{"list":[{"id":"keioobjecthub-1769","common":{"id":"keioobjecthub-1769","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","lastUpdatedDate":1664895600000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1769","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15436_15436.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15436_15436.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1769/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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","contributor":["松花堂昭乗"],"temporal":["AD17"],"provider":"keiokemco","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"728"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"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"},{"id":"keioobjecthub-1758","common":{"id":"keioobjecthub-1758","title":"三迹（三跡）画像","titleEn":"Portrait of Three Great Calligraphers","titleYomi":"サンセキガゾウ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1758","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_14750_14750.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_14750_14750.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1758/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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","temporal":["AD14"],"provider":"keiokemco","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"728"},"rdfindex":{"type":["芸術・美術"],"temporal":["1301～1400年"]},"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"},{"id":"keioobjecthub-1630","common":{"id":"keioobjecthub-1630","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","lastUpdatedDate":1664290800000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1630","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15923_15923.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15923_15923.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1630/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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","temporal":["AD13"],"provider":"keiokemco","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"188"},"rdfindex":{"type":["芸術・美術"],"temporal":["1201～1300年"]},"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"},{"id":"keioobjecthub-2612","common":{"id":"keioobjecthub-2612","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","lastUpdatedDate":1667919600000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/2612","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15664_15664.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15664_15664.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/2612/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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","contributor":["冷泉為恭"],"temporal":["AD19"],"provider":"keiokemco","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["芸術・美術"],"temporal":["1801～1900年"]},"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"},{"id":"keioobjecthub-1603","common":{"id":"keioobjecthub-1603","title":"耳底記","titleEn":"Jiteiki","titleYomi":"ジテイキ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1603","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15820_15820.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15820_15820.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1603/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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","contributor":["烏丸光広"],"temporal":["慶長三−七年 （1598−1602）"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"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"},{"id":"keioobjecthub-803","common":{"id":"keioobjecthub-803","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","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/803","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15377_15377.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15377_15377.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/803/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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.","contributor":["烏丸光広"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"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"},{"id":"keioobjecthub-819","common":{"id":"keioobjecthub-819","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","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/819","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_14857_14857.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_14857_14857.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/819/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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.","contributor":["烏丸光広"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"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"},{"id":"keioobjecthub-873","common":{"id":"keioobjecthub-873","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","lastUpdatedDate":1662908400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/873","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15738_15738.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15738_15738.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/873/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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","contributor":["烏丸光広"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"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"},{"id":"keioobjecthub-723","common":{"id":"keioobjecthub-723","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","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/723","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12856_12856.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12856_12856.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/723/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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」","contributor":["烏丸光広"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"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"},{"id":"keioobjecthub-605","common":{"id":"keioobjecthub-605","title":"烏丸光広筆書状","titleEn":"Letter by Karasumaru Mitsuhiro","titleYomi":"カラスマルミツヒロヒツショジョウ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/605","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15623_15623.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15623_15623.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/605/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"烏丸光広〈からすまるみつひろ・1579-1638〉は公卿・歌人。少年時代より能書の聞こえが高く、11歳で早くも右少弁に任ぜられた。正二位・権大納言。書は持明院流（じみょういんりゅう）に入門したが、のち光悦流の影響を受け、同時に上代様（じょうだいよう）も好んだ。「寛永の三筆」と併称される能書である。日付の「壬（閏）二月十五日」により、この手紙の書写年代は、慶長15年〈1610・光広32歳〉か寛永６年〈1629・同51歳〉のいずれかに限定される。宛名の「村上周防守」は、『寛政重修諸家譜』の索引に見えない。が、文中に登場する「堀久太郎」を探ると、堀秀政〈ほりひでまさ・1553-90〉・秀治〈ひではる・1576-1606〉父子が久太郎を名乗っている。２人ともに慶長15年以前に他界しているの該当しない。しかしながら、前掲『寛政重修諸家譜』の両者記述の中に、村上周防守義明の名が記されているではないか。ともに豊臣秀吉の小田原の役に参戦、功を収め越後国に領地が安堵されている。また、秀治の弟が村上周防守義明の養子にもなっており、堀家と村上家がきわめて親密な関係にあることを知る。とすると、文中「堀久太郎」は、久太郎を名乗ったという記載はないものの、秀治の嫡男忠俊〈ただとし・1596-1637〉が有力となる。たまたま、慶長15年閏２月２日、忠俊の家臣堀監物直次と丹後守直寄の兄弟に論争が勃発、駿府に訴えるまでに発展、ついに徳川家康が断を下し、直次が敗訴、罪に服したという。この事件が端緒で忠俊は所領を没収される。文中「久太郎殿……笑止之儀」とは、この一件を指すのではないか。村上周防守の身には類が及ばなかったことに、光広が安堵の旨を申し送ったものであろう。光広32歳の筆である。「便宜ながら一書啓せしめ候。堀久太郎殿申し下し御座候はば、笑止の儀に候。貴殿御無事の由、珍重に存じ候。如何様後便を期し申し入るべく候。恐々謹言。以上。壬（閏）二月十五日烏丸宰相光広村上周防守殿」","descriptionEn":"Karasumaru Mitsuhiro (1579-1638) was a court noble and a poet, who, from boyhood, was hailed as a talented calligrapher. Not only that, but at the young age of 11, he was appointed Junior Officer of the Right and later climbed to the post of Major Counselor. At first, he was trained in the Jimyo-In School of calligraphy, but was later influenced by the Koetsu Style, while also being attracted to Jodai-yo (the classical style). As an achieved calligrapher, he was likened to the renowned ‘Three Brushes of the Kanei Era’.The date of this letter is the 25th of an unknown month of a year indicated by the Chinese zodiac. Two years could correspond to the zodiac sign shown: 1610, when Mitsuhiro was 32, and 1629, when he was 51. The identity of the addressee, Lord Murakami of Suo, is equally ambiguous. In the letter, the lord, referred to by the name Hori Kyutaro, may be Hori Hidemasa (1553-90) or his son Hideharu (1576-1606), as both men were called Kyutaro at some time. However, they both died before 1610 and are not likely to be the addressee. Since Hidemasa’s younger brother had been adopted by Lord Murakami Yoshiaki of Suo, it’s likely that this general is the addressee. In any case, the letter suggests that the Hori and Murakami families were closely related. Hideharu’s heir, Tadatoshi (1596-1637), was also a likely addressee, although there are no historical records that he went by the name Kyutaro. By coincidence, the correspondence concerns a bitter dispute that erupted between Hori Naotsugu and his brother Naoyori, both of whom were retainers of Hori Tadatoshi (1596-1637), Hideharu’s son. Shogun Tokugawa Ieyasu handed down the final judgment in which Naotsugu was found guilty and punished accordingly. Because of this dispute, Tadatoshi’s estate was confiscated. Mitsuhiro writes that he is relieved to know that the event did not adversely affect the recipient, Lord Murakami.Considering the event occurred in 1610, one can conclude that this letter was written in that very year, when Mitsuhiro was 32 years old.","contributor":["烏丸光広"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"keioobjecthub-0-s":"605","keioobjecthub-1-s":"烏丸光広筆書状","keioobjecthub-2-s":"Letter by Karasumaru Mitsuhiro","keioobjecthub-3-s":"カラスマルミツ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/605","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15623_15623.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/605/2.1/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-002269-0014","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"},{"id":"keioobjecthub-667","common":{"id":"keioobjecthub-667","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","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/667","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12800_12800.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12800_12800.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/667/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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、「梅花久芳」の歌題により、寛永14年〈1637〉１月17日の禁中における新年御会の時のものとわかる。書きぶりから推して、これはその手控えの草稿本と思われる。光広はこの年59歳であった。最晩年の枯れた筆致である。「「梅の花、久しく芳（かお）る」ということを詠める和歌／藤光広／代々込めて咲ける若木の梅が香を四方に知らする春の初風」","contributor":["烏丸光広"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"keioobjecthub-0-s":"667","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/667","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12800_12800.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/667/2.1/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-001362-0000","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"},{"id":"keioobjecthub-1915","common":{"id":"keioobjecthub-1915","title":"菊紅葉蒔絵文箱","titleEn":"Letter Box with Chrysanthemum-and-Autumn Foliage in Makie","titleYomi":"キクモミジマキエフバコ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1915","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_14859_14859.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_14859_14859.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1915/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"黒漆の上に、菊と紅葉（楓）をあしらう。『赤染衛門集』に、ある人から「秋はてて今はかぎりの紅葉とは（「紅葉ばと」の誤りか）うつろふ菊といづれまされり」と問いかけられた赤染衛門〈あかぞめえもん・生没年未詳〉が「紅葉ばの散るをも思ふ菊ならで見るべき花のなきもなげかし」と返したことが記されているが、このように菊と紅葉は、どちらも色あせるのが惜しまれる秋の植物として、並べられることが多い。","descriptionEn":"Chrysanthemums and brightly colored maple leaves are painted on the black lacquer of the exhibited piece. In the Akazome Emon Anthology (Akazome Emon was a noted poet and court lady of the Heian Period), Emon writes that she was posed with the question “Which would you regret more: the fading chrysanthemums or the falling maple leaves at the end of autumn?” These two plants, representative of autumn, are often found together in literature, as well as in pictorial representations on crafts such as lacquerware.","temporal":["AD17"],"provider":"keiokemco","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"289"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"keioobjecthub-0-s":"1915","keioobjecthub-1-s":"菊紅葉蒔絵文箱","keioobjecthub-2-s":"Letter Box with Chrysanthemum-and-Autumn Foliage in Makie","keioobjecthub-3-s":"キクモミジマキエフバコ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1915","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_14859_14859.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1915/2.1/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":"木製、漆塗、蒔絵","keioobjecthub-24-s":"AW-CEN-000856-0000","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"},{"id":"keioobjecthub-874","common":{"id":"keioobjecthub-874","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","lastUpdatedDate":1662908400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/874","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_13004_13004.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_13004_13004.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/874/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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","contributor":["鷹司教平"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"914"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"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"},{"id":"keioobjecthub-1331","common":{"id":"keioobjecthub-1331","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","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1331","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15356_15356.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15356_15356.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1331/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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.","contributor":["和久半左衛門（是安）"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"728"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"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"},{"id":"keioobjecthub-411","common":{"id":"keioobjecthub-411","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","lastUpdatedDate":1662562800000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/411","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_19784_19784.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_19784_19784.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/411/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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","contributor":["近衛信尹"],"temporal":["AD16"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["芸術・美術"],"temporal":["1501～1600年"]},"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"},{"id":"keioobjecthub-1703","common":{"id":"keioobjecthub-1703","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","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1703","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_13721_13721.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_13721_13721.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1703/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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","contributor":["近衛信尹"],"temporal":["江戸時代（17世紀）"],"provider":"keiokemco","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["芸術・美術"],"temporal":["1501～1600年"]},"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"},{"id":"keioobjecthub-516","common":{"id":"keioobjecthub-516","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","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/516","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12667_12667.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12667_12667.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/516/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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.","contributor":["近衛信尹"],"temporal":["AD16"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["芸術・美術"],"temporal":["1501～1600年"]},"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"},{"id":"keioobjecthub-1736","common":{"id":"keioobjecthub-1736","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）","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1736","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_17770_17770.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_17770_17770.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1736/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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","contributor":["近衛信尹"],"temporal":["江戸時代初期（17世紀)"],"provider":"keiokemco","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1501～1600年"]},"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"},{"id":"keioobjecthub-558","common":{"id":"keioobjecthub-558","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","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/558","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12709_12709.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12709_12709.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/558/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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.","contributor":["近衛信尋"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"289"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"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"},{"id":"keioobjecthub-716","common":{"id":"keioobjecthub-716","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","lastUpdatedDate":1662562800000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/716","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12849_12849.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12849_12849.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/716/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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","contributor":["近衛信尹ほか"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"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"}],"hit":15263550,"from":0,"facets":[{"key":"rights","counts":{"incr":4135366,"edu":1043152,"noncom":1041787,"com":969800,"pdm":806099,"others":521111,"nocr_cont":354237,"uneval":194582,"ccby":110901,"undet":64756,"ccbyncsa":59880,"ccbysa":39055,"ccbynd":22103,"ccbyncnd":20249,"cc0":13745,"ccbync":12107,"nocr_other":1559,"incr_edu":1365}},{"key":"contents","counts":{"not_exist":7830396,"restricted":4085398,"internet":2052243,"iiif":1567543,"image":1192466,"text":167658,"pdf":54638,"sound":48732,"video":629,"thumb":2370990,"description":346998}},{"key":"type","counts":{"periodical":1377326,"book":1296384,"ancdoc":553158,"docs":404625,"archeology":159700,"media":126182,"article":168167,"offdoc":64917,"other":34172,"photo":19573,"recording":15220,"map":8935,"video":7505,"postcard":4926,"natural":7349,"ematerial":4229,"paint":4813,"arts":3002,"mscore":2332,"3d":77,"poster":2}},{"key":"db","counts":{"bibnl":6779901,"dignl":4726654,"fukui":601392,"arc_books":385675,"ukobe":326247,"adeac":264110,"nmj02":195913,"utokyo_da":174031,"okura":168085,"nin01":154385,"saga":146465,"kyudai":129341,"THERS_da":128197,"artmuseb":105099,"ishikawa":87639,"Showa_book":81829,"miyagi":81594,"bjfl":73276,"kochi":73206,"tokyo":66107,"nier_mode":44828,"minamata":43353,"Showa_magazine":41932,"hpmm_magazine":39368,"hpmm_book":33994,"miemug":33756,"aokenshida_txt":26018,"rih01":21337,"ukobe_s":20263,"aozora":17797,"aokenshida_lib":17368,"keioobjecthub":16480,"toyama_koshibun":16293,"osaka":12808,"wkym_kankoubutu":11621,"tokei":8416,"shimane_u":7514,"ibaraki_u":7284,"nme_umesaoWW":7030,"ryukoku":6453,"ukansai":6291,"hiroshima_u_7540":5975,"gakugei_archive":5689,"sapporo":5403,"Showa_dmagazine":5380,"miemub":4994,"kyoto":3296,"meiji_u":2781,"yamanashi":2722,"daito":2576,"nier_postw":2543,"sdcommons_npl":2516,"oitacityarchive":2403,"chiba":2310,"tnricp_uritate":2303,"hpmm_audio":2014,"saitama_digi_lib":1995,"tdc":1885,"gyosei":1828,"uryukyu":1755,"doshisha":1538,"narabook":1532,"gunma":1459,"kamakura":1176,"irc06":1061,"maibunb":915,"bungakukan_yamanashi":793,"chiba_u":686,"aomori":667,"library":610,"Chigamu":515,"aichi":416,"ibaraki":345,"Showa_dbook":275,"lib":257,"utokushima":214,"nier_rare":168,"kyusan":167,"shudo":167,"papermuseum_tokyo":165,"yamagata":116,"suisan":114,"nier_orai":107,"u001":96,"tokushima":95,"iwate":88,"sf001":82,"u002":8}},{"key":"cm","counts":{"book":15263550,"humanities":1095824,"cultural":330550,"science":307222,"regional":225465,"official":179720,"art":112370,"map":3880}},{"key":"tempo","counts":{"heisei":5529709,"showa":5449659,"reiwa":902067,"meiji":725944,"taisyo":549980,"edo":393832,"heian":9432,"muromachi":7628,"aduchi":5007,"ancient":3507,"kamakura":3429,"nara":1857,"asuka":327}}]}