{"list":[{"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-1004","common":{"id":"keioobjecthub-1004","title":"三条西実隆筆短冊","titleEn":"Tanzaku by Sanjonishi Sanetaka","titleYomi":"サンジョウニシサネタカヒツタンザク","lastUpdatedDate":1662908400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1004","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_14854_14854.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_14854_14854.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1004/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"三条西実隆〈さんじょうにしさねたか・1455-1537〉は、内大臣公保〈きんやす・1398-1460〉の二男。初名公世、のち公延、元服して実隆と改名した。後土御門・後柏原・後奈良と三代の天皇に近侍し、正二位・内大臣に至る。和漢の学や有職故実に通じ、中世和学の興隆を着実に推進した。和歌においては飛鳥井雅親〈あすかいまさちか・1417-90〉に学んで豊かな才能を発揮し、飯尾宗祇〈いのおそうぎ・1412-1502〉より古今伝授を受けた。牡丹花肖柏〈ぼたんかしょうはく・1443-1527〉とは同門の間柄にあり、茶の湯で有名な武野紹鴎〈たけのじょうおう・1502-55〉は、実隆門下の一人である。また、書を能くし、彼の書風は三条流（逍遥院流とも）と呼ばれ、多くの追従者を出した。日記『実隆公記』、家集『雪玉集（せつぎょくしゅう）』をのこしている。永正13年〈1516〉、62歳のとき出家して、逍遙院堯空（しょうよういんぎょうくう）と号す。これは『雪玉集』に収められる歌で、同集によれば、永正６年〈1509〉９月９日から始められた、内裏着到百首和歌（内裏に出向いて毎日一首ずつ詠みすすめる方式）の中の一首。\n","descriptionEn":"Sanjonishi Sanetaka (1455-1537) was born the second son of Minister of the Center, Sanjonishi Kinyasu (1398-1460). He closely served three reigning emperors, i.e., GoTsuchimikado, GoKashiwabara, and GoNara. He was given the title of Senior Second Rank and eventually became Minister of the Center. Thoroughly versed in Chinese prose and poetry and Japanese literature, ancient anecdotes, and manners and etiquette, he contributed to the rise of academism favoring local flavor during medieval Japan. He studied the art of waka composition under Asukai Masachika (1417-90) and later exhibited wide-ranging talent. He also received oral instructions about the secret interpretations of the Kokin Wakashu (Collection of Ancient and Modern Poems) from Iio Sogi (1412-1502). Sanetaka and Botanka Shohaku (1443-1527) were fellow disciples, and Takeno Jo-oh (1502-55) was Sanetaka’s student. As a trained calligrapher, Sanetaka established his own style, named the Sanjo School (also Shoyo-In School) and attracted a large number of followers. He left behind The Diary of Lord Sanetaka and a private anthology, Setsugyoku Shu (lit. “Collection of Snowy Gems”). He retired to pursue Buddhism at age 62 (1516) and adopted the pseudonym “Shoyo-In Gyoku”.The exhibit “Spring Rain” poem is included in the Setsugyoku Shu. According to this collection, “Spring Rain” was written for the Daily Waka Dedication at the Palace, which began on September 9, 1509. (During this event, participating poets visited the palace everyday to write and dedicate a poem.)\n","contributor":["三条西実隆"],"temporal":["AD15"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1401～1500年"]},"keioobjecthub-0-s":"1004","keioobjecthub-1-s":"三条西実隆筆短冊","keioobjecthub-2-s":"Tanzaku by Sanjonishi Sanetaka","keioobjecthub-3-s":"サンジョウニシサネタカヒツタンザク","keioobjecthub-4-d":"2022/09/12","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1004","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_14854_14854.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1004/2.1/manifest.json","keioobjecthub-12-s":"三条西実隆","keioobjecthub-13-s":"AD15","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD15","keioobjecthub-20-s":"作者:三条西実隆","keioobjecthub-24-s":"AW-CEN-000830-0000","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-1035","common":{"id":"keioobjecthub-1035","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","lastUpdatedDate":1662908400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1035","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_13156_13156.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_13156_13156.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1035/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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","contributor":["小堀遠州"],"temporal":["AD16"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1501～1600年"]},"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"},{"id":"keioobjecthub-763","common":{"id":"keioobjecthub-763","title":"小堀遠州筆詠草","titleEn":"Draft Kaishi by Kobori Enshu","titleYomi":"コボリエンシュウヒツエイソウ","lastUpdatedDate":1662562800000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/763","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12895_12895.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12895_12895.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/763/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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。遠江守であったことから遠州を通称とした。名は政一。宗甫、孤篷庵と号した。豊臣秀吉、徳川家康、秀忠、家光に仕え、江戸幕府の作事奉行として建築・土木・造園を手がけた。寛永３年〈1626〉、後水尾天皇の二条城行幸では、諸道具の調達にあたったともいう。また、茶道と作庭に通暁、とくに茶の湯は古田織部に学び、遠州流茶道の祖として名高く、千利休・織部とともに三大茶人とよばれる。和歌を冷泉為満・為頼父子に学び、書は定家流に私淑、自己薬籠中のものとした。緩急をつけた運筆で、肥痩の変化に富む書風は、すでに遠州流とも呼ぶべきものである。これは、元旦の試筆詠草。「元旦」の題で二首の和歌と、連歌の発句として二句を書く。位署には一字名の「甫」と記す。「元旦／甫／我が君の代は久方の天の戸を雪に明かでや春は来ぬらむ／かざしおる千年の山の松が枝に今日降る雪の花と見ゆらむ／発句／あら玉の塵ひぢ積れ代々の春／午の年祝る申の引き渡し」\n","contributor":["小堀遠州"],"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":"763","keioobjecthub-1-s":"小堀遠州筆詠草","keioobjecthub-2-s":"Draft Kaishi by Kobori Enshu","keioobjecthub-3-s":"コボリエンシュウヒツエイソウ","keioobjecthub-4-d":"2022/09/08","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/763","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12895_12895.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/763/2.1/manifest.json","keioobjecthub-12-s":"小堀遠州","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:小堀遠州","keioobjecthub-24-s":"AW-CEN-001158-0000","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-457","common":{"id":"keioobjecthub-457","title":"小堀遠州筆書状","titleEn":"Letter by Kobori Enshu","titleYomi":"コボリエンシュウヒツショジョウ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/457","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12608_12608.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12608_12608.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/457/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"小堀遠州〈こぼりえんしゅう・1579-1647〉は、名を政一（まさかず）、号は宗甫（そうほ）、別に孤篷庵（こほうあん）という。遠州流茶道の祖で、千利休〈せんのりきゅう・1522-91〉・古田織部〈ふるたおりべ・1543-1615〉とともに三大茶人に数えられる。慶長13年〈1608〉、30歳のときに従五位下・遠江守に叙位。以後遠州と通称される。茶の湯や作庭の才に富み、とりわけ、その書は定家流の奥義に達して、藤原定家〈ふじわらのさだいえ・1162-1241〉そっくりの書風を展開した。泉水（庭先につくられた池）に根石（一番底に敷く礎石）を据えたいと、松平伊豆守信綱〈まつだいらのぶつな・1596-1662〉から申し入れがあったと報告する手紙。宛名の藤左衛門は庭師の一人であろう。「はんせい」（未詳）にも、いつもより気分がすぐれるようならば、昼からでも参るようにと伝言する。同じく庭師の仲間であろうか。松平信綱は、元和９年〈1623〉に従五位下伊豆守に叙任、堀田正盛〈ほったまさもり・1608-51〉らとともに老中として幕政の枢機に関与、知恵伊豆と称された。茶の湯にも造詣深く、将軍家光からは、茶入「松風」「雲竜」「遠霞」「伯耆」、大燈墨跡、玉澗・馬麟などの名品を拝領している。遠州は、茶の湯を通じて親交を結び、茶庭の設計などにも一役買っていたのではないだろうか。「松平伊豆（守）殿より泉水の根石据へ申し度き候の由、三四郎殿此くの如く申し越され候間、参りて据へ申すべく候。はんせい（人名）も少し気相良く候はば、昼から成りとも参り候へと申すべく候。かしく。藤左（衛）門参る遠江（守）」","descriptionEn":"Kobori Enshu (1579-1647) had several names; his real name was Masakazu, but he used the pseudonym Soho for artistic endeavors and also called himself “Koho-An.” He originated the Enshu-style tea ceremony and was admired as one of the three greatest tea masters of Japan, the other two being Sen-no-Rikyu and Furuta Oribe. In 1608, Kobori Masakazu was appointed Lord of Ohmi (today’s Shizuoka Prefecture) and was called Enshu thereafter. (“Enshu” is synonymous with Ohmi Province.) A man of multiple talents, highly successful landscape designer among them, Kobori Enshu patterned his calligraphic style after the orthodox Teika Style (originated by Fujiwara-no-Teika; 1162-1241).In this letter, Enshu reports that he was commissioned by Matsudaira Nobutsuna (1598-1662) to lay foundation rocks for a pond being put in the garden. The addressee, Tozayemon, is likely one of the masons involved in the garden landscaping. Enshu asks the letter’s recipient to also ask Honsei (unidentified) to come over in the afternoon, if he is feeling any better. Hansei is likely a gardener, perhaps, and Tozayemon’s colleague.Matsudaira Nobutsuna was appointed Lord of Lower Izu in 1623. In the military government, he was one of the Senior Counselors, along with Hotta Masamori (1608-51) and others, and was involved in the highest levels of decision-making. He was nicknamed the “Wise Lord of Izu.” Thoroughly familiar with chanoyu (also called sado, art of tea, “way of tea,” ceremonial tea, etc.), he often received gifts of artistic tea utensils from the Shogun’s family. Enshu seems to have cultivated Nobutsuna’s friendship through chanoyu and, thus, must have helped him with landscape gardening, in which Enshu was a genius.","contributor":["小堀遠州"],"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":"457","keioobjecthub-1-s":"小堀遠州筆書状","keioobjecthub-2-s":"Letter by Kobori Enshu","keioobjecthub-3-s":"コボリエンシュウヒツショジョウ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/457","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12608_12608.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/457/2.1/manifest.json","keioobjecthub-12-s":"小堀遠州","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:小堀遠州","keioobjecthub-24-s":"AW-CEN-000626-0002","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）","keioobjecthub-32-s":"斯道文庫"},{"id":"keioobjecthub-462","common":{"id":"keioobjecthub-462","title":"小堀遠州筆書状","titleEn":"Letter by Kobori Enshu","titleYomi":"コボリエンシュウヒツショジョウ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/462","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12613_12613.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12613_12613.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/462/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"小堀遠州〈こぼりえんしゅう・1579-1647〉は、名を政一（まさかず）、号は宗甫（そうほ）、別に孤篷庵（こほうあん）という。遠州流茶道の祖で、千利休〈せんのりきゅう・1522-91〉・古田織部〈ふるたおりべ・1543-1615〉とともに三大茶人に数えられる。慶長13年〈1608〉、30歳のときに従五位下・遠江守に叙位。以後遠州と通称される。茶の湯や作庭の才に富み、とりわけ、その書は定家流の奥義に達して、藤原定家〈ふじわらのさだいえ・1162-1241〉そっくりの書風を展開した。伊丹屋宗不〈いたみやそうふ・生没年未詳〉の使者が来訪していうには、柳生但馬守宗矩〈やぎゅうむねのり・1571-1646〉が南都（奈良）に下向の際、宗不と対面、談笑したという。宗矩は伏見に２、３日滞留するというので、この手紙で遠州は、宛名の人物に伏見来訪をうながしている。「高麗人」というのは、朝鮮通信使のことである。遠州生存中、朝鮮通信史のわが国来朝は何度かある。その一行が江戸の幕府方へ御礼に参上し、その晩は大雪であったという。となると、寛永13年〈1636〉12月のことではなかったか。『大猷院殿御実記』（巻三十三）の同年同日条に、「聘礼終りてのち大雪尺に盈り」と記されていることがそれを裏書きする。遠州、時に58歳であった。末尾に詠んだ狂歌一首が興味深い。「宗不（伊丹屋宗不）所より使候の間、申し上げ候。先日は、南都（奈良）へ罷り越し、柳但州（柳生但馬守宗矩）へ御目に懸かり、御物語承り候。伏見へ二、三日も滞留有るべきの由、爰元（ここもと）、御通り成さるべく候の間、貴意を得べく候。かしく。尚々、内々の御方、紫野（京都）に御住成され候所、存じたる人これ無く候。定めて堺へ御下向成され候と存じ候。又、高麗人（朝鮮人）江戸へ参りて、御礼申し上げ候。晩より大雪降り候由に候。／高麗人も御調運びて白雪も猶豊年の徴なるらん／十三日（花押＝遠州）」","descriptionEn":"Kobori Enshu (1579-1647) had several names; his real name was Masakazu, but he used the pseudonym Soho for artistic endeavors and also called himself “Koho-An.” He originated the Enshu-style tea ceremony and was admired as one of the three greatest tea masters of Japan, the other two being Sen-no-Rikyu and Furuta Oribe. In 1608, Kobori Masakazu was appointed Lord of Ohmi (today’s Shizuoka Prefecture) and was called Enshu thereafter. (“Enshu” is synonymous with Ohmi Province.) A man of multiple talents, highly successful landscape designer among them, Kobori Enshu patterned his calligraphic style after the orthodox Teika Style (originated by Fujiwara-no-Teika; 1162-1241).In this letter, Enshu writes that a messenger arrived from Itamiya Sofu (years of birth and death unknown) to tell him that Yagyu Munenori (1571-1646) visited Sofu on his way to Nanto (lit. “Southern Capital,” today’s Nara City) and notes that the two enjoyed chatting. As Munenori is scheduled to stay in Fushimi (in Kyoto) for a few more days, Enshu urges the recipient of this letter (unidentified) to come over and visit. Enshu also reports on the Korean Mission’s visit to Edo to pay a courtesy call on the Tokugawa military government and how beautifully it snowed on the night the envoys arrived. According to other records, this series of events occurred December 1936. Enshu was 58 years old at that time.","contributor":["小堀遠州"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"913"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"keioobjecthub-0-s":"462","keioobjecthub-1-s":"小堀遠州筆書状","keioobjecthub-2-s":"Letter by Kobori Enshu","keioobjecthub-3-s":"コボリエンシュウヒツショジョウ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/462","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12613_12613.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/462/2.1/manifest.json","keioobjecthub-12-s":"小堀遠州","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:小堀遠州","keioobjecthub-24-s":"AW-CEN-000336-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）","keioobjecthub-31-s":"\n\n箱書\n小松茂美箱書","keioobjecthub-32-s":"斯道文庫"},{"id":"keioobjecthub-500","common":{"id":"keioobjecthub-500","title":"小堀遠州筆書状","titleEn":"Letter by Kobori Enshu","titleYomi":"コボリエンシュウヒツショジョウ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/500","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12651_12651.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12651_12651.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/500/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"小堀遠州〈こぼりえんしゅう・1579-1647〉は、名を政一（まさかず）、号は宗甫（そうほ）、別に孤篷庵（こほうあん）という。遠州流茶道の祖で、千利休〈せんのりきゅう・1522-91〉・古田織部〈ふるたおりべ・1543-1615〉とともに三大茶人に数えられる。慶長13年〈1608〉、30歳のときに従五位下・遠江守に叙位。以後遠州と通称される。茶の湯や作庭の才に富み、とりわけ、その書は定家流の奥義に達して、藤原定家〈ふじわらのさだいえ・1162-1241〉そっくりの書風を展開した。文意から、宛名「寿貞老」は、刀剣の飾金具師・埋忠寿貞（うめただじゅてい）と知る。前々から、寿貞作の目貫（刀の柄の留め具）を自らの笄（刀の鞘の付属品の一つ。刀の差表にさしておき、髪をなでつけるのに用いる）の一対にしたく思っていた矢先、家僕の八兵衛を通じて譲ってくれると申し送ってきたことへの礼手紙。その御礼として草部屋二郎右衛門（堺の町衆、茶人）を一緒に招いての茶の接待を申し出る。当時、歌道を通じて茶人間に異常な追慕をもって迎えられていた定家流の書道を掌中した遠州の面目を躍如とさせる筆致である。「先日は臥見（伏見）へ御見舞、満足申し候。殊に内々見申し度くと申し候目貫、御見せ。拙者の笄の対に仕り候て給うべき由にて、八兵衛に様子仰せ置かれ候。内々、望みに存じ候えども、御秘蔵の由、承り候間、如何かと存じ候処に候。別して、大慶これに過ぎず候。此中、手前、取り紛れの事候て、御礼延引申し候。先ず八兵衛を進じ候。文、御渡し次第、御茶申し入るべく候。御出で本望為るべく候。草部屋二郎右（衛門）も、御同道に候て、御越し候べく候。恐惶頓首。二十一日遠州（花押）／寿貞老様小（堀）遠江守」","descriptionEn":"Kobori Enshu (1579-1647) had several names; his real name was Masakazu, but he used the pseudonym Soho for artistic endeavors and also called himself “Koho-An.” He originated the Enshu-style tea ceremony and was admired as one of the three greatest tea masters of Japan, the other two being Sen-no-Rikyu and Furuta Oribe. In 1608, Kobori Masakazu was appointed Lord of Ohmi (today’s Shizuoka Prefecture) and was called Enshu thereafter. (“Enshu” is synonymous with Ohmi Province.) A man of multiple talents, highly successful landscape designer among them, Kobori Enshu patterned his calligraphic style after the orthodox Teika Style (originated by Fujiwara-no-Teika; 1162-1241).From the contents of this letter, one can identify the addressee, “Old Man Jutei,” as Umetada Jutei, a craftsman who made metal fixtures for swords. Enshu had long wanted to obtain accessories made by Jutei, which he wanted to attach to his sword’s sheath. The accessory he favored in particular could also be used as a comb, and in the letter, he thanks Jutei, having learned through his servant Hachibei that Jutei is willing to give the coveted implement. To show his gratitude, Enshu proposes hosting a tea party for Jutei and also inviting Kusabeya Jiroyemon, an Osaka townsman and tea connoisseur. Enshu’s handwriting reflects his mastery of Teika Style calligraphy, much-adored among tea connoisseurs of the time.","contributor":["小堀遠州"],"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":"500","keioobjecthub-1-s":"小堀遠州筆書状","keioobjecthub-2-s":"Letter by Kobori Enshu","keioobjecthub-3-s":"コボリエンシュウヒツショジョウ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/500","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12651_12651.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/500/2.1/manifest.json","keioobjecthub-12-s":"小堀遠州","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:小堀遠州","keioobjecthub-24-s":"AW-CEN-000674-0000","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-954","common":{"id":"keioobjecthub-954","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","lastUpdatedDate":1662908400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/954","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_13075_13075.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_13075_13075.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/954/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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、里村昌琢〈さとむらしょうたく・1574-1636〉との連署の連歌短冊である。\n","contributor":["小堀遠州、里村昌琢"],"temporal":["AD16"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"728"},"rdfindex":{"type":["芸術・美術"],"temporal":["1501～1600年"]},"keioobjecthub-0-s":"954","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/954","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_13075_13075.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/954/2.1/manifest.json","keioobjecthub-12-s":"小堀遠州、里村昌琢","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、賛者:里村昌琢","keioobjecthub-24-s":"AW-CEN-001730-0000","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-324","common":{"id":"keioobjecthub-324","title":"細川幽斎筆書状","titleEn":"Letter by Hosokawa Yusai","titleYomi":"ホソカワユウサイヒツショジョウ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/324","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12478_12478.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12478_12478.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/324/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"細川幽斎〈ほそかわゆうさい・1534-1610〉は、桃山時代の大名・茶人。三淵晴員（みぶちはるかず）の子で、本名は藤孝（ふじたか）。通称与一郎、幽斎・玄旨（げんし）と号した。細川元常の養子となり足利義晴に仕えたが、没後は義昭擁立を謀り、織田信長を頼って、洛西長岡、丹波の地を与えられた。本能寺の変に際しては、身の潔白を証せんと子息忠興とともに剃髪して静観、その後は豊臣秀吉に従い、さらには徳川家康の重臣として遇せられた。幽斎は和漢の学に精通、とくに和歌・連歌・茶道における活躍はめざましく、当時一流の文化人であった。家集『衆妙集』、歌学書『詠歌大概抄』など、多くの著作を残している。この手紙は、宇治の茶師上林（かんばやし）から、聞茶（ききちゃ・利茶とも。茶を味わい分けること。本茶とされる栂尾の茶とそれ以外の産地の非茶について、産地や精製した茶師名を飲み当てる、闘茶の一種）として送られた茶が、一段とすぐれていたことを報じている。宛名の「上林入道」は、当時宇治の茶師を統括支配していた上林掃部丞久茂〈ひさもち＝法号久徳・1542-1606〉である。闊達な筆致に書道にも秀でていたことがわかる。「聞茶送り給い、賞翫、祝着の至りに候。茶の時分、罷り越し候間、万々、面を以って申すべく候間、具にせず候。恐々謹言。幽斎。尚々、茶一段の出来に候。三月十日玄旨。上林入道殿参る」","descriptionEn":"Hosokawa Yusai (1534-1610) was a daimyo (warlord; landed general) and tea aficionado of the Momoyama Period. Born to Mibuchi Harukazu, he was originally named Fujitaka. Yusai and Genshi were his pen names. Yusai was later adopted by Hosokawa Mototsune and served Ashikaga Yoshiharu. When Yoshiaki’s brother, Ashikaga Yoshihide, passed away, Yusai planned to institute Yoshiaki to be the next shogun. He later sided with General Oda Nobunaga and was given a fief in Nagaoka and Tango provinces (both are currently located in Kyoto). But when the coup d’etat broke out at Honnoji Temple (Nobunaga was murdered by his vassal Akechi Mitsuhide), Yusai and his son Tadaoki shaved off their hair, a gesture of innocence and neutrality. Thereafter, he followed Toyotomi Hideyoshi, and then was given an important post by Tokugawa Ieyasu, the founder of the Tokugawa military government. Yusai was a learned scholar both in Japanese classics and Chinese prose and had a prominent position in waka and renga poetry, as well as the art of tea. He was one of the most highly trained intellectual minds of the era. In this letter, he mentions that the tea presented him by the tea dealer Kambayashi of Uji was excellent. It is addressed to Kambayashi Nyudo, most likely Kambayashi Hisamochi (1542-1606), who supervised all the tea dealers of Uji in those days. (Tea contests were favorite pursuits among connoisseurs. Participants tried to identify the growing area – whether it was from Toganowo or not – of a particular tea or name the tea manufacturer from the taste, aroma and color.) The strokes flow with naturalness, showing what an achieved calligrapher Yusai was.","contributor":["細川幽斎"],"temporal":["AD16"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"791"},"rdfindex":{"type":["芸術・美術"],"temporal":["1501～1600年"]},"keioobjecthub-0-s":"324","keioobjecthub-1-s":"細川幽斎筆書状","keioobjecthub-2-s":"Letter by Hosokawa Yusai","keioobjecthub-3-s":"ホソカワユウサイヒツショジョウ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/324","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12478_12478.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/324/2.1/manifest.json","keioobjecthub-12-s":"細川幽斎","keioobjecthub-13-s":"AD16","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD16","keioobjecthub-20-s":"作者:細川幽斎","keioobjecthub-24-s":"AW-CEN-002305-0000","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-620","common":{"id":"keioobjecthub-620","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）","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/620","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12753_12753.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12753_12753.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/620/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"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 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Meigetsuki","titleYomi":"キロクギレ（メイゲツキダンカン）","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/200","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12364_12364.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12364_12364.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/200/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"『明月記』は、藤原定家〈ふじわらのさだいえ・1162-1241〉の日記。欠落部分もあるが、治承４年〈1180〉２月（定家19歳）から嘉禎元年〈1235〉12月（同74歳）までの56年間の記事が現存する。その内容は、鎌倉時代初期の貴族社会の内面や、政治の情勢が詳しく綴られるほか、勅撰集の編纂、作歌活動、古歌や古典の書写・研究などの記事も多く、歌人・歌学者としての定家の活動がうかがえる貴重な資料である。ここに見られるように、定家独自の特異な書風である。「其の字鬼の如し」と、みずからは悪筆を自認したが、歌道における定家尊崇の風潮と相まって、その子孫を中心として一つの書流「定家流」が形成された。この断簡は、正治元年〈1199〉７月15日の条にあたり、活字本（国書刊行会本）を補正するもの。「関東女子穢気」は、鎌倉幕府征夷大将軍源頼朝の死去（同年正月13日薨）にともなって、そのむすめ（源義基室たりし女子か）が喪に服していることを意味する。そのため、宮中における仗議（国政議定。陣定とも）および勅使の派遣が９月に延期になったことを記すもの。「十五日陰（くも）り。辰（午前８時ごろ）の後に雨下る。始めて秋の景気あり。大臣殿（内大臣藤原良通・31歳） に終日参る。夜に入りて退下す。明日、仗議延引と云々。関東女子の穢気不審の間、公卿勅使、延引す。九月に発遣さるべし。仍って、此の仗議又急がるべからざるに依り、延ばさるると云々」\n","descriptionEn":"Meigetsuki was Fujiwara-no-Sadaie (also Teika, 1162-1241) ’s diary. Although some leaves are missing, the entries in the diary span 56 years between February 1180, when Sadaie was 19, to December 1235, when he was 74 years old. The diary describes the aristocratic high society of the early Kamakura Era, social aspects and political developments in great detail, while many entries refer to the compilation of imperially commissioned poetry anthologies, poetry composition, the hand-copying of classics and the research involved. The diary is a priceless document evidencing the life of Sadaie as a poet and literary scholar.The segment shows the typical eccentric hand particular to Sadaie, as he himself admitted his hand was ‘like that of a monster’. However, fanned by reverence for Sadaie in the world of tea ceremony (chado or sado) , his style was established into the Teika (Sadaie) School by his descendants. This piece is the entry of July 15, 1199, modifying the entry in print format. It describes that a daughter is in mourning after the death of her father, the Generalissimo Minamoto-no-Yoritomo, and due to this, some court ceremony and the dispatch of the emperor’s convoy were being delayed.\n","contributor":["藤原定家"],"temporal":["AD12"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"914"},"rdfindex":{"type":["芸術・美術"],"temporal":["1101～1200年"]},"keioobjecthub-0-s":"200","keioobjecthub-1-s":"記録切（明月記断簡）","keioobjecthub-2-s":"Segment from the Meigetsuki","keioobjecthub-3-s":"キロクギレ（メイゲツキダンカン）","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/200","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12364_12364.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/200/2.1/manifest.json","keioobjecthub-12-s":"藤原定家","keioobjecthub-13-s":"AD12","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD12","keioobjecthub-20-s":"作者:藤原定家","keioobjecthub-24-s":"AW-CEN-001407-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）\n","keioobjecthub-32-s":"斯道文庫"},{"id":"keioobjecthub-1367","common":{"id":"keioobjecthub-1367","title":"本居宣長筆長歌「芳野河花」","titleEn":"Long Poem by Motoori Norinaga","titleYomi":"モトオリノリナガヒツチョウカ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1367","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_13413_13413.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_13413_13413.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1367/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"本居宣長〈もとおりのりなが・1730-1801〉は、江戸時代後期の国学者。伊勢松阪の木綿問屋に生まれる。名を栄貞(「よしさだ」のち「ながさだ」)、のち宣長と改める。幼少の頃から手習、謡曲などに親しみ和漢の書に耽る。宝暦２年〈1752〉、23歳で上京、医学・漢学を学んだ。同７年帰郷、診療所を開業しながら古典の研究に打ち込んだ。34歳のころ、松阪を訪れた国学者賀茂真淵〈かものまぶち・1697-1769〉に入門、次第に国学の中心的存在となる。のち紀州徳川家に国学をもって仕えた。書斎「鈴屋（すずのや）」には門弟490余名が集まったという。「もののあはれ」を提唱、儒教を排した復古思想の主張など江戸後期の国学を確立した。32年を費やして完成した『古筆記伝（こじきでん）』（44巻）は、その畢生の偉業。この作品は、宣長の書風を端的に表現するもので、穏和な和様を示している。宣長の家集『鈴屋集』の巻五（長歌）に所収される詠歌。","descriptionEn":"A scholar of Japanese history and Japanology during the latter part of the Edo Period, Motoori Norinaga (1730-1801) was born into a cotton wholesaler’s family in Matsuzaka in Ise (Mie Pref.). He received training in calligraphy and yokyoku (songs for Noh performances) and was quickly absorbed in Chinese and Japanese classics. At age 23 (1752), Norinaga went to Edo to study medicine and Chinese classics. Five years later (1757), he returned to his hometown to open a clinic, where, while working as a practitioner, he also devoted himself to the studies of classics. When Norinaga was around 34, Japanese classical scholar Kamono Mabuchi (1697-1769) visited Matsuzaka. Norinaga went to study under Mabuchi, and over the years he came to lead the classical Japanese studies and was later hired to serve the Kishu-Tokugawa Clan (one of the three most powerful Tokugawa families that produced shoguns). The private school he was running, Suzuno-Ya, teemed with over 490 disciples. Through his research concerning the literary classic Genji Monogatari (Tale of Genji), Norinaga proposed a new interpretation of the essence of Japanese aesthetics, defining it as “mono no aware,” or appreciation for things representing natural beauty or classical sensitivity. He was the proponent of the ancient, original Japanese thoughts, without the Confucian influence, thus is generally regarded as the founder of Japanese studies during the latter part of the Edo Period. The 44-volume Kojiki-Den (lit. Tales of Ancient Japan) was published after 32 years of laborious research and is today revered as Norinaga’s lifework. In calligraphy, Norinaga mastered the softly flowing Wayo-style, also known as Oie School and Teika School, whose features contrast well with the more masculine Kara-yo, or the Chinese-style. This exhibited piece is a fine example showcasing Norinaga’s style, adopting the delicate Wayo (classical Japanese style). The long Japanese poem is quoted from Suzunoya-Shu (Vol.5).","contributor":["本居宣長"],"temporal":["AD18"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"121"},"rdfindex":{"type":["芸術・美術"],"temporal":["1701～1800年"]},"keioobjecthub-0-s":"1367","keioobjecthub-1-s":"本居宣長筆長歌「芳野河花」","keioobjecthub-2-s":"Long Poem by Motoori Norinaga","keioobjecthub-3-s":"モトオリノリナガヒツチョウカ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1367","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_13413_13413.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1367/2.1/manifest.json","keioobjecthub-12-s":"本居宣長","keioobjecthub-13-s":"AD18","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD18","keioobjecthub-20-s":"作者:本居宣長","keioobjecthub-24-s":"AW-CEN-001081-0000","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"}],"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}}]}