嘉慶元年（一三八七）正月、後円融天皇（一三五八～九三）が雅楽の旋律に関して臣下に諮問した消息。宛所を欠くが、内容からすれば雅楽寮の官人などに宛てたものであろう。
後円融天皇は北朝五代の天皇で、後光厳天皇の皇子。名は緒仁。母は藤原仲子。応安四年（１３７１）に即位し、在位十一年、永徳二年（一三八二）に皇子の幹仁親王（後小松天皇）に位を譲った。
文中に見える「御元服」とは、この年の正月三日に行われた後小松天皇の元服・加冠のことをいい、また「実直卿」とは、その時に奉行を勤めた今出川実直を指す。
This is a letter sent by Emperor Goen'yû (1358-93, r. 1371-82) to his retainers concerning a melody of ancient court music (J., gagaku) at New Year's, 1387 (Kakei 1). Although the address is missing, we can assume from the text that it was sent to officials at the Office of Ancient Court Music (J., Gagakuryô). Emperor Goen'yû was the fifth emperor of the Northern Court (J., Hokuchô), and was the son of Emperor Gokôgon (1338-74, r. 1352-71). His given name was Ohito. His mother was Fujiwara Nakako. He succeeded to the throne in 1371 (Ôan 4) and reigned for 11 years, abdicating in favor of his son, Prince Motohito (later Emperor Gokomatsu, 1377-1433, r. 1382-92), in 1382 (Eitoku 2). The coming of age ceremony (J., ongenpuku) referred to in the letter was the coming of age ceremony and coronation of Emperor Gokomatsu, on the third day of the first month of that year. Lord Sanenao refers to Imadegawa Sanenao, who worked as a magistrate at that time.
","contributor":["京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["南北朝時代","Nanbokuchō"],"location":["日本","Japan"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["書跡"]},"cobas-0-s":"3883","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/B%E7%94%B2886","cobas-2-s":"B甲886","cobas-4-s":"書跡","cobas-5-s":"後円融天皇宸翰消息（三陽之令節云々）","cobas-6-s":"ゴエンユウテンノウシンカンショウソク(サンヨウノレイセツウンヌン)","cobas-7-s":"1幅","cobas-9-s":"日本","cobas-11-s":"南北朝時代","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":" 嘉慶元年（一三八七）正月、後円融天皇（一三五八～九三）が雅楽の旋律に関して臣下に諮問した消息。宛所を欠くが、内容からすれば雅楽寮の官人などに宛てたものであろう。
後円融天皇は北朝五代の天皇で、後光厳天皇の皇子。名は緒仁。母は藤原仲子。応安四年（１３７１）に即位し、在位十一年、永徳二年（一三八二）に皇子の幹仁親王（後小松天皇）に位を譲った。
文中に見える「御元服」とは、この年の正月三日に行われた後小松天皇の元服・加冠のことをいい、また「実直卿」とは、その時に奉行を勤めた今出川実直を指す。
This is a letter sent by Emperor Goen'yû (1358-93, r. 1371-82) to his retainers concerning a melody of ancient court music (J., gagaku) at New Year's, 1387 (Kakei 1). Although the address is missing, we can assume from the text that it was sent to officials at the Office of Ancient Court Music (J., Gagakuryô). Emperor Goen'yû was the fifth emperor of the Northern Court (J., Hokuchô), and was the son of Emperor Gokôgon (1338-74, r. 1352-71). His given name was Ohito. His mother was Fujiwara Nakako. He succeeded to the throne in 1371 (Ôan 4) and reigned for 11 years, abdicating in favor of his son, Prince Motohito (later Emperor Gokomatsu, 1377-1433, r. 1382-92), in 1382 (Eitoku 2). The coming of age ceremony (J., ongenpuku) referred to in the letter was the coming of age ceremony and coronation of Emperor Gokomatsu, on the third day of the first month of that year. Lord Sanenao refers to Imadegawa Sanenao, who worked as a magistrate at that time.
","cobas-46-s":"Calligraphy:Category:Imperial writings|Calligraphy:Region:Japan|Calligraphy:Period:Japan:Nanbokuchō period"},{"id":"keioobjecthub-1725","common":{"id":"keioobjecthub-1725","title":"柿本人麿像","titleEn":"Portrait of Kakinomoto no Hitomaro","titleYomi":"カキノモトヒトマロゾウ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1725","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_16143_16143.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_16143_16143.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1725/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"歌仙信仰の長い歴史の中で、柿本人麿は歌道の聖として崇められ、人々からひときわ高い信仰を集めてきた。以来、人麿を祀る人麿影供（人麿供とも）が生まれた。これは、歌会において、床に人麿の画像を掛け、歌聖柿本人麿を供養する儀礼で、歌道の向上を願い、あるいは歌会の成功を祈ったのである。平安時代・12世紀から起こった風習である。本図は、その人麿影供に常用したもので、数多い人麿像の中でも、比較的古い遺品である。上畳に坐し、萎烏帽子・直衣姿の人麿が立て膝で座り、前に硯箱を置き、筆と料紙を両手にして歌を按ずる図様に描く。人麿画像の類型の構図である。上方には、右から紫・茶・白・緑・紫色に地塗りされた５枚の色紙形に人麿の伝歴を書写する。その賛文は、書博士藤原敦光の起草になる文である（『本朝続文粋』十一・『古今著聞集』所載）。その右下の変形縦長の緑・朱地の色紙形には、人麿の詠歌が２首書写される。１首目は『古今和歌集』（仮名序・巻第六（冬歌））および『拾遺和歌集』（巻第一）に、２首目は『古今和歌集』（巻第九）に、それぞれ人麿の詠歌として収められるものである。人麿の容姿、とりわけ面貌のきめ細やかな描写は、非凡の絵師の手になるものを思わせる。\n","temporal":["南北朝時代ー室町時代初期（14世紀）"],"provider":"keiokemco","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["南北朝時代"]},"keioobjecthub-0-s":"1725","keioobjecthub-1-s":"柿本人麿像","keioobjecthub-2-s":"Portrait of Kakinomoto no Hitomaro","keioobjecthub-3-s":"カキノモトヒトマロゾウ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1725","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_16143_16143.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1725/2.1/manifest.json","keioobjecthub-13-s":"南北朝時代ー室町時代初期（14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:南北朝時代ー室町時代初期（14世紀）","keioobjecthub-23-s":"絹本着色","keioobjecthub-24-s":"AW-CEN-001850-0000","keioobjecthub-26-s":"75.2×39.2","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":"cobas-1297","common":{"id":"cobas-1297","title":"阿須賀古神宝類 松椿蒔絵手箱","titleEn":"Toiletry Case with Pines and Camellias in Makie (Sacred Treasure from Asuka Shrine)","titleYomi":"アスカコシンポウルイ マツツバキマキエテバコ","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/I%E7%94%B268-19","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/I%E7%94%B268-19/image/slideshow_s/89900_difile2-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/I%E7%94%B268-19/image/slideshow_s/89900_difile2-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"総体濃梨地の手箱で、意匠はすべて松と椿で統一している。蓋表から蓋裏・各側面にかけて、金高蒔絵・薄肉蒔絵・截金（きりがね）・金銀貝で土坡に松・椿樹を表わし、内に組み込まれた大小2個の懸子の内外側面にもその折枝を配している。さらに、側面に打たれた金銅製紐金具も椿樹が高肉彫で意匠されている。また、中には白磁皿・銅製菊花形皿の他、手箱同様松・椿が精巧に線刻・鍍金された唐花双鶴文鏡・銅製薫物箱・同歯黒箱・同白粉箱・同鋏・同鑷・同軸眉作が納められているている。本品は旧阿須賀神社古神宝の1つで、熊野速玉大社伝来の梛・桐・橘・牡丹などを象徴的に意匠した手箱類と同一製作になるもので、古記録に拠って明徳元年（一三九〇）に足利義満らが奉納したものとされている。
","descriptionEn":"The whole piece is decorated in Nahiji lacquer with a design of pine and camellia. The design is arranged on both sides of the lid and on four sides of the body in gold Maki'e, cut gold leaf, and mother-of-pearl inlay. The design spreads over the two hanging boxes within this box. The gold and silver fittings also have a camellia tree design.
A mirror, a silver casket, silver cosmetics cases, silver eyebrow brushes, silver scissors and tweezers, and silver dishes are kipt in this box; every item has pine and camellia design in gilt intaglio. This box is one of the treasures preserved in Asuka Shrine. It is very reminiscent of a hand box with a design of symbolized willow, paulownia, tachibana orange, and peonies, which is preserved in Kumanohayatama Shrine.
総体濃梨地の手箱で、意匠はすべて松と椿で統一している。蓋表から蓋裏・各側面にかけて、金高蒔絵・薄肉蒔絵・截金（きりがね）・金銀貝で土坡に松・椿樹を表わし、内に組み込まれた大小2個の懸子の内外側面にもその折枝を配している。さらに、側面に打たれた金銅製紐金具も椿樹が高肉彫で意匠されている。また、中には白磁皿・銅製菊花形皿の他、手箱同様松・椿が精巧に線刻・鍍金された唐花双鶴文鏡・銅製薫物箱・同歯黒箱・同白粉箱・同鋏・同鑷・同軸眉作が納められているている。本品は旧阿須賀神社古神宝の1つで、熊野速玉大社伝来の梛・桐・橘・牡丹などを象徴的に意匠した手箱類と同一製作になるもので、古記録に拠って明徳元年（一三九〇）に足利義満らが奉納したものとされている。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/I%E7%94%B268-19/image/slideshow_s/89900_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"17238","cobas-22-s":"1297","cobas-23-s":"5722","cobas-29-s":"工芸","cobas-30-s":"National Treasure","cobas-31-s":"Textiles","cobas-32-s":"Toiletry Case with Pines and Camellias in Makie (Sacred Treasure from Asuka Shrine)","cobas-37-s":"Nanbokuchō ・14th","cobas-39-s":"Height27.3cm:Width35.5cmHeight 23.3cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"The whole piece is decorated in Nahiji lacquer with a design of pine and camellia. The design is arranged on both sides of the lid and on four sides of the body in gold Maki'e, cut gold leaf, and mother-of-pearl inlay. The design spreads over the two hanging boxes within this box. The gold and silver fittings also have a camellia tree design.
A mirror, a silver casket, silver cosmetics cases, silver eyebrow brushes, silver scissors and tweezers, and silver dishes are kipt in this box; every item has pine and camellia design in gilt intaglio. This box is one of the treasures preserved in Asuka Shrine. It is very reminiscent of a hand box with a design of symbolized willow, paulownia, tachibana orange, and peonies, which is preserved in Kumanohayatama Shrine.
黒毛馬に乗って駆ける武者の肖像画。画面上部の花押は室町幕府第二代将軍・足利義詮（一三三〇～六七）のもの。像主は初代将軍・尊氏（一三〇五～五八）と伝えられてきたが、今日では高師直（？～一三五一）説などが提出され、確定していない。
","descriptionEn":"The warrior in this portrait has traditionally been identified as the first Muromachi shogun Ashikaga Takauji (1305–1358). Today, this identity is under debate. The upper part of the painting bears a cipher (kaō) by the second shogun Ashikaga Yoshiakira (1330–1367), indicating that it once belonged to his collection.
","contributor":["京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["南北朝時代・14世紀","Nanbokuchō ・14th"],"location":["日本"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["絵画"]},"cobas-0-s":"5293","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2819","cobas-2-s":"A甲819","cobas-3-s":"重要文化財","cobas-4-s":"絵画","cobas-5-s":"騎馬武者像","cobas-6-s":"キバムシャゾウ","cobas-7-s":"1幅","cobas-9-s":"日本","cobas-11-s":"南北朝時代・14世紀","cobas-13-s":"縦99.9cm:横53.2cm","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"黒毛馬に乗って駆ける武者の肖像画。画面上部の花押は室町幕府第二代将軍・足利義詮（一三三〇～六七）のもの。像主は初代将軍・尊氏（一三〇五～五八）と伝えられてきたが、今日では高師直（？～一三五一）説などが提出され、確定していない。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2819/image/slideshow_s/22667_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"17584","cobas-22-s":"5293","cobas-29-s":"絵画:日本:やまと絵","cobas-30-s":"Important Cultural Property","cobas-31-s":"Painting","cobas-32-s":"Warrior on Horseback","cobas-37-s":"Nanbokuchō ・14th","cobas-39-s":"Height99.9cmWidth53.2cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"The warrior in this portrait has traditionally been identified as the first Muromachi shogun Ashikaga Takauji (1305–1358). Today, this identity is under debate. The upper part of the painting bears a cipher (kaō) by the second shogun Ashikaga Yoshiakira (1330–1367), indicating that it once belonged to his collection.
","cobas-46-s":"Paintings, sketches, and prints:Japan:Yamato-e"},{"id":"cobas-1257","common":{"id":"cobas-1257","title":"阿須賀古神宝類 唐花双鶴文鏡","titleEn":"Mirror with Floral Arabesques and Pair of Cranes (Sacred Treasure from Asuka Shrine)","titleYomi":"アスカコシンポウルイ カラハナソウカクモンキョウ","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/I%E7%94%B268-24","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/I%E7%94%B268-24/image/slideshow_s/41914_difile2-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/I%E7%94%B268-24/image/slideshow_s/41914_difile2-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"明徳元年(1390)、禁裏・仙洞・室町殿（足利義満）と諸国守護らが熊野十二社と摂社阿須賀宮に調進した神宝の内、阿須賀宮古神宝に所属するとされる大型白銅鏡の三面（I甲68-24・I甲68-25・I甲68-26）。十二社へ調進されたとされる熊野速玉大社古神宝（国宝・熊野速玉大社蔵）にも同工同大の鏡が十二面あり、都合十五面が伝えられる。ただ鏡文様の組み合わせが、蒔絵手箱および内容鏡などの意匠と合わず、面数も『熊野新宮御神宝目録』などの記載と食い違い、本鏡ほか三面を阿須賀宮奉納品とする史料的根拠は薄い。それはともかく、大型鏡十五面と手箱内容鏡のうちの白銅精良鏡はいずれも銅質・鏡胎・篦押し技法が同一で、明徳元年調進に伴い製作されたことはほぼ間違いない。また、精良鏡であるのみならず、時期や製作の具体像が判明するきわめて貴重な作品群である。なおこれらには、蓋裏に錫平文により桐・瑞雲・鳥を表した黒漆塗鏡箱が伴っている。
","descriptionEn":"A number of ancient sacred treasures were dedicated to the Twelve Shrines of Kumano and the allied Asuka Shrine by the sovereign, the retired sovereign, the shogun (Ashikaga Yoshimitsu; 1358-1408) and some feudal lords in 1390 (Meitoku 1). Among those, three large hakudô (copper and tin alloy) mirrors (IK68-24, IK68-25, and IK68-26) are said to belong to the ancient sacred treasures of the Asuka Shrine. There are also 12 mirrors of similar manufacture and size among the Ancient Sacred Treasures of Kumano Hayatama Shrine (National Treasures; collection of the Kumano Hayatama Shrine), which were offered to the Twelve Shrines, for a total of 15 mirrors that have been preserved to the present. Because the combination of motifs adorning the mirrors does not match the designs of the makie toiletry boxes and mirrors contained therein, and also since the number of items differs from annotations in the Catalogue of Kumano Shrine Sacred Treasures (J., Kumano shingu goshinpô mokuroku), there is little historical evidence to support the identification of this mirror and the other two as those included among the objects dedicated to the Asuka Shrine, however. These problems notwithstanding, there is almost no doubt that the 15 large mirrors and fine hakudô mirrors contained in the toiletry boxes were produced for an offering made in 1390, since they were made of the same quality copper in a similar mirror body style and because they were carved with the same technique. Not only are they refined mirrors (J., seiryô kagami), but they are also very valuable objects in that they can tell us much about the manufacturing details of the period. Each mirror is accompanied by a black lacquered mirror box, which includes designs of paulownia, fortune clouds, and birds in shaku hyômon (sheet-metal decoration) on the back of the lid.
","contributor":["京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["南北朝時代・14世紀","Nanbokuchō ・14th"],"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"756"},"rdfindex":{"type":["染織"]},"cobas-0-s":"1257","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/I%E7%94%B268-24","cobas-2-s":"I甲68-24","cobas-3-s":"国宝","cobas-4-s":"染織","cobas-5-s":"阿須賀古神宝類 唐花双鶴文鏡","cobas-6-s":"アスカコシンポウルイ カラハナソウカクモンキョウ","cobas-7-s":"1面","cobas-11-s":"南北朝時代・14世紀","cobas-13-s":"径20.5cm:縁高0.7cm:縁幅 0.5cm","cobas-14-s":"明徳元年（1390）奉納\n明徳元年（1390）奉納","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"明徳元年(1390)、禁裏・仙洞・室町殿（足利義満）と諸国守護らが熊野十二社と摂社阿須賀宮に調進した神宝の内、阿須賀宮古神宝に所属するとされる大型白銅鏡の三面（I甲68-24・I甲68-25・I甲68-26）。十二社へ調進されたとされる熊野速玉大社古神宝（国宝・熊野速玉大社蔵）にも同工同大の鏡が十二面あり、都合十五面が伝えられる。ただ鏡文様の組み合わせが、蒔絵手箱および内容鏡などの意匠と合わず、面数も『熊野新宮御神宝目録』などの記載と食い違い、本鏡ほか三面を阿須賀宮奉納品とする史料的根拠は薄い。それはともかく、大型鏡十五面と手箱内容鏡のうちの白銅精良鏡はいずれも銅質・鏡胎・篦押し技法が同一で、明徳元年調進に伴い製作されたことはほぼ間違いない。また、精良鏡であるのみならず、時期や製作の具体像が判明するきわめて貴重な作品群である。なおこれらには、蓋裏に錫平文により桐・瑞雲・鳥を表した黒漆塗鏡箱が伴っている。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/I%E7%94%B268-24/image/slideshow_s/41914_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"17239","cobas-22-s":"1257","cobas-23-s":"5722","cobas-29-s":"工芸","cobas-30-s":"National Treasure","cobas-31-s":"Textiles","cobas-32-s":"Mirror with Floral Arabesques and Pair of Cranes (Sacred Treasure from Asuka Shrine)","cobas-37-s":"Nanbokuchō ・14th","cobas-39-s":"Diameter20.5cmRim height0.7cmRim width 0.5cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"A number of ancient sacred treasures were dedicated to the Twelve Shrines of Kumano and the allied Asuka Shrine by the sovereign, the retired sovereign, the shogun (Ashikaga Yoshimitsu; 1358-1408) and some feudal lords in 1390 (Meitoku 1). Among those, three large hakudô (copper and tin alloy) mirrors (IK68-24, IK68-25, and IK68-26) are said to belong to the ancient sacred treasures of the Asuka Shrine. There are also 12 mirrors of similar manufacture and size among the Ancient Sacred Treasures of Kumano Hayatama Shrine (National Treasures; collection of the Kumano Hayatama Shrine), which were offered to the Twelve Shrines, for a total of 15 mirrors that have been preserved to the present. Because the combination of motifs adorning the mirrors does not match the designs of the makie toiletry boxes and mirrors contained therein, and also since the number of items differs from annotations in the Catalogue of Kumano Shrine Sacred Treasures (J., Kumano shingu goshinpô mokuroku), there is little historical evidence to support the identification of this mirror and the other two as those included among the objects dedicated to the Asuka Shrine, however. These problems notwithstanding, there is almost no doubt that the 15 large mirrors and fine hakudô mirrors contained in the toiletry boxes were produced for an offering made in 1390, since they were made of the same quality copper in a similar mirror body style and because they were carved with the same technique. Not only are they refined mirrors (J., seiryô kagami), but they are also very valuable objects in that they can tell us much about the manufacturing details of the period. Each mirror is accompanied by a black lacquered mirror box, which includes designs of paulownia, fortune clouds, and birds in shaku hyômon (sheet-metal decoration) on the back of the lid.
","cobas-46-s":"Applied arts"},{"id":"cobas-3967","common":{"id":"cobas-3967","title":"手鑑「藻塩草」 万葉集巻第十四断簡（金沢切）","titleEn":"Fragment from the Kanazawa Edition of Man'yoshu (Collection of Ten Thousand Leaves), Volume 14, from","titleYomi":"テカガミ「モシオグサ」 マンヨウシュウマキダイ14ダンカン(カナザワギレ)","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/B%E7%94%B2414-163","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/B%E7%94%B2414-163/image/slideshow_s/80473_difile2-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/B%E7%94%B2414-163/image/slideshow_s/80473_difile2-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"contributor":["伝青蓮院尊円","Attributed to Shoren-in Sonen","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["南北朝時代","Nanbokuchō"],"location":["日本","Japan"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"728"},"rdfindex":{"type":["書跡"]},"cobas-0-s":"3967","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/B%E7%94%B2414-163","cobas-2-s":"B甲414-163","cobas-3-s":"国宝","cobas-4-s":"書跡","cobas-5-s":"手鑑「藻塩草」 万葉集巻第十四断簡（金沢切）","cobas-6-s":"テカガミ「モシオグサ」 マンヨウシュウマキダイ14ダンカン(カナザワギレ)","cobas-8-s":"伝青蓮院尊円","cobas-9-s":"日本","cobas-11-s":"南北朝時代","cobas-13-s":"縦33.3cm:横5.9cm","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/B%E7%94%B2414-163/image/slideshow_s/80473_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"14268","cobas-22-s":"3967","cobas-23-s":"3258","cobas-29-s":"書跡:分類:古筆|書跡:地域:日本|書跡:時代:日本:南北朝","cobas-30-s":"National Treasure","cobas-31-s":"Calligraphy","cobas-32-s":"Fragment from the Kanazawa Edition of Man'yoshu (Collection of Ten Thousand Leaves), Volume 14, from","cobas-34-s":"Attributed to Shoren-in Sonen","cobas-35-s":"Japan","cobas-37-s":"Nanbokuchō","cobas-39-s":"Height33.3cm:Width5.9cm","cobas-42-s":"Kyoto National Museum","cobas-46-s":"Calligraphy:Category:Calligraphy (kohitsu)|Calligraphy:Region:Japan|Calligraphy:Period:Japan:Nanbokuchō period"},{"id":"cobas-3278","common":{"id":"cobas-3278","title":"牡丹造梅花皮鮫鞘腰刀拵","titleEn":"Short Sword Mounting with Metal Fittings in Peony Design and Sharkskin Scabbard","titleYomi":"ボタンヅクリカイラギザメサヤコシガタナコシラエ","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/E%E7%94%B2182","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/E%E7%94%B2182/image/slideshow_s/390810_difile2-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/E%E7%94%B2182/image/slideshow_s/390810_difile2-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"把は鍍銀磨地の板金で包み、そこへ金銅枝牡丹を透彫りにした筒金をはめている。鞘は梅花皮鮫（かいらぎざめ）を着せ、上から黒漆を塗って研出す。金具のうち口金・折金・裏瓦は鍍金磨地、栗形は鍍金山道彫り、鐺（こじり）は魚子地（ななこじ）に牡丹文を高彫りであらわして鍍金を施している。腰刀は腰に差すところからこの名称がつけられ、ふつう鐔をつけない合口の形式をとり、長さも35センチから55センチまでの短いものである。鞘を包む鮫皮は、南支那海あたりに産するエイの一種の皮で、表面を研出すと梅花文様になる梅花皮鮫がもっとも珍重された。現存するこの種の遺品は少なく、類例として春日大社に見られるだけである。この腰刀は華麗で製作もすぐれ、かつ完存であり、南北朝時代の合口式のものとして資料的価値も高い。
","descriptionEn":"The hilt of this mounting is wrapped with a silver-plated layer of metal and covered with an openwork design. The scabbard is covered with polished and lacquered sharkskin. Some fittings are polished gilt, while others are carved or relief gilt. This type of sword is meant to be tied at the waist and usually it does not have a sword guard. The body is generally short, between 35 and 55 cm in length.
The trend of covering scabbards with sharkskin began in the Kamakura Period (13th-14th Centuries). The skin of a kind of sturgeon found in the South China Sea was considered most desirable because it reveals a plum blossom-like pattern when polished.
The only other extant example in this style is a sword preserved in Kasuga Shrine in Nara. The fine quality mounting and excellent state of preservation of this piece make it a valuable example of a Namboku-cho Period aikuchi sword.
把は鍍銀磨地の板金で包み、そこへ金銅枝牡丹を透彫りにした筒金をはめている。鞘は梅花皮鮫（かいらぎざめ）を着せ、上から黒漆を塗って研出す。金具のうち口金・折金・裏瓦は鍍金磨地、栗形は鍍金山道彫り、鐺（こじり）は魚子地（ななこじ）に牡丹文を高彫りであらわして鍍金を施している。腰刀は腰に差すところからこの名称がつけられ、ふつう鐔をつけない合口の形式をとり、長さも35センチから55センチまでの短いものである。鞘を包む鮫皮は、南支那海あたりに産するエイの一種の皮で、表面を研出すと梅花文様になる梅花皮鮫がもっとも珍重された。現存するこの種の遺品は少なく、類例として春日大社に見られるだけである。この腰刀は華麗で製作もすぐれ、かつ完存であり、南北朝時代の合口式のものとして資料的価値も高い。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/E%E7%94%B2182/image/slideshow_s/390810_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"4376","cobas-22-s":"3278","cobas-29-s":"工芸:武器・武具:刀剣:短刀|工芸:武器・武具:刀装（拵）|工芸:素材別:金工|工芸:地域別:日本","cobas-30-s":"Important Cultural Property","cobas-31-s":"Metalwork","cobas-32-s":"Short Sword Mounting with Metal Fittings in Peony Design and Sharkskin Scabbard","cobas-37-s":"Nanbokuchō ・14th","cobas-39-s":"Length55cm:Curvature9cm:Curvature 46cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"The hilt of this mounting is wrapped with a silver-plated layer of metal and covered with an openwork design. The scabbard is covered with polished and lacquered sharkskin. Some fittings are polished gilt, while others are carved or relief gilt. This type of sword is meant to be tied at the waist and usually it does not have a sword guard. The body is generally short, between 35 and 55 cm in length.
The trend of covering scabbards with sharkskin began in the Kamakura Period (13th-14th Centuries). The skin of a kind of sturgeon found in the South China Sea was considered most desirable because it reveals a plum blossom-like pattern when polished.
The only other extant example in this style is a sword preserved in Kasuga Shrine in Nara. The fine quality mounting and excellent state of preservation of this piece make it a valuable example of a Namboku-cho Period aikuchi sword.
足利尊氏が後醍醐天皇や父母、元弘の乱以後の戦没者の供養と天下太平、民衆の安穏を祈願した一切経のうちの１帖。京都、奈良、鎌倉など諸寺院の僧に分写させ、菩提寺の京都・等持院で供養したのち園城寺に移されました。帖末の木版刷りの発願文には尊氏の自署が見られます。
ルビ：ごだいご、げんこう、いっさいきょう、ぼだいじ、とうじいん、おんじょうじ、ほつがんもん
足利尊氏が後醍醐天皇や父母、元弘の乱以後の戦没者の供養と天下太平、民衆の安穏を祈願した一切経のうちの１帖。京都、奈良、鎌倉など諸寺院の僧に分写させ、菩提寺の京都・等持院で供養したのち園城寺に移されました。帖末の木版刷りの発願文には尊氏の自署が見られます。
ルビ：ごだいご、げんこう、いっさいきょう、ぼだいじ、とうじいん、おんじょうじ、ほつがんもん
天目【てんもく】の形を模した椀。中世の朱漆器では例の少ない器形で、高台内とその周りに朱漆で「眉間寺 廿五之内明徳二年辛未六月日 網維春明」と記しています。施主や奉納年が知られ、奈良の眉間寺【みけんじ】へ25口寄進された内の一つであることが知られます。
This bowl replicates the shape of [tenmoku]-style ceramic tea bowls from China. No other example of red lacquer ware in this shape is known from the medieval period.
天目【てんもく】の形を模した椀。中世の朱漆器では例の少ない器形で、高台内とその周りに朱漆で「眉間寺 廿五之内明徳二年辛未六月日 網維春明」と記しています。施主や奉納年が知られ、奈良の眉間寺【みけんじ】へ25口寄進された内の一つであることが知られます。
This bowl replicates the shape of [tenmoku]-style ceramic tea bowls from China. No other example of red lacquer ware in this shape is known from the medieval period.
和歌で知られる冷泉家の所領のうち、静岡県焼津市にあった小楊津御厨（おやいづのみくりや）の領有を、冷泉為秀に認める決定が朝廷で出されました。この決定通りに現地支配がなされるべき旨を、将軍の命令として駿河守護の今川範氏（のりうじ）に伝える文書です。守護権力の大きさを浮彫りにしています。
Japan’s military ruler, the shogun, often had to deal with mundane legal matters. Written in confident brushstrokes, this document was issued by Shogun Ashikaga Takauji (1305–1358) to the governor of Suruga Province. It recognizes the nobleman Reizei Tamehide’s ownership of a particular estate, in accordance with a ruling by the imperial court.
","contributor":["東京国立博物館","Tokyo National Museum"],"temporal":["南北朝時代・文和3年(1354)","Nanbokuchō period, 1354"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["書跡"],"temporal":["南北朝時代"]},"cobas-0-s":"56895","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/B-1738","cobas-2-s":"B-1738","cobas-4-s":"書跡","cobas-5-s":"足利尊氏御判御教書","cobas-6-s":"あしかがたかうじごはんみきょうじょ","cobas-7-s":"1幅","cobas-11-s":"南北朝時代・文和3年(1354)","cobas-12-s":"紙本墨書","cobas-13-s":"本紙 縦29.8 横46.1","cobas-16-s":"東京国立博物館","cobas-17-h":"和歌で知られる冷泉家の所領のうち、静岡県焼津市にあった小楊津御厨（おやいづのみくりや）の領有を、冷泉為秀に認める決定が朝廷で出されました。この決定通りに現地支配がなされるべき旨を、将軍の命令として駿河守護の今川範氏（のりうじ）に伝える文書です。守護権力の大きさを浮彫りにしています。
Japan’s military ruler, the shogun, often had to deal with mundane legal matters. Written in confident brushstrokes, this document was issued by Shogun Ashikaga Takauji (1305–1358) to the governor of Suruga Province. It recognizes the nobleman Reizei Tamehide’s ownership of a particular estate, in accordance with a ruling by the imperial court.
","cobas-46-s":"Calligraphy:Category:Historical records"},{"id":"cobas-47481","common":{"id":"cobas-47481","title":"釈教三十六歌仙絵","titleEn":"Portraits of Thirty-Six Immortal Buddhist Poets","titleYomi":"しゃっきょうさんじゅうろっかせんえ","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-10486","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-10486/image/slideshow_s/A-10486_E0001691.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-10486/image/slideshow_s/A-10486_E0001691.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"神護寺別当、東寺長者をつとめた勧修寺栄海（かじゅうじえいかい）（１２７８～１３４７）撰になる、歌人の全てを僧侶で構成する歌仙絵。達磨（だるま）・聖徳太子（しょうとくたいし）、菩提僊那（ぼだいせんな）・行基（ぎょうき）の贈答歌から貞慶（じょうけい）、明恵（みょうえ）にいたる３７人の像と３６の和歌から成る。和歌、及び各像が時代不同歌合絵の強い影響下にある。
(20161018_h21特集歌仙絵)\t
歌仙絵（かせんえ）とは、優れた歌人の和歌と肖像を表した絵のことです。釈教とは釈迦の教えなどという意味がありますが、ここでは僧侶のことを指していると考えられます。今回ご紹介する作品は、三十六の和歌とその和歌を詠んだ僧侶の肖像を描いた絵巻の一部です。三十六人の歌人を紹介するという形式は、平安時代の貴族で歌人の藤原公任（きんとう）によって作られた、「三十六人撰」という歌集を踏まえています。和歌は、京都にあるお寺、勧修寺（かじゅうじ）の僧侶だった栄海（えいかい）によって選出されました。
巻頭には栄海による選出の趣旨が述べられています。最初に出てくる肖像は、禅宗を開いた達磨（だるま）、その向かい側の子どもは聖徳太子です。聖徳太子は僧侶ではありませんが、日本に仏教を広めた人物ということで、取り上げられたのでしょう。次に出てくる二人の人物は、奈良の東大寺の大仏建立に深く関わる、僧正菩提（そうじょうぼだい）と行基（ぎょうき）です。いずれも、日本仏教史に深い関わりのある人物たちで、年代順に登場します。
肖像の描き方に注目してみましょう。一部彩色が施されていますが、基本的には墨のみで人物を表現しています。このように墨線で描く方法を白描（はくびょう）といい、仏教絵画では絵の様式や図柄を描いて伝える際に用いられる手法です。肖像の描き方にも仏教の要素が盛り込まれています。宮廷文化である和歌と仏教を関連させた、興味深い作品です。
All the poets in this scroll are also Buddhist priests.
This is a segment of an illustrated scroll featuring 36 waka poems composed by Buddhist priests, together with portraits of these priests. This format is based on a poetry anthology produced by the Heian-period aristocrat and poet Fujiwara no Kinto.
This collection was compiled by Eikai, a priest at Kajuji temple in Kyoto. Eikai writes about the reasoning behind his selection in the scroll's preface. The first portrait features the founder of Zen Buddhism, Bodhidharma. The child standing across from him is Prince Shotoku. Though Prince Shotoku was not a priest, he was probably chosen for his pioneering work in promulgating Buddhism in Japan. The next two figures are Bodhisena and Gyoki, two priests who played a major role in the installation of the Great Buddha in Todaiji temple, Nara. In this way, distinguished figures from the history of Japanese Buddhism appear in chronological order, one after the other.
The portraits are mainly drawn in ink, though they feature splashes of color in places. Ink lines drawings like these also served as templates or blueprints for Buddhist paintings, with Buddhist elements incorporated into the way these portraits are drawn. As such, this intriguing work fuses Buddhism with the waka poetry that emerged from courtly culture.
神護寺別当、東寺長者をつとめた勧修寺栄海（かじゅうじえいかい）（１２７８～１３４７）撰になる、歌人の全てを僧侶で構成する歌仙絵。達磨（だるま）・聖徳太子（しょうとくたいし）、菩提僊那（ぼだいせんな）・行基（ぎょうき）の贈答歌から貞慶（じょうけい）、明恵（みょうえ）にいたる３７人の像と３６の和歌から成る。和歌、及び各像が時代不同歌合絵の強い影響下にある。
(20161018_h21特集歌仙絵)\t
歌仙絵（かせんえ）とは、優れた歌人の和歌と肖像を表した絵のことです。釈教とは釈迦の教えなどという意味がありますが、ここでは僧侶のことを指していると考えられます。今回ご紹介する作品は、三十六の和歌とその和歌を詠んだ僧侶の肖像を描いた絵巻の一部です。三十六人の歌人を紹介するという形式は、平安時代の貴族で歌人の藤原公任（きんとう）によって作られた、「三十六人撰」という歌集を踏まえています。和歌は、京都にあるお寺、勧修寺（かじゅうじ）の僧侶だった栄海（えいかい）によって選出されました。
巻頭には栄海による選出の趣旨が述べられています。最初に出てくる肖像は、禅宗を開いた達磨（だるま）、その向かい側の子どもは聖徳太子です。聖徳太子は僧侶ではありませんが、日本に仏教を広めた人物ということで、取り上げられたのでしょう。次に出てくる二人の人物は、奈良の東大寺の大仏建立に深く関わる、僧正菩提（そうじょうぼだい）と行基（ぎょうき）です。いずれも、日本仏教史に深い関わりのある人物たちで、年代順に登場します。
肖像の描き方に注目してみましょう。一部彩色が施されていますが、基本的には墨のみで人物を表現しています。このように墨線で描く方法を白描（はくびょう）といい、仏教絵画では絵の様式や図柄を描いて伝える際に用いられる手法です。肖像の描き方にも仏教の要素が盛り込まれています。宮廷文化である和歌と仏教を関連させた、興味深い作品です。
All the poets in this scroll are also Buddhist priests.
This is a segment of an illustrated scroll featuring 36 waka poems composed by Buddhist priests, together with portraits of these priests. This format is based on a poetry anthology produced by the Heian-period aristocrat and poet Fujiwara no Kinto.
This collection was compiled by Eikai, a priest at Kajuji temple in Kyoto. Eikai writes about the reasoning behind his selection in the scroll's preface. The first portrait features the founder of Zen Buddhism, Bodhidharma. The child standing across from him is Prince Shotoku. Though Prince Shotoku was not a priest, he was probably chosen for his pioneering work in promulgating Buddhism in Japan. The next two figures are Bodhisena and Gyoki, two priests who played a major role in the installation of the Great Buddha in Todaiji temple, Nara. In this way, distinguished figures from the history of Japanese Buddhism appear in chronological order, one after the other.
The portraits are mainly drawn in ink, though they feature splashes of color in places. Ink lines drawings like these also served as templates or blueprints for Buddhist paintings, with Buddhist elements incorporated into the way these portraits are drawn. As such, this intriguing work fuses Buddhism with the waka poetry that emerged from courtly culture.
蒔絵や金貝などの技法を併用し、歌枕として知られる住之江の景を表しています。洲浜【すはま】の水際には微塵貝【みじんがい】を使い、その輪郭を際立たせています。銘文によると、本作は正平12年（1357）に芸阿が経巻を納め、住吉社へ奉納したもの。製作年代や目的が知られる貴重な遺例です。
This chest was a sacred offering. An inscription on one side indicates that a Buddhist monk named Geia filled it with scriptures and presented it to Sumiyoshi Grand Shrine in Osaka in 1357. The surface depicts cranes perching on pines by the seashore — an image suggesting Suminoe, a scenic location closely associated with the shrine.
","contributor":["東京国立博物館","Tokyo National Museum"],"temporal":["南北朝時代・正平12年(1357)","Nanbokucho period, 1357"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"756"},"rdfindex":{"type":["漆工"],"temporal":["南北朝時代"]},"cobas-0-s":"84423","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/H-4213","cobas-2-s":"H-4213","cobas-3-s":"重要文化財","cobas-4-s":"漆工","cobas-5-s":"住之江蒔絵唐櫃","cobas-6-s":"すみのえまきえからびつ","cobas-7-s":"1合","cobas-11-s":"南北朝時代・正平12年(1357)","cobas-12-s":"木製漆塗","cobas-13-s":"高74.2 幅74.2 奥行53.0","cobas-16-s":"東京国立博物館","cobas-17-h":"蒔絵や金貝などの技法を併用し、歌枕として知られる住之江の景を表しています。洲浜【すはま】の水際には微塵貝【みじんがい】を使い、その輪郭を際立たせています。銘文によると、本作は正平12年（1357）に芸阿が経巻を納め、住吉社へ奉納したもの。製作年代や目的が知られる貴重な遺例です。
This chest was a sacred offering. An inscription on one side indicates that a Buddhist monk named Geia filled it with scriptures and presented it to Sumiyoshi Grand Shrine in Osaka in 1357. The surface depicts cranes perching on pines by the seashore — an image suggesting Suminoe, a scenic location closely associated with the shrine.
"},{"id":"cobas-80968","common":{"id":"cobas-80968","title":"菊枝蒔絵手箱","titleEn":"Box for Personal Items with Chrysanthemum Stems","titleYomi":"きくえだまきえてばこ","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/H-10","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/H-10/image/slideshow_s/H-10_E0173667.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/H-10/image/slideshow_s/H-10_E0173667.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"手箱の表面は全体に黒漆を塗り、平目粉【ひらめふん】を淡く蒔き付け、金の研出【とぎだし】蒔絵で菊の折枝を描いています。中央と四隅にまとめた配置は、鎌倉から南北朝時代を通じて散見される文様構成です。技法・意匠ともに簡潔にまとまり、可憐な印象を与えています。
Notice how this cosmetic box has patterns concentrated in the center and at the corners. This style of decoration was common in the 13th and 14th centuries.
手箱の表面は全体に黒漆を塗り、平目粉【ひらめふん】を淡く蒔き付け、金の研出【とぎだし】蒔絵で菊の折枝を描いています。中央と四隅にまとめた配置は、鎌倉から南北朝時代を通じて散見される文様構成です。技法・意匠ともに簡潔にまとまり、可憐な印象を与えています。
Notice how this cosmetic box has patterns concentrated in the center and at the corners. This style of decoration was common in the 13th and 14th centuries.
これは、舞楽の衣裳です。舞楽とは、舞をともなう雅楽のことで、雅楽とは平安時代以降、宮廷、寺社などで演奏された音楽のことです。
この裲襠（りょうとう）は、首を通して着る長いベストのようなもので、舞楽の中でも、動きの激しい「走舞（はしりまい）」に用いられます。
胴の部分は、繻子（しゅす）というつやのある地に金の糸で、牡丹と唐草の模様が織り出された金襴（きんらん）が使われています。これは、当時の日本にはない、中国・元時代のもの。また、裏地には永和4年（1378年）に奉納されたと書かれており、制作年代がはっきりしているという点でも、大変貴重なものです。
この裲襠の周りの房に注目してください。これは絹糸の房ですが、根元は精練されており、毛先は生糸（きいと）そのままのごわごわとツヤのない状態を残しています。こうして、けものの毛のようなワイルドな質感が表現されているのです。日本の衣服には、動物の毛を用いる習慣がなかったため、毛の質感を工夫してあらわした、元祖フェイクファーといえるでしょう。この荒々しい雰囲気、走舞にぴったりではないでしょうか。
Made with gold brocade imported from Yuan-dynasty China, this costume was donated to the Niutsuhime Jinja shrine in 1378.
This is a costume for the performing art of bugaku, which is an ancient dance that accompanied music performed at the imperial court, temples, and shrines, from the Heian period onward.
A ryoto is a long vest-like garment that was worn for intense dances called hashirimai. This ryoto features a design of peony arabesques in gold brocade on a glossy satin ground. It was not possible to produce this type of brocade in Japan at the time, so the textile was imported from Yuan-dynasty China. Moreover, the lining features an inscription stating that this ryoto was offered to a shrine in the year 1378. This precise dating makes this an extremely valuable garment.
Now take a look at the tassels around the edges. The parts near the edges are made of processed silk, while the ends are raw silk, which is stiff and does not have a luster. This gives the tassels a wild texture like the fur of an animal. Japan had no tradition of wearing animal fur, so this technique created a kind of artificial fur, the wild look of which would have been perfect for the intense dances this ryoto was worn for.
これは、舞楽の衣裳です。舞楽とは、舞をともなう雅楽のことで、雅楽とは平安時代以降、宮廷、寺社などで演奏された音楽のことです。
この裲襠（りょうとう）は、首を通して着る長いベストのようなもので、舞楽の中でも、動きの激しい「走舞（はしりまい）」に用いられます。
胴の部分は、繻子（しゅす）というつやのある地に金の糸で、牡丹と唐草の模様が織り出された金襴（きんらん）が使われています。これは、当時の日本にはない、中国・元時代のもの。また、裏地には永和4年（1378年）に奉納されたと書かれており、制作年代がはっきりしているという点でも、大変貴重なものです。
この裲襠の周りの房に注目してください。これは絹糸の房ですが、根元は精練されており、毛先は生糸（きいと）そのままのごわごわとツヤのない状態を残しています。こうして、けものの毛のようなワイルドな質感が表現されているのです。日本の衣服には、動物の毛を用いる習慣がなかったため、毛の質感を工夫してあらわした、元祖フェイクファーといえるでしょう。この荒々しい雰囲気、走舞にぴったりではないでしょうか。
Made with gold brocade imported from Yuan-dynasty China, this costume was donated to the Niutsuhime Jinja shrine in 1378.
This is a costume for the performing art of bugaku, which is an ancient dance that accompanied music performed at the imperial court, temples, and shrines, from the Heian period onward.
A ryoto is a long vest-like garment that was worn for intense dances called hashirimai. This ryoto features a design of peony arabesques in gold brocade on a glossy satin ground. It was not possible to produce this type of brocade in Japan at the time, so the textile was imported from Yuan-dynasty China. Moreover, the lining features an inscription stating that this ryoto was offered to a shrine in the year 1378. This precise dating makes this an extremely valuable garment.
Now take a look at the tassels around the edges. The parts near the edges are made of processed silk, while the ends are raw silk, which is stiff and does not have a luster. This gives the tassels a wild texture like the fur of an animal. Japan had no tradition of wearing animal fur, so this technique created a kind of artificial fur, the wild look of which would have been perfect for the intense dances this ryoto was worn for.
刃わたりが30センチをこえる短刀としては大形の作品です。また、刀身の柄（つか）である茎（なかご）の長さが短く、刃のある部分は幅が広くなっています。このような豪快で迫力のある短刀のかたちは14世紀なかごろに流行しました。作者の左安吉は、「左（さ）」と銘を切る左文字（さもんじ）という福岡県の刀工の子と伝えられています。黒くみえる部分には木の板目のような模様が細かくみえ、その上に白い影のようなものがあります。また、刃先の近くには、黒くみえる部分と白くみえる部分の境にみえる、光輝く線のような模様である「刃文（はもん）」があります。刃文は、全体的にあまり高低差がなく穏やかですが、ほかの刀剣にくらべて光にかざすと強く反射し鋭い印象を与えます。16世紀後半から17世紀はじめの武将である、一柳直盛（ひとつやなぎなおもり）が所持していたことから「一柳安吉」の名があり、この短刀は左安吉の典型的な作風を示しています。
左安吉は、筑前＠ちくぜん＠国（福岡県）の名工・左文字＠さもんじ＠の子と伝わります。短刀としては大振りで、身幅が広く寸延びの刀身に、のたれ刃で沸＠にえ＠づいた刃文＠はもん＠を焼入れています。その名は美濃＠みの＠国（岐阜県）の戦国武将一柳直盛＠ひとつやなぎなおもり＠が所持したことに由来し、のちに加賀前田家に伝来しました。
With a blade 30 cm long, this sword is large for a tanto. The blade’s tang is short, and the bladed portion is wide. The showy, impactful form of this tanto was popular in the mid-14th century. Its maker, Sa no Yasuyoshi, is said to be the son of the swordsmith Samonji, of Fukuoka Prefecture, who inscribed his blades with the character “左” (sa). A fine pattern resembling wood grain can be seen on the dark side of the blade, with a shadowy white cloud over it. There is also a gleaming pattern, called a hamon, near the edge of the blade, along the border between its light and dark portions. This hamon is generally restrained, without sharp dips or rises, but when brandished it reflects light more than other swords, creating a sharp impression. This tanto is named the Hitotsuyanagi Yasuyoshi because it belonged to the late 16th to early 17th-century samurai warlord Hitotsuyanagi Naomori. It is a typical example of Sa no Yasuyoshi’s style.
With a cutting edge over 30 centimeters (12 inches) in length, this blade is unusually large for a Japanese dagger. Oversized daggers and swords were commissioned as sacred offerings to the gods, or as personal weapons for important samurai. This example was owned by the samurai warlord Hitotsuyanagi Naomori (1564–1636).
","contributor":["左安吉","By Yasuyoshi","渡邊誠一郎氏寄贈","Gift of Mr. Watanabe Sei'ichirō","東京国立博物館","Tokyo National Museum"],"temporal":["南北朝時代・14世紀","Nanbokuchō period, 14th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"726"},"rdfindex":{"type":["刀剣"],"temporal":["南北朝時代"]},"cobas-0-s":"77973","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/F-20115","cobas-2-s":"F-20115","cobas-3-s":"重要文化財","cobas-4-s":"刀剣","cobas-5-s":"短刀（名物 一柳安吉）","cobas-6-s":"たんとう（めいぶつ ひとつやなぎやすよし）","cobas-7-s":"1口","cobas-8-s":"左安吉","cobas-11-s":"南北朝時代・14世紀","cobas-14-s":"銘 左安吉","cobas-15-s":"渡邊誠一郎氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"刃わたりが30センチをこえる短刀としては大形の作品です。また、刀身の柄（つか）である茎（なかご）の長さが短く、刃のある部分は幅が広くなっています。このような豪快で迫力のある短刀のかたちは14世紀なかごろに流行しました。作者の左安吉は、「左（さ）」と銘を切る左文字（さもんじ）という福岡県の刀工の子と伝えられています。黒くみえる部分には木の板目のような模様が細かくみえ、その上に白い影のようなものがあります。また、刃先の近くには、黒くみえる部分と白くみえる部分の境にみえる、光輝く線のような模様である「刃文（はもん）」があります。刃文は、全体的にあまり高低差がなく穏やかですが、ほかの刀剣にくらべて光にかざすと強く反射し鋭い印象を与えます。16世紀後半から17世紀はじめの武将である、一柳直盛（ひとつやなぎなおもり）が所持していたことから「一柳安吉」の名があり、この短刀は左安吉の典型的な作風を示しています。
左安吉は、筑前＠ちくぜん＠国（福岡県）の名工・左文字＠さもんじ＠の子と伝わります。短刀としては大振りで、身幅が広く寸延びの刀身に、のたれ刃で沸＠にえ＠づいた刃文＠はもん＠を焼入れています。その名は美濃＠みの＠国（岐阜県）の戦国武将一柳直盛＠ひとつやなぎなおもり＠が所持したことに由来し、のちに加賀前田家に伝来しました。
With a blade 30 cm long, this sword is large for a tanto. The blade’s tang is short, and the bladed portion is wide. The showy, impactful form of this tanto was popular in the mid-14th century. Its maker, Sa no Yasuyoshi, is said to be the son of the swordsmith Samonji, of Fukuoka Prefecture, who inscribed his blades with the character “左” (sa). A fine pattern resembling wood grain can be seen on the dark side of the blade, with a shadowy white cloud over it. There is also a gleaming pattern, called a hamon, near the edge of the blade, along the border between its light and dark portions. This hamon is generally restrained, without sharp dips or rises, but when brandished it reflects light more than other swords, creating a sharp impression. This tanto is named the Hitotsuyanagi Yasuyoshi because it belonged to the late 16th to early 17th-century samurai warlord Hitotsuyanagi Naomori. It is a typical example of Sa no Yasuyoshi’s style.
With a cutting edge over 30 centimeters (12 inches) in length, this blade is unusually large for a Japanese dagger. Oversized daggers and swords were commissioned as sacred offerings to the gods, or as personal weapons for important samurai. This example was owned by the samurai warlord Hitotsuyanagi Naomori (1564–1636).
","cobas-46-s":"Applied arts:Arms and armor:Blades:Tantō"},{"id":"cobas-47454","common":{"id":"cobas-47454","title":"聖徳太子絵伝","titleEn":"Illustrated Biography of Prince Shōtoku","titleYomi":"しょうとくたいしえでん","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-10429","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-10429/image/slideshow_s/A-10429_E0060861.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-10429/image/slideshow_s/A-10429_E0060861.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":" 聖徳太子（しょうとくたいし）は、冠位十二階（かんいじゅうにかい）や十七条憲法（じゅうしちじょうけんぽう）を定めるなど、天皇を中心とした中央集権国家の体制をうちたてた、飛鳥時代（あすかじだい）の政治家です。四天王寺（してんのうじ）や法隆寺（ほうりゅうじ）を建てるなど、仏教の興隆にもつとめました。
この作品は、聖徳太子の生涯を描いた３幅の掛け軸です。第一幅は太子が16歳から21歳までの間の11場面、第二幅は22歳から29歳までの間の13場面、第三幅は太子の死からその24年後の大化（たいか）の改新（かいしん）により蘇我入鹿（そがのいるか）が暗殺されるまでを描いています。場面の内容からすると、もとは8幅（ぷく）一組で太子の全生涯の物語をカバーしていたと考えられます。
興味深いエピソードがたくさん描かれているのですが、とても全部は紹介できませんので、ここではそのうちの一つをご紹介しましょう。
第二幅の下のほうを見てください。黒い馬に乗った聖徳太子が描かれています。これは、太子がまだ20代の頃のお話。太子が諸国から馬を献上させたところ、その中に1頭の神馬がいることを見抜きました。太子がその馬にまたがると、馬は天高く駆けて雲の中に消えていき、富士山を越え、現在の長野県、信濃国（しなののくに）まで行き、さらに今の福井県から新潟県にあたる越前（えちぜん）・越中（えっちゅう）・越後（えちご）を通って3日で都に駆け戻ったという伝説の場面です。雪をかぶった富士山を、聖徳太子をのせた馬が軽々と越えていく様子が描かれています。
日本仏教興隆の祖として知られる聖徳太子の生涯の事蹟を描いた図です。各幅とも上から下へ順に事蹟が配されています。事蹟内容から本来は八幅一組と推測され、独自の場面選択や図様が特徴的です。品のある穏健な描写と彩色が美しい作例です。
Prince Shotoku was a political figure in ancient Japan. He created the Seventeen Article Constitution and developed a system for ranking officials into 12 grades. In doing so, he helped establish a centralized government based around the emperor. He also played a key role in spreading Buddhism throughout Japan by building temples like Shitennoji and Horyuji.
This work depicts his life and is comprised of three hanging scrolls. The first scroll shows 11 scenes of the Prince's life from age 16 to 21. The second scroll displays 13 scenes from age 22 to 29. The third scroll jumps forward 24 years after the Prince's death to depict the assassination of Soga no Iruka, an event that led to the Taika Reforms of 645. Because of this gap, scholars believe this work originally consisted of eight scrolls.
These scrolls depict a number of interesting episodes. There are too many to describe here, so we will introduce just one. Take a look towards the bottom of the second scroll. Prince Shotoku is seen riding a black horse. This tale took place when he was still in his twenties. The Prince was presented with horses from several countries and he recognized that one of them was a sacred horse. According to legend, when he mounted this steed, they both flew high into the sky and disappeared among the clouds. They crossed Mount Fuji and travelled through Japan's provinces for three days before returning. This scroll shows the Prince effortlessly guiding his horse over a snowcapped Mount Fuji.
Prince Shōtoku (574—622) played a major role in establishing Buddhism in Japan. This scroll is his illustrated biography.
聖徳太子（しょうとくたいし）は、冠位十二階（かんいじゅうにかい）や十七条憲法（じゅうしちじょうけんぽう）を定めるなど、天皇を中心とした中央集権国家の体制をうちたてた、飛鳥時代（あすかじだい）の政治家です。四天王寺（してんのうじ）や法隆寺（ほうりゅうじ）を建てるなど、仏教の興隆にもつとめました。
この作品は、聖徳太子の生涯を描いた３幅の掛け軸です。第一幅は太子が16歳から21歳までの間の11場面、第二幅は22歳から29歳までの間の13場面、第三幅は太子の死からその24年後の大化（たいか）の改新（かいしん）により蘇我入鹿（そがのいるか）が暗殺されるまでを描いています。場面の内容からすると、もとは8幅（ぷく）一組で太子の全生涯の物語をカバーしていたと考えられます。
興味深いエピソードがたくさん描かれているのですが、とても全部は紹介できませんので、ここではそのうちの一つをご紹介しましょう。
第二幅の下のほうを見てください。黒い馬に乗った聖徳太子が描かれています。これは、太子がまだ20代の頃のお話。太子が諸国から馬を献上させたところ、その中に1頭の神馬がいることを見抜きました。太子がその馬にまたがると、馬は天高く駆けて雲の中に消えていき、富士山を越え、現在の長野県、信濃国（しなののくに）まで行き、さらに今の福井県から新潟県にあたる越前（えちぜん）・越中（えっちゅう）・越後（えちご）を通って3日で都に駆け戻ったという伝説の場面です。雪をかぶった富士山を、聖徳太子をのせた馬が軽々と越えていく様子が描かれています。
日本仏教興隆の祖として知られる聖徳太子の生涯の事蹟を描いた図です。各幅とも上から下へ順に事蹟が配されています。事蹟内容から本来は八幅一組と推測され、独自の場面選択や図様が特徴的です。品のある穏健な描写と彩色が美しい作例です。
Prince Shotoku was a political figure in ancient Japan. He created the Seventeen Article Constitution and developed a system for ranking officials into 12 grades. In doing so, he helped establish a centralized government based around the emperor. He also played a key role in spreading Buddhism throughout Japan by building temples like Shitennoji and Horyuji.
This work depicts his life and is comprised of three hanging scrolls. The first scroll shows 11 scenes of the Prince's life from age 16 to 21. The second scroll displays 13 scenes from age 22 to 29. The third scroll jumps forward 24 years after the Prince's death to depict the assassination of Soga no Iruka, an event that led to the Taika Reforms of 645. Because of this gap, scholars believe this work originally consisted of eight scrolls.
These scrolls depict a number of interesting episodes. There are too many to describe here, so we will introduce just one. Take a look towards the bottom of the second scroll. Prince Shotoku is seen riding a black horse. This tale took place when he was still in his twenties. The Prince was presented with horses from several countries and he recognized that one of them was a sacred horse. According to legend, when he mounted this steed, they both flew high into the sky and disappeared among the clouds. They crossed Mount Fuji and travelled through Japan's provinces for three days before returning. This scroll shows the Prince effortlessly guiding his horse over a snowcapped Mount Fuji.
Prince Shōtoku (574—622) played a major role in establishing Buddhism in Japan. This scroll is his illustrated biography.
越後(えちご)の人で、建仁寺(けんにんじ)の住持。一山一寧(いっさんいちねい)に参禅。18歳で入元し、留まること23年に及んだが、その途次投獄(とうごく)。流謫(るたく)の難に遭った。五山文学者としても名高く、詩集語録等を残している。正平元年(1346)57歳で没した。宋の蘇轍が兄蘇軾と別れる際に詠んだ「逍遙堂会宿二首」中の一句。
越後(えちご)の人で、建仁寺(けんにんじ)の住持。一山一寧(いっさんいちねい)に参禅。18歳で入元し、留まること23年に及んだが、その途次投獄(とうごく)。流謫(るたく)の難に遭った。五山文学者としても名高く、詩集語録等を残している。正平元年(1346)57歳で没した。宋の蘇轍が兄蘇軾と別れる際に詠んだ「逍遙堂会宿二首」中の一句。
八幡神（八幡大菩薩）の霊験と、人びとの崇敬を描いた絵巻の断簡。第一段は修験道の祖・役行者が中国への渡航を八幡神に祈ったという話。第二段は元明天皇より勅命を受けた行基菩薩が、多くの寺院建立のため八幡神に祈りをささげたという話です。
","descriptionEn":"This is a fragment of an illustrated scroll depicting the miraculous powers of the god Hachiman. Read from right to left, the first section tells the story of En no Gyōja, a legendary ascetic and sorcerer, praying to Hachiman for a safe voyage to China. The second section recounts the story of the monk Gyōki, who prayed to Hachiman for help in constructing forty-nine Buddhist temples.
八幡神（八幡大菩薩）の霊験と、人びとの崇敬を描いた絵巻の断簡。第一段は修験道の祖・役行者が中国への渡航を八幡神に祈ったという話。第二段は元明天皇より勅命を受けた行基菩薩が、多くの寺院建立のため八幡神に祈りをささげたという話です。
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/A-10121/image/slideshow_s/A-10121_C0056764.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"17909","cobas-22-s":"47341","cobas-29-s":"絵画:日本:やまと絵","cobas-31-s":"Painting","cobas-32-s":"Illustrated Origins of the Great Bodhisattva Hachiman","cobas-37-s":"Nanbokuchō period, 14th century","cobas-38-s":"Color on paper","cobas-42-s":"Tokyo National Museum","cobas-43-h":"This is a fragment of an illustrated scroll depicting the miraculous powers of the god Hachiman. Read from right to left, the first section tells the story of En no Gyōja, a legendary ascetic and sorcerer, praying to Hachiman for a safe voyage to China. The second section recounts the story of the monk Gyōki, who prayed to Hachiman for help in constructing forty-nine Buddhist temples.