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䞉十六歌仙垖 / 東京囜立博物通

Shojo Shokado

A Buddhist monk and literary figure of the early Edo period; known as a skilled calligrapher, one of “The Three Brushes of the Kanei Period

Person Edo period Kyoto Osaka Painting & Calligraphy

15841639

Shojo Shokado was a Buddhist monk of the Shingon School in the early Edo period. He served as the chief priest of Takinomoto-bo Temple at Iwashimizu Hachimangu Shrine, and was also known as a calligrapher, painter, and master of the tea ceremony. Shojo Shokado is a representative literary figure of the early Edo period. 

He was born in Kasuga, Yamato Province (present day Nara Prefecture). His secular surname was Nakanuma, and his childhood name was Tatsunosuke. His older brother, Sakyo Nakanuma, was the chief priest of Ichijo-in, a sub-temple of Kofuku-ji Temple, and served as shodaibu (high steward) of Sonsei, the older brother of Nobutada Konoe. Also, Sakyo Nakanuma was married to the younger sister of the wife of Enshu Kobori, so through his brother, Shojo Shokado was related by marriage to the Enshu family as well.

It is believed that in his younger years, Shojo Shokado served the Konoe family, and learned It is believed that in his younger years, Shojo Shokado served the Konoe family, and learned the art of calligraphy from Nobutada and his father Sakihisa Konoe. At the age of 17, however, he visited Mt. Otoko on the grounds of Iwashimizu Hachimangu Shrine, and entered the priesthood at the Takinomoto-bo Temple, where he became a disciple of Jitsujo Takinomoto-bo and was granted the name Shojo. There, he studied esoteric Buddhism, received kanjo (a ceremony of consecration performed by pouring water onto the top of the monk’s head), and became an ajari (senior monk). In that period, he used names such as Shuro-bo and Shikibu-kyo, but in 1627, after Jitsujo’s passing, Shojo Shokado succeeded him as the chief priest of Takinomoto-bo Temple and took the name Takinomoto-bo. Other names he used include Seiseio, and Kuushiki. In December 1637, he conceded the post of chief priest to his disciple Jojun, built the Shokado sub-temple nearby, and retired there, taking the name of the temple as his surname. Shojo Shokado passed away in 1639 at the age of 56. His grave is in Taisho-ji Temple in the city of Yawata, Kyoto Prefecture.

As an outstanding painter of suiboku-ga (ink paintings) and yamato-e (classical Japanese decorative paintings), an accomplished calligrapher, and an author of waka poems, Shokado Shojo was a multitalented artist. He was also a master of the tea ceremony, and interacted with numerous literary figures and tea ceremony masters such as Enshu Kobori, Jozan Ishikawa, Choshoshi Kinoshita, Masatoshi Sakawada, Sogan Kogetsu, Mitsuhiro Karasuma, Soho Takuan, and Tanyu Kano. In the field of calligraphy, in particular, Shojo Shokado combined the Oie style, which he studied under Sakihisa Konoe, with the Daishi style, thus creating a unique calligraphy technique, which became known as the Shokado Style (Takinomoto Style). It gained popularity during the Edo period (1603–1868), and produced skilled calligraphers, such as Jojun Takimotobo, Harumi Murata, and Chikage Kato. Numerous calligraphy works written in this style have been published as samples. Later, Shojo Shokado was named one of “The Three Brushes of the Kan’ei Period,” alongside Koetsu Honami and Nobutada Konoe.

Related People, Things and Events

  • A courtier of the Azuchi-Momoyama period (1573 – 1603). He was known as a calligrapher, and is distinguished as one-third of the Kanei no Sanpitsu (“three great calligraphers of the Kanei era”), alongside Koetsu Honami and Shojo Shokado

  • One of the most outstanding artists of the Momoyama and early Edo periods who produced masterful calligraphy, lacquerware, and ceramics 1558-1637

  • Three masters of calligraphy of the early Heian period (c. 794 – 930). Kukai, Emperor Saga, and Hayanari Tachibana. From this naming originates the name Kanei no Sanpitsu (“three great calligraphers of the Kanei era”), which is used in reference to Koetsu Honami, Nobutada Konoe, and Shojo Shokado.

  • A tea ceremony master of the early Edo period (about 1603–1700), founder of the Enshu School of tea ceremony, and an administrator in the Tokugawa Shogunate, who excelled in architecture, civil engineering, and Japanese garden design and was also known as a skilled calligrapher. Shojo Shokado was his close tea ceremony companion, and the two exchanged numerous letters, which are preserved to this day.

  • An East Asian style of painting that uses ink and washes; the artist Sesshu established a style unique to Japan

  • The tea ceremony is an activity where matcha is enjoyed through the Japanese tea culture. It was developed into a composite artform, combining architecture, gardening, shodo (calligraphy), craftsmanship, philosophy, and cooking.

  • Items used to perform the tea ceremony. In the tearoom, such utensils become a subject of appreciation, and are expected to be both functional and aesthetically appealing.

  • Seto and Mino tea ware

  • Raku, Bizen, Shigaraki, and Iga tea ware

Books

  • 束花堂昭乗䞊人行状

    著者:昌俊

    安土桃山時代から江戞時代前期の歊士、歌人。䜐川田昌俊1579−1643による束花堂昭乗の䌝蚘。䜐川田昌俊は、淀藩䞻氞井尚政の家臣。通称は喜六。歌道、連歌、茶道にすぐれ、束花堂昭乗ずも芪しく亀わった。

  • 本光囜垫日蚘 慶長17幎9月29日条

    『本光囜垫日蚘』は、臚枈僧以心厇䌝本光囜垫の日蚘。1610幎慶長15から寛氞10幎1633たでの24幎間にわたる。埳川家康の偎近ずしお倖亀、察朝廷問題や宗教行政に参画した厇䌝の日蚘は江戞幕府初期の政治史研究に欠かせない史料。原本は南犅寺金地院こんちいん所蔵。掲茉ペヌゞの冒頭に、「九月廿九日、八幡山の匏郚䞋ル」ずあり、史料で確認できる「匏郚卿」の名乗りの最も早いものず思われる。

  • 芳野道の蚘

    著者:䞭沌束花堂

    束花堂昭乗の玀行文。寛氞15幎16373月、昭乗が江月宗玩小堀遠州、昭乗らず芪亀のあった江戞初期の犅僧ずずもに吉野ぞ出かけた際の玀行で、旅皋は3月6日から15日たでの十日間。奈良吉野呚蟺を巡り、茶人の長闇堂久保暩倧茔利䞖を蚪ねながら、各地で詠たれた和歌昭乗や挢詩江月が織り蟌たれおいる。『束花堂昭乗奈良吉野玀行』『昭乗道蚘』などずも。原本は倱われお写本で䌝わるが、寛政5幎1793に橘千蔭の序文を付しお刊行されお流垃した掲出本。掲茉郚分は千蔭の序文の末尟ず玀行の冒頭郚分。本文は、䞭囜の法垖や画譜に芋られる「正面刷り」ず呌ばれた拓本の技術を甚いお印刷され、癜抜きになっおいる。別掲の『八幡滝本坊名物蚘』にも「芳野道の蚘　仮名　猩々翁筆　江月和尚奥曞」ず蚘されおおり、か぀おは昭乗自筆本が滝本坊に存圚しおいたこずがわかる。

  • 本朝名公墚宝 å·»3

    『本朝名公墚宝』に収録された束花堂昭乗の筆跡。本曞は近䞖前期に䞊梓された名筆摞刻集で、日本の胜筆家の曞を収録・印行した最初のもの。正保2幎1645に刊行され、以埌も倚数の版が流通した。党3巻のうち、江戞時代の䜜者は第2巻の埌半に近衛信尹、本阿匥光悊、尊玔法芪王が収録されるのみで、第3巻はすべお束花堂の筆跡で占められおおり、江戞時代における束花堂流の隆盛ぶりを物語っおいる。掲出本は、囜立公文曞通所蔵の正保3幎1646版。

  • 新線芆醀集　巻

    江戞初期の挢詩人、石川䞈山による束花堂昭乗を詠んだ挢詩『新線芆醀集』所収。「遊滝本坊号昭乗、称束花堂」ず題し、「非惟解䞉密、曞画動京華惟ただ䞉密を解するのみに非ず、曞画、京華を動かす」ず詠じおいる。䞈山は本名重之しげゆき。埳川家康に仕え、倧坂倏の陣に掻躍。のちに藀原惺窩せいかに儒孊を孊び、比叡山麓に詩仙堂を建おお文筆に専念し、束花堂昭乗ずも芪しく亀わった。掲茉の挢詩は、「束花堂」ずあるずころから、昭乗が寛氞14幎163712月に方䞈「束花堂」を建おお隠棲しお以降、寛氞16幎に死去するたでの䜜。掲出本は、『新線芆醀集』、延宝4幎1676の刊本。

  • 本朝画史

    著者:狩野氞玍

    倧阪倏の陣の埌に、狩野山楜1559―1635が男山石枅氎八幡宮の所圚地に逃れお昭乗にかくたっおもらい、昭乗は山楜に絵を孊んだずいう『本朝画史』の蚘事。『本朝画史』は、日本で初めおの総合的画論・画史の曞。元祿6幎1693刊。狩野氞玍かのうえいのうが父狩野山雪の手録をもずに線んだもの。掲出本は、囜立公文曞通所蔵の元犄6幎刊本で、枋江抜斎の旧蔵曞。各巻冒頭に「匘前醫官柁江氏蔵曞蚘」の印が捺されおいる。。

  • 叀画備考 å·»10

    朝岡興犎 ç·š,写

    『叀画備考』に収録された束花堂昭乗の自画像。「み぀からかかたちをみ぀からかきお自らが圢を自らかきお　ねさめしおわがあか぀きをた぀のずにをずせぬかせのいろをきくかな寝芚めしお我が暁を埅぀の戞に音せぬ颚の色を聞くかな」の賛が添えられおいる。『叀画備考』は、日本画家䌝。江戞末期の朝岡興犎おきさだ、1800-56著。興犎は狩野栄信ながのぶの次男。䜜品の瞮暡ず萜欟・印章の臚暡が倚いのが特色で、日本絵画史における重芁な資料の䞀぀。

  • 束花堂遺蹟

    束花堂 [曞]

    束花堂昭乗が蒐集し、手元においた曞画を曞きあげた目録。掲茉箇所には、昭乗が茶䌚でしばしば甚いた蚘録のある、「䞡筆定家為家」「和歌色玙俊成卿筆」「円頓者 尊円法芪王」などの名が蚘されおいる。昭乗は、曞画、茶道具、絵画など倚岐にわたる蒐集家ずしお知られ、そのコレクションは「八幡蔵垳」「滝本坊」などの名で写本ずしお䌝来し、本曞もその䞀皮であるが、特に叀筆のみを扱っおいるずころに特城がある。巻末に「逢月」ず叀筆了䌎17901853の奥曞があり、了䌎の奥曞によれば「逢月」は、竹腰逢月で、矎濃囜今尟藩の第9代圓䞻で文人ずしおも知られた竹腰正富が該圓するず思われる。埓っお、本曞の曞写は幕末の頃か。

  • 八幡滝本坊名物蚘

    写

    束花堂昭乗が蒐集し、手元においた曞画、茶道具、絵画などを曞きあげた目録。掲茉箇所には、沢庵宗圭ず江月宗玩が賛を寄せた雪舟の絵が蚘されおいる。これらの目録は、「八幡蔵垳」「滝本坊」などの名でも写本ずしお䌝来し、本曞もそのうちの䞀぀で、文政13幎の1830写。

  • 男山栞

    现合方明,写

    江戞時代䞭期の儒孊者・曞家、现合半斎ほそあいはんさい、17271803による、束花堂昭乗ずその曞流に぀いおの芚え曞き。門人の姓名録や門人䌝なども含たれる。半斎は、束花堂昭乗の流れを汲む滝本流の曞を孊び、のちに滝本流の䞭興の祖ず称された人。昭乗や流掟の法垖の出版なども行った。掲出は、囜䌚図曞通の所蔵する半斎自筆の皿本。

  • 京郜男山束花堂茶亭図

    写

    寛氞14幎163712月以降の晩幎に昭乗が䜏んだ方䞈「束花堂」を描いた絵図。

Shojo Shokad in late Edo period publications

  • 通蚀総籬

    山東京䌝 䜜,山東けいこう 画,蔊屋重䞉郎

    山東京䌝の排萜本『通蚀総籬』に登堎する束花堂昭乗。遊里の流行や最新の事件を語る䌚話の䞭に、「品川の䞇千ばんせんがもっおいる束花堂セりクヮドりのほおいは、ずんだ出来のいいものさ」ず描かれおいる。『通䞋総籬』は、倩明7幎1787刊。奜評だった黄衚玙「江戞生艷気暺焌えどうたれうわきのかばやき」の人物たちを再登堎させた京䌝排萜本の秀䜜。近䞖埌期に束花堂昭乗の絵が広く愛奜されおいたこずが窺わせる。

  • 絵本春の若葉 3å·»

    喜倚川歌麿 画,文栄堂䞞屋文右衛門

    喜倚川歌麿の墚摺狂歌絵本。寛政2幎1790刊の『絵本よもぎの島』の改題埌摺本で、隅田川岞の料亭に集たった狂歌垫たちが、小束匕き、若菜摘み、菫摘み、若鮎、癜魚持、吉原、汐干狩り、ほずずぎす、蛍狩りなどを題材に狂歌を詠み、歌麿の絵を添えおいる。狂歌は束花堂流の筆跡で曞かれ、束花堂流が䞀般庶民にも広く芪したれたこず瀺しおいる。

  • 青楌日蚘

    癜陜東魚 䜜,北掲 画,刊

    享和2幎1802刊の排萜本『青楌日蚘』癜陜東魚䜜、春奜斎北掲画に登堎する束花堂流。掲茉箇所には、「近幎は猫もしやくしもたにあいの束花堂セりクハドりをやらかしお曞ちらかすもんだから、玅毛をらんだもじの玠読をするやうで、むおぞよめねぞのがございやす」ずいう遊客の蚀葉が芋える。遊女が客に送る手玙にたで束花堂流の曞が流行しおいたらしい。 "

  • 束花堂画垖

    束花堂昭乗(画)

    束花堂昭乗の絵画䜜品を集めお暡刻した絵本。文化元幎1804刊。同じ曞名の続線が文化2幎1805に刊行されおいる。収録䜜品は昭乗が埗意ずした垃袋図をはじめずしお人物や動怍物など倚岐にわたり、 原画に忠実に暡刻された䞊質な絵本に仕䞊がっおいる。近䞖埌期に束花堂の絵画が広く受容されおいたこずががよくわかる資料。

  • 惺々翁癟人䞀銖

    惺々翁 [曞],翰銙通

    束花堂昭乗筆の『小倉癟人䞀銖』を石に暡刻しお拓本をずり、孊曞や鑑賞のために折本 おりほん に仕立おた法垖。出版元の翰銙通は、江戞時代埌期にこの皮の法垖を䜕点か出版しおいる。

  • 束花堂印譜

    滝本坊昭乗 印圱,颚俗絵巻図画刊行䌚

    束花堂昭乗が䜿甚した印章をたずめた印譜。倧正9幎1920、颚俗絵巻図画刊行䌚の刊行。掲出は、そのうちから「猩々翁」の印圱。

Related Works

束花堂昭乗が唐の詩人癜居易の「長恚歌」ず序文を揮毫した詩巻。奥曞によれば、慶長19幎(1614)の秋に、近衛信尋の呜をうけお筆を執ったもので、昭乗䞉十代半ばの青幎期の曞である。この冒頭郚分は謹盎な曞きぶりで、いわゆる滝本流の筆臎はあたりうかがえない。

束花堂昭乗が唐の詩人癜居易の「長恚歌」ず序文を揮毫した詩巻。奥曞によれば、慶長19幎(1614)の秋に、近衛信尋の呜をうけお筆を執ったもので、昭乗䞉十代半ばの青幎期の曞である。冒頭郚分の謹盎な曞きぶりに比べるずこの巻末では、より自由にな筆臎で、滝本流の片鱗がうかがえる。

琵琶湖に浮かぶ竹生島ちくぶしたに䌝わったこずから「竹生島経」ず呌ばれおる法華経の巻末に蚘された束花堂昭乗の跋文。「右法華 方䟿品 䌝来源巊府俊房公之墚痕云云這公被曞宇治平等院額扉之由芋于胜曞䌝什以歀経校之恰劂合笊節无毫釐之差最可謂奇珍者乎。䟝所望,加奥曞矣寛氞䞁卯孟春日雄埳山䌝法比䞘昭乗(花抌)」。源俊房筆ずされおいる平等院の額扉ず比べたずころ、あたかも割り笊がぎったり合うように䞀臎するので、俊房真筆間違いなしず鑑定しおいる。「寛氞䞁卯孟春日」の日付から、寛氞41627幎1月の執筆。昭乗の叀筆愛奜がうかがえるもので、珟圚でもこれを源俊房筆ずする確蚌はないが、平安時代を代衚する装食経の䞀぀で、昭乗の鑑識県の確かさを物語る。

Shokado Shojo (1584-1639) was a Shingon Sect priest of the early Edo Period. “Shojo” is a Buddhist name; his real name was Shikibu. He joined the Shinto-Shingon Buddhist shrine of Iwashimizu Hachimangu, or Mt. Otokoyama (Mt. Otoko) Hachiman Shrine, near Kyoto to start religious training under the Reverend Takinobo Jitsujo and succeeded his mentor after his demise. Later, Shojo left the archbishop’s post to his disciple Jojun and retired to live in the Shokado (lit. “Pine and Flower Hall”) that he had erected, hence his literary pseudonym. Though trained by Prince Soncho (1552-1597) of the Shoren-In School of calligraphy, Shojo was more attracted to the Daishi School originated by the ancient religious leader Kobo Daishi Kukai. Some years later, Shojo developed an elegant and chic style of his own, departing from the Shoren-In School foundation. Hailed as Shokado School, or Takimoto School, Shojo’s own style became a fad among calligraphy aficionados and students. In painting, Shojo studied the Chinese India ink techniques of Muqi (Jp: Mokkei) of China’s Sung Dynasty and also mastered the art of colored Japanese painting (yamato-e).Exhibit shows a clear and detailed mountain-and-water landscape painting over underlying designs in silver and gold. In the foreground are a mountain villa and a stream, while peaks are seen at mid-distance. Far in the distance, the clouds adorn the sky, and pine trees are visible among the clouds. The painting is finished luxuriously. The cited poem was written by Fujiwara-no-Sadaie (1162-1241), listed in the Shin Kokin Wakashu (The New Collection of Ancient and Modern Japanese Poems), Vol. I.Shojo is generally known for sophistication, and the exhibited piece showcases his mastery of the Shoren-In School. In the elegantly flowing lines, one can also see traces of the influence of Kohitsu, or classical refinement that dates far back to the Heian Court.

束花堂昭乗が、枩庭筠、鮑溶、鄭谷、杜牧などの唐詩を隷曞、楷曞、草曞などのさたざたな曞䜓で曞きわけた巻物。掲出画像の巊寄りに倧きく曞かれた「寂」の字は、匘法倧垫・空海の曞をもずに生たれた「倧垫流」の曞颚によるものずもいわれる。

Shokado Shojo (1584-1639) was a Shingon Sect priest of the early Edo Period. “Shojo” is a Buddhist name; his real name was Shikibu. He joined the Shinto-Shingon Buddhist shrine of Iwashimizu Hachimangu, or Mt. Otokoyama (Mt. Otoko) Hachiman Shrine, near Kyoto to start religious training under the Reverend Takinobo Jitsujo and succeeded his mentor after his demise. Later, Shojo left the archbishop’s post to his disciple Jojun and retired to live in the Shokado (lit. “Pine and Flower Hall”) that he had erected, hence his literary pseudonym. Though trained by Prince Soncho (1552-1597) of the Shoren-In School of calligraphy, Shojo was more attracted to the Daishi School originated by the ancient religious leader Kobo Daishi Kukai. Some years later, Shojo developed an elegant and chic style of his own, departing from the Shoren-In School foundation. Hailed as Shokado School, or Takimoto School, Shojo’s own style became a fad among calligraphy aficionados and students. In painting, Shojo studied the Chinese India ink techniques of Muqi (Jp: Mokkei) of China’s Sung Dynasty and also mastered the art of colored Japanese painting (yamato-e).The exhibit is quotations from the Autobiography of the Master of Five Willows (Ch. Wuliu Xiansheng; Jp: Goryuu Sensei), a famous biography believed to have been written by the Chinese poet Tao Yuanming (Jp. To Enmei; 365-427) is written in the semi-cursive script (gyosho) of writing Chinese characters and the cursive script (sosho). According to the editorial notes at the end, the exhibited piece was written by Shojo on a beautifully decorated ryoshi, commissioned by a noble. It was around this time that citations from』Kobun Shimpo (lit. “Anthology of True Gems of Classical Poetry”), a collection of Chinese poems, essays and other works ranging from the Hang to Sung Dynasties, became popular. Most likely patterned after this fashion, both Hon-ami Koetsu and Shojo often produced decorated quotations like this one to be used as gifts. The Daishi School technique is clear in the clever mixture of large and small letters.

『続叀今和歌集』から、春歌銖、倏歌銖、秋歌銖、冬歌銖の郜合25銖を抄出しお、金泥の霞匕きをほどこした曲双の屏颚に散らし曞きしたもの。　　　　　

狩野山楜は、浅井長政の家臣たる朚村長光の子で、豊臣秀吉の掚挙で狩野氞埳に入門、すぐれた画才を発揮した。元和元幎〈1615〉豊臣家が滅びるず、同家の絵垫であった山楜は、石枅氎八幡宮の束花堂昭乗を頌っお身を寄せた。この賛は、その昭乗の自筆。奇しき因瞁ずいうべきか。枩和で優しい兞型的な束花堂流の曞颚である。「藀原興颚誰をかもしる人にせむ高砂の束も昔の友ならなくに」

本図は、氎墚に淡圩を加えた立姿の束垯倩神像である。巊手に梅枝を持぀のは、枡唐倩神の図様を取り入れたものであろう。右手の折本は、経兞ず思われる。賛者の九巌に぀いおは、日蓮宗の僧・元政1623-68の䌝歎においお、歳のころ、建仁寺の塔頭・倧統院の院䞻九巌長老に「寧銚児ねいけいじ」神童ずいわしめたずいう。この九巌が本図の賛者ではなかったか。

宛先の匏郚卿は、近衛家ずの関係から芋お若き日の束花堂昭乗ず思われる。「䞍䟋病気」は平癒したので心配はないこずを述べ、束花堂から莈られた枝柿ぞの瀌を簡朔に蚘しおいる。「䞍䟋は平癒候、䞍可有気遣候、枝柿什祝着候、先日は䞀冊什祝着候卯月五日　匏郚卿花抌」。執筆時期は䞍明だが、近衛信尹が倚病であった晩幎のものであろうず思われる。　　　　

束花堂昭乗䜜。

The ‘Yawata-gire’, traditionally attributed to Asukai Masaari contains manuscript copies from Go-Shui Wakashu, or the Later Collection of Gleanings of Japanese Poetry, and Senzai Wakashu (Anthology of Japanese Poems of a Thousand Years). The segment’s name derives from the Iwashimizu Hachiman (another pronunciation Yawata) Shrine in Yamashiro (Kyoto Prefecture), where the original had been handed down from generation to generation. This segment is considered to have been the property of Shokado Shojo (1584-1639), one of the three calligraphy masters of the Kanei Era (1624-1644), and he was a Buddhist priest serving at the Hachiman Shrine. Originally, it was a part of the thread-stitched bound volume. The paper is a kumogami (lit. paper with floating cloud pattern), with purplish and indigo bluish hues. This segment is a ‘elegy’ from Volume 10 of the Later Collection of Gleanings of Japanese Poetry. The handwriting is attributed to Asukai Masaari (1170-1221), a well-known poet of the Kamakura Period, but without verification. From the calligraphic style, the type of decorated paper, and the assumed dates of completion of the Later Collection of Gleanings of Japanese Poetry and Anthology of Japanese Poems of a Thousand Years, one can conclude that the original calligraphy was created toward the latter 13th century during the Kamakura Period.

写真集『聚楜』に収録された束花堂の倖芳。『聚楜』は、党囜の著名な寺院・庭園・茶宀などを蚘録した写真集。橋本基線、座右宝刊行䌚発行。第4期第7茯は昭和8幎1933刊。

同じく『聚楜』から束花堂の内郚。昭乗自筆の「枩花堂」の扁額が芋える。

同じく『聚楜』から束花堂の倖芳。

束花堂昭乗曞写した『和挢朗詠集』の䞀郚。䞀面に亀甲の文様の入った料玙に曞かれるが、掲出の「おもひかねいもかりゆけは冬の倜の河颚さむみちずりなくなり思ひかね効がり行けば冬の倜の川颚寒み千鳥なくなり」ずいう玀貫之の歌は滝本流ではなく、藀原定家の曞颚を暡しお曞かれおいる。

Letters by Shojo Shokado

  • 雄山閣

    『日本名筆党集』に収録された束花堂昭乗の曞状。眲名は「滝本坊」。「閏䞃月四日」の日付が蚘される。昭乗が「滝本坊」を名乗るのは、寛氞4幎以降であり、寛氞幎間で「閏7月」があるのは寛氞11幎1634なので、この曞状は寛氞11幎のものである。たた、返し曞きに「䞊様明日倧坂䞋向」の文蚀があるずころから、寛氞11幎の7月から8月にかけお、将軍家光が30䞇の倧郚隊を率いお䞊掛した際のものであるこずもわかる。この日、寛氞11幎の閏7月4日に、将軍家光は仙掞埡所に二床目の参内を行っおいる。

  • 束花堂昭乗

    Shokado Shojo (1584-1639) was a Buddhist priest of the Shingon Sect during the Edo Period. He also called himself Seisei-O. After becoming Takimoto-bo Jitsujo’s disciple, Shojo succeeded his master to become head priest of the Takimoto-bo sub-temple. Later, Shojo conceded his post to one of his disciples and retired to the newly-built Shokado sub-temple. His deep virtues and charismatic personality earned him numerous followers and friendships with Confucian scholars, Zen monks and other intellectuals of the age. Notable among them were Konoe Nobutada (1599-1649), Ishikawa Jozan (1583-1672), Kogetsu Sogan (1574-1643), and Takuan Soho (1573-1645). Shojo studied the Oieryu School (lit. “honorable family school,” also Oie School) of Japanese-style wayo calligraphy under Soncho Hosshinno (an imperial prince who resided at a Buddhist temple), but it was the great Kobo Daishi (Priest Kukai) who Shojo truly admired, favoring the Daishi Style. After mastering this style, Shojo perfected an elegant, free-flowing style of brushwork, which was later renowned as the Shokado School, or Takimoto School, of calligraphy. The name of the addressee is missing from the scroll. Shojo tells the addressee, whoever it is, that the tea scoop (a tea ceremony utensil) that he asked Kobori Enshu to make will be completed in a day or two. According to the letter, Shojo had obtained a piece of rare bamboo for making the utensil. Kobori Enshu, a close friend of Shojo’s, was the originator of Enshu Style sado (lit. “way of tea,” tea ceremony) and one of the most celebrated tea masters of the time. Shojo signed this letter “Takimoto-bo,” indicating that it was written between 1627, when he became head priest at Takimoto-bo at age 44, and 1637, when at age 54 he passed on this position to his disciple Jojun.

  • 束花堂昭乗

    Shokado Shojo (1584-1639) was a Buddhist priest of the Shingon Sect during the Edo Period. He also called himself Seisei-O. After becoming Takimoto-bo Jitsujo’s disciple, Shojo succeeded his master to become head priest of the Takimoto-bo sub-temple. Later, Shojo conceded his post to one of his disciples and retired to the newly-built Shokado sub-temple. His deep virtues and charismatic personality earned him numerous followers and friendships with Confucian scholars, Zen monks and other intellectuals of the age. Notable among them were Konoe Nobutada (1599-1649), Ishikawa Jozan (1583-1672), Kogetsu Sogan (1574-1643), and Takuan Soho (1573-1645). Shojo studied the Oieryu School (lit. “honorable family school,” also Oie School) of Japanese-style wayo calligraphy under Soncho Hosshinno (an imperial prince who resided at a Buddhist temple), but it was the great Kobo Daishi (Priest Kukai) who Shojo truly admired, favoring the Daishi Style. After mastering this style, Shojo perfected an elegant, free-flowing style of brushwork, which was later renowned as the Shokado School, or Takimoto School, of calligraphy. In this letter, Shokado Shojo writes that while he was visiting the residence of Ichijo Akiyoshi, Konoe Nobuhiro’s younger brother, he agreed to pay a future courtesy call on Tokugawa Yoshinao (appointed Major Counselor in 1626), with Nobuhiro and another member of the eminent Konoe family, Konoe Naotsugu. Yoshinao’s mother was Lady Okame, Shogun (Generalissimo) Tokugawa Ieyasu’s concubine, who was the daughter of Shimizu Munekiyo. Munekiyo was a priest at the Iwashimizu Hachiman Shrine. It seems that Yoshinao had taken a liking to Shojo due to his ties to the Iwashimizu Hachiman Shrine, the home of his mother. Shojo took advantage of this family contact and asks in this letter if his own brother, Nakanuma Sakyo-no-suke, can join the party to visit Nijo Castle and be received in audience by Yoshinao. In July 1634, Yoshinao accompanied Shogun Tokugawa Iemitsu on his trip to Kyoto, and this letter was likely written around the time of this important event, when Shojo was 52. The letter is addressed to To Shikibu, perhaps an aristocrat friend of Shojo’s who may have mediated business or social matters, but this person’s true identity is not known.

  • 束花堂昭乗

    Shokado Shojo (1584-1639) was a Buddhist priest of the Shingon Sect during the Edo Period. He also called himself Seisei-O. After becoming Takimoto-bo Jitsujo’s disciple, Shojo succeeded his master to become head priest of the Takimoto-bo sub-temple. Later, Shojo conceded his post to one of his disciples and retired to the newly-built Shokado sub-temple. His deep virtues and charismatic personality earned him numerous followers and friendships with Confucian scholars, Zen monks and other intellectuals of the age. Notable among them were Konoe Nobutada (1599-1649), Ishikawa Jozan (1583-1672), Kogetsu Sogan (1574-1643), and Takuan Soho (1573-1645). Shojo studied the Oieryu School (lit. “honorable family school,” also Oie School) of Japanese-style wayo calligraphy under Soncho Hosshinno (an imperial prince who resided at a Buddhist temple), but it was the great Kobo Daishi (Priest Kukai) who Shojo truly admired, favoring the Daishi Style. After mastering this style, Shojo perfected an elegant, free-flowing style of brushwork, which was later renowned as the Shokado School, or Takimoto School, of calligraphy. This letter is addressed to Tosai-Ro (lit. “Old Man Tosai”), perhaps a friend from poetry composition circles but whose identity is not known. Shojo says that today he is going down to Owari Province (present-day Aichi Prefecture) and will soon return to Kyoto. Upon his return, Shojo wants to visit and enjoy a conversation with the recipient.. The calligraphy strokes indicate that the letter was written impromptu, mostly likely in Shojo’s old age.

  • 束花堂昭乗筆,By Shokado Shojo (1584 - 1639),銬田通氏・豊島幞氏寄莈,東京囜立博物通,Tokyo National Museum

    束花堂昭乗の曞状。眲名に滝本坊ずあり、昭乗が滝本坊を名乗るのは、寛氞4幎3月23日から寛氞14幎たでの間なので、その時期の曞状である。滝本流の曞の特城が顕著にあらわれおいる。

  • 束花堂昭乗

    Shokado Shojo (1584-1639) was a Buddhist priest of the Shingon Sect during the Edo Period. He also called himself Seisei-O. After becoming Takimoto-bo Jitsujo’s disciple, Shojo succeeded his master to become head priest of the Takimoto-bo sub-temple. Later, Shojo conceded his post to one of his disciples and retired to the newly-built Shokado sub-temple. His deep virtues and charismatic personality earned him numerous followers and friendships with Confucian scholars, Zen monks and other intellectuals of the age. Notable among them were Konoe Nobutada (1599-1649), Ishikawa Jozan (1583-1672), Kogetsu Sogan (1574-1643), and Takuan Soho (1573-1645). Shojo studied the Oieryu School (lit. “honorable family school,” also Oie School) of Japanese-style wayo calligraphy under Soncho Hosshinno (an imperial prince who resided at a Buddhist temple), but it was the great Kobo Daishi (Priest Kukai) who Shojo truly admired, favoring the Daishi Style. After mastering this style, Shojo perfected an elegant, free-flowing style of brushwork, which was later renowned as the Shokado School, or Takimoto School, of calligraphy. This letter is addressed to the Governor of Inaba (Province), who had paid a courtesy call upon Lord Nagai Naomasa (1587-1668), the administrator of Yodo Castle. Shokado Shojo notes that he also met Naomasa two days earlier and asks to meet the governor himself. Naomasa was a famous warlord with artistic tastes who studied the art of tea under Furuta Oribe. He was closely associated with tea masters Kobori Enshu and Katagiri Sekishu. In the postscript, Shojo apologizes that due to his messenger’s fault, he did not receive the earlier letter that the governor had sent him.

  • 束花堂昭乗

    Shokado Shojo (1584-1639) was a Buddhist priest of the Shingon Sect during the Edo Period. He also called himself Seisei-O. After becoming Takimoto-bo Jitsujo’s disciple, Shojo succeeded his master to become head priest of the Takimoto-bo sub-temple. Later, Shojo conceded his post to one of his disciples and retired to the newly-built Shokado sub-temple. His deep virtues and charismatic personality earned him numerous followers and friendships with Confucian scholars, Zen monks and other intellectuals of the age. Notable among them were Konoe Nobutada (1599-1649), Ishikawa Jozan (1583-1672), Kogetsu Sogan (1574-1643), and Takuan Soho (1573-1645). Shojo studied the Oieryu School (lit. “honorable family school,” also Oie School) of Japanese-style wayo calligraphy under Soncho Hosshinno (an imperial prince who resided at a Buddhist temple), but it was the great Kobo Daishi (Priest Kukai) who Shojo truly admired, favoring the Daishi Style. After mastering this style, Shojo perfected an elegant, free-flowing style of brushwork, which was later renowned as the Shokado School, or Takimoto School, of calligraphy. From this letter, we learn that a person named Kinoshita Ukyo (unidentified; perhaps related to Kinoshita Nobutoshi) had asked Shokado Shojo to suggest some ancient calligraphy masterpieces for him to buy. Shojo recommends “Wakan Roeishu-gire” (a fragment from copies of verses in the Anthology of Japanese and Chinese Poems for Recitation), attributed to Gokyogoku Yoshitsune, and “Orai-gire” (lit. “Orai fragment”). The owner of the “Orai-gire” claims that it was written by Sesonji Tsunetomo (the ninth heir to the Sesonji School of calligraphy), but Shojo thinks that it was written by Sesonji Sadanari, who was Tsunetomo’s son.During the early Edo Period, the widespread practice of tea ceremony and the popularity of calligraphic exemplars triggered a collecting frenzy for ancient calligraphy masterpieces. Handwritten originals were cut into fragments, decorated, framed and traded as valuable pieces of art to be displayed in otherwise sober tea rooms. This letter serves as evidence of the rising fad. Shojo advises the addressee to collect only what he likes and not be affected by their value, revealing an interesting point on connoisseurship. In this sense, this letter is quite thought-provoking.

  • 束花堂昭乗

    Shokado Shojo (1584-1639) was a Buddhist priest of the Shingon Sect during the Edo Period. After becoming Takimoto-bo Jitsujo’s disciple, Shojo succeeded his master to become head priest of the Takimoto-bo sub-temple. Later, Shojo conceded his post to one of his disciples and retired to the newly-built Shokado sub-temple. His deep virtues and charismatic personality earned him numerous followers and friendships with Confucian scholars, Zen monks and other intellectuals of the age. Notable among them were Konoe Nobutada (1599-1649), Ishikawa Jozan (1583-1672), Kogetsu Sogan (1574-1643), and Takuan Soho (1573-1645). Shojo studied the Oieryu School (lit. “honorable family school,” also Oie School) of Japanese-style wayo calligraphy under princely priest Soncho (an imperial prince who resided at a Buddhist temple), but it was the great Kobo Daishi (Priest Kukai) who Shojo truly admired, favoring the Daishi Style. After mastering this style, Shojo perfected an elegant, free-flowing style of brushwork, which was later renowned as the Shokado School, or Takimoto School, of calligraphy. The addressee’s name must have been written on the surface of the folded letter, but it was lost when the letter was fragmented and framed. The unidentified recipient, from whom Shojo received a basketful of ripe persimmons and a poem, is likely to have been someone very close, and Shojo apologizes that he wasn’t able to send a thank-you note for the gift sooner because he was busy with a commissioned calligraphy work. This letter of gratitude was written after 1637, when Shojo moved to the Shokado sub-temple.

  • 束花堂昭乗

    Shokado Shojo (1584-1639) was a Buddhist priest of the Shingon Sect during the Edo Period. He also called himself Seisei-O. After becoming Takimoto-bo Jitsujo’s disciple, Shojo succeeded his master to become head priest of the Takimoto-bo sub-temple. Later, Shojo conceded his post to one of his disciples and retired to the newly-built Shokado sub-temple. His deep virtues and charismatic personality earned him numerous followers and friendships with Confucian scholars, Zen monks and other intellectuals of the age. Notable among them were Konoe Nobutada (1599-1649), Ishikawa Jozan (1583-1672), Kogetsu Sogan (1574-1643), and Takuan Soho (1573-1645). Shojo studied the Oieryu School (lit. “honorable family school,” also Oie School) of Japanese-style wayo calligraphy under Soncho Hosshinno (an imperial prince who resided at a Buddhist temple), but it was the great Kobo Daishi (Priest Kukai) who Shojo truly admired, favoring the Daishi Style. After mastering this style, Shojo perfected an elegant, free-flowing style of brushwork, which was later renowned as the Shokado School, or Takimoto School, of calligraphy. At its beginning, this letter makes mention of “Your Excellency,” but it is not a reference to the Tokugawa Shogun. Instead, it refers to Shojo’s close friend. noble Konoe Nobuhiro. Addressing Ueda Koheiji, a courtesan serving the Konoe family, Shojo thanks Lord Konoe for the basketful of persimmon that arrived when he was ill in bed. The letter insinuates that he was gravely ill, and it is known that Shojo succumbed to illness on September 18, 1639. As such, this letter, dated September 11, could have been written only seven days before this highly acclaimed priest died, assuming that it was written in the same year. If so, it could be one of Shojo’s very last writings and therefore a priceless treasure.

Successors of the Shokado-ryu school of calligraphy 

  • 豊蔵坊信海

    Hozobo Shinkai (1626-88) was a Buddhist monk serving at Iwashimizu Hachiman Shrine. Priest Shinkai practiced calligraphy and brush-and-ink painting under Shokado Shojo (1582-1639), sado (tea ceremony) under Kobori Enshu (1579-1647), and haikai (haiku) under Matsunaga Teitoku (1571-1654). But it was in composing kyoka (humorous poems) that he far surpassed all others. As one of the representative kyoka writers of his time, Shinkai associated with other famous men of letters, including Ogimachi Sanetoyo (1620-1703), Nakanoin Michishige (1630-1710) and Kitamura Kigin (1625-1705).Interestingly, Priest Shinkai signed this letter with his secular name, Takao. It seems that he had been in the countryside somewhere and writes that he will return home in two days, on November 17th. Takao likely stayed with the addressee as he thanks him for a gift of pinecones (a delicacy). The writing style is typical Shokado School.

  • 豊蔵坊信海

    Hozobo Shinkai (1626-88) was a Buddhist monk serving at Iwashimizu Hachiman Shrine. Priest Shinkai practiced calligraphy and brush-and-ink painting under Shokado Shojo (1582-1639), sado (tea ceremony) under Kobori Enshu (1579-1647), and haikai (haiku) under Matsunaga Teitoku (1571-1654). But it was in composing kyoka (humorous poems) that he far surpassed all others. As one of the representative kyoka writers of his time, Shinkai associated with other famous men of letters, including Ogimachi Sanetoyo (1620-1703), Nakanoin Michishige (1630-1710) and Kitamura Kigin (1625-1705).Two different styles of writing are visible in this piece since the addressee, a Kakuju (identity unknown), wrote his reply in the blank spaces of Shinkai’s original letter. The “jikuju” being discussed between the two men refers to the second set of Mantra a believer offers to Fudo Myoo (Acala Vidyaaraaja; God of Fire). These magic spells are believed to ward off ill fortunes. In his reply, Kakuju writes that he is making 8,000 manuscripts of the jikuju prayer but complains bitterly that the work is much too harsh on an old man, especially during the bitter cold of winter. Shinkai’s purpose for writing was to set a date for meeting with Kakuju, and each of his characters slants toward the bottom right, indicating that he was writing in a hurry.

  • 豊蔵坊信海

    Hozobo Shinkai (1626-88) was a Buddhist monk serving at Iwashimizu Hachiman Shrine. Priest Shinkai practiced calligraphy and brush-and-ink painting under Shokado Shojo (1582-1639), sado (tea ceremony) under Kobori Enshu (1579-1647), and haikai (haiku) under Matsunaga Teitoku (1571-1654). But it was in composing kyoka (humorous poems) that he far surpassed all others. As one of the representative kyoka writers of his time, Shinkai associated with other famous men of letters, including Ogimachi Sanetoyo (1620-1703), Nakanoin Michishige (1630-1710) and Kitamura Kigin (1625-1705).Writing in the Shokado style, Priest Shinkai advises that he is going to send a baby swallow as a gift for the recipient’s children. But instead of using the word “tsubame,” which means swallow(s), he uses the characters denoting “kakitsubata,” which are actually iris-like flowers. The move is quite poetic as the petals of this elegant flower resemble a swallow in flight, and it also denotes the close friendship Shinkai must have had with the recipient, who was perhaps the head priest of Iwashimizu Hachiman Shrine. Shinkai writes that the baby swallow is very small but seems ready to fly any time now.

  • 法童坊孝以

    Hodobo Koyi (years of birth and death unknown) was a Buddhist priest serving at the Iwashimizu Hachiman Shrine during the early Edo Period. His name derives from the “Hodobo,” the name of the residence for priests erected in the Buddhist temple sanctuary. He studied India-ink writing and painting under Shokado Shojo (1584-1639) and was later admired as one of the high-ranking disciples. His classmates included Takimotobo Jojun (years of birth and death unknown), Nakamura Kyuetsu (1590-1677), Hozobo Shinkai (1635?-1688) and Fujita Yukan (years of birth and death unknown), among whom Koyi and Shinkai were most prominent. His brushworks are reproduced in Shokado School calligraphy exemplars. The exhibited handscroll shows torinoko paper with fabric patterns, which is then decorated with extremely fine, sand-like silver and gold foils to depict the mist, while flowers and grass are painted with gold mud to a luxury finish. The brushwork is simply a list of the names of different provinces, official posts and other proper nouns. While popular calligraphy textbooks, or exemplars, used letters and poetry quotations, a simple list of place names may also have been useful for beginners. The writer’s note states that this piece showing the typical Shokado School features was completed in September 1649. But we don’t know the writer’s age, and the date of his birth is not clear.

  • 滝本坊乗淳

    Takimotobo Jojun (years of birth and death unknown) was a Shingon Sect Buddhist monk, as well as an achieved calligrapher, of the early Edo Period. He was the son of Nakanuma Sakyo (, the elder brother of Shokado Shojo (1584-1638), a Buddhist monk and famous calligrapher. Following in his famous uncle’s footsteps, Jojun became the third bishop of the Takimotobo sub-temple of Iwashimizu Hachiman Shrine, not to mention a faithful follower of the Shojo Style his uncle originated. A genealogyof calligraphic instructors listed in the Takimoto School Shokado Hisseki-ho Cho (lit. “Collection of Exemplary Texts of Shokado School Calligraphy”) includes Jojun’s name immediately after Shojo’s. This means Jojun was the second-generation head of the Takimoto School, a school that found ardent followers among Shojo’s close friends, who were mostly priests but also laymen, and that became popular among Edo’s townspeople.This letter is addressed to Nishikawa Yasuyemon, who had given Jojun a hand towel as a gift the night before. Jojun thanks Yasuyemon for the gift and also for arranging a meeting for both himself and Shojo with Mr. Hosai (whose identity is not known) on the 16th.Jojun also reports how he is doing.

  • 藀田友閑

    Fujita Yukan (year of birth and death unknown) practiced calligraphy under Shokado Shojo (1584-1639) and later became an achieved Shokado School calligrapher. He was originally from Settsu Province (today’s Osaka) and pursued an active career in the early Edo Period. Interestingly, it was Yukan’s wife who prompted him to learn calligraphy, reminding him of his ugly handwriting. After twenty years of hard work, Yukan mastered the art of brushwork in calligraphy and painting, and earned a reputation as Shojo’s protégé. Yukan was said to have had 1,000 students at one time.This letter is a reply to Watanabe Gorobe, who had advised Yukan that Sotetsu (for whom Watanabe probably served as retainer), Doshu and other family members were well. Yukan’s letter refers to “a bag each of two kinds of medicine” that Doshu had sent him, calling himself “a sick man.” From this, one can assume that Sotetsu and Doshu were doctors, and, from other documents, we know there was a doctor named Sotetsu, who was the son of the court physician Yamawaki Genshin. Yamawaki studied medicine under the famous Manase Gensaku (1549-1631). Therefore, the Sotetsu mentioned in this letter could have been Yamawaki Genshin’s son. It’s likely that Doshu was Sotetsu’s son or brother. The generous and uninhibited flow of the script here is proof of the mastery Yukan achieved in the Shokado School.

  • 藀田友閑

    Fujita Yukan (years of birth and death unknown) lived during the early Edo Period. He was born in Tonda in Settsu (Osaka) and later adopted various pseudonyms; first Eikan, which he changed to Yukan, and then changing it to Saiun-Oh (lit. old gentleman of colored clouds) in old age. Yukan’s handwriting was ugly until the prime of his life. Upon strong advice from his wife, Yukan took up calligraphy practice under Shokado Shojo (1584-1639), one of the most celebrated calligraphers of the time, hailed as “Kanei-no-Sampitsu” (Three Brushes of the Kanei Era). Later, Yukan became one of Shojo’s best disciples and trained over a thousand students himself. He also showed talent as a waka poet and in brush-and-ink painting. This handscroll copy of 10 poems from the works of 10 famous Tang Dynasty Chinese poets showcases Yukan’s mastery of the Daishi School calligraphy, developed from the writing style of the Reverend Kobo Daishi Kukai (774-835). Yukan’s master, Shokado Shojo, was particularly known for his adoption of the Daishi School style. This finely decorated handscroll was produced upon commission from a noble.

  • 藀田友閑

    Fujita Yukan (years of birth and death unknown) lived during the early Edo Period. He was born in Tonda in Settsu (Osaka) and later adopted various pseudonyms; first Eikan, which he changed to Yukan, and then changing it to Saiun-Oh (lit. old gentleman of colored clouds) in old age. Yukan’s handwriting was ugly until the prime of his life. Upon strong advice from his wife, Yukan took up calligraphy practice under Shokado Shojo (1584-1639), one of the most celebrated calligraphers of the time, hailed as “Kanei-no-Sampitsu” (Three Brushes of the Kanei Era). Later, Yukan became one of Shojo’s best disciples and trained over a thousand students himself. He also showed talent as a waka poet and in brush-and-ink painting. The exhibit is a copy of Chapter 137 from Yoshida Kenko’s Tsurezure Gusa (Essays in Idleness). The brushstrokes are typical of the Shokado School. This handscroll was perhaps produced as an exemplar for Yukan’s disciples for practicing kana syllables.

  • 䞭村久越

    䞭村久越なかむらきゅうえ぀・生没幎未詳は、京郜の人。名は盎蚘ただのり、はじめ久六きゅうろくずいった。号は卓斎たくさい。詳しい䌝蚘は䞍明だが、山城の男山八幡宮に䜏し、そこで束花堂昭乗に぀いお曞を孊び、束花堂流滝本流の名手の䞀人ずしお掻躍したようだ。束花堂の高匟で、曞法の印可免蚱を受けたず䌝える本もある。この短冊の詠歌は、『新埌拟遺和歌集』に所収される寂蓮法垫の歌。これに久越は自眲を加えおおり、珍しい遺䟋である。

  • 藀田乗因

    The son of Fujita Yukan (years of birth and death unknown), Joyin was a calligrapher whose active career was between 1673 and ’81, but the years of his birth and death are not known. Joyin practiced calligraphy under Takimotobo Jojun, successor to the Takimoto School originated by Shokado Shojo. After many years of hard work, Joyin reached mastery and was later hailed as an authentic writer of the school. Most likely, Joyin was named after Jojun, borrowing the character for “Jo” from his master’s name.During one period of his career, Fujita Joyin was engaged in hot debate with the Obaku (Ch. Huangbo) Sect Priest Dokuryu (Dokuryu Shoeki; Ch. Duli Xingyi; 1596-1672) of Manpukuji Temple in Uji over stylistics concerning calligraphy. Deeply attached to the styles of ancient Chinese master calligraphers Wan Xizhi and Wang Xianzhi (the Two Wangs), Priest Dokuryu slighted the brushwork done by the Reverend Kobo Daishi Kukai, after which the Daishi School was patterned. Joyin’s Takimoto School was, so to speak, a spin-off of the Daishi School. In the course of the debate, Joyin presented to Dokuryu a treatise he had written on calligraphic styles. Upon reading it, Dokuryu was embarrassed of his shallow learning and immediately retracted his earlier criticism. This episode is noteworthy as it shows Joyin’s scholarship, as well as dedication to the Takimoto School.Two men, their names written one above the other, are the addressees of this letter. One, Yamaji Matazaemon, was probably the father of the other, Yamaji Kanuyemon, Joyin’s disciple. Here Joyin thanks the Yamajis for the gift of delicacies they sent during tanabata (the Star Festival). The letter suggests that Joyin’s relationship with Kanuyemon and his family is one that every teacher longs to have.

  • 藀田乗因

    The son of Fujita Yukan (years of birth and death unknown), Joyin was a calligrapher whose active career was between 1673 and ’81, but the years of his birth and death are not known. Joyin practiced calligraphy under Takimotobo Jojun, successor to the Takimoto School originated by Shokado Shojo. After many years of hard work, Joyin reached mastery and was later hailed as an authentic writer of the school. Most likely, Joyin was named after Jojun, borrowing the character for “Jo” from his master’s name.During one period of his career, Fujita Joyin was engaged in hot debate with the Obaku (Ch. Huangbo) Sect Priest Dokuryu (Dokuryu Shoeki; Ch. Duli Xingyi; 1596-1672) of Manpukuji Temple in Uji over stylistics concerning calligraphy. Deeply attached to the styles of ancient Chinese master calligraphers Wan Xizhi and Wang Xianzhi (the Two Wangs), Priest Dokuryu slighted the brushwork done by the Reverend Kobo Daishi Kukai, after which the Daishi School was patterned. Joyin’s Takimoto School was, so to speak, a spin-off of the Daishi School. In the course of the debate, Joyin presented to Dokuryu a treatise he had written on calligraphic styles. Upon reading it, Dokuryu was embarrassed of his shallow learning and immediately retracted his earlier criticism. This episode is noteworthy as it shows Joyin’s scholarship, as well as dedication to the Takimoto School.From this letter, one can learn that Yamaji Kanuyemon, a student, was planning to visit Joyin on the 24th or 25th. But being occupied on these two days, Joyin suggests meeting in town on the 23rd as he is already planning to go there that day. Perhaps Joyin also wanted to meet sooner as it seems he has something that needs to be discussed. Other than that, no other details are known, but the letter’s context shows that the two correspondents were quite close.

Institutions Holding Related Materials

  • The National Diet Library (NDL), founded in 1948, is the library which belongs to the Diet. The NDL assists the activities of the National Diet. The Library collects and conserves materials and information both from Japan and abroad, serving as a foundation of knowledge and culture and providing library services to administrative and judicial entities and Japanese citizens.

  • The National Archives is an organization for preserving, as historical materials, public records and archives of importance transferred from state organs, and providing them for public use, with the aim of achieving appropriate preservation and use of such public records and archives that are kept in the National Archives or state organs as historical materials.

  • Kyoto National Museum collects, preserves, displays, researches and provides educational programs focusing on cultural properties from Heian- through to Edo- period Japan, when the capital was located there.

  • Keio Museum Commons [KeMCo] functions as a "hub" of Keio's cultural assets, which spans a variety of fields including art, archaeology, literature, history, and medicine, and the educational and research activities behind it. At KeMCo, we aim to create a place where various communities can interact and generate new discoveries and ideas based on cultural properties (objects) in an environment where digital and analogue technologies are fused together.

  • 日本ならびに東掋の粟神文化を研究する慶應矩塟倧孊の研究所。株匏䌚瀟麻生商店珟・麻生グルヌプ瀟長麻生倪賀吉氏が、同商店20呚幎蚘念事業の䞀環ずしお、日本䞊びに東掋の粟神文化を研究する研究所ずしお、1938幎12月に犏岡垂内に蚭立した財団法人斯道文庫を前身ずする。所蔵コレクションのうち「センチュリヌ赀尟コレクション」は、　旺文瀟瀟長であった故赀尟奜倫氏が、1979幎に蚭立した財団法人センチュリヌ文化財団旧蔵のコレクションで、文字文化に関する資料が䞭栞をなしおおり、さらに絵画資料や工芞品等も良質なものが含たれおいたす。

  • As Japan’s representative museum, Tokyo National Museum collects, preserves, displays, and researches the cultural properties of Asia with a focus on Japan, and also provides educational programs.

  • Kyushu National Museum explores how Japan’s history of cultural exchange with the rest of Asia has impacted the formation of its culture. To that end, we engage in the collection, preservation, exhibition, and research of cultural properties, in addition to providing educational outreach to the local community.

  • 束花堂昭乗の生涯や関連資料が展瀺されおいる。園内には圌が䜏んでいた草庵「束花堂」が移築されおいる。所圚地は京郜府八幡垂。

External Links

  • 束花堂昭乗に関する䜜品や資料を調べるこずができる。

  • 京郜府八幡の歎史に぀いおの探究ず共有を目指す「八幡の歎史を探究する䌚」によるサむト。䌚員による研究発衚の䞭には束花堂昭乗に関する蚘事も倚数収録されおいる。

References

  1. 至文堂 ç·š,囜立文化財機構 監修,ぎょうせい
  3. 山口恭子 著,思文閣出版
  4. 小束茂矎 著,講談瀟
  5. 波倚野幞圊著,思文閣出版,波倚野, 幞圊||ハタノ, ナキヒコ <AU00252325>
  6. 「束花堂昭乗」の項
  7. 「束花堂昭乗」の項
  8. 「束花堂昭乗」の項
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Last updated
March 5, 2024