{"list":[{"id":"keioobjecthub-200","common":{"id":"keioobjecthub-200","title":"記録切（明月記断簡）","titleEn":"Segment from the Meigetsuki","titleYomi":"キロクギレ（メイゲツキダンカン）","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) &rsquo;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 &lsquo;like that of a monster&rsquo;. 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&rsquo;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-198","common":{"id":"keioobjecthub-198","title":"記録切","titleEn":"Kiroku-gire","titleYomi":"キロクギレ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/198","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12362_12362.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12362_12362.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/198/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"藤原定家〈ふじわらのさだいえ・1162-1241〉の筆跡は、歌道における定家尊重に加えて、茶の湯の隆盛、古筆手鑑の流行にともなう筆跡愛好趣味の気運に乗って、巻子本や冊子本に刀が入れられ、多くの断簡を生むことになった。その結果、定家の『明月記』あるいは、それ以外の有職故実書などの断簡は、記録切と呼ばれて珍重された。また、その形状の大小を区別して大記録切・小記録切と称呼した。この断簡もその一つ。日々の宮廷生活における記録文書である。定家の生涯を知り得る生の資料であると同時に、当時の宮廷・公家社会の実態をうかがう歴史資料としても貴重な存在である。「次いで亮帰参し、中門外に立つ。小舎人御釼を持ちて傍らに立つ。次いで亮、相逢いて事由を啓す。南階東間簀子に於いて之を啓す。寛弘宰相中将経房啓す。承暦亮有綱卿。元永亮顕隆卿。次いで勅使の座を敷く。十」\n","descriptionEn":"Authentic calligraphy works done by Sadaie (also Teika) originally created as scrolls and bound-books were frequently cut into segments, as they were such sought-after pieces. The great admiration Sadaie&rsquo;s hand commanded in the poetry society, tremendous popularity of his works along with the rise of the art of chanoyu (also sado, tea ceremony), and an increasingly larger number of calligraphy aficionados and collectors as Calligraphic Exemplars became greatly popular. As a result, Sadaie&rsquo;s Meigetsuki and other books depicting ancient practices at court were cut into segments known as &lsquo;Kiroku-gire&rsquo; (&lsquo;Segmented Records&rsquo;), which commanded the utmost reverence from Sadaie devotees. These Kiroku-gire segments were classified into Dai Kiroku-gire (larger) and Ko Kiroku-gire (smaller) , depending on their size. The segment shown here is a Kiroku-gire, and is instantly a valuable record of court life and manners. It is an authentic document depicting Sadaie&rsquo;s true life as a person, while allowing readers a glimpse into the vivid lifestyles in the aristocratic or samurai families and ancient history.\n","contributor":["藤原定家"],"temporal":["AD13"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"289"},"rdfindex":{"type":["芸術・美術"],"temporal":["1201～1300年"]},"keioobjecthub-0-s":"198","keioobjecthub-1-s":"記録切","keioobjecthub-2-s":"Kiroku-gire","keioobjecthub-3-s":"キロクギレ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/198","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12362_12362.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/198/2.1/manifest.json","keioobjecthub-12-s":"藤原定家","keioobjecthub-13-s":"AD13","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD13","keioobjecthub-20-s":"作者:藤原定家","keioobjecthub-24-s":"AW-CEN-000351-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）\n","keioobjecthub-31-s":"\n箱書\n(内桐白木堀江知彦箱書・外桐白木)","keioobjecthub-32-s":"斯道文庫"},{"id":"keioobjecthub-177","common":{"id":"keioobjecthub-177","title":"紹巴切（後撰集 巻第20）","titleEn":"Chapter 20 of the Later Collection of Japanese Poems (Jōha Fragment)","titleYomi":"ジョウハギレ 20","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/177","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_14697_14697.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_14697_14697.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/177/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"藤原定家〈ふじわらのさだいえ・1162-1241〉自筆の『後撰和歌集』巻第二十巻頭の断簡。定家は晩年を古典の写本作業に捧げ、原本に忠実なその書写本は後世に多大な功績を残した。定家自筆の『後撰和歌集』は数本伝存するが、その最終書写本は、天福２年〈1234・定家73歳〉３月２日に書写され、国文学界では「天福本後撰集」と呼ばれている。歌道・茶の湯の世界において、藤原定家は特別の存在であった。その定家崇拝の風潮の中、定家自筆の歌集もつぎつぎに切断分割された。この天福２年書写本も早い時期に切（きれ）となった。それがこの紹巴切である。現在30数葉が確認される。切名は、その原本をかつて連歌師里村紹巴〈さとむらじょうは・1525-1602〉が伝えて所持していたことにちなむもの。この一幅が正真の紹巴遺愛の品であることを、付属の紹巴自筆の添状が証明している。この添状によれば、近衛稙家〈このえたねいえ・1503-66〉、三条西公条〈さんじょうにしきんえだ・1487-1563〉の極（きわめ）が付属していたといい、さらに越後の樋口実頼（伝未詳）なるものの懇望にまかせて譲与したという。なお、紹巴のむすめの子である昌琢（しょうたく。父は昌叱）の折紙も付属しており、伝来の由々しさを物語っている。いま、冷泉家時雨亭文庫に定家の正本と伝える「天福本後撰和歌集」（国宝）が伝存する。が、これは冒頭から冊子半ばに至る書写過程に、いかにもひ弱な故意的な震え筆が終始する。一群として伝存の「紹巴切」は、各自相応に定家の面目を発揮する書風を展開する。その正否をめぐる課題の一つを提示するのが、この一葉である。\n","descriptionEn":"A segment from the beginning of Volume 20 of the Gosen Wakashu (Later selection of Japanese Poetry), authentically rendered by Fujiwara-no-Sadaie (also Teika). Sadaie dedicated the last years of his life to manuscript copying of classics and his loyalty to the original greatly influenced later scholars and followers. Although a few versions of Sadaie&rsquo;s authentic copies of the Gosen Wakashu (Later selection of Japanese Poetry) have been preserved, the last copy was completed on March 2, 1234(second year of Tempuku), when he was 73. This last copy is called the Tempuku Version of the Gosen Wakashu. In the worlds of waka poetry composition and chanoyu (also sado, chado) tea ceremony, Sadaie&rsquo;s authentic manuscript copies were admired and much sought-after treasures. The extant copies were carefully cut, one after another, into several segments. Even the Tempuku Version was fragmented into pieces at an early date, and they are called &lsquo;Joha-gire&rsquo;, with only 30 leaves remaining today. The edition name derives from the renga poet Satomura Joha (1525-1602) who once owned the original. Joha&rsquo;s letter attached to this fragment testifies that it is an authentic piece that Joha had treasured. The letter further testifies that authenticity was attested by other certifications by Konoe Taneie and Sanjonishi Kin&#39;eda, and that he transferred ownership upon request by Higuchi Saneyori of Echigo (today&rsquo;s Niigata Prefecture). Another certification by Shotaku, Joha&rsquo;s grandson, is also attached to the segment, to further attest its authenticity.\n","contributor":["藤原定家筆"],"temporal":["天福二年(1234)"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["中国・宋時代","中国・南宋時代","朝鮮・高麗時代","鎌倉時代"]},"keioobjecthub-0-s":"177","keioobjecthub-1-s":"紹巴切（後撰集 巻第20）","keioobjecthub-2-s":"Chapter 20 of the Later Collection of Japanese Poems (Jōha Fragment)","keioobjecthub-3-s":"ジョウハギレ 20","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/177","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_14697_14697.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/177/2.1/manifest.json","keioobjecthub-12-s":"藤原定家筆","keioobjecthub-13-s":"天福二年(1234)","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:天福二年(1234)、:鎌倉時代（13世紀）","keioobjecthub-20-s":"作者:藤原定家筆","keioobjecthub-23-s":"紙本墨書","keioobjecthub-24-s":"AW-CEN-000250-0000","keioobjecthub-26-s":"22.5×14.0","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-312","common":{"id":"keioobjecthub-312","title":"藤原定家筆書状","titleEn":"Letter by Fujiwara no Sadaie","titleYomi":"フジワラノサダイエヒツショジョウ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/312","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_14853_14853.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_14853_14853.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/312/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"藤原定家〈ふじわらのさだいえ・1162-1241〉は、俊成〈としなり・1114-1204〉の子。極官は中納言・正二位。後鳥羽天皇〈ごとばじょうこう・1180-1239〉に見出だされ、新古今風を確立、鎌倉時代を代表する歌人として、後世の歌壇に及ぼした影響ははかり知れない。『新古今和歌集』『新勅撰和歌集』の撰者でもある。また多くの歌集を書写蒐集した歌学者としても大きな足跡を残した。家集『拾遺愚草（しゅういぐそう）』、歌論書『詠歌大概（えいがのたいがい）』『近代秀歌（きんだいしゅうか）』などを著わした。また、日記『明月記（めいげつき）』は、生真面目な定家の日常生活を知る上で重要な文献である。この手紙は、前日の晩に会えなかった三条実房〈さんじょうさねふさ・1147-1225〉に宛てて、行幸に供奉する時に着ける巡方（ずんぽう）の帯（束帯着用の時の黒漆塗りの革帯。石の飾りが付装され、石帯の一種）の借用を依頼したもの。行間の小字は実房の返事で、20日頃までは出仕できないが、巡方帯はお貸しすると告げている。このような形式の文書を勘返状といい、勘返を加える人物が上位であるのが普通である。この行幸は後鳥羽天皇のものと思われるが、年代を推定する手がかりがないので、双方の年齢・官位は検出しがたい。「夜前、見参を期し候処、御参候はず、返すがえす不審に候。抑も奇恠（＝奇怪）の事に候と雖も、去り難き事候に依って、相尋ね候。行幸料の巡方の御帯候はば、申し請け候哉。恐々かしく。三月七日定家／厳旨（御申越しの旨）悦び拝見候。聊か故障（さしさわり）候。二十日比より指し出ずべきの由、思ひ参らせ候。これを借し進じ候。実房」","descriptionEn":"Fujiwara-no-Sadaie (also called Teika, 1162-1241) was Toshinari’s son (Toshinari is also pronounced as Shunzei, 1114-1204.) The highest rank he attained was middle counselor. Emperor Gotoba discovered great literary talent in Sadaie, and, as one of the representative waka poets of the Kamakura Period, Sadaie cast unfathomable influence on Japanese poetry thereafter. He was editor and a member of selection committees for the Shin Kokin Wakashu (New Collection of Ancient and Modern Poems) and the Shin Chokusen Wakashu (New Imperially Compiled Poetic Anthology). He was also an achieved literary scholar who edited, collected, and transcribed many anthologies of Japanese poetry. He authored his private collection, Shui-Guso; a thesis on poetry, Eigano-Taigai (An Outline for Composing Tanka); and Kindai Shuka (Outstanding Modern Poems). His private diary, Meigetsu-Ki (Clear Moon Journal), is an important document that sheds light on the daily life of this earnest scholar and talented poet. The letter shown here was addressed to Sanjo Sanefusa (1147-1225). Its content can be summarized as follows: “I wanted to see you last night, but you did not report to the palace office. How are you? Please forgive my insolence in bringing this up, but I’d like to ask you to lend me something I really need. I’d like to borrow a black-lacquer-coated leather belt that should be worn when accompanying the Emperor on his outing.” The small characters found between the lines of the original letter are Sanefusa’s response, and he writes, “I won’t be able to report to the palace until around the 20th, but yes, I will lend you the belt.” The writing of a response on the original letter is called kanpenjo, and this style is usually allowed when the replying person has a higher rank than the original writer.","contributor":["藤原定家／三条実房"],"temporal":["AD13"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1201～1300年"]},"keioobjecthub-0-s":"312","keioobjecthub-1-s":"藤原定家筆書状","keioobjecthub-2-s":"Letter by Fujiwara no 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