Karasuma Mitsuhiro

The forerunner of the “Rinpa” trend in Japanese art, which is characterized by refined composition and highly decorative qualities

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

Mitsuhiro Karasuma received cordial treatment from Ieyasu Tokugawa and Hidetada Tokugawa, and served as mediator between the Imperial Court and the Edo shogunate. When Ieyasu Tokugawa was enshrined at Toshogu as the deity Tosho Daigongen, Mitsuhiro Karasuma accompanied his remains on the trip from Kunozan Toshogu, where the Ieyasu was first buried according to his instructions, to Toshogu in Nikko, where the shogun was reinterred.

Japan's first imperial anthology of Japanese poetry, completed early in the Heian period

Japan’s highest mountain, revered by Japanese since antiquity

Mitsuhiro Karasuma was a skilled calligrapher, representative of the early Edo period (c. 1603 – 1700).

著者:烏丸光広

江戸前期の歌集。10巻。烏丸光広の歌を、孫の資慶が編集したもの。寛文9年（1669）成立。歌数は約1670首。掲出は元禄12年（1699）の刊本。

著者:烏丸光広

元和3年（1617）、東照大権現の神号を勅許された徳川家康の遺体が久能山から日光の東照宮に改葬される旅に供奉した烏丸光広の紀行文。遺体を収めた棺（神棺）が3月15日に久能山を出で、4月８日、日光山奥院に安置されるまでを記す。

烏丸光広

This is an original manuscript by the court noble KARASUMARU Mitsuhiro (1579–1638), who recorded the teachings in poetry of his instructor HOSOKAWA Yūsai (1534–1610), a high-ranking general and poet who introduced medieval poetry to a wide audience in the Edo period (1603–1868), over 70 times from the eighth month of the third year of Keichō (1598) until the twelfth month of the seventh year of the same era (1602) at Tanabe Castle. The title of the manuscript, Deep in the Ear, appears at the center of the simple brown cover of the manuscript, and on the back there is “ichi ni ki” in the same handwriting. Mitsuhiro’s seal appears on the reverse side of the cover page, and the title inside the book reads: “Yusai’s lectures recorded by Mitsuhiro.” Only the cover is inscribed with hiragana script, while the back and subsequent pages are written in katakana, which could be written more quickly than hiragana. The ink color has changed and there is noticeable loss of ink and a lot of blank paper at the end, all clear indications of an original. Although Deep in the Ear is a collection of miscellaneous waka poetics arranged in an unsystematic way, it is a valuable source about Yūsai's ideas and the orthodox thought on poetry of the Sanjō-Nishike family, with whom he studied. The calligraphy of the box of this manuscript, which reads “Deep in the Ear, in the handwriting of Lord Mitsuhiro,” is thought have been inscribed by ASUKAI Masaaki (1611–79), and is consistent with the colophon by KARASUMARU Mitsumoto in the Asukai family’s own handwritten manuscript from the fifth year of the An’ei era (1776) in the Tenri Library Collection. ／ Deep in the Ear was highly valued due to the eminent reputations of HOSOKAWA Yūsai (1534–1610) and his disciple KARASUMARU Mitsuhiro (1579–1638), and many manuscripts of the text are still extant. There are also printed editions from the first year of the Kanbun era (1661), the second year of the Genroku era (1689), the fifteenth year of the same era (1702), and several unpublished printed editions. This edition is noteworthy as a rare example of a printed book on poetry related to court nobles from the early Edo period (1603–1868). It is one of many printed editions of the book that has been handed down from generation to generation, and was published with the text “Hayashi Izumi no jō edition” at the end. The preface states that common words were left unchanged, katakana was changed to hiragana for the sake of children, and quotations from poems were transcribed as complete poems instead. Also, the signature and seal found on the back of the first page of the book can be traced back to the original. At the time of publication, this edition was divided into three volumes, and the titles “volume one, two and three of Deep in the Ear,” can be found at the beginning of the books. The biggest difference between this printed edition and the original manuscript is the addition of a list of prohibited words in composing poetry, which is said to have been transcribed from an appendix by Mitsuhiro. The printed editions are displayed here as one set, so they can be compared with Mitsuhiro’s manuscript. Description from the exhibition Catalogue "Letter-scape: Century Akao Collection, A World of Letters and Figures", Keio Museum Commons, April 2021

烏丸光広

This is an original manuscript by the court noble KARASUMARU Mitsuhiro (1579–1638), who recorded the teachings in poetry of his instructor HOSOKAWA Yūsai (1534–1610), a high-ranking general and poet who introduced medieval poetry to a wide audience in the Edo period (1603–1868), over 70 times from the eighth month of the third year of Keichō (1598) until the twelfth month of the seventh year of the same era (1602) at Tanabe Castle. The title of the manuscript, Deep in the Ear, appears at the center of the simple brown cover of the manuscript, and on the back there is “ichi ni ki” in the same handwriting. Mitsuhiro’s seal appears on the reverse side of the cover page, and the title inside the book reads: “Yusai’s lectures recorded by Mitsuhiro.” Only the cover is inscribed with hiragana script, while the back and subsequent pages are written in katakana, which could be written more quickly than hiragana. The ink color has changed and there is noticeable loss of ink and a lot of blank paper at the end, all clear indications of an original. Although Deep in the Ear is a collection of miscellaneous waka poetics arranged in an unsystematic way, it is a valuable source about Yūsai's ideas and the orthodox thought on poetry of the Sanjō-Nishike family, with whom he studied. The calligraphy of the box of this manuscript, which reads “Deep in the Ear, in the handwriting of Lord Mitsuhiro,” is thought have been inscribed by ASUKAI Masaaki (1611–79), and is consistent with the colophon by KARASUMARU Mitsumoto in the Asukai family’s own handwritten manuscript from the fifth year of the An’ei era (1776) in the Tenri Library Collection. ／ Deep in the Ear was highly valued due to the eminent reputations of HOSOKAWA Yūsai (1534–1610) and his disciple KARASUMARU Mitsuhiro (1579–1638), and many manuscripts of the text are still extant. There are also printed editions from the first year of the Kanbun era (1661), the second year of the Genroku era (1689), the fifteenth year of the same era (1702), and several unpublished printed editions. This edition is noteworthy as a rare example of a printed book on poetry related to court nobles from the early Edo period (1603–1868). It is one of many printed editions of the book that has been handed down from generation to generation, and was published with the text “Hayashi Izumi no jō edition” at the end. The preface states that common words were left unchanged, katakana was changed to hiragana for the sake of children, and quotations from poems were transcribed as complete poems instead. Also, the signature and seal found on the back of the first page of the book can be traced back to the original. At the time of publication, this edition was divided into three volumes, and the titles “volume one, two and three of Deep in the Ear,” can be found at the beginning of the books. The biggest difference between this printed edition and the original manuscript is the addition of a list of prohibited words in composing poetry, which is said to have been transcribed from an appendix by Mitsuhiro. The printed editions are displayed here as one set, so they can be compared with Mitsuhiro’s manuscript. Description from the exhibition Catalogue "Letter-scape: Century Akao Collection, A World of Letters and Figures", Keio Museum Commons, April 2021

烏丸光広,刊

寛永12年 (1635)、烏丸光広が、左大臣二条康道の供で京都から江戸へ下った際の紀行文。２月6日に京を出発して、19日に品川に到着するまで15日間の行程を記す。旅の目的は、勅使・院使らの年賀の下向に随行したもので、光広の東海道の紀行文としては、元和四年(1618)夏の『あづまの道の記』に次ぐもの。記述はおおむね簡略で、和歌・漢詩・狂歌をまじえて、綴られている。掲出本は、元禄6年（1693）の刊本。

佐野紹益,得栄堂

京都の豪商佐野紹益による随筆。天和2年（1682）刊。紹益は、本阿弥光悦の甥光益を父とする京都の富商。屋号から灰屋紹益とも。本書は、本阿弥光悦、烏丸光広、八条宮智忠親王など当代の文化人との風流な交流や、茶道、歌論に関わる記述に富むが、特に光悦とは幼少時からそば近くで馴れ親しんだ関係から、光悦の日常をうわかがわせる貴重な史料である。掲出部分には「からす丸光広卿 は、光悦に物書事をならひ物し給ひける」とあり、烏丸光広が本阿弥光悦に書の手ほどきを受けたことを述べている。

江戸初期の年代記『当代記』に記された官女密通事件（猪熊事件）に登場する烏丸光広の名前。慶長14年7月、5人の官女と烏丸光広を含む7人の公卿の密通事件が発覚し、5人の中に後陽成天皇寵愛の者が含まれていたところから天皇は激怒して全員死罪を求める大事件となった。首謀者の猪熊教利 （いのくまのりとし）は斬罪となり、他の公卿のうち5人は蝦夷 などに配流されているが、光広は処罰を免れた。『当代記』は、徳川家康の外孫で姫路城主松平忠明の著といわれるが不詳。織豊政権期から江戸幕府の成立期にかけての政治、社会の状況を編年的に記録する。掲出本は、国立公文書館所蔵の江戸初期の写本。

[藤原顕輔] [撰]

第6番目の勅撰和歌集。崇徳天皇（1119-64）の院宣により藤原顕輔（1090-1155）が仁平元年（1151）に撰集した。10巻に415首を収める。当該本の巻尾には、関白・二条昭実（1556-1619）が天正13年（1585）に書写した旨の奥書が記される。また併せて、外題の染筆者を三藐院・近衛信尹（1565-1614）とする、烏丸光広（1579-1638）の署名のある極め書きを付す。

写

烏丸光広書写による「小倉山荘色紙和歌」の百首。小形の色紙に上の句と下の句を分けて書かれている。「小倉山荘色紙和歌」は藤原定家が選んだとされる百首の秀歌で内容は百人一首と同じだが、この烏丸光広による写本には、「住の江の岸に寄る波よるさへや夢の通ひ路人目よくらむ（藤原敏行）」一首と、「夜をこめて鳥のそら音ははかるともよに逢坂の関は許さじ（清少納言）」の上の句を欠いている。冒頭に江戸後期の国学者で、『百人一首一夕話』などの著書のある尾崎雅嘉の序（寛政10年）が備わる。

烏丸光広筆,By Karasumaru Mitsuhiro (1579–1638),東京国立博物館,Tokyo National Museum

烏丸光広による江戸下りの紀行文。京都から江戸に至るまでの東海道の道中を絵や歌をも交えて綴る。掲出は、東海道の難所で知られた歌枕「小夜の中山（静岡県掛川市東部にある山地）を詠み込んだ部分。烏丸光広は朝廷と幕府の斡旋役として、生涯に何度か京と江戸を往復しているが、『東行記』がいつの江戸下りの際の紀行文かは不明。また、烏丸光広にはこれとは別に元和四年(1618)六月に江戸に下向した際の紀行『あつまの道の記』がある。

烏丸光広,Karasumaru Mitsuhiro,京都国立博物館 Kyoto National Museum,Kyoto National Museum

東京国立博物館に所蔵される烏丸光広の紀行文『東行記』の草稿。掲出は、東博本であげたのと同じ箇所で、東海道の難所で知られた歌枕「小夜の中山（静岡県掛川市東部にある山地）を詠み込んだ部分。

烏丸光広

This illustrated handscroll depicts the life of the poet Saigyō from the time he became a buddhist monk until his death. The varying extant texts of the tale can be divided into four different kinds of manuscripts: The Kohon, the Ryakubon, the Uneme, and the Eisho-Kan’ei lineage. This one is part of the Uneme lineage. At the end of the scroll, there is an inscription by Sanjō Kin'atsu (1439–1507) from the 9th year of the Meiō era (1500), which states that Kaida-Uneme no suke Sukeyasu painted the images and that the calligraphy was copied by Kin’atsu based on an original manuscript that was passed down at the imperial court, the so-called Imperial Palace Copy. Only in the second volume, KARASUMARU Mitsuhiro (1579–1638) applies his own style of calligraphy. It is interesting to note the differences between this work and two other versions of the story painted by TAWARAYA Sōtatsu (dates unknown) by Mitsuhiro’s order. One of these versions used to be owned by the Mōri family and is now part of the collection of the Idemitsu Museum of Art, and the other from the Watanabe family is currently held at the Agency for Cultural affairs. While Sōtatsu applied his characteristic way of depicting the shapes of clothes and tarashikomi (paint dripping) technique, this version is said to be faithful copies of the Imperial Palace Copy. Indeed, in the scene where Saigyō worships at Nachi Falls, the vivid mountains in blue and green, and the composition of the waterfalls pouring down vertically are powerful and bring to mind the Muromachi-period (1336–1573) original. Description from the exhibition Catalogue "Letter-scape: Century Akao Collection, A World of Letters and Figures", Keio Museum Commons, April 2021

俵屋宗達筆、烏丸光広賛,By Tawaraya Sōtatsu (dates unknown); inscription by Karasumaru Mitsuhiro (1579–1638),東京国立博物館,Tokyo National Museum

源氏物語』の「関屋」に取材した屏風絵。伝俵屋宗達筆、烏丸光広賛。図の上方に烏丸光広による「関屋」の一節と自詠の和歌が書かれている。光源氏が石山詣の途中、逢坂の関でかつての恋人空蝉（うつせみ）の一行と出会う場面で、絵は背景を一切省いた金地に、源氏らに道を譲るために牛車を止めて待つ空蝉の一行のみを描く。「宗達法橋」の署名があり、賛には光広最晩年の花押が据えられている。

俵屋宗達筆、烏丸光広賛,By Tawaraya Sōtatsu (dates unknown); inscription by Karasumaru Mitsuhiro (1579–1638),東京国立博物館,Tokyo National Museum

伝俵屋宗達筆、烏丸光広賛の「関屋図屏風」の光広賛の部分。「うち出／の／はまくる／ほど／に／殿は／粟田山／こえたまひ／ぬ/行と／来と／せきとめ／がたき／なみだをや／関の清／水と／人は／みるらん」。

烏丸光広筆,By Karasumaru Mitsuhiro (1579–1638),東京国立博物館,Tokyo National Museum

天正16年(1588)、後陽成天皇が聚楽第に行幸した際の記録「聚楽第行幸記」を資料として、烏丸光広が当日の和歌会で披露された歌を揮毫した和歌巻。筆運びに彼独自のリズム感を発揮しており、奔放かつ自在な筆致は見どころの一つ。　

烏丸光広

Karasumaru Mitsuhiro (1579-1638) was an Edo-Period aristocrat and noted poet, who was the son of the Minister Equivalent Mitsunobu (1549-1611). Although he advanced smoothly in the official hierarchy, his entanglement in a palace group sex scandal involving several ladies-in-waiting (1609) angered Emperor Goyozei (1571-1617) so much so that he was banished into exile. Later, General Tokugawa Ieyasu (1542-1616) worked to have Mitsuhiro pardoned. After being released from banishment, he reassumed a public office, eventually becoming the Provisional Major Counselor of the Senior Second Rank. Contemplate Mt. Fuji drawn with a single stroke of the brush and a poem, of Mitsuhiro’s own making, written in the leftover space. Mitsuhiro was favored by General Tokugawa Ieyasu (1542-1616) and frequently visited Edo as a liaison between the imperial court (in Kyoto) and the military government (in Edo). Each time he went up to Edo, he visited Sumpu, the feudal province ruled by Ieyasu. As he made frequent trips along the Tokaido highway, he obviously had numerous chances to see the real Mt. Fuji, which therefore appears in many of his waka poems. Mitsuhiro’s Koyo Wakashu（lit. Golden Leaf Poems, Chapter 7）alone contains 20 poems depicting this holy mountain considered to be the most beautiful in Japan. Although the poem on the exhibited hanging scroll is not found in that private collection, the freestyle painting and writing rendered in light India ink is undoubtedly an authentic rendition by Mitsuhiro.

烏丸光広筆・賛,九州国立博物館

烏丸光広による富士山を題とする墨画と和歌賛。本作は中央に富士山とその麓にたなびく雲・霞を淡墨で素早く描き、その左右に富士の自詠を一首書き付けたもの。料紙全体における富士山と文字の配置、変化する墨色が見事である。詠歌「富士の根の」は『黄葉和歌集』には収められておらず、本作以外では確認できない。

沢庵宗彭筆、烏丸光広画,By Takuan Soho (1573-1645), inscription by Karasumaru Mitsuhiro (1579-1638),東京国立博物館,Tokyo National Museum

烏丸光広の描く山水画に、大徳寺第153代の住持沢庵宗彭が｢太崋萬餘丈、三星遶月處｣の賛と自署を加えたもの。光広とその参禅の師である沢庵との交流を物語るものとして重要である。

烏丸光広筆,By Karasumaru Mitsuhiro (1579–1638),百瀬治氏・百瀬富美子氏寄贈,Gift of Mr. Momose Osamu and Mrs. Momose Fumiko,東京国立博物館,Tokyo National Museum

烏丸光広による『小倉百人一首』。藤原定家の書法を踏まえて揮毫した40代の作品。

[藤原定家] [編]

元和7年（1621）書写の奥書のある烏丸光広筆「百人一首」。奥書「元和七年九月十七日 以一禅之花翰書写之 光廣」 。見返しに古筆了雪の極札貼付。蓋裏に「明治四十一年十二月三十日 塚本吉彦所贈 傳生阪池田家蔵」との貼紙あり。伝備中生坂藩旧蔵 生阪池田家・花房子爵家旧蔵。

烏丸光広　KARASUMARU Mitsuhiro,Tale of Ise,ink on decorated paper,木村定三コレクション / Kimura Teizo Collection

烏丸光広　KARASUMARU Mitsuhiro,Reflections in Hours of Idleness,ink on paper,木村定三コレクション / Kimura Teizo Collection

慶長7（1602）年の写本。

狩野晴川院〈養信〉、狩野勝川院〈雅信〉、小林養建模,Copied by Kano Seisen'in (Osanobu), Kano Shosen'in (Tadanobu), and Kobayashi Yoken,東京国立博物館,Tokyo National Museum

三十六歌仙を描いた歌仙絵巻。巻末に烏丸光広の奥書があることから「烏丸光広奥書本」の別称がある。書画ともに後鳥羽院筆と伝えられる「後鳥羽院本」とおおむね図様を共有しながら、数人の歌仙に異なる姿態が確認され、別本とみられている。原本は「細川能登守」の蔵品であったらしい。掲出は、天保11年(1840)作の模本。作者は、狩野晴川院（養信）、狩野勝川院（雅信）、小林養建の3人。

烏丸光広

Karasumaru Mitsuhiro (1579-1638) was a court noble and a poet, who, from boyhood, was hailed as a talented calligrapher. Not only that, but at the young age of 11, he was appointed Junior Officer of the Right and later climbed to the post of Major Counselor. At first, he was trained in the Jimyo-In School of calligraphy, but was later influenced by the Koetsu Style, while also being attracted to Jodai-yo (the classical style). As an achieved calligrapher, he was likened to the renowned ‘Three Brushes of the Kanei Era’.The date of this letter is the 25th of an unknown month of a year indicated by the Chinese zodiac. Two years could correspond to the zodiac sign shown: 1610, when Mitsuhiro was 32, and 1629, when he was 51. The identity of the addressee, Lord Murakami of Suo, is equally ambiguous. In the letter, the lord, referred to by the name Hori Kyutaro, may be Hori Hidemasa (1553-90) or his son Hideharu (1576-1606), as both men were called Kyutaro at some time. However, they both died before 1610 and are not likely to be the addressee. Since Hidemasa’s younger brother had been adopted by Lord Murakami Yoshiaki of Suo, it’s likely that this general is the addressee. In any case, the letter suggests that the Hori and Murakami families were closely related. Hideharu’s heir, Tadatoshi (1596-1637), was also a likely addressee, although there are no historical records that he went by the name Kyutaro. By coincidence, the correspondence concerns a bitter dispute that erupted between Hori Naotsugu and his brother Naoyori, both of whom were retainers of Hori Tadatoshi (1596-1637), Hideharu’s son. Shogun Tokugawa Ieyasu handed down the final judgment in which Naotsugu was found guilty and punished accordingly. Because of this dispute, Tadatoshi’s estate was confiscated. Mitsuhiro writes that he is relieved to know that the event did not adversely affect the recipient, Lord Murakami.Considering the event occurred in 1610, one can conclude that this letter was written in that very year, when Mitsuhiro was 32 years old.

烏丸光広

Karasumaru Mitsuhiro (1579-1638) was a court noble and a poet, who, from boyhood, was hailed as a talented calligrapher. Not only that, but at the young age of 11, he was appointed Junior Officer of the Right and later climbed to the post of Major Counselor. At first, he was trained in the Jimyo-In School of calligraphy, but was later influenced by the Koetsu Style, while also being attracted to Jodai-yo (the classical style). As an achieved calligrapher, he was likened to the renowned ‘Three Brushes of the Kanei Era’.This letter is addressed to Hosokawa Yusai (1534-1610), with whom Mitsuhiro seems to have been exchanging correspondence concerning the Hundred Poetry Party and Nijo Castle Poetry Party. Mitsuhiro was Yusai’s student in the art of poetry composition. As Yusai died in 1610 at age 77, this letter was undoubtedly written before that year, and since Mitsuhiro was 32 years old when Yusai died, this letter was probably written when the talented young man was only in his late 20s or early 30s.

烏丸光広

Karasumaru Mitsuhiro (1579-1638) was a court noble and a poet, who, from boyhood, was hailed as a talented calligrapher. Not only that, but at the young age of 11, he was appointed Junior Officer of the Right and later climbed to the post of Major Counselor. At first, he was trained in the Jimyo-In School of calligraphy, but was later influenced by the Koetsu Style, while also being attracted to Jodai-yo (the classical style). As an achieved calligrapher, he was likened to the renowned ‘Three Brushes of the Kanei Era’.This letter is addressed to Kohitsu Ryosa (1572-1662), who was originally called Hirawasa Norisuke. Following in the footsteps of his father, Ryosa initially went to train under Mitsuhiro in the art of poetry composition, but his training was extended to the evaluation and appreciation of ancient calligraphic masterpieces. Thereupon, he assumed the new family name of Kohitsu (lit. ‘ancient brushes’) and became the originator of a family of art connoisseurs and appreciators. This letter is one of the many that were exchanged between Mitsuhiro and Ryosa. With it, Mitsuhiro sent a vat of sake, accompanied by a kyoka (humorous poem), and writes that he is expecting a reply. Considering the age difference between these two people, the letter was likely written in Mitsuhiro’s old age.

烏丸光広

Karasumaru Mitsuhiro (1579-1638) was a court noble and a poet, who, from boyhood, was hailed as a talented calligrapher. Not only that, but at the young age of 11, he was appointed Junior Officer of the Right and later climbed to the post of Major Counselor. At first, he was trained in the Jimyo-In School of calligraphy, but was later influenced by the Koetsu Style, while also being attracted to Jodai-yo (the classical style). As an achieved calligrapher, he was likened to the renowned ‘Three Brushes of the Kanei Era’.One cannot readily identify this letter’s addressee, but from its content, the person should be someone from whom Mitsuhiro would have been able to borrow an original edition of the poetry collection that he was transcribing. In the letter, Mitsuhiro gives thanks for the many favors he has received and writes that he will return the borrowed book as soon as possible. The letter also mentions that “the flowering season can’t be far away”, so it was likely written in early spring, perhaps immediately after his receiving the book, keeping the messenger who delivered it waiting for the reply.

烏丸光広

Karasumaru Mitsuhiro (1579-1638) was a court noble and a poet, who, from boyhood, was hailed as a talented calligrapher. Not only that, but at the young age of 11, he was appointed Junior Officer of the Right and later climbed to the post of Major Counselor. At first, he was trained in the Jimyo-In School of calligraphy, but was later influenced by the Koetsu Style, while also being attracted to Jodai-yo (the classical style). As an achieved calligrapher, he was likened to the renowned ‘Three Brushes of the Kanei Era’.The renowned calligrapher Mitsuhiro was also an appreciator of ancient calligraphic works, often being called upon to determine the authenticity of writings, and this letter is proof of his reputation as such. Having received a scroll of poems from the addressee of this letter, who is simply identified as Mr. Mondo, an officer in charge of water supply, Mitsuhiro informs him that he has determined the calligraphy work to be an authentic rendition by Nijo Tameuji. However, he apologizes for the delay, as he has been busy editing draft poetry compositions by a Mr. Kawabata (possibly Kawabata Doki).

烏丸光広

Karasumaru Mitsuhiro (1579-1638) was a court noble and a poet, who, from boyhood, was hailed as a talented calligrapher. Not only that, but at the young age of 11, he was appointed Junior Officer of the Right and later climbed to the post of Major Counselor. At first, he was trained in the Jimyo-In School of calligraphy, but was later influenced by the Koetsu Style, while also being attracted to Jodai-yo (the classical style). As an achieved calligrapher, he was likened to the renowned ‘Three Brushes of the Kanei Era’.In this letter, Mitsuhiro thanks Kohitsu Ryosa (1572-1662) for sending him the navel and penis of a fur seal, items that were considered potent aphrodisiacs. These and other sea-mammal-derived medicines, originally imported from China, were rare and expensive, but there mention speaks to Mitsuhiro’s unquenchable curiosity in all kinds of things.

烏丸光広

Karasumaru Mitsuhiro (1579-1638) was a court noble and a poet, who, from boyhood, was hailed as a talented calligrapher. Not only that, but at the young age of 11, he was appointed Junior Officer of the Right and later climbed to the post of Major Counselor. At first, he was trained in the Jimyo-In School of calligraphy, but was later influenced by the Koetsu Style, while also being attracted to Jodai-yo (the classical style). As an achieved calligrapher, he was likened to the renowned ‘Three Brushes of the Kanei Era’.As to the addressee of this letter, Karasumaru Mitsuhiro only wrote “Mr. Counselor”, without writing the recipient’s family name. This fact indicates that Mitsuhiro and the addressee were very close, so perhaps it was Mitsuhiro’s own son, Mitsukata (1600-38), who was then Provisional Middle Counselor. The two had not seen each other for quite some time when Mitsuhiro received the draft of a poetry composition from him. In the letter, Mitsuhiro praises the poem and attaches a poem he himself has composed. He writes, “I hope the flowering season this spring will last forever.”This letter seems to have been written impromptu, which was Mitsuhiro’s style when he was a little drunk.

烏丸光広

Karasumaru Mitsuhiro (1579-1638) was a court noble and a poet, who, from boyhood, was hailed as a talented calligrapher. Not only that, but at the young age of 11, he was appointed Junior Officer of the Right and later climbed to the post of Major Counselor. At first, he was trained in the Jimyo-In School of calligraphy, but was later influenced by the Koetsu Style, while also being attracted to Jodai-yo (the classical style). As an achieved calligrapher, he was likened to the renowned ‘Three Brushes of the Kanei Era’.This letter reads as follows: “Thank you for writing to me. I know how busy you are. I will come in person to convey the details.” Unfortunately, the exact meaning cannot be known except to the writer and the recipient. Executed in a free-flowing script reflective of the Koetsu Style, the letter was perhaps written when Mitsuhiro was in the prime of life.

土佐光吉,Tosa Mitsuyoshi,京都国立博物館 Kyoto National Museum,Kyoto National Museum

「源氏物語絵色紙帖」から、烏丸光広による「蛍 」の詞書。「なくこゑも／きこへぬ／虫の／思ひたに／ひと／のけつ／には／きゆる／物かは」。「源氏物語絵色紙帖」は『源氏物語』の場面を描いた「源氏絵」の一種。重要文化財。総数五十四枚からなる。「桐壺」から「柏木」までの色紙の裏に「久翌」の墨印があり、土佐光吉（1539－1613）の作と知られる。桃山期源氏画帖のうちで最も代表的な作品である。「横笛」以降は「長次郎」なる土佐派の絵師の作。詞書は後陽成天皇を始めとする貴紳たちがそれぞれ書している。

土佐光吉,Tosa Mitsuyoshi,京都国立博物館 Kyoto National Museum,Kyoto National Museum

「源氏物語絵色紙帖」から、烏丸光広による「常夏 」の詞書。「いとあつき日ひんかし／の／釣殿に出給てしたしき／殿上人あまたさふらひ／て西川より奉れる／あゆちかき河の石ふし／なとやうの物御前にて調／してまいらす」。「源氏物語絵色紙帖」は『源氏物語』の場面を描いた「源氏絵」の一種。重要文化財。総数五十四枚からなる。「桐壺」から「柏木」までの色紙の裏に「久翌」の墨印があり、土佐光吉（1539－1613）の作と知られる。桃山期源氏画帖のうちで最も代表的な作品である。「横笛」以降は「長次郎」なる土佐派の絵師の作。詞書は後陽成天皇を始めとする貴紳たちがそれぞれ書している。

烏丸光広

Karasumaru Mitsuhiro (1579-1638) was an Edo-Period aristocrat and noted poet, who was the son of the Minister Equivalent Mitsunobu (1549-1611). Although he advanced smoothly in the official hierarchy, his entanglement in a palace group sex scandal involving several ladies-in-waiting (1609) angered Emperor Goyozei (1571-1617) so much so that he was banished into exile. Later, General Tokugawa Ieyasu (1542-1616) worked to have Mitsuhiro pardoned. After being released from banishment, he reassumed a public office, eventually becoming the Provisional Major Counselor of the Senior Second Rank. Versatile artist and free-spirited character, Mitsuhiro showed skills in waka, renga (linked waka poems), brush-ink calligraphy and painting, as well as the formalized art of the tea ceremony (chanoyu). He practiced Zen under Priest Isshi-Bunshu (1608-1646). Training in waka composition under Hosokawa Yusai (1534-1610), he left a private collection of his works, Koyo Wakashu（lit. Golden Leaf Poems). Hailed as one of the most outstanding calligraphers of the era, Mitsuhiro was often referred to as one of the “Kannei-no-Sampitsu,” or the Three Brushes of the Kannei Era. He was originally trained in the traditional Jimyo-In School calligraphy, as was the custom among aristocrats. But he taught himself the Koetsu style and later the Teika style, finally establishing an unstructured and almost freestyle calligraphy that can aptly be called the Mitsuhiro Style.The exhibited kaishi shows Mitsuhiro’s poem written at the first poetry party of the new year held at the palace on January 19, 1597. The title, “Early Spring as We Await Blossoms,” shows it was written for the occasion of a new year imperial poetry party held in audience of Emperor Goyozei（aged 27 at this time）. Mitsuhiro was only 19 when he wrote the exhibited kaishi, which shows his youthful hand. Loyal to the Jimyo-In School, he wrote each character clearly, unlinked to other letters. This style differs greatly from the style he developed in later years.

烏丸光広

元和元年（1615）９月９日の重陽の節会に、「菊花久芳」の歌題を冠して詠まれた和歌懐紙である。光広の書風は、持明院流、光悦流、定家流を経て、独自の光広流へと変遷するが、これはまさしく定家流で書かれる。かれが上代様を好み、ことに歌道において、定家の筆跡に追慕の情を示した様子がうかがわれる遺墨である。このとき、光広は41歳。同年に権大納言・従二位に昇った。「重陽同詠菊花久芳和歌／権大納言藤原光広／思ふより今日待ち出でし匂ひ哉まして千年の秋の白菊」

烏丸光広

The visit by Emperor GoMizuno-o (1596-1680) to the Nijo Castle was a five-day extravaganza, starting on September 6, 1626．The supreme leader of the nation was entertained at the Nijo Castle built by the military ruler, or shogun. The gala event was marked by performances of bugaku (ancient sacred dance and music dedicated to shrines), poetry parties and concerts of instrumental music and performances of Noh theatre. The extravaganza is described in great detail in the Record of Emperor’s Visit in the Kannei Era (Jap. Kannei Gyoko-Ki) and other documents. The exhibited kaishi, written by Karasumaru Mitsuhiro (1579-1638), shows poems by General Tokugawa Hidetada (1579-1632), his son Iemitsu (1604-51) and Emperor GoMizuno-o. Mitsuhiro, aged 48 then, served the important office of the reader, a person who sonorously reads out the poems just composed by the participating dignitaries.

烏丸光広

Karasumaru Mitsuhiro (1579-1638) was an Edo-Period aristocrat and noted poet, who was the son of the Minister Equivalent Mitsunobu (1549-1611). Although he advanced smoothly in the official hierarchy, his entanglement in a palace group sex scandal involving several ladies-in-waiting (1609) angered Emperor Goyozei (1571-1617) so much so that he was banished into exile. Later, General Tokugawa Ieyasu (1542-1616) worked to have Mitsuhiro pardoned. After being released from banishment, he reassumed a public office, eventually becoming the Provisional Major Counselor of the Senior Second Rank. Versatile artist and free-spirited character, Mitsuhiro showed skills in waka, renga (linked waka poems), brush-ink calligraphy and painting, as well as the formalized art of the tea ceremony (chanoyu). He practiced Zen under Priest Isshi-Bunshu (1608-1646). Training in waka composition under Hosokawa Yusai (1534-1610), he left a private collection of his works, Koyo Wakashu（lit. Golden Leaf Poems). Hailed as one of the most outstanding calligraphers of the era, Mitsuhiro was often referred to as one of the “Kannei-no-Sampitsu,” or the Three Brushes of the Kannei Era. He was originally trained in the traditional Jimyo-In School calligraphy, as was the custom among aristocrats. But he taught himself the Koetsu style and later the Teika style, finally establishing an unstructured and almost freestyle calligraphy that can aptly be called the Mitsuhiro Style.A poetry party convened under the theme of “mist-covered peaks” was held three times in Mitsuhiro’s lifetime – in 1596, 1616 (New Year’s poetry party) and 1636 (retired emperor’s poetry party). Judging from Mitsuhiro’s writing style, the exhibit was most likely written on January 9, 1936, at a poetry party held at the palace of Emperor GoMizuno-o (1596-1680). Obviously, Mitsuhiro later made a clean copy of the original poem written on that occasion. He was 58 years old by then. The bold, unrestricted style shows what can be called the Mitsuhiro School.

烏丸光広

この懐紙は、「梅花久芳」の歌題により、寛永14年（1637）１月17日の禁中における新年御会の時のものとわかる。書きぶりから推して、これはその手控えの草稿本と思われる。光広はこの年59歳であった。最晩年の枯れた筆致である。「詠梅花久芳和歌／藤光広／代々込めて咲ける若木の梅が香を四方に知らする春の初風」

烏丸光広

Karasumaru Mitsuhiro (1579-1638) was an Edo-Period aristocrat and noted poet, who was the son of the Minister Equivalent Mitsunobu (1549-1611). Although he advanced smoothly in the official hierarchy, his entanglement in a palace group sex scandal involving several ladies-in-waiting (1609) angered Emperor Goyozei (1571-1617) so much so that he was banished into exile. Later, General Tokugawa Ieyasu (1542-1616) worked to have Mitsuhiro pardoned. After being released from banishment, he reassumed a public office, eventually becoming the Provisional Major Counselor of the Senior Second Rank. Versatile artist and free-spirited character, Mitsuhiro showed skills in waka, renga (linked waka poems), brush-ink calligraphy and painting, as well as the formalized art of the tea ceremony (chanoyu). He practiced Zen under Priest Isshi-Bunshu (1608-1646). Training in waka composition under Hosokawa Yusai (1534-1610), he left a private collection of his works, Koyo Wakashu（lit. Golden Leaf Poems). Hailed as one of the most outstanding calligraphers of the era, Mitsuhiro was often referred to as one of the “Kannei-no-Sampitsu,” or the Three Brushes of the Kannei Era. He was originally trained in the traditional Jimyo-In School calligraphy, as was the custom among aristocrats. But he taught himself the Koetsu style and later the Teika style, finally establishing an unstructured and almost freestyle calligraphy that can aptly be called the Mitsuhiro Style.From the bold, unique and unrestricted manner in which the brush flows, this kaishi was likely written by Mitsuhiro in his 50s. The poem is cited from the private collection Kyohaku-Shu, an anthology of Kinoshita Choshoshi (1569-1649). The origin of the poem presents an unanswered question: The brush is the authentic writing of Mitsuhiro, which suggests that he also composed this poem. So why is this poem included in Choshoshi’s private collection? Could it be, perhaps, that he was very drunk when writing this poem and just jotted down a poem ringing in his head, which happened to be written by his friend?

烏丸光広

この懐紙の歌題「野萩露」と同様の歌が『後水尾院御集』に入集している。おそらくこれは、禁中における歌会で詠じたものであろう。光広の面目を表わす豪快で独特な書風から、50代頃の筆と推定される。「詠野萩露和歌／光広／誰が袖にうつしとりてか乱れ散る露深かりぬ野辺の秋萩」

烏丸光広

Karasumaru Mitsuhiro (1579-1638) was an aristocratic poet of the early Edo Period and had an active career as a liaison between the imperial court (in Kyoto) and the military government (in Edo). Although he was once banished from the capital due to a sex scandal, he won the trust of the Tokugawa Military Administration and eventually reached the high government post of Provisional Major Counselor of the Senior Second Rank. A man of multiple talents, Mitsuhiro was brilliant in waka and renga composition, calligraphy in writing and painting as well as sado (ceremonial tea). He also practiced Zen Buddhism training under the Zen master Isshi Bunshu (1608-1646). In calligraphy, Mitsuhiro was one of the “Kanei-no-Sampitsu” (Three Brushes of theKanei Era) and left behind many beautiful brushworks. His writing style changed four times in his lifetime. At first, it was developed on the foundation of the Jimyo-In School, popular among the nobility, then it shifted to the Koetsu and Teika and other writing styles, until finally evolving into a unique style that one may as well call the “Mitsuhiro Style,” characterized by the free and dynamic flow of the brush.The exhibit shows the first part of Volume II of Choshu Eiso (Collection of Waka Poems by Fujiwara-no-Toshinari; 1114-1204). It’s not likely that Mitsuhiro copied the entire Volume II, but perhaps just an excerpt from it. The freely flowing brushstrokes toward the end of the handscroll show the Mitsuhiro style at its best, while the overall impression is likened to the Koetsu School, which the writer adopted eagerly. This is definitely a work created when Mitsuhiro was at his artistic zenith. The unobtrusive under-painting shows a pine tree, flowers and grass, rocks, running water and the like, giving the paper a refined look. The work was a decorated exemplar produced on commission by a noble.

烏丸光広、江月宗玩

これは、烏丸光広の詠草に、江月宗玩（こうげつそうがん・1574-1643）が偈頌を加筆したもの。光広の詠草（詞書）によれば、寛永11年（1634）、甲斐守黒田長興（くろだながおき・1610-65）が家光上洛に供奉した際に、母死去の報が届く。その悲報を聞き及んだ光広が、哀悼の意をこめて詠み与えた挽歌（悲しみの歌）である。長興の母（筑前守黒田長政室＝保科忠正の女）は、家康の養女栄姫で、豊後国日田郡において、寛永12年（1635）正月12日に死去した。とすると、これは光広57歳の筆と知る。晩年の光広流面目躍如の筆致である。そして後日、江月宗玩が黒田の私邸に赴いた際、にわかに求められて、光広の挽歌に和して即興に作った七言の偈頌を加筆したのである。江月は、黒田長政の招きで博多崇福寺の住持にもなっており、両者は浅からぬ因縁であった。寛永20年（1643）70歳で没する江月にとっても、晩年の筆跡である。「［詠草］黒田甲州（甲斐守＝長興）上洛のみぎり、老母みまかり給へる由を聞き及びて、孝子の心の中、さこそと思い遣られければ、その原やありときかせん道もがなさらぬ別れにきえし母君／［偈頌］卒かに挽歌の韻に和し、予亦、孝子の余哀を助けて云う。五十余年、世縁連なり、傾尽の孝心、泣哭に堪う。覩る物に追懐するは、阿母の慈しみ、雨露の恩潤、草木を養う。欠伸子（印）／［追記］个この拙和（七言の偈頌）、甲州私第に就いて書す。臶ねて三要開欹朱点を乞い、以て来命に応ず。愧色に惑う者なるか。」

烏丸光広

これは、日光東照宮の造替・遷宮について述べる詞書に続けて２首の和歌を書写する。光広の家集『黄葉和歌集』には、「十七日の祭礼を見て」と題し、この詞書と和歌の全てが所収される（巻八下）。『黄葉和歌集』を光広の嫡孫・烏丸資慶が編纂した際の、自筆原本の一葉であろうか。寛永13年（1636）４月の東照宮造替の法会に、24歳の光広は院使として下向している。この３代将軍家光による大造営で、日光東照宮には今日に残る豪華な社殿が完成したのである。また、光広はこの後、家光の歌道師範として江戸に２年滞在した。「時は卯月はじめにや大樹の御めぐりの御鎮守、東照大権現の御社御造替の地引おはしまして、人群をなせし、其所へいづくともしらず、白鶴ひとつおり居たり。折しもあれ、千年の御宮居もしるくおぼえけるに、又、天飛鶴二つおなじ所に舞くだりける御事に、御代のさかえも相生ならん神の御納受をつげしらせ給なるべし。延喜の御代白鷺の聖徳になづきける事世中にいひのゝしることなれば、あまねき御めぐみの鳥獣にも及侍るは抑おさまれる御代なる哉。／宮づくりうれしき神の御心に千年や告げて鶴も立ち舞ふ／さらに又千年はしるし友鶴の翅並ぶる神のひろまへ／権大納言藤原光広」

烏丸光広

この詠歌は、光広の家集『黄葉和歌集』に入首の一首。その詞書によると、岡崎・吉田の里にてこの句を詠んだとある。山城国（京都府）岡崎の北に、浄土寺・吉田という地名が確認できる。「摂政殿」とは、九条道房（くじょうみちふさ・1609-47）のこと。道房は浄土寺に移住していることから、この句は道房の邸宅にて、桜花を愛でて詠んだものと推測される。雲紙の料紙に闊達に運ぶ筆致から、光広50代の筆か。「摂政殿しのびてにわかに愚亭の花に見渡り眺めけるに／光広／主をば花にまかする宿なればもてはやすべきよしだにぞなき」

烏丸光広

Karasumaru Mitsuhiro (1579-1638) was an Edo-Period aristocrat and noted poet, who was the son of the Minister Equivalent Mitsunobu (1549-1611). Although he advanced smoothly in the official hierarchy, his entanglement in a palace group sex scandal involving several ladies-in-waiting (1609) angered Emperor Goyozei (1571-1617) so much so that he was banished into exile. Later, General Tokugawa Ieyasu (1542-1616) worked to have Mitsuhiro pardoned. After being released from banishment, he reassumed a public office, eventually becoming the Provisional Major Counselor of the Senior Second Rank. Versatile artist and free-spirited character, Mitsuhiro showed skills in waka, renga (linked waka poems), brush-ink calligraphy and painting, as well as the formalized art of the tea ceremony (chanoyu). He practiced Zen under Priest Isshi-Bunshu (1608-1646). Training in waka composition under Hosokawa Yusai (1534-1610), he left a private collection of his works, Koyo Wakashu（lit. Golden Leaf Poems). Hailed as one of the most outstanding calligraphers of the era, Mitsuhiro was often referred to as one of the “Kannei-no-Sampitsu,” or the Three Brushes of the Kannei Era. He was originally trained in the traditional Jimyo-In School calligraphy, as was the custom among aristocrats. But he taught himself the Koetsu style and later the Teika style, finally establishing an unstructured and almost freestyle calligraphy that can aptly be called the Mitsuhiro Style.This poem is cited from Mitsuhiro’s private collection, Koyo Wakashu（lit. Golden Leaf Poems, Chapter 9). A Buddhist ceremony, annually held on April 8 of the lunar calendar, celebrating Buddha’s birthday was usually followed by a poetry party. Mitsuhiro wrote the character denoting Buddha with so much power, contrasting vividly with the more freestyle letters that follow. The calligraphy is further proof of master calligrapher Mitsuhiro’s skills.

烏丸光広

「遣唐使　わけぞ行波の千里の松浦舟 君につかふる道をしるべに　光広」。

烏丸光広

「閑なる仏の庭を花にして　光広」。

烏丸光広

「ある人の松露をとりけるに　いまよりはともにひろひて松の露ちとせのはまを十かへりもせん　光広」。この短冊の料紙は、藍の裏紙に金泥で松葉を散らしたもの。持明院流に加えて光悦流の筆勢が投影した書風から、壮年期の書写か。歌題にある「松露（しょうろ）」とはキノコの一種で、海辺の松林の砂中に生じ、春、秋に採集して食用にするものである。親しい友人に宛てた短冊であろう。

「たひ枕かりね物うきよるの夢／ね覚にかはる松風のさと　光広」。詞書に「まつ風のさとをいまはねさめといへるをきゝて」とあり、古歌に歌われた尾張の国の名所「松風の里」（名古屋市熱田区）を詠みこんだ歌。

烏丸光広　KARASUMARU Mitsuhiro,Haiku poem on Tanzaku paper,ink on decorated paper,木村定三コレクション / Kimura Teizo Collection

「うちわたす尾張の国のさかひはし／これやにかわの継めなる覧　光広」。「さかひはし」は「境橋」で、尾張と三河の国境をなした境川に架けられていた橋のこと。

烏丸光広

Karasumaru Mitsuhiro (1579-1638) was an aristocratic poet of the early Edo Period and had an active career as a liaison between the imperial court (in Kyoto) and the military government (in Edo). Although he was once banished from the capital due to a sex scandal, he won the trust of the Tokugawa Military Administration and eventually reached the high government post of Provisional Major Counselor of the Senior Second Rank. A man of multiple talents, Mitsuhiro was brilliant in waka and renga composition, calligraphy in writing and painting as well as sado (ceremonial tea). He also practiced Zen Buddhism training under the Zen master Isshi Bunshu (1608-1646). In calligraphy, Mitsuhiro was one of the “Kanei-no-Sampitsu” (Three Brushes of theKanei Era) and left behind many beautiful brushworks. His writing style changed four times in his lifetime. At first, it was developed on the foundation of the Jimyo-In School, popular among the nobility, then it shifted to the Koetsu and Teika and other writing styles, until finally evolving into a unique style that one may as well call the “Mitsuhiro Style,” characterized by the free and dynamic flow of the brush.Here, Mitsuhiro wrote that the statue of the main Buddha image consecrated at the Zempuku-ji Temple (in eastern Kyoto) was made of cast iron and then gilt with quality gold. He further states that Minamoto-no-Mitsunaka (912-997) used to worship before this statue. He then writes the main doctrine in the Jodo Shinshu sect, i.e., believers can enter the Pure Land (Jodo) by chanting the essence of the Supreme Lotus Sutra, “Namu Myoho Renge Kyo.”. At the end, Mitsuhiro cites two poems preaching Buddhist morals, finishing it all with “Namaida” (corrupt form of the above chant) in katakana syllabary. The work enables us to glimpse at Mitsuhiro’s religious convictions. The letter sizes, shade of ink, the width of the lines varying wildly, not to mention the mixing of different syllables, are all a reflection of Mitsuhiro’s undaunted, liberated spirit.

烏丸光広