泰（かのうえいたい）の第３子として京都に生まれる。が、みずからは冷泉姓を名乗り、のち岡田家の養子となって、菅原姓を名乗った。画ははじめ父にしたがって狩野派を学ぶが、やがて大和絵に興味を抱き、古寺名刹に伝来の古画の模写を通じて大和絵の手法を学び取っていった。「源頼朝像」（東京国立博物館蔵）・「法然上人絵伝」（京都知恩院蔵）などの模写作品をはじめ多数の作品を残す。安政４年〈1857〉の大樹寺（愛知県岡崎市）の障壁画はかれの代表作とされる。あわせて上代様の書法や有職故実にも精通した。が、晩年、「伴大納言絵詞」の模写を願い、その所有者である京都所司代酒井忠義〈さかいただあき・1813-73〉邸に出入りしたことが、幕府に通じているとの風聞を招き、尊皇派の追手からの逃亡生活を余儀なくされた。上賀茂の神光院、紀州粉河寺（こかわでら）へ身を隠したが、元治元年〈1864〉５月５日、大和丹波市（奈良県天理市）で長州藩士によって非業の死を遂げた。42歳であった。これは、わが国の書道史上、和様書道を完成させた平安時代中期の３人の能書家三跡の画像を描く。小野道風〈おののみちかぜ・894-966〉・藤原佐理〈ふじわらのすけまさ・944-998〉・藤原行成〈ふじわらのゆきなり・972-1027〉のこと。道風を中に、向かって右に佐理、左に行成の画像を配する図様になっている。為恭が上代様（平安時代の和様の書）に強く惹かれたことは、かれが模写した古筆の数々によって知られるところであるが、ことに上代様の頂点に位置する三跡に対する畏敬の念は、ほとんど信仰的であったとさえ思われる。この３幅対も、仏画の三尊形式に倣ったものではなかろうか。「為恭謹作」という署名にかれの敬虔な祈りにも似た情念があふれている。３人３様、面貌は史実に伝えられるそれぞれの風をよく表しているといえよう。また、浜松を描いた中廻しは描き表装。画面を避けてその表装部分に署名をしている。明治時代の元勲で、古美術に異常な興味をもったことで知られる井上馨〈いのうえかおる・1836-1915〉の旧蔵品である。\n","descriptionEn":"A painter of the late Edo Period, Reizei Tamechika (1823-64) was born in Kyoto as the son of Kano Eitai. However, he liked the Reizei surname so much that he adopted it and called himself “Reizei Saburo.” He was later adopted into the Okada Family and appointed the Protector of Ohmi, Junior Fifth Rank. With a strong aversion for the highly-formalized Kano School painting styles, Tamechika was attracted to the revival of the Yamatoe tradition (used in ancient Japanese court paintings), a movement led on the art scene by Tanaka Totsugen (1767-1823). Well-versed in ancient manners and decorum, Tamechika also contributed greatly to the revival of ancient court culture. In his last years, he frequented the Sakai Family mansions to make reproductions of the “Picture Scroll Depicting Major Counselor Tomono”. But, this artistic activity was misinterpreted by the samurai, who were staging urban guerilla warfare in order to dispel foreign influences. As a result, Tamechika fled from Kyoto (1862) and sought the Buddhist life, adopting the name Shinren-Bo Koa. Nevertheless, he was assassinated in May 1864 by a band of Choshu samurai, acting on a self-imposed mission to terminate the military government under the House of Tokugawa. He was 42 years old. The exhibit is a portrait of Three Great Carigraphists of the mid Heian period, Ono-no Michikaze (also Tofu, 894-996), Fujiwara-no Sukemasa (also Sari, 944-998) and Fujiwara-no Yukinari (also Kozei, 972-1027). They established a Japanese style of writing.\n","id":"keioobjecthub-2612","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/2612/2.1/manifest.json","lastUpdatedDate":1667919600000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/2612","ownerOrg":"keio_university","provider":"keiokemco","temporal":["AD19"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15664_15664.jpg"],"title":"冷泉為恭筆小野道風像","titleYomi":"レイゼイタメチカヒツオノノミチカゼゾウ"},"id":"keioobjecthub-2612","rdfindex":{"temporal":["1801～1900年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"2612","keioobjecthub-1-s":"冷泉為恭筆小野道風像","keioobjecthub-3-s":"レイゼイタメチカヒツオノノミチカゼゾウ","keioobjecthub-4-d":"2022/11/09","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/2612","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15664_15664.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/2612/2.1/manifest.json","keioobjecthub-12-s":"冷泉為恭","keioobjecthub-13-s":"AD19","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:AD19","keioobjecthub-20-s":"作者:冷泉為恭","keioobjecthub-23-s":"絹本着色","keioobjecthub-24-s":"AW-CEN-002313-0002","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":"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_19784_19784.jpg"],"contributor":["近衛信尹"],"database":"keioobjecthub","dclass":"210","description":"近衛信尹〈このえのぶただ・1565-1614〉は、桃山時代の公卿。関白太政大臣前久〈さきひさ・1536-1612〉の嫡男として生まれ、天正５年〈1577〉13歳で元服。加冠の役をつとめた織田信長〈おだのぶなが・1534-82〉の一字を与えられて信基、ついで信輔と称した。わずか21歳で従一位・左大臣に昇進。文禄元年〈1592〉正月、左大臣を辞す（28歳）。同12月、文禄の役に際して朝鮮渡海を企て、肥前（佐賀県）名護屋に下向したが、豊臣秀吉の上奏により後陽成天皇の勅勘を蒙り、同３年、薩摩国坊津（ぼうのつ・鹿児島県川辺郡坊津町）へ配流された。平安時代末期以来、薩摩は近衛家の所領であったために、藩主島津氏の厚遇を得て、和歌・連歌・茶の湯の明け暮れであった。慶長元年〈1596〉９月、赦されて帰京。同４年、信尹と改名。同６年には左大臣に還任して、同10年７月、関白・氏長者となり、牛車・兵仗を勅許された。同８年、准三后を賜わる。同19年11月25日、50歳で没した。院号は三藐院（さんみゃくいん）。一字名は杉。歌道・書道に優れ、絵画もまた能くした。ことに書においては、本阿弥光悦・松花堂昭乗とともに「寛永の三筆」の一人に挙げられる傑出した能書として有名である。宛名の「再六老」は、六六山人（ろくろくさんじん）を号した石川丈山〈いしかわじょうざん・1583-1672〉のこと。かれは、藤原惺窩〈ふじわらせいか・1561-1619〉に学んだ漢詩人・書家として有名。これは、信尹自作の七言絶句の狂詩「念仏無間無釈文……」の添削を申し入れたもの。この詩以外にも何篇かを送っていたらしく、それらについても宜しき指導を乞うている。その中の一つに「ショウ強」の字句があったのであろう。その「ショウ」の字につき、「情」「性」いずれが適当か、返事を望んでいる。信尹と丈山の交流、また、信尹の漢詩趣味の一面が垣間見える貴重な資料である。「一昨日は、昼夜申し承り、本懐殊更仕合よく候て、御帰寺、珍重。／念仏無間無釈文日蓮宗所立無紛辞連署各企兵乱坊主武辺奈敗軍／余人の異見を聞き候はぬまゝ、狂詩を遣わし度く候。而して、右の外も直され候て給うべく候。「シヤウ強」の「シヤウ」は「情」歟、「性」歟。又、啓札、此の者に給うべく候事、所望に候。かしく。再六老（石川丈山）三木（＝杉）」\n","descriptionEn":"Konoe Nobutada (1565-1614) was a court official who lived during the Momoyama Period. He was born into nobility as the legitimate first son of Senior Regent Konoe Sakihisa (1536-1612). His initiation rite was held in 1577 when he turned 13, with Lord Oda Nobunaga assuming the honorary role of placing the headgear. Nobunaga gave the boy a character from his own name, and thereafter Nobutada was called Nobumoto, which was later changed to Nobusuke. Nobusuke was only 21 when he was appointed Minister of the Left, but he resigned from this office in January 1592 at age 28. In December of the same year, he planned to sail to the Korean Peninsula to fight in the Battle of Bunroku and went as far down as Nagoya, in Hizen (today’s Saga Pref.). Nobutada later incurred the displeasure of Emperor Goyozei due to a rivalry Nobutada had with Regent Toyotomi Hideyoshi, and he was exiled to Bonotsu in Satsuma (today’s Kagoshima Pref.) in 1594. Ever since the end of the Heian Period, Satsuma had been Konoe family property, so he was received warmly by Lord Shimazu, the ruler of Satsuma. Nobutada spent his time in exile completely absorbed in art, as well as waka and renga composing and chanoyu tea ceremony. In 1596, Nobutada was pardoned and allowed to return to Kyoto; thereupon, he assumed the name Nobutada, by which he is traditionally known. In 1601, he was reinstituted as Minister of the Left and was promoted to Regent and head of the family in 1605. He died at age 50 on November 25, 1614. The posthumous Buddhist name Sanmyaku-In was bestowed upon him.Nobutada was thoroughly familiar with the art of waka, calligraphy and painting. In calligraphy, he was hailed as one of the ‘Three Brushes of the Kan-ei Era’, the other two being Hon-ami Koetsu and Shokado Shojo. The addressee of this letter is Ishikawa Jozan (1583-1672), who was also called by the pseudonym Rokuroku-Sanjin. Jozan was a noted calligrapher and poet trained in Chinese poetry by Fujiwara Seika (1561-1619). In this letter, Nobutada asks Jozan to edit his humorous poem, ‘A prayer to Amida Buddha’, written in seven-character quatrain format. It is likely that Nobutada had sent Jozan other works for editing as he reminds Jozan not to forget to look over them. He then explains which Chinese character to use to express the word ‘shokyo’. This letter is of literary value as it sheds light on the friendship between these two famous figures, as well as on Nobutada’s passion for Chinese poetry.\n","id":"keioobjecthub-411","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/411/2.1/manifest.json","lastUpdatedDate":1662562800000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/411","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD16"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_19784_19784.jpg"],"title":"近衛信尹筆書状","titleEn":"Letter by Konoe Nobutada","titleYomi":"コノエノブタダヒツショジョウ"},"id":"keioobjecthub-411","rdfindex":{"temporal":["1501～1600年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"411","keioobjecthub-1-s":"近衛信尹筆書状","keioobjecthub-2-s":"Letter by Konoe Nobutada","keioobjecthub-3-s":"コノエノブタダヒツショジョウ","keioobjecthub-4-d":"2022/09/08","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/411","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_19784_19784.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/411/2.1/manifest.json","keioobjecthub-12-s":"近衛信尹","keioobjecthub-13-s":"AD16","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD16","keioobjecthub-20-s":"作者:近衛信尹","keioobjecthub-24-s":"AW-CEN-000946-0000","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_13721_13721.jpg"],"contributor":["近衛信尹"],"database":"keioobjecthub","dclass":"210","description":"左大臣藤原時平の讒訴によって、配所の筑紫国（福岡県）太宰府に左遷、同地で不遇の死を遂げた菅原道真〈すがわらのみちざね・845-903〉の怨霊を鎮めるためにおこった天神信仰は、長い歴史の中で多くの絵画遺品を生み出した。天神画像は、礼拝像として描かれた道真の絵姿で、その形式は、束帯天神（笏を手に帯剣した文官の正装である束帯姿で描かれるもの）と、渡唐天神（冠をつけ中国の道服姿で梅の一枝を手挟んで立つもの）とに大きく二分できるが、典拠とした説話や、背景となった天神信仰の性格の変容などによって、さまざまなヴァリエーションがある。 これは、渡唐天神像の１つ。渡唐天神は、天神信仰が禅宗と結びついて生まれたもので、博多の崇福寺に出現して聖一国師（円爾弁円〈えんにべんえん・1202-80〉）に禅を問うた天神が、国師の薦めにより、宋・徑山の仏鑑禅師（無準師範〈ぶじゅんしばん・1178-1249〉）のもとに一夜のうちに渡って法衣を授けられたという説話にもとづく図様（『両聖記』応永元年〈1394〉ころ成立）である。帽をかぶり道服（中国の道家たちの日常の衣装）を身につけた道真像を文字絵にあらわした略画である。頭から顔にかけて、太い墨線が「天」の字、それに目鼻を加えて、道真の顔容をつくる。首から下の体躯には、草書体の「神」の字にあらわし、大きな構えで両袖や裾を絵様化している。 画・賛ともに近衛信尹〈このえのぶただ・1565-1614〉の筆。信尹は、桃山時代の公卿で、摂関家近衛家の当主。文禄元年〈1592〉、秀吉の朝鮮出兵にみずからが総指揮をとるべく、渡航従軍を企てたが失敗。同３年、義兄たる後陽成天皇の勅勘に触れ、薩摩国最南端、坊の津に配流となった。後に帰洛し、還俗後、関白・氏長者さらには准三宮となった。歌道・書道に秀で、ことに書においては、近衛流（三藐院流）と称され、本阿弥光悦・松花堂昭乗とともに「寛永の三筆」の１人に挙げられ、不羈奔放の性格のままに、豪放自在、すこぶる個性的な書をかいた。この賛の書風もその典型である。信尹は、しばしば京都・北野社（菅原道真を祭神とする日本總社）で連歌をしばしば興行している。また、信尹は敬神のため、「百幅天神像」を描いたという（『古画備考』）。日課として１図ずつを完成して、満願に達したのでろう。今日、同様の遺墨が多く伝存、中には年紀をともなうものもあり、いずれもが慶長14年〈1609〉から同15年であることから、そのころに集中的に描いたと思われる。この賛歌は、通常の天神画には見られない歌であるが、天神信仰の広まりを思わせる歌意である。「梅あらばいやしき賤が伏屋まで我立ち寄らん悪魔しりぞけ」\n","id":"keioobjecthub-1703","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1703/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1703","ownerOrg":"keio_university","provider":"keiokemco","temporal":["江戸時代（17世紀）"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_13721_13721.jpg"],"title":"近衛信尹筆渡唐天神自画賛","titleEn":"Image of Tenjin by Konoe Nobutada","titleYomi":"コノエノブタダトトウテンジンジガサン"},"id":"keioobjecthub-1703","rdfindex":{"temporal":["1501～1600年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"1703","keioobjecthub-1-s":"近衛信尹筆渡唐天神自画賛","keioobjecthub-2-s":"Image of Tenjin by Konoe Nobutada","keioobjecthub-3-s":"コノエノブタダトトウテンジンジガサン","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1703","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_13721_13721.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1703/2.1/manifest.json","keioobjecthub-12-s":"近衛信尹","keioobjecthub-13-s":"江戸時代（17世紀）","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:江戸時代（17世紀）","keioobjecthub-20-s":"作者・賛者:近衛信尹","keioobjecthub-23-s":"紙本墨画","keioobjecthub-24-s":"AW-CEN-001812-0000","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":"箱書\n外箱蓋裏「天満宮尊影　近衛信尹卿自画賛　乙丑十二［丸印］了意［「琴山」方印］」","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_12667_12667.jpg"],"contributor":["近衛信尹"],"database":"keioobjecthub","dclass":"210","description":"近衛信尹〈このえのぶただ・1565-1614〉は、桃山時代の公卿。関白太政大臣前久〈さきひさ・1536-1612〉の嫡男として生まれ、天正５年〈1577〉13歳で元服。加冠の役をつとめた織田信長〈おだのぶなが・1534-82〉の一字を与えられて信基、ついで信輔と称した。わずか21歳で従一位・左大臣に昇進。文禄元年〈1592〉正月、左大臣を辞す（28歳）。同12月、文禄の役に際して朝鮮渡海を企て、肥前（佐賀県）名護屋に下向したが、豊臣秀吉の上奏により後陽成天皇の勅勘を蒙り、同３年、薩摩国坊津（ぼうのつ・鹿児島県川辺郡坊津町）へ配流された。平安時代末期以来、薩摩は近衛家の所領であったために、藩主島津氏の厚遇を得て、和歌・連歌・茶の湯の明け暮れであった。慶長元年〈1596〉９月、赦されて帰京。同４年、信尹と改名。同６年には左大臣に還任して、同10年７月、関白・氏長者となり、牛車・兵仗を勅許された。同８年、准三后を賜わる。同19年11月25日、50歳で没した。院号は三藐院（さんみゃくいん）。一字名は杉。歌道・書道に優れ、絵画もまた能くした。ことに書においては、本阿弥光悦・松花堂昭乗とともに「寛永の三筆」の一人に挙げられる傑出した能書として有名である。この手紙の文中に「女御」とあるのは、信尹の11歳年下の妹・前子（さきこ）のことで、天正14年〈1586〉12月、後陽成天皇の女御として入内した。文中の「吉田書物」とは、京都・吉田社（この時の吉田社祠官は吉田兼見〈1535-1610〉）にさしおかれる皇統系図のこと。手紙の宛名の「主膳正」（しゅぜんのかみ・稲葉某氏か）は不明ながら、信尹に恩借の仲介の労をとった人。また、文中の「三右衛門尉」も明らかでない。この手紙の書風から、信尹の晩年期に近いものと考えられる。おそらく40代後半の執筆か。「尊札辱く候。三右衛門尉に、即ち対面致し候。兼ねて又、女御を以って見えられ候吉田の書物、閑覧仕り候。所詮、神武より今日迄は、人代（神代に対して、人皇第一代の神武天皇以降の天皇に統治された時代をいう）にて相い済む事に候。御詠「昔や神の」と直り、尤もに存じ候いつる。かしく。十日主膳正殿信尹」","descriptionEn":"Konoe Nobutada (1565-1614) was a court official who lived during the Momoyama Period. He was born into nobility as the legitimate first son of Senior Regent Konoe Sakihisa (1536-1612). His initiation rite was held in 1577 when he turned 13, with Lord Oda Nobunaga assuming the honorary role of placing the headgear. Nobunaga gave the boy a character from his own name, and thereafter Nobutada was called Nobumoto, which was later changed to Nobusuke. Nobusuke was only 21 when he was appointed Minister of the Left, but he resigned from this office in January 1592 at age 28. In December of the same year, he planned to sail to the Korean Peninsula to fight in the Battle of Bunroku and went as far down as Nagoya, in Hizen (today’s Saga Pref.). Nobutada later incurred the displeasure of Emperor Goyozei due to a rivalry Nobutada had with Regent Toyotomi Hideyoshi, and he was exiled to Bonotsu in Satsuma (today’s Kagoshima Pref.) in 1594. Ever since the end of the Heian Period, Satsuma had been Konoe family property, so he was received warmly by Lord Shimazu, the ruler of Satsuma. Nobutada spent his time in exile completely absorbed in art, as well as waka and renga composing and chanoyu tea ceremony. In 1596, Nobutada was pardoned and allowed to return to Kyoto; thereupon, he assumed the name Nobutada, by which he is traditionally known. In 1601, he was reinstituted as Minister of the Left and was promoted to Regent and head of the family in 1605. He died at age 50 on November 25, 1614. The posthumous Buddhist name Sanmyaku-In was bestowed upon him.Nobutada was thoroughly familiar with the art of waka, calligraphy and painting. In calligraphy, he was hailed as one of the ‘Three Brushes of the Kan-ei Era’, the other two being Hon-ami Koetsu and Shokado Shojo. According to this letter, Nobutada had borrowed, through one of the court ladies, a document that was perhaps a record of imperial lineage. The addressee may be somebody who mediated the affair. Actually, the court lady mentioned is Nobutada’s sister Sakiko, who was 11 years his junior. Sakiko had become Emperor Goyozei’s concubine in December 1586.The overall impression of the letter suggests it was written in Nobutada’s later years, perhaps in his late 40s.","id":"keioobjecthub-516","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/516/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/516","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD16"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12667_12667.jpg"],"title":"近衛信尹筆書状","titleEn":"Letter by Konoe Nobutada","titleYomi":"コノエノブタダヒツショジョウ"},"id":"keioobjecthub-516","rdfindex":{"temporal":["1501～1600年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"516","keioobjecthub-1-s":"近衛信尹筆書状","keioobjecthub-2-s":"Letter by Konoe Nobutada","keioobjecthub-3-s":"コノエノブタダヒツショジョウ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/516","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12667_12667.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/516/2.1/manifest.json","keioobjecthub-12-s":"近衛信尹","keioobjecthub-13-s":"AD16","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD16","keioobjecthub-20-s":"作者:近衛信尹","keioobjecthub-24-s":"AW-CEN-000177-0000","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_17770_17770.jpg"],"contributor":["近衛信尹"],"database":"keioobjecthub","dclass":"911","description":"藤原公任〈ふじわらのきんとう・996-1041〉撰になる『三十六人撰』は、当時の秀歌の規範として貴族たちの文芸の座右に重んじられた。やがて、平安時代末期・12世紀になると、これら歌人の画像を描いてその代表歌１首を書き添えた歌仙絵が生まれた。後世、歌道の流行を歌仙信仰にともなって、絵巻形式の巻子本から、各歌仙ごと色紙に貼り込んだ色紙帖が考案された。いずれも、歌仙像は当時の名だたる絵師に、歌は能書の公卿に書写を依頼して制作されたものである。これは三十六歌仙を左右各18人の群像に描き分け６曲１双の屏風に仕立てたもの。歌仙図と和歌色紙を屏風に貼り交ぜたものはいくつか伝存するが、歌仙像を屏風に直に描いた上に和歌をも添書した遺例はきわめて珍しい。『三十六人撰』においては、柿本人麿を筆頭に、紀貫之・凡河内躬恒・伊勢……と続き、最後の36番目が中務となる。これを右・左に割り振って18人ずつに分け、人麿のグループを右隻に集めて画面左から順次配列、画像はすべて左向きに描いている。左隻には紀貫之から中務まで、画面右から配列する。１双の屏風を並べた時の画面効果をねらったものである。また、右隻の中央に斎宮女御〈さいぐうのにょうご＝徽子女王・929-985〉を描くが、几帳を立てるばかりで、像主の絵姿を省略している。まことに大胆奇抜の構図である。歌仙中、最尊貴の斎宮女御に払う絵師の心情の発露というべきか。それらの歌仙像は下方に描かれ、上部の空間に近衛信尹〈このえのぶただ・1565-1614〉がそれぞれに対応する代表和歌をしたためる。信尹は桃山時代の公卿で、摂関家近衛家の当主。文禄元年〈1592〉、豊臣秀吉〈とよとみひでよし・1536-98〉の朝鮮出兵にみずからが総指揮をとるべく渡航従軍を企てたが失敗。同３年、義兄たる後陽成天皇〈ごようぜいてんのう・1571-1617〉の勅勘に触れ、薩摩国（鹿児島県）最南端、坊の津（ぼうのつ）に配流となった。後に帰洛し、還俗後、関白・氏長者さらには准三宮となった。歌道・書道に秀で、ことに書においては、近衛流（三藐院流）と称され、本阿弥光悦〈ほんあみこうえつ・1558-1637〉・松花堂昭乗〈しょうかどうしょうじょう・1584-1639〉とともに「寛永の三筆」の１人に挙げられ、不羈奔放の性格のままに、豪放自在、すこぶる個性的な書をかいた。この賛の書風もその典型である。縦横無尽の躍動的な健筆は信尹の真骨頂。墨の濃淡自在、連綿や墨継ぎ、一気呵成の運筆、眼にもとまらぬ筆跡の跡が、関白近衛信尹の生得の威厳を示してあまりある。歌仙図の白眉というにやぶさかでない。\n","descriptionEn":"This is a pair of six-panel folding screens with group scenes containing 18 poets on each one. The painter is unknown, but the calligraphy for all 36 of the waka poems, executed in the master's distinctively large strokes, is by Konoe Nobutada (1565-1614). Nobutada is here at the pinnacle of his oeuvre and the free distribution of ink density, the fine flowing lines, linkage and other elements all combine to create the impression of a river flowing fast through a valley. This effect is particularly enhanced by the master's bold, sweeping brush.\n","id":"keioobjecthub-1736","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1736/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1736","ownerOrg":"keio_university","provider":"keiokemco","temporal":["江戸時代初期（17世紀)"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_17770_17770.jpg"],"title":"三十六歌仙図屏風（近衛信尹賛）（右隻）","titleYomi":"サンジュウロッカセンズビョウブ（ウセキ）"},"id":"keioobjecthub-1736","rdfindex":{"temporal":["1501～1600年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"1736","keioobjecthub-1-s":"三十六歌仙図屏風（近衛信尹賛）（右隻）","keioobjecthub-3-s":"サンジュウロッカセンズビョウブ（ウセキ）","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1736","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_17770_17770.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1736/2.1/manifest.json","keioobjecthub-12-s":"近衛信尹","keioobjecthub-13-s":"江戸時代初期（17世紀)","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:江戸時代初期（17世紀)","keioobjecthub-20-s":"賛者:近衛信尹","keioobjecthub-23-s":"紙本着色","keioobjecthub-24-s":"AW-CEN-001951-0001","keioobjecthub-26-s":"156.5×354.1","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":"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_12849_12849.jpg"],"contributor":["近衛信尹ほか"],"database":"keioobjecthub","dclass":"911","description":"この連歌懐紙は、「来廿一日（来たる二十一日）」に予定されている北野社での祈念連歌のために、予め準備された草稿（下書き）と考えられる。執筆（書き役）の近衛信尹〈このえのぶただ・1565-1614〉が、参加する各々の詠句を一行ずつ書き付けたもの。本番の連歌会での清書のために注記を施し、幾度かに分けて詠句を書き記したため、行取りの配置が不揃いになっている。発句は一字名「杉」の近衛信尹。次の脇句（二句目）は願主。第三は「梧」の近衛信尋、以下、阿野実顕、松梅院禅昌、猪苗代兼与、佐野（灰野）紹由らの名前がみられる。これら連衆の顔ぶれから推して、書写年代は慶長16～7年〈1611-12〉頃、脇句の願主は、後陽成院と考えられる。\n","id":"keioobjecthub-716","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/716/2.1/manifest.json","lastUpdatedDate":1662562800000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/716","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD17"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12849_12849.jpg"],"title":"北野社連歌懐紙","titleEn":"Linked Verse Kaishi at Kitano Shrine","titleYomi":"キタノシャレンガカイシ"},"id":"keioobjecthub-716","rdfindex":{"temporal":["1601～1700年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"716","keioobjecthub-1-s":"北野社連歌懐紙","keioobjecthub-2-s":"Linked Verse Kaishi at Kitano Shrine","keioobjecthub-3-s":"キタノシャレンガカイシ","keioobjecthub-4-d":"2022/09/08","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/716","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12849_12849.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/716/2.1/manifest.json","keioobjecthub-12-s":"近衛信尹ほか","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:近衛信尹ほか","keioobjecthub-24-s":"AW-CEN-002021-0000","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_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_13096_13096.jpg"],"contributor":["他阿（真教）"],"database":"keioobjecthub","dclass":"188","description":"他阿〈たあ・1237-1319〉は、鎌倉時代の僧。時宗の第２世。法名は真教（しんきょう）。当時、阿弥陀号命名の流行により他阿弥陀仏（たあみだぶつ）と号し、さらに略して他阿と号した。建治３年〈1277〉一遍〈いっぺん・1239-89〉に師事し、正応２年〈1289〉までその遊行に従う。一遍の没後は、主に師の足跡の及んでいない北陸と関東の地を歴遊した。北陸と関東の地を歴遊した。嘉元元年〈1303〉相模の当麻金光院（無量寺）に独住し、遊行の役を３世智得に譲った。同４年には、教団の統制のため道場制文を定めている。文保３年〈1319〉に83歳で没す。伝記は『一遍上人絵詞伝』に、法語は『他阿上人法語』にまとめられる。歌人としても注目され、当時の歌壇の宗匠たる二条・冷泉家の人々とも親交があった。この短冊は、藍・紫の打曇（うちぐもり）の装飾料紙に書かれたもの。行脚の途中、歌枕として名だたる須磨（兵庫県）の地で詠んだものであろう。『他阿上人家集』（1460余首）を残すが、この詠歌は所収されていない。\n","id":"keioobjecthub-975","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/975/2.1/manifest.json","lastUpdatedDate":1662908400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/975","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD13"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_13096_13096.jpg"],"title":"他阿筆短冊","titleEn":"Tanzaku by Priest Ta-a","titleYomi":"タアヒツタンザク"},"id":"keioobjecthub-975","rdfindex":{"temporal":["1201～1300年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"975","keioobjecthub-1-s":"他阿筆短冊","keioobjecthub-2-s":"Tanzaku by Priest Ta-a","keioobjecthub-3-s":"タアヒツタンザク","keioobjecthub-4-d":"2022/09/12","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/975","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_13096_13096.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/975/2.1/manifest.json","keioobjecthub-12-s":"他阿（真教）","keioobjecthub-13-s":"AD13","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD13","keioobjecthub-20-s":"作者:他阿（真教）","keioobjecthub-24-s":"AW-CEN-001960-0000","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_13156_13156.jpg"],"contributor":["小堀遠州"],"database":"keioobjecthub","dclass":"911","description":"小堀遠州〈こぼりえんしゅう・1579-1647〉は、江戸時代初期の大名・茶人。名は政一（まさいち）。「遠州」の名は、遠州が遠江守（とおとうみのかみ）であったことからの命名。ほかに宗甫（そうほ）・孤蓬庵（こほうあん）と号した。豊臣秀吉や徳川三代（家康・秀忠・家光）に仕え、作事（さくじ）奉行となり、城や御所の工事に携わった。また、茶道・作庭に長じ、「綺麗（きれい）さび」に代表される遠州流茶道の祖として名高く、将軍・大名・僧侶などの茶の湯の師範を務めた。さらに、和歌を冷泉為満〈れいぜいためみつ・1559-1619〉・為頼〈ためより・1592-1627〉父子および木下長嘯子〈きのしたちょうしょうし・1569-1649〉に学び、書は藤原定家に私淑して、典型的な定家流を掌中にした。これは、遠州の歌道の師であり親交の深かった木下長嘯子の歌文集『挙白集』（きょはくしゅう・巻第二・夏歌）に所収される一首。他人の詠に筆者の署名を加えるのは、異例中の異例。墨流しの料紙に定家流の緩急と肥痩が映えている。\n","id":"keioobjecthub-1035","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1035/2.1/manifest.json","lastUpdatedDate":1662908400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1035","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD16"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_13156_13156.jpg"],"title":"小堀遠州筆短冊","titleEn":"Tanzaku by Kobori Enshu","titleYomi":"コボリエンシュウヒツタンザク"},"id":"keioobjecthub-1035","rdfindex":{"temporal":["1501～1600年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"1035","keioobjecthub-1-s":"小堀遠州筆短冊","keioobjecthub-2-s":"Tanzaku by Kobori Enshu","keioobjecthub-3-s":"コボリエンシュウヒツタンザク","keioobjecthub-4-d":"2022/09/12","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1035","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_13156_13156.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1035/2.1/manifest.json","keioobjecthub-12-s":"小堀遠州","keioobjecthub-13-s":"AD16","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD16","keioobjecthub-20-s":"作者:小堀遠州","keioobjecthub-23-s":"紙本墨書","keioobjecthub-24-s":"AW-CEN-001579-0000","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"}]}