Shinkan: Handwritten Imperial Writings (3)

天正20年（1592）、みずから朝鮮へ出陣しようとした豊臣秀吉を後陽成天皇が諌めた消息。左肩下がりに文字を散らして書く女房奉書風の「散らし書き」で二枚続きに書かれている。日付はないが、同年9月、秀吉が母の大政所の危篤によって帰京し、再度肥前名護屋へ赴く際のものとされる。「高麗国への下向、嶮路波濤をしのかれむ事、無勿体候、諸卒を、つかはし候ても、可事足哉、且朝家のため、且天下のため、かへすかへす」（以上一枚目）

二紙にわたって書かれた消息の二枚目。「發足遠慮可然候、勝を千里に決して、此度の御事、おもひとまり給候はゝ、別而悦おほしめし候へく候、猶勅使申候へく候、あなかしく　太閤とのへ 」。

後陽成天皇自筆の消息。文禄2年（1593）、文禄の役の渦中のもの。「近衛前左府高麗下向のよし」で始まる前半は、豊臣秀吉にあてた文面の草案。近衛前左府（信尹）が肥前・名護屋へ出向いて朝鮮渡海を企てているが、それを制止して欲しいと依頼する内容。「右の文言、只今菊・勧・中山三人」以降の後半は、そのような文面を秀吉に書いたことを信尹に伝える内容の私信。

Emperor Goyozei (1571-1617) was the 107th emperor of Japan and was born as the first prince to Lady Kajuji Haruko and Prince Nobuhito, who was the crown prince of Emperor Ogimachi. When Prince Nobuhito passed away in 1586, Prince Kazuhito (Emperor Goyozei’s childhood name) was adopted by Emperor Ogimachi and was enthroned on November 25th in the very same year. After 1598, the name Kazuhito was changed to Katahito. Backed by powerful warlords Toyotomi Hideyoshi and Tokugawa Ieyasu, Emperor Goyozei devoted himself to restoring the respect and authority of the imperial household. Throughout the entire imperial history, this emperor was one of the most learned. He was trained both in Japanese and Chinese classics and even delivered lectures on classical literary masterpieces, like Ise Monogatari (The Tale of Ise) and Genji Monogatari (The Tale of Genji). He published editions of classics using Korean wooden type and printing equipment – these publications are called Keicho Chokuhan-Bon, or Keicho Era Imperial Editions. His familiarity with both Japanese and Chinese-style calligraphy is evident in his handwritten works that have survived to this day.The signature on this letter was undoubtedly rendered by Emperor Goyozei, and the strokes suggest that it was written when he was still very young. After noting that he has just glanced through a certain collection of renga poems, the emperor writes that he is quite content with them. He then asks the recipient to look over the title of the renga verse. As for the addressee, the emperor simply writes ‘To Takenouchi Mon’, which refers to a priest of imperial origin resident at the Manshu-In sub-temple of the Tendai (Ch. Tientai) Buddhist Sect. (Notes: This sub-temple was located in Takenouchi, Kyoto, so the imperial priest residing there was called ‘Takanouchi Mon’.) More specifically, the priestly title refers to Ryojo Hosshinno (1574-1643), who was Emperor Goyozei’s younger brother. Ryojo Hosshinno was the third prince of Prince Nobuhito, and he joined Manshu-In in 1587. Perhaps he was serving as the master of ceremonies of a certain renga composition party.

後陽成天皇（1571～1617）は、正親町（おおぎまち）天皇の王子誠仁（さねひと）親王の第一王子。父が早世したため、祖父正親町天皇の跡をついで天皇となった。その宸翰は気品あふれるなかにも筆鋒鋭く、独自の境地を示す。

『白氏文集』の「十月江南天気好、可憐冬景似春花」と『後撰和歌集』の「神無月ふりみふらすみさためなき時雨そ冬のはしめなりける」を並べて書写する。

後陽成天皇が「竹門」に宛てた書状。「竹門」は、竹内門跡（京都市左京区にある曼殊院の別称）のことで、天皇の弟で曼殊院門跡の良恕法親王（1574-1643）をさす。天皇が「たゝうしろみに世のまつりこと」という連歌の句について親王の意見を尋ねる内容。

Japan’s 107th imperial ruler, Emperor GoYozei (1571-1617) was 16 when he came of age (1586) and ascended the throne. He reigned for 26 years until he abdicated the throne to Emperor GoMizuno-o (1596-1680) in 1611. Thereafter, he continued to exercise power as the ruling Retired Emperor. In 1588, two years prior to GoYozei’s abdication, Kampaku (Regent) Toyotomi Hideyoshi (1536-98) arranged the invitation of Emperor GoYozei to the newly-erected Jurakutei Castle. The grandiose event helped to recover the age-old glory associated with the throne. Supported by the two most powerful military rulers of Japan, Hideyoshi and then Shogun Tokugawa Ieyasu (1542-1616), Emperor GoYozei was instrumental in restoring faith in imperial authority, while refreshing both the political and cultural arenas. Emperor GoYozei was acknowledged widely for his academic inclinations, studying Chinese and Japanese classics under Hosokawa Yusai (1534-1610) and Funahashi Hidetaka (1575-1614), while he himself lectured on The Tales of Ise (Jp. Ise Monogatari). Furthermore, he published a book on classics that had been composed using ancient writing systems brought over from Korea. All of the emperor’s activities cast a deep and wide influence over Japan’s literary world. The exhibited piece, “Calligraphic Talisman of Heavenly God (Tenjin)'s Name” (Sacred Name Dedicated to Deified Spirit of Sugawara-no-Michizane), was done to pacify the soul of ancient scholar Sugawara-no-Michizane (845-903), who died in disgrace. During the Kamakura Period, this hanging scroll was often hoisted during poetry parties held at Kitano Shrine, in Kyoto. Calligraphic masters of the day, most often aristocrats, made similar brushworks for similar purposes. Fortunately, many of them have survived to this day. The exhibited dedication is framed with a decoration of plum trees painted with gold mud. The brushwork features bold as well as slim lines created by deftly varying the amount of ink, while some of the lines surge with apparent dignity. Although this piece is not signed, its authenticity is beyond any doubt when considering all existing authentic works by the emperor.

｢龍虎｣の二字は、英雄・天子などを象徴する言葉として特に歴代帝王、政治家などに好んで揮毫(きごう)された。この二大字は雄大で迫力あふれる書風で、金銀泥の下絵と相まって、桃山時代の特徴をよく示している。

後陽成天皇の筆による鎌倉時代前期の歌人・藤原家隆の和歌「秋の夜の月　やをしまの　あまの原　明方ちかき　おきの釣舟」（『新古今和歌集』）の書写。

後陽成天皇の筆による鎌倉時代前期の歌人・藤原家隆の和歌「ふるさとの庭の日かげもさえくれて桐のおち葉にあられふるなり」（『新勅撰和歌集』）の書写。［解読文］「ふる　さと　の　庭の　ひかげも　さえ　くれて　きりの　落葉　に　あられ　ふる　なり」

上下二段に割った色紙に金銀泥で肥痩のある流麗な書体で『源氏物語』帚木の巻の和歌を散らし書きにしている。［解読文］「琴のねも　月もえ　ならぬ　宿ながら　つれなき　人を引や　とめける」「こがらし　に　吹きあわす　める　笛の音を　ひき　とどむべき　ことの葉ぞ　なき」［書き下し文・現代表記］「琴の音も月もえならぬ宿ながらつれなき人を引きやとめける」「こがらしに吹きあわすめる笛の音をひきとどむべきことの葉ぞなき」

国立国会図書館蔵の慶長勅版『日本書紀』に添えられた後陽成天皇宸筆と伝えらえる題簽。日本書紀の古写本は平安時代から残るが、刊本としては慶長4年(1599)に刊行されたこの慶長勅版が最初のもの。

後水尾天皇（1596～1680）が、小色紙（しきし）に自ら詠んだ歌を書く。小ぶりの色紙にこまやかな字くばりが美しい。いかにも繊細な趣きのこの小色紙は、江戸時代前期の王朝趣味の一端を示してくれる。

The 108th emperor of Japan, Emperor Gomizunoo (1596-1680) was born the third prince of Emperor Goyozei. After an 18-year reign as emperor, this powerful sovereign wielded influence over the empress and three emperors immediately succeeding him -- Meisho, Gokomyo, Gosai and Reigen, in that order -- through an administrative system known as insei, or rule by a retired emperor. Emperor Gomizunoo was widely learned and showed multiple talents in literary pursuits as well as in calligraphy. The emperor is also known for the famous Shugakuin Rikyu (Detached Palace) that he built in the northern part of the capital.The exhibited brushwork shows aesthetically arranged festive expressions celebrating New Year’s, and quite interestingly, the script appears like a flock of geese flying across the sky. The beauty of individual characters, brush strokes and the poetic rendition are beyond expression. The exhibited page was actually part of a two-page letter; however, the last half is missing, making it impossible to identify the addressee. The extant half has been passed down in the household of Viscount Matsudaira of Shimabara in Nagasaki Prefecture.

Emperor GoMizuno-o (1596-1680) was born the third imperial prince of Emperor GoYozei (1571-1617) by Chukamon-In Sakiko. First named Kotohito, Emperor GoMizuno-o was enthroned in 1611 at age 16, and reigned for 18 years and eight months, until he abdicated to Crown Princess Okiko (1623-96), who became Empress Meisho (1623-96). After abdication, however, he wielded political power and cultural influence as the retired emperor for the next 51 years. Emperor GoMizuno-o was multi-talented, having been trained in tea ceremony, flower arrangement, fragrance appreciation, calligraphy, and painting. He also had an inclination for Zen Buddhism. As a natural-born master calligrapher with a talent for poetry, Emperor GoMizuno-o left numerous poetry renditions and waka kaishi. He is also known for having the Shugaku-In Detached Palace built. The poem shown on the exhibited kaishi is included in the Anthology of Go-Mizuno-o-In. The unpretentious and discreet brushstrokes suggest that this kaishi was written in the emperor’s old age, perhaps in his 70s. Standing tall in the mist with colorful cherry blossoms, the distant mountains look like a painting.

明正天皇（めいしょうてんのう・1632－1696）が、修学院の観音堂に勅額を下賜するのはいつがよいかを決めるように伝えた消息。明正天皇は、後水野天皇の急な譲位を受けて、奈良時代以来の約850年ぶりの女帝となった。

宛先の「かうきよく」は、江玉真慶（こうぎょくしんきょう）。明正天皇が帰依した天台宗の僧で山科の十禅寺の住持。内容は、江戸からの便りで「伊予守」が遠慮を申し渡されたことを江玉に伝えるもの。この伊予守は、貞享元年（1684）7月26日に病気のため寺社奉行を辞任した板倉重形（1623−1686）か。

宛先の「かうきよく」は、江玉真慶（こうぎょくしんきょう）。明正天皇が帰依した天台宗の僧で、山科の十禅寺の住持。内容は「御所の御蔵の辰巳（南東）の屋根に燕が二カ所巣をかけてめでたいので、何か（詩歌などか）お書きつけなさい」というもの。重要美術品。

後西天皇（1637―1685）による『源氏物語』帚木の巻の書写。後西天皇は、後水尾天皇の第8皇子として誕生。在位期間は1655年〜1663年。父天皇の資質を受け継ぎ、和歌や連歌に優れ、古典への関心も高かった。ほかにも書道や茶道、香道にも精通し、勅作の香銘も多くある。なお、この書の頭に「はゝ木々」とあり、その後に「左の馬のかみ･･････」と続いているが、帚木の冒頭の文言とは異っており、抜き書きされたと推定される。

後西天皇の書は父帝の後水尾天皇の風をよく引き継ぎ、流麗にして雅味に富む。「さほ姫の」で始まるこの一首懐紙も、空白部分を巧みにいかした文字の配置に、リズミカルな墨継ぎの墨の濃淡と、隅々にまで細やかな心遣いが行き届いたものとなっている。

Emperor Reigen (1654-1732) was born the 19th prince of Emperor Gomizunoo. He was enthroned in 1663 and reined for 24 years, until abdicating in 1687and being succeeded by Emperor Higashiyama. However, this long-reigning sovereign remained a powerful administrator as a retired emperor, known as “insei.” Finally, after leaving office in 1693, he took the tonsure in 1713 and passed away at age 79 in 1732. Emperor Reigen is remembered well for reviving the ancient palatial rites of the Great Food Festival and Investiture of the Crown Prince. Literally inclined, he also showed innate abilities here, especially in waka composition, composing some 1,600 waka poems and publishing thirty imperially compiled poetry anthologies. Other recognition he earned was for his mastery of calligraphy. While he was influenced by the brushworks of his father Emperor Gomizunoo and his elder brother Emperor Gosai, Reigen perfected his own style, which was much admired later as the Reigen-In School.Emperor Reigen sent this letter to Namba Munekazu (1642-1704), but it contains no information that would help determine the time of its writing. One can assume that the names appearing in the letter, “Kazan” and “Gojo,” are likely Kazanin Sadanobu (1640-1704) and Gojo Tamemune (1649-1719) respectively. The former was the Minister of the Interior. The emperor asks Namba if he conveyed to Lord Kazanin the issues discussed the previous day. The unaffected and free-flowing strokes are proof of Reigen’s competence in calligraphy, and the unique way the characters are structured is a fine example of brushwork rendered in his style.

霊元天皇の書は後水尾天皇に学んだもので、洗練されたさわやかな書風に特色がある。和歌の師は、冷泉為村。

この懐紙は歌題より、元禄13年(1700)正月の院の歌会始めの時のもの。

『和漢朗詠集』に載る謝偃の「嘉辰令月歓無極 、萬歳千秋楽未央」に続けて「わか君は千世にやちよにさゝれ石の巌となりて苔のむすまて」。

東山天皇（1675－1709）が、「禁庭雪」「杜神楽」「夕樵夫」の三つを題として詠んだ和歌の懐紙。東山御文庫蔵。

中御門天皇（1701－1737）が、泉涌寺開山の俊芿（しゅんじょう）に「大円覚心照」の国師号を賜る際の勅書。泉涌寺蔵。

桜町天皇（1720－1750）が、弟の輪王寺宮公遵法親王にあてた消息。

後光明天皇（1633―1654）は漢詩をよくし、御製詩集『鳳啼集 』がある。円照寺蔵。

桃園天皇（1741－1762）による中院通枝（1723－1753）宛の消息。東山御文庫蔵。

後桜町天皇（1740ー1813）の宸翰和歌懐紙。古今和歌集の夏歌「なつ山になく／時鳥こゝろ／あらは物思ふ／我に声な／きかせそ」。

孝明天皇（1831－1867）が島津茂久に下賜した懐紙。文久元年（1861）12月、茂久が「御剣」を献上したのに対するもの。掲載箇所は詞書部分。