Konoe Nobutada

Nobunaga Oda was a Busho (military commander) of the Sengoku and Azuchi-momoyama eras. In spite of his aspiration to unify Japan, he took his own life during an attack by his subordinate, Mitsuhide Akechi, while staying at Honnoji Temple.

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

It is believed that in his younger years, he served the Konoe family and learned the art of calligraphy from Nobutada Konoe. Later in life, Shojo Shokado was named one-third of the Kanei no Sanpitsu (“three great calligraphers of the Kanei era”), alongside Nobutada.

A warlord of the Azuchi-Momoyama period who rose from lowly origins to overlord of all Japan 1537-1598

The first shogun of the Edo shogunate.

A tragic scholar, politician, and deified spirit of the middle Heian period

Later, Koetsu Honami, Nobutada Konoe, and Shojo Shokado were named the Kanei no Sanpitsu (“three great calligraphers of the Kanei era”).

Japan’s first imperial anthology of Japanese poetry completed in the early Heian period (c. 794 – 930). From the Middle Ages onward, interpretations of difficult-to-understand words and phrases in Kokin Waka Shu were secretly handed down from generation to generation (the so-called Kokin denju or “transmission teachings regarding the Kokin Waka Shu anthology”), and Nobutada Konoe, too, received such teachings in line with the traditions of the Sogi school.

陽明文庫 編,陽明文庫

近衛信尹（三藐院）の日記『三藐院記』。自筆原本19冊が公益財団法人・陽明文庫に所蔵される。文禄元年（1592）12月から慶長11年（1598）4月までの日記にあたる本記と、「羽柴秀吉関白宣下次第」以下11点の別記からなる。欠年、欠月が多く、記事も簡潔であるが、天正期から慶長期にかけての好史料である。本記では、文禄3年（1594）4月に勅勘を蒙って薩摩坊津に配流されてから文禄5年（1596）8月に帰京するまでの詳細な記事がある。別記では、天正13年（1585）の、二条昭実と信尹の関白の座をめぐる相論に乗じて豊臣秀吉が関白の座についた顛末や、前出の後陽成天の譲位をめぐる状況を記した部分などは史料として特に重要である。 掲出は、慶長15年（1610）3月11日の記述。『陽明文庫図』に収録された写真版だが、後陽成天皇が示した突然の譲位の意向に対する徳川家康の反応を記す。緊迫した状況で倉卒の間に記されながらも、安定した筆致で、1行目の「慶長」の「慶」、「三月」の「月」、「勅使」、2行目の「家康」、「申入」、最終行の「親王御方」「御元服」「當年」などをはじめとして、特徴的な三藐院が随所に見られる

[御, 照高院宮道勝法親王, 西咲承兌, 近衛信尹, 有節瑞保] [ほか著]

慶長10年（1605）9月27日に禁中で行われた和漢連句。巻末の寛文2年（1662）清原（舟橋）相賢の識語によれば、祖父清原秀賢の筆である。秀賢の日記『慶長日件録』当日の条にも、自身執筆に当たったことが記されている。作者は後陽成天皇（無署名）はじめ、照高院准后（興意親王）、有節瑞保など、執筆清原秀賢（1句のみ）を含め11名で、このうち「関白」と記されているのが近衛信尹の作で十二首を数えている。和漢聯句は、連歌と漢詩の句を交えて付けていくもので、鎌倉時代後期から江戸時代初期に盛行した。

著者:玄与

近世初期の紀行文。玄与黒斎著。一巻。著者は阿蘇大宮司家の出身で、名は惟賢（あそこれかた）。出家して玄与黒斎と号した。文禄5年7月（1596）、近衛信輔（信尹）が配流地の薩摩から許されて帰洛するのに従って京に滞在し、翌春、帰途について3月23日に都之城につくまで記された日記が「玄与日記」である。紀行文としても貴重な文献であり、日記中の和歌や連歌も近世初期文学史上注目される。掲出は、文禄5年の7月11日、島津龍伯（義久）をはじめとする見送りの人々を従えながら都に帰る信輔が姶良郡浜之市の龍伯の館で歌会を開いたことを記す部分。歌会の題は「松蔭新涼」で、三十首。題の下に書かれた「杦」は信尹の一字名（和歌、連歌の懐紙・短冊などに、実名の代わりに用いる一字の名。雅号の一種）。この歌会のことは、信尹の日記「三藐院記」にも記されている。

[藤原顕輔] [撰]

関白・二条昭実（1556-1619）が天正13年（1585）に書写した『詩歌集』の外題。この外題の染筆者を三藐院・近衛信尹とする、烏丸光広（1579-1638）の署名のある極め書きが附属している。『詩歌集』は、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。

刊

江戸初期の笑話集。作者は不明。版によって話の増減があるが約70話を収録する。掲出は、近衛信尹の坊津配流を扱った話で、「近衛殿」が薩摩の坊津へ流され、鹿児島へ移るときに駕籠にのせられたので、「大臣の車にはあらであはれにも のするかごしまになふほうのつ」という狂歌を詠んだという話。鹿児島、坊津を駕籠と担い棒にかけている。本書の成立は、大坂浪人の咄があるので元和元年以降。主要な伝本として元和寛永初年の古活字本、5、6種と整版本3種、写本2種が知られるが、ここに示す国会図書館本は８行整版本で、上巻のみの端本。

仮名草子の『昨日は今日の物語』に登場する「近衛殿の御手蹟」。当時の手鑑（有名な古人の筆跡を集めた名筆帖）の流行を背景に、その中でも「この衛殿の御しゆせき（手蹟）ほと見事なるはあるまい」とする。近衛信尹の没年である慶長17年（1612）からそう遠くない元和頃の信尹の書の評価の高さをうかがわせる。掲出は群書類従本。

近松門左衛門 [作],山本九右衛門,山本九兵衛

近松門左衛門作、享保5年（1720）初演の浄瑠璃『心中天網島』の道行「名残りの橋づくし」の冒頭部分。「うたひ本はこのへりう、やらうぼうしはわかむらさき（謡本は近衛流、野郎帽子は若紫）」とあるように、この時代、近衛流の筆蹟が一般に広く知られ、また、謡本などを通じても広まっていたことがわかる。「野郎帽子」は、歌舞伎の女方が剃った月代を隠すために被った、紫の縮緬の帽子のことで、ここでは、「近衛流の書」と「紫色の野郎帽子」が、ともに定番の決まりきったことのたとえてして用いられている。

朝岡興禎 編,写

古代から江戸時代末期までの絵画の作者に関する資料を集めた伝記資料。朝岡興禎 （あさおかおきさだ）著。興禎は狩野栄信 （かのうながのぶ） の次男で、若年の頃から鑑定を頼まれた絵画を臨模し、落款印章も写して余白に作者の略伝を付すことを常としていたが、本書は後年それをもとにまとめたもの。帝室、廷臣、武家、釈門、松花堂流、詩人、和歌、連俳などの分野ごとにまとめ、付録に長崎渡来の中国画家および朝鮮画家を収めた。古画の作品研究には欠かせない重要な資料。掲出は、「近衛信尹」の記事。信尹筆の「渡唐天神図」自画賛と、花押、落款の模写をのせる。

堀直格,写

江戸後期に編纂された日本画家の総合的辞典。堀真格 （ほりなおただ）著。画家の身分・属性によって「帝王親王部」「摂関准后部」「大臣部」「納言参議部」などにに分類し、それぞれに伝記資料の充実を図っている。日本美術史の基本資料として、現在でもその価値はきわめて高い。掲出はその「三藐院関白近衛信尹公」の部分。

『本朝名公墨宝』に収録された近衛信基の筆跡。同書は、近世前期に上梓された名筆摸刻集で、日本の能筆家の書を収録・印行した最初のもの。正保2年（1645）に刊行され、以後も多数の版が流通した。掲出は、国立公文書館所蔵の正保3年（1646）版。

観世流謡本の「清経」。本文が近衛流の書体で書かれ、美術的にも珍重される。各冊巻末に元和6年（1620)卯月（4月）の観世左近大夫暮閑の奥書があることから、「元和卯月本」と通称される100冊揃いのうちの一冊。年月の明記された版行謡本としては最も古いもので、観世大夫公認の謡本として権威を持った。元来は装訂は綴葉装（列帖装）で両面印刷。各冊の表紙には曲に因んだ絵が金銀泥で描かれる。実際に刊行されたのは元和9年（1623）頃と考えられている。

茶書。寛永3年（1626）刊行。刊本ではあるが、版下は全編近衛流の筆跡で書かれている。「茶」の文字が艸・人・木で構成されているところからの書名で、刊行された茶書としては最初のものとされる。

斎藤徳元 [著],藤井吉兵衛

仮名草子。斎藤徳元作とされる。『枕草子』の「ものは尽くし」の形式にならった80項目からなる随筆風の作品で、『犬枕』などとともに、近世初期に流行したパロディー文学の一つ。本書の版下も近衛流で書かれている。寛永9年（1632））刊。掲出本は、慶安２年（1649）刊の藤井吉兵衛版。

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」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。掲出は、近衛信尹による「玉鬘 」の詞書。「風のうちふきたるゆふ／くれに御はこのふたにろいろの花なもみちをこき／ませてこなたにたて／まつらせ給へり」。

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

「玉鬘 」の詞書に対応する土佐光吉の絵。

近衛信尹

This is a pair of six-panel folding screens with group scenes containing 18 poets on each one. The painter is unknown, but the calligraphy for all 36 of the waka poems, executed in the master's distinctively large strokes, is by Konoe Nobutada (1565-1614). Nobutada is here at the pinnacle of his oeuvre and the free distribution of ink density, the fine flowing lines, linkage and other elements all combine to create the impression of a river flowing fast through a valley. This effect is particularly enhanced by the master's bold, sweeping brush.

近衛信尹

This is a pair of six-panel folding screens with group scenes containing 18 poets on each one. The painter is unknown, but the calligraphy for all 36 of the waka poems, executed in the master's distinctively large strokes, is by Konoe Nobutada (1565-1614). Nobutada is here at the pinnacle of his oeuvre and the free distribution of ink density, the fine flowing lines, linkage and other elements all combine to create the impression of a river flowing fast through a valley. This effect is particularly enhanced by the master's bold, sweeping brush.

近衛信尹

On this panel from a byobu foldable screen, an unidentified artist painted Mt. Mikasa (rolling hills behind the Grand Kasuga Shrine in Nara) in dark ink on a guilt screen panel. Konoe Nobutada cited two poems from the Collection of the Ancient and Modern Japanese Poems (Jp. Kokin Wakashu, Chapter 4, “Autumn I”) and the Later Gleanings of Japanese Poems (Jp. GoShui Wakashu, Chapter 14, “Love IV”). They are written in bold scrawls scattered across the panel. This was a style only an achieved calligrapher would assume. Mt. Mikasa is depicted with a clear border with vertical lines representing young cypress trees, while tall pampas grass is seen on the right with a pale moon in the sky above. A mountain is seen in the distance. The liberated and rhythmical paint strokes are that of a Hasegawa School painter, and the inscription, by Konoe Nobutada (1565-1614). Regrettably, some gilt gold has flaked off over the centuries as this work has been passed down. Nevertheless, Nobutada’s hand matches well with the bold and gorgeous painting, which is characteristic of the Momoyama Period.

近衞信尹筆,By Konoe Nobutada (1565–1614),長谷川巳之吉氏寄贈,Gift of Mr. Hasegawa Minokichi,東京国立博物館,Tokyo National Museum

近衛信尹筆の「源氏物語抄」の「夕霧」の一節。「日いりかたになり行に／そらのけしきもあはれに／霧わたりてやまのかけハ／をくらき心ちするにひくらし／なきしきりてかきほに／おふるなてしこのうち」。「日いりかた」の「た」、「なり行」の「な」。「やまの」の「や」、「おふる」の「ふ」などに、信尹独特の仮名の字体が散見する。美しい料紙に書かれたもので、書状などの卒意の筆致は見られないが、丁寧に書写された仮名の美しさは独特である。慶長期のものか。

近衛信尹筆,By Konoe Nobutada (1565–1614),東京国立博物館,Tokyo National Museum

近衛信尹の書状を集めて一巻としたもの。信尹は、家蔵の平安古筆や藤原定家の書法に学んで独自の美学を培い、書法に結実させた。その表現性に、中世から近世へ脱皮した書の姿を見ることができる。掲出は、信尹晩年と思われる書状。「不例は平癒候、不可有気遣候、指柿令祝着候、先日は一冊令祝着候　卯月五日」。宛名の「式部卿」は、松花堂昭乗か。「（平）癒」や「令」の左右の払い、「（気）遣」、「柿」の縦の線に、思い切った筆勢が見てとれる。　　　　　

近衛信尹筆,By Konoe Nobutada (1565–1614),東京国立博物館,Tokyo National Museum

同じく「書状巻」からの一通。宛名の「果法院」は、安土桃山時代の武将で茶人でもあった桑山重晴。重晴は慶長11年（1606）に死去しているので、それ以前の筆跡。全体にすっきりした筆致で、横線は水平で縦画は紡錘形にふっくらする三藐院流の特徴は顕著ではないが、上段1行目の「菊一桶」、2行目の「禁裏」、下段1行目の「是非」、3行目の「此奉書」のあたりにその片鱗が見られる。また、上段1行目の「手洗一」の「洗」、4行目の「花并」の「花」、5行目の「怡悦候」の「怡悦」、7行目の「何とてよきを」の「何」、下段最終行の「上洛」の「洛」などでも、文字幅が広がって書かれる三藐院流の特徴が見てとれる。　

後伏見天皇筆,By Emperor Gofushimi (1288-1336),東京国立博物館,Tokyo National Museum

後伏見天皇が、書写した「古今和歌集」に対する近衛信尹の添状。後伏見天皇の宸翰と鑑定している。本書は、元亨2年(1322)4月の巻末奥書により、藤原定家の貞応本の系統になる『古今和歌集』として知られる。

近衛信尹筆,By Konoe Nobutada (1565–1614),東京国立博物館,Tokyo National Museum

三藐院流で書かれた「中古三十六歌仙」の色紙帖。紡錘形とも言われる太い筆線を縦、横に駆使して書かれた36枚はいずれも三藐院流の特徴がわかりやすく表れている。掲出は式子内親王の歌で、「なかむれはころもて／すゝし久かたの／あまの河原の秋／のゆふくれ」。冒頭一字目の「な」、その下の「む」「れ」「は」、最終行の「ゆ」「ふ」など、この色紙帖でもしばしば用いられる用いる字形である。「中古三十六歌仙」は、藤原範兼が『後六々撰』で選んだ、36人のすぐれた歌人。

近衛信尹筆,By Konoe Nobutada,東京国立博物館,Tokyo National Museum

「古今和歌集」や「伊勢物語」に取材した平安の古歌をダイナミックに揮毫する。屏風の特性を踏まえて各扇ごとに書風に変化がつけられている。

近衛信尹筆,九州国立博物館

近衛信尹筆,By Konoe Nobutada (1565–1614),東京国立博物館,Tokyo National Museum

近衛家十七当主信尹の書状を集めて一巻としたもの。信尹は、家蔵の平安古筆や藤原定家の書法に学んで独自の美学を培い、書法に結実させた。その表現性に、中世から近世へ脱皮した書の姿を見ることができる。　　　　　

近衛信尹　

Konoe Nobutada (1565-1614) was a court official who lived during the Momoyama Period. He was born into nobility as the legitimate first son of Senior Regent Konoe Sakihisa (1536-1612). His initiation rite was held in 1577 when he turned 13, with Lord Oda Nobunaga (1534-82) assuming the honorary role of placing the headgear. Nobunaga gave the boy a character from his own name, and thereafter Nobutada was called Nobumoto, which was later changed to Nobusuke. Nobusuke was only 21 when he was appointed Minister of the Left, but he resigned from this office in January 1592 at age 28. In December of the same year, he planned to sail to the Korean Peninsula to fight in the Battle of Bunroku and went as far down as Nagoya, in Hizen (today’s Saga Pref.). Nobutada later incurred the displeasure of Emperor Goyozei (1571-1617) due to a rivalry Nobutada had with Regent Toyotomi Hideyoshi (1527-98), and he was exiled to Bonotsu in Satsuma (today’s Kagoshima Pref.) in 1594. Ever since the end of the Heian Period, Satsuma had been Konoe family property, so he was received warmly by Lord Shimazu, the ruler of Satsuma. Nobutada spent his time in exile completely absorbed in art, as well as waka and renga composing and tea ceremony. In 1596, Nobutada was pardoned and allowed to return to Kyoto; thereupon, he assumed the name Nobutada, by which he is traditionally known. In 1601, he was reinstituted as Minister of the Left and was promoted to Regent and head of the family in 1605. He died at age 50 on November 25, 1614. The posthumous Buddhist name Sanmyaku-In was bestowed upon him.Nobutada was thoroughly familiar with the art of waka, calligraphy and painting. In calligraphy, he was hailed as one of the ‘Three Brushes of the Kan-ei Era’, the other two being Hon-ami Koetsu (1558-1637) and Shokado Shojo (1582-1639). This letter is addressed to feudal lord and tea connoisseur Furuta Oribe (1554-1615), and Nobutada apologizes that his messenger has arrived at Oribe’s residence at an untimely midnight hour. It is signed simply with a single character meaning ‘cedar’: This practice of using a partial name was customary among close friends, thus implying a close association between Nobutada and Furuta Oribe.

近衛信尹

Konoe Nobutada (1565-1614) was a court official who lived during the Momoyama Period. He was born into nobility as the legitimate first son of Senior Regent Konoe Sakihisa (1536-1612). His initiation rite was held in 1577 when he turned 13, with Lord Oda Nobunaga assuming the honorary role of placing the headgear. Nobunaga gave the boy a character from his own name, and thereafter Nobutada was called Nobumoto, which was later changed to Nobusuke. Nobusuke was only 21 when he was appointed Minister of the Left, but he resigned from this office in January 1592 at age 28. In December of the same year, he planned to sail to the Korean Peninsula to fight in the Battle of Bunroku and went as far down as Nagoya, in Hizen (today’s Saga Pref.). Nobutada later incurred the displeasure of Emperor Goyozei due to a rivalry Nobutada had with Regent Toyotomi Hideyoshi, and he was exiled to Bonotsu in Satsuma (today’s Kagoshima Pref.) in 1594. Ever since the end of the Heian Period, Satsuma had been Konoe family property, so he was received warmly by Lord Shimazu, the ruler of Satsuma. Nobutada spent his time in exile completely absorbed in art, as well as waka and renga composing and chanoyu tea ceremony. In 1596, Nobutada was pardoned and allowed to return to Kyoto; thereupon, he assumed the name Nobutada, by which he is traditionally known. In 1601, he was reinstituted as Minister of the Left and was promoted to Regent and head of the family in 1605. He died at age 50 on November 25, 1614. The posthumous Buddhist name Sanmyaku-In was bestowed upon him.Nobutada was thoroughly familiar with the art of waka, calligraphy and painting. In calligraphy, he was hailed as one of the ‘Three Brushes of the Kan-ei Era’, the other two being Hon-ami Koetsu and Shokado Shojo. Interestingly, this letter sheds light on Nobutada’s private life. He complains bitterly about an illness and asks the letter’s recipient to concoct an herbal medicine using garden balsam seeds. He also asks for ‘kumanoi’, an extremely bitter-tasting traditional medicine made from the dried gall bladder of a bear. The description of his physical disorder is detailed -- how the pain is making him sleepless and how rapidly he is emaciating -- and he expresses how much he wants the recipient to come and visit. In olden days, garden balsam seeds were believed to work against fish or meat-related food poisoning, and ‘kumanoi’ was considered a potent cure for digestive tract disorders. This letter is addressed to Hori Kyoan (1585-1642), a physician trained under Manase Masazumi. Hori was also a learned Confucian scholar and a high-ranking disciple of Fujiwara Seika (1561-1619). He was familiar with classical studies and once served Tokugawa Yoshinao, Lord of Owari Province.

近衛信尹

Konoe Nobutada (1565-1614) was a court official who lived during the Momoyama Period. He was born into nobility as the legitimate first son of Senior Regent Konoe Sakihisa (1536-1612). His initiation rite was held in 1577 when he turned 13, with Lord Oda Nobunaga assuming the honorary role of placing the headgear. Nobunaga gave the boy a character from his own name, and thereafter Nobutada was called Nobumoto, which was later changed to Nobusuke. Nobusuke was only 21 when he was appointed Minister of the Left, but he resigned from this office in January 1592 at age 28. In December of the same year, he planned to sail to the Korean Peninsula to fight in the Battle of Bunroku and went as far down as Nagoya, in Hizen (today’s Saga Pref.). Nobutada later incurred the displeasure of Emperor Goyozei due to a rivalry Nobutada had with Regent Toyotomi Hideyoshi, and he was exiled to Bonotsu in Satsuma (today’s Kagoshima Pref.) in 1594. Ever since the end of the Heian Period, Satsuma had been Konoe family property, so he was received warmly by Lord Shimazu, the ruler of Satsuma. Nobutada spent his time in exile completely absorbed in art, as well as waka and renga composing and chanoyu tea ceremony. In 1596, Nobutada was pardoned and allowed to return to Kyoto; thereupon, he assumed the name Nobutada, by which he is traditionally known. In 1601, he was reinstituted as Minister of the Left and was promoted to Regent and head of the family in 1605. He died at age 50 on November 25, 1614. The posthumous Buddhist name Sanmyaku-In was bestowed upon him.Nobutada was thoroughly familiar with the art of waka, calligraphy and painting. In calligraphy, he was hailed as one of the ‘Three Brushes of the Kan-ei Era’, the other two being Hon-ami Koetsu and Shokado Shojo. According to this letter, Nobutada had borrowed, through one of the court ladies, a document that was perhaps a record of imperial lineage. The addressee may be somebody who mediated the affair. Actually, the court lady mentioned is Nobutada’s sister Sakiko, who was 11 years his junior. Sakiko had become Emperor Goyozei’s concubine in December 1586.The overall impression of the letter suggests it was written in Nobutada’s later years, perhaps in his late 40s.

近衛信尹

Konoe Nobutada (1565-1614) was a court official who lived during the Momoyama Period. He was born into nobility as the legitimate first son of Senior Regent Konoe Sakihisa (1536-1612). His initiation rite was held in 1577 when he turned 13, with Lord Oda Nobunaga assuming the honorary role of placing the headgear. Nobunaga gave the boy a character from his own name, and thereafter Nobutada was called Nobumoto, which was later changed to Nobusuke. Nobusuke was only 21 when he was appointed Minister of the Left, but he resigned from this office in January 1592 at age 28. In December of the same year, he planned to sail to the Korean Peninsula to fight in the Battle of Bunroku and went as far down as Nagoya, in Hizen (today’s Saga Pref.). Nobutada later incurred the displeasure of Emperor Goyozei due to a rivalry Nobutada had with Regent Toyotomi Hideyoshi, and he was exiled to Bonotsu in Satsuma (today’s Kagoshima Pref.) in 1594. Ever since the end of the Heian Period, Satsuma had been Konoe family property, so he was received warmly by Lord Shimazu, the ruler of Satsuma. Nobutada spent his time in exile completely absorbed in art, as well as waka and renga composing and chanoyu tea ceremony. In 1596, Nobutada was pardoned and allowed to return to Kyoto; thereupon, he assumed the name Nobutada, by which he is traditionally known. In 1601, he was reinstituted as Minister of the Left and was promoted to Regent and head of the family in 1605. He died at age 50 on November 25, 1614. The posthumous Buddhist name Sanmyaku-In was bestowed upon him.Nobutada was thoroughly familiar with the art of waka, calligraphy and painting. In calligraphy, he was hailed as one of the ‘Three Brushes of the Kan-ei Era’, the other two being Hon-ami Koetsu and Shokado Shojo. The addressee of this letter is Ishikawa Jozan (1583-1672), who was also called by the pseudonym Rokuroku-Sanjin. Jozan was a noted calligrapher and poet trained in Chinese poetry by Fujiwara Seika (1561-1619). In this letter, Nobutada asks Jozan to edit his humorous poem, ‘A prayer to Amida Buddha’, written in seven-character quatrain format. It is likely that Nobutada had sent Jozan other works for editing as he reminds Jozan not to forget to look over them. He then explains which Chinese character to use to express the word ‘shokyo’. This letter is of literary value as it sheds light on the friendship between these two famous figures, as well as on Nobutada’s passion for Chinese poetry.

近衛信尹

Konoe Nobutada (1565-1614) was a court official who lived during the Momoyama Period. He was born into nobility as the legitimate first son of Senior Regent Konoe Sakihisa (1536-1612). His initiation rite was held in 1577 when he turned 13, with Lord Oda Nobunaga assuming the honorary role of placing the headgear. Nobunaga gave the boy a character from his own name, and thereafter Nobutada was called Nobumoto, which was later changed to Nobusuke. Nobusuke was only 21 when he was appointed Minister of the Left, but he resigned from this office in January 1592 at age 28. In December of the same year, he planned to sail to the Korean Peninsula to fight in the Battle of Bunroku and went as far down as Nagoya, in Hizen (today’s Saga Pref.). Nobutada later incurred the displeasure of Emperor Goyozei due to a rivalry Nobutada had with Regent Toyotomi Hideyoshi, and he was exiled to Bonotsu in Satsuma (today’s Kagoshima Pref.) in 1594. Ever since the end of the Heian Period, Satsuma had been Konoe family property, so he was received warmly by Lord Shimazu, the ruler of Satsuma. Nobutada spent his time in exile completely absorbed in art, as well as waka and renga composing and chanoyu tea ceremony. In 1596, Nobutada was pardoned and allowed to return to Kyoto; thereupon, he assumed the name Nobutada, by which he is traditionally known. In 1601, he was reinstituted as Minister of the Left and was promoted to Regent and head of the family in 1605. He died at age 50 on November 25, 1614. The posthumous Buddhist name Sanmyaku-In was bestowed upon him.Nobutada was thoroughly familiar with the art of waka, calligraphy and painting. In calligraphy, he was hailed as one of the ‘Three Brushes of the Kan-ei Era’, the other two being Hon-ami Koetsu and Shokado Shojo. This letter is addressed to Lord Enmon, a nobleman appointed to the sub-temple of Enman-In at Onjoji Temple. Yokei was the fifth son of Kujo Masamoto (1445-1516). Nobutada writes: “I received your letter but have been unable to reply since I have been serving at Sento Palace (the court of Emperor Goyozei). In the next few days, I’ll write the ‘Hakkei’ (lit. ‘Eight Views’) project that you asked. Thank you for the gift of persimmons that ripened in the Enman-In gardens.” The letter is rendered in a typical Konoe Style, which was also called the Sanmyaku-In Style. Most likely, it was written in Nobutada’s latter years, perhaps in his late 40s. (Notes: The ‘Hakkei’, or ‘Eight Views of the Xiao and the Xian’, may refer to a Chinese poem about the eight designated scenes in Hunan Province, China, where the waters of Lake Dongtin and the rivers Xiao and Xiang converge. Or it could refer to ‘Ohmi Hakkei’, the Japanese version of writing on natural beauty, which Nobutada is known to have originated and fashioned after the Chinese ‘Hakkei’.)

近衛信尹

Konoe Nobutada (1565-1614) was a court official who lived during the Momoyama Period. He was born into nobility as the legitimate first son of Senior Regent Konoe Sakihisa (1536-1612). His initiation rite was held in 1577 when he turned 13, with Lord Oda Nobunaga assuming the honorary role of placing the headgear. Nobunaga gave the boy a character from his own name, and thereafter Nobutada was called Nobumoto, which was later changed to Nobusuke. Nobusuke was only 21 when he was appointed Minister of the Left, but he resigned from this office in January 1592 at age 28. In December of the same year, he planned to sail to the Korean Peninsula to fight in the Battle of Bunroku and went as far down as Nagoya, in Hizen (today’s Saga Pref.). Nobutada later incurred the displeasure of Emperor Goyozei due to a rivalry Nobutada had with Regent Toyotomi Hideyoshi, and he was exiled to Bonotsu in Satsuma (today’s Kagoshima Pref.) in 1594. Ever since the end of the Heian Period, Satsuma had been Konoe family property, so he was received warmly by Lord Shimazu, the ruler of Satsuma. Nobutada spent his time in exile completely absorbed in art, as well as waka and renga composing and chanoyu tea ceremony. In 1596, Nobutada was pardoned and allowed to return to Kyoto; thereupon, he assumed the name Nobutada, by which he is traditionally known. In 1601, he was reinstituted as Minister of the Left and was promoted to Regent and head of the family in 1605. He died at age 50 on November 25, 1614. The posthumous Buddhist name Sanmyaku-In was bestowed upon him.Nobutada was thoroughly familiar with the art of waka, calligraphy and painting. In calligraphy, he was hailed as one of the ‘Three Brushes of the Kan-ei Era’, the other two being Hon-ami Koetsu and Shokado Shojo. This letter says, “I haven’t had a chance to write you since last because I haven’t been well. I’m sorry if I’ve caused you any worries. I’d like to have a chance to speak with you in person. In your reply, please tell me when is convenient for you. Maybe you will be returning to the temple soon. I cannot wait to see you.” It is likely addressed to a Buddhist priest. Written in the typical Konoe School style, this letter may have been rendered in Nobutada’s last years.

近衛信尹

Konoe Nobutada (1565-1614) made a clear copy of the renga (linked poems) selected by nine guests at a poetry party held with the assigned theme of “dreamy thoughts.”. At the poetry party, the nine participants compared their skills in waka composition. The first contestant writes the first two lines of a poem (made up of 5, 7 and 5 letters), which is followed by the second poet who finishes up the last two lines (7 and 7 letters). The assigned topic and date are written at the far right corner of the first kaishi, on which the nine poets took turns to write either the top three or bottom two lines of each poem. Nobutada must have been asked to make a clean copy of the best renga (actually nine waka poems linked together, thus the name “renga,” meaning connected or linked poems). Each writer’s name is visible at the end of the line he contributed. The character “Sugi,” meaning cedar, seen at the start of the third poem was Nobutada’s pseudonym. Other than this noted calligrapher’s name, one can see the names of NishinoToin-Tokiyoshi (1552-1640), Shigenoi Fuyutaka (1586-1655), ShobaiIn Zensho (years of birth and death unknown), a priest of the Kitano Shrine, NishinoToin-Tokinao (1584-1636) and renga master Satomura Shotaku (1574-1636). One can assume that the very first line was composed by Emperor GoYozei (1571-1617), the highest ranking of all the participating poets on this occasion. We don’t know who Zeuikyu, who wrote the second line, and Sozen, who contributed the ninth line, were. Although we can’t determine what year the exhibited linked poems were made, one can truly appreciate the free flow with outstanding organization of each line created by Nobutada, who must have attended the poetry party as the appointed calligrapher.

近衛信尹

「信輔」時代の、18歳から36歳の間の執筆である。二句を記し、そのいずれか一方を選択すべく送ったもの。左に合装されるのは別紙である。福島正則の一句と考えられる。署名の「羽左太」は、「羽柴左衛門大夫」で、福島正則の左衛門大夫の在任期間は天正13年（1585）から元和３年（1617）。信尹の「信輔」期とほぼ一致する。 「信輔／卯花も八重垣つくる砌哉／かつ咲や友待雪の花卯木／ふたつの内被相定、其方にて被書付可給候／夏の月明行かたや郭公／正則　羽左太」

近衛信尹ほか

この連歌懐紙は、「来廿一日（来たる二十一日）」に予定されている北野社での祈念連歌のために、予め準備された草稿（下書き）と考えられる。執筆（書き役）の近衛信尹が、参加する各々の詠句を一行ずつ書き付けたもの。本番の連歌会での清書のために注記を施し、幾度かに分けて詠句を書き記したため、行取りの配置が不揃いになっている。発句は一字名「杦（杉）」の近衛信尹。次の脇句（二句目）は願主。第三は「梧」の近衛信尋、以下、阿野実顕、松梅院禅昌、猪苗代兼与、佐野（灰野）紹由らの名前がみられる。これら連衆の顔ぶれから推して、書写年代は慶長16～7年（1611-12９）頃、脇句の願主は、後陽成院と考えられる。

近衛信尹

This draft Kaishi that Konoe Nobutada send to Nishino-Toin Tokiyoshi, a court official who lived during the Momoyama Period. Kaishi originally means a paper folded and carried on person in the bosom pocket, at first used for writing impromptu poems. Later on, paper conforming to certain rules about the dimensions as well as the manner of writing the title, poem and the writer's signature, were used for making a fair copy of poem. But this kaishi is not according to the rule, combine with a letter message.

近衛信尹　

二句の詠草。託するために加えた末尾の文面が途中で切れている。結局、送達されなかったもの。36歳で信尹に改名してから、50歳で没するまでの間に書かれたものである。 「信尹／萩が花散透枝に雨落て／わさぼいづる稲葉の雲に雨みえて／被伺候て可示預候透は」

近衛信尹

Konoe Nobutada (1565-1614) was the son of Regent Sakihisa (1536-1612). His infancy names were Nobumoto and Nobusuke, and he later adopted the literary pseudonym Sanmyaku-In. Nobutada was appointed the Minister of the Left of the Junior First Rank at age 21. In 1592, he tried in vain to enlist in the Korea Campaign waged by Toyotomi Hideyoshi (1537-1598). This attempt angered Emperor Goyozei (1571-1617), who exiled Nobutada to Satsuma Province. But in this remote province, Lord Shimazu Yoshihisa (1533-1611) welcomed Nobutaka and hosted him for three years, after which he was pardoned and allowed to return to the capital. In 1605, he was nominated Regent and the head of the Konoe Clan.An excellent poet and calligrapher, Nobutada developed a style that would later be called the Sanmyaku-In School. Along with Hon-ami Koetsu (1558-1637) and Shokado Shojo (1582-1639), Nobutada was admired widely as one of the “Kanei-no-Sampitsu” (Three Brushes of the Kanei Era). The exhibit shows a waka cited from Go-Shui Wakashu (Later Collection of Gleanings of Japanese Poetry; Vol. 15). Nobutada wrote with dynamic brush movements, using light India ink. Although it is not signed, the style is, without the slightest doubt, attributable to Nobutada, as the free-flowing dynamic brushstrokes are typical of his Sanmyaku-In style. The exhibit is one of the rare extant “large letters” by this famous calligrapher.

流水道人、近衛信尹

流水道人の「渡唐天神像」に付された近衛信尹の賛。仙冠・道服を着け、梅の一枝をたずさえて立つ、正面向きの渡唐天神像の図上に「梅はとび桜はかるゝ世の中に何とて松の難面かるらん」とある。歌意から飛梅伝説を思わせるが、通行の歌集には見えない歌。また、現存の天神画にもあまりみられない。が、『天神本地』（慶安元年〈1648〉）や『菅原伝授手習鑑』に道真の詠歌として収録されていることから、当時すでに道真作という認識があったことを知る。画の筆者、流水道人については不詳。

近衛信尹

近衛信尹による渡唐天神像。渡唐天神は、天神にまつられた菅原道真が渡唐して参禅したという伝説に基づいて作られた絵や彫像のことで、仙冠をかぶり、道服を着て梅花の枝を持つのをモチーフとする。掲出は、帽をかぶり、道服を身につけた道真像を、文字絵にあらわした略画で、頭から顔にかけて、太い墨線が「天」の字、それに目鼻を加えて、道真の顔容をつくる。首から下の体躯には、草書体の「神」の字にあらわし、大きな構えで両袖や裾を絵様化している。画・賛（「唐衣折らで北野の神ぞとは袖に持ちたる梅にても知れ」）ともに近衛信尹の筆で、歌の末尾に信尹みずからの花押を加える。信尹は、しばしば京都・北野社（菅原道真を祭神とする日本總社）で連歌をしばしば興行している。また信尹は敬神のため、「百幅天神像」を描いたという（『古画備考』）。日課として１図ずつを完成して、満願に達したのであろう。今日、同様の遺墨が多く伝存、中には年紀をともなうものもあり、いずれもが慶長14年〈1609〉から同15年であることから、そのころに集中的に描いたものと思われる。

近衛信尹

近衛信尹が描いた渡唐天神像の１つ。帽をかぶり道服（中国の道家たちの日常の衣装）を身につけた道真像を文字絵にあらわした略画である。頭から顔にかけて、太い墨線が「天」の字、それに目鼻を加えて、道真の顔容をつくる。首から下の体躯には、草書体の「神」の字にあらわし、大きな構えで両袖や裾を絵様化している。 画・賛ともに近衛信尹の筆。この賛歌は、通常の天神画には見られない歌であるが、天神信仰の広まりを思わせる歌意である。「梅あらばいやしき賤が伏屋まで我立ち寄らん悪魔しりぞけ」

近衛信尹

渡唐天神図。画・賛ともに近衛信尹尹の筆。賛の和歌は、中世以来、北野神社の御神詠として広く知られる和歌で、天神像の賛にしばしば用いられる。 「心だに真（まこと）の道に叶ひなば祈らずとても神や守らん」

近衛信尹

Konoe Nobutada (1565-1614) was a court official who lived during the Momoyama Period. He was born into nobility as the legitimate first son of Senior Regent Konoe Sakihisa (1536-1612). His initiation rite was held in 1577 when he turned 13, with Lord Oda Nobunaga (1534-82) assuming the honorary role of placing the headgear. Nobunaga gave the boy a character from his own name, and thereafter Nobutada was called Nobumoto, which was later changed to Nobusuke. Nobusuke was only 21 when he was appointed Minister of the Left, but he resigned from this office in January 1592 at age 28. In December of the same year, he planned to sail to the Korean Peninsula to fight in the Battle of Bunroku and went as far down as Nagoya, in Hizen (today’s Saga Pref.). 　　Nobutada later incurred the displeasure of Emperor Goyozei (1571-1617) due to a rivalry Nobutada had with Regent Toyotomi Hideyoshi (1527-98), and he was exiled to Bonotsu in Satsuma (today’s Kagoshima Pref.) in 1594. Ever since the end of the Heian Period, Satsuma had been Konoe family property, so he was received warmly by Lord Shimazu, the ruler of Satsuma. Nobutada spent his time in exile completely absorbed in art, as well as waka and renga composing and tea ceremony. 　　In 1596, Nobutada was pardoned and allowed to return to Kyoto; thereupon, he assumed the name Nobutada, by which he is traditionally known. In 1601, he was reinstituted as Minister of the Left and was promoted to Regent and head of the family in 1605. He died at age 50 on November 25, 1614. The posthumous Buddhist name Sanmyaku-In was bestowed upon him. 　　Nobutada was thoroughly familiar with the art of waka, calligraphy and painting. In calligraphy, he was hailed as one of the ‘Three Brushes of the Kan-ei Era’, the other two being Hon-ami Koetsu (1558-1637) and Shokado Shojo (1582-1639). 　　This is the image of Tenjin (lit. Heavenly God). Both the ink painting and calligraphy were rendered by Konoe Nobutada, shows an oversimplified pictogram-like representation of Tenjin. Originally, the image of Tenjin was produced as a kind of prayer for the repose of the soul of Sugawara no Michizane (845-903). Comissioned by worshippers of the deified Michizane, it includes a portrait of him under his posthumous name, Tenjin. There are very many images of Michizane from Kamakura period and later, and all of them are have essentially the same standardized appearance.

近衛信尹筆,By Konoe Nobutada (1565–1614),東京国立博物館,Tokyo National Museum

信尹は達磨あるいは渡唐天神像(ととうてんじんぞう)を描き、みずから賛を加えることをよくした。これらはいずれも、信仰にもとづく作ではあるが、瞬時に描かれる略画は一種のユーモアさえ溢(あふ)れ、颯爽(さっそう)とした趣がうかがえる。筆と墨の濃淡を利用して描いた信伊の技量がうかがわれて面白い。

近衛信尹筆,By Konoe Nobutada (1565-1614),服部禮次郎・悦子氏寄贈,Gift of Mr. Hattori Reijiro and Mrs. Hattori Etsuko,東京国立博物館,Tokyo National Museum

近衛信尹による渡唐天神像の一つ。冠の部分を「天」で、身体を「神」の草書体で表した文字絵の天神像である。信尹は墨画の渡唐天神像を百幅描いたといわれる。

近衛信尹　KONOE Nobutada,Tenjin visiting China,sumi on paper,木村定三コレクション / Kimura Teizo Collection

By Konoe Nobutada,奈良国立博物館,Nara National Museum

近衛信尹

これは、画・賛ともに信尹自筆の柿本人麿自画賛である。歌仙信仰の長い歴史の中で、柿本人麿は歌道の聖として崇められ、人々からひときわ高い信仰を集めてきた。以来、人麿を祀る人麿影供（人麿供とも）が生まれた。これは、歌会において、床に人麿の画像を掛け、歌聖柿本人麿を供養する儀礼で、歌道の向上を願い、あるいは歌会の成功を祈ったのである。平安時代・12世紀から起こった風習である。この画像も、こうした影響下で描かれたもの。ふつうは、大和絵の手法による極彩色の画像が好まれた。が、この画像は、柿本人麿（丸）像を文字絵に描いた略画。烏帽子と線描の顔貌に、狩衣姿の肩のあたりから胸にかけて「柿」の字。筆を持つ右手を「本」の草書体。右足と左足、指貫（袴）の姿を「人」字と「丸」字をもってあらわしている。あわせて柿本人麿の坐像に完成させている。 賛の和歌は、『古今和歌集』（巻第四・秋歌上）には「題しらず読み人しらず」として所収する。初句と第二句を万葉仮名、第三句以下を平仮名と書き分けている。また、珍しく「文禄五年八月廿五烏（＝日）」の年記が加えられている。信尹は前左大臣、薩摩国防の津に流謫中、時に32歳であった。望郷の念やみがたく、卒然と筆を執ったものと思われる。 「わがかどに／いなおほせ／どりのなくなへに／けさふくかぜに／かりはきに／けり／文禄五年八月廿五烏（わが門にいなおほせ鳥の鳴くなへに今朝吹く風に雁は来にけり）」

近衞信尹筆,By Konoe Nobutada (1565–1614),東京国立博物館,Tokyo National Museum

柿本人麿の四文字をくずして簡略に人麿像を描き、左上に賛｢ます鏡手にとりもちて朝な々々見れどもあかぬ君にもあるかな(花押)｣を加えたもの。近衛信尹は、このような文字を使った絵画を、好んでよく描いていた。

近衛信尹

三十六歌仙を左右に番えた歌合の形式につくられた色紙帖から剥離されて、掛幅に仕立てられたもの。像主・柿本人麿は、『古今和歌集』に「歌の聖」と賞賛されて以来、歌道における歌聖と崇められ、人々から特別の信仰を集め、人麿を祀る人麿影供も生まれた。色紙帖や歌仙絵巻においては、巻頭を飾る人物であった。賛は、近衛信尹の筆。この賛の渇筆を交えた豪胆な筆跡もその典型を示すものである。画の筆者は不明ながら、顔貌の表情も豊かで、専門絵師の筆によるものと思われる。「ほのぼのと明石の浦の朝霧に嶋かくれ行く舟をしぞ思ふ」

近衛信尹

The portraits of the Thirty-Six Immortal Poets were matched with their poems written on 36 shikishi (square pieces of paper) and then pasted together in an orihon, or a long strip of paper folded into a desired size, similar to an accordion (Length: 38.1・Width: 56.3 cm). Although the portraits’ painter is unidentified, the poems were inscribed by none other than Konoe Nobutada (1565-1614). Colorfully dyed shikishi with an under-painting in silver and gold mud was used by Nobutada to write down the poems. As a child, Nobutada acquired a solid foundation in the Shorein-In style calligraphy, to which he later added elements of the Teika style. The free-flowing, powerful and unrestricted hand is characteristic of this noble upbringing. The painting technique dates it to an era somewhat younger than Nobutada’s. Due to the different sizes of the shikishi used for the calligraphy and the portrait, one can assume that someone possessing the poetry shikishi commissioned the portraits and later had matching pairs pasted together into a kasen-e book edition. The portraits were likely drawn by a talented Tosa-school artist of the early Edo Period, loyally following the school’s tradition in structure, line formation and coloring that dates as far back as the Kamakura Period. During the Muromachi, Momoyama and early Edo Periods, members of aristocratic and military classes frequently commissioned shikishi books of matching poems and portraits, by using carefully prepared shikishi paper.

近衛信尹

This exhibit shows a portrait of Kakinomoto-no-Hitomaro. Both the ink painting and calligraphy were rendered by Konoe Nobutada (1565-1614). Hitomaro was venerated so much so that, from around the Heian Period (12th C.), it became customary to hang his portrait on tokonoma alcove at poetry parties. People wishing to master the art of waka composition and for success prayed to his image, the “patron saint of waka poetry.” Obviously, the exhibited portrait was used for such purposes. Usually, brightly-colored Yamatoe-style paintings were favored. The exhibit, however, shows an oversimplified pictogram-like representation of Hitomaro. You can see that the lines forming the cap, facial features and the shoulders of the hunting robe show the characters “kaki,” a part of Hitomaro’s surname. The right hand holding a brush looks like the character “moto.” The lines of the right and left feet form the characters “hito” and “maru” (not “maro” but similar in sound), thus cleverly spelling the name of the ancient poetic saint, while also showing his image. The poetic inscription at the top is attributed to Hitomaro in the Collection of Ancient and Modern Japanese Poems (Kokin Wakashu), Volume 9.

近衛信尹

本図は、画像・賛ともに信尹自筆の柿本人麿自画賛である。歌仙信仰の長い歴史の中で、柿本人麿は歌道の聖として崇められ、人々からひときわ高い信仰を集めてきた。以来、人麿を祀る人麿影供（人麿供とも）が生まれた。これは、歌会において、床に人麿の画像を掛け、歌聖柿本人麿を供養する儀礼で、歌道の向上を願い、あるいは歌会の成功を祈ったのである。平安時代・12世紀から起こった風習である。この画像も、こうした影響下で描かれたもの。ふつうは、大和絵の手法による極彩色の画像が好まれた。が、この画像は、柿本人麿（丸）像を文字絵に描いた略画である。烏帽子と線描の顔貌に、狩衣姿の肩のあたりから胸にかけて「柿」の字。筆を持つ右手を「本」の草書体。右足と左足、指貫（袴）の姿を「人」字と「丸」字をもってあらわしている。あわせて柿本人麿の坐像に完成させている。図上の賛は、『古今和歌集』（巻第17・雑歌上）に収められ、柿本人麿の詠歌とされる歌。「梓弓磯辺の小松たが世にか万世かねて種をまきけむ」

近衛信尋

Early Edo aristocrat Konoe Nobuhiro (1599-1649) was the fourth son of Emperor Goyozei (1571-1617). At age 7, he was adopted by his uncle Nobutada (1565-1614), who was heirless. Nobuhiro’s promotion in the government hierarchy was spectacular. He was only 25 when appointed Regent and Head of Clan. While he was trained in the aristocratic ways of tea by Furuta Oribe (1543-1615), Nobuhiro had a humorous character and a carefree lifestyle. For example, even after he assumed Regency, he frequented the noted Shimabara night entertainment quarters and courted the then famous high-class geisha Yoshino Dayu. In this way, Nobuhiro was quite a man of the world. Since childhood, he practiced calligraphy under his adoptive father, Nobutada, and later attained such thorough mastery that one can hardly tell apart the works done by these two men. The powerful and dynamic flow of brush strokes, however, is Nobuhiro’s own. He was more than a faithful successor, reaching the highest level of attainment.This letter is signed “Nobu Hiro” with “Nobu” in hiragana and “Hiro” in a Chinese character. This style of signing one’s name was typical in letters addressed to women. The addressee, simply written as “Kan-Shikibu,” was a lady-in-waiting in close personal attendance to Emperor Goyozei. Letters intended for high-ranking personalities were usually addressed to their servants, who would deliver them to their masters. We can safely assume the identity of “Shichijo” mentioned in this letter is Prince Shokai (1591-1609), who was the second son of Emperor Goyozei, and as such, Nobuhiro’s elder brother. Shokai was called Lord Shichijo. He had entered the Ninnaji Temple in 1598 at age 8 and later took the tonsure. However, he died at the young age of 19. From this letter, we can assume that a merchant was sent to Prince Shokai delivering some kind of gift. Nobuhiro expresses his thanks for this gift and volunteers to send in return a gift of camellia flowers. Since Prince Shokai died young, this letter must have been written when Nobuhiro was only 10 or younger, so it is a valuable piece as the earliest extant calligraphic writing by Nobuhiro. At this young age, we can see that he had quite mastered the Konoe Style that his adoptive father had perfected. This is a fine example proving Nobuhiro’s reputation as a skilled calligrapher.

近衛信尋

Early Edo aristocrat Konoe Nobuhiro (1599-1649) was the fourth son of Emperor Goyozei (1571-1617). At age 7, he was adopted by his uncle Nobutada (1565-1614), who was heirless. Nobuhiro’s promotion in the government hierarchy was spectacular. He was only 25 when appointed Regent and Head of Clan. While he was trained in the aristocratic ways of tea by Furuta Oribe (1543-1615), Nobuhiro had a humorous character and a carefree lifestyle. For example, even after he assumed Regency, he frequented the noted Shimabara night entertainment quarters and courted the then famous high-class geisha Yoshino Dayu. In this way, Nobuhiro was quite a man of the world. Since childhood, he practiced calligraphy under his adoptive father, Nobutada, and later attained such thorough mastery that one can hardly tell apart the works done by these two men. The powerful and dynamic flow of brush strokes, however, is Nobuhiro’s own. He was more than a faithful successor, reaching the highest level of attainment.This letter was written in August 1632 (9th year of the Kan-ei Era) when Shogun Tokugawa Iemitsu’s governess, Lady Kasuga-no-Tsubone, was visiting Kyoto. From historical records, it is known that Kasuga arrived in Kyoto on the 19th, and a puppet show was held at Sento Palace for Retired Emperor Gomizunoo on the 29th. So this letter is likely a letter of invitation to the puppet show. At the time of this writing, Nobuhiro was 34 years old, Retired Emperor Gomizunoo, 37, and Kasuga, 54. Although this is a simple, short letter, it is of priceless value as it captures a historical moment involving key players of the time.

近衛信尋

A kaishi, literally ‘pocket paper’, was a sheet of paper folded down the middle and carried in the breast pocket. It was used to write impromptu 31-syllable poems known as waka. Konoe Nobuhiro (1599-1649) was fourth son of the emperor GoYozei (1571-1617). His mother, empress Sakiko, was younger sister of Konoe Nobutada (1565-1614). Nobutada had no heir, so he adopted his nephew at the age of seven. Educated by Nobutada in the arts of calligraphy and waka poetry, Nobuhiro was particularly noted for his skill in writing characters exactly like those of his teacher. An avid scholar, Nobuhiro acquired learning in many fields and was particularly fond of the tea ceremony. This waka kaishi was produced for the opening of a poetry gathering on January 19, 1617. Nobuhiro was then 19 and was courtier of the second rank, with the title of Minister of the Right.

近衛信尋

Early Edo aristocrat Konoe Nobuhiro (1599-1649) was the fourth son of Emperor Goyozei (1571-1617). At age 7, he was adopted by his uncle Nobutada (1565-1614), who was heirless. Nobuhiro’s promotion in the government hierarchy was spectacular. He was only 25 when appointed Regent and Head of Clan. While he was trained in the aristocratic ways of tea by Furuta Oribe (1543-1615), Nobuhiro had a humorous character and a carefree lifestyle. For example, even after he assumed Regency, he frequented the noted Shimabara night entertainment quarters and courted the then famous high-class geisha Yoshino Dayu. (Note: “geisha” is a woman working in sake houses, restaurants, etc., with deep training in singing and dancing and hospitality.) In this way, Nobuhiro was quite a man of the world. Since childhood, he practiced calligraphy under his adoptive father, Nobutada, and later attained such thorough mastery that one can hardly tell apart the works done by these two men. The powerful and dynamic flow of brush strokes, however, is Nobuhiro’s own. He was more than a faithful successor, reaching the highest level of attainment.In this reply to an unidentified recipient (perhaps a close associate), Nobuhiro gives the time that he will leave for Maruyama (today’s Maruyama in Higashiyama Ward, Kyoto). The two characters seen at the end are pronounced “kairi,” which literally means “returning carp.” This term derives from an anecdote in the Chinese classic Monzen (lit. “Selections of Literature”). In the story, a husband away in the military sends a letter to his wife hidden in the belly of a carp. Another explanation of the origin of this term is that in ancient China, letters written on white silk clothes were tied into carp shapes. So “rigyo” (lit. “carp fish”) came to mean a letter, and “kairi”, a “reply.”

近衛信尋

Early Edo aristocrat Konoe Nobuhiro (1599-1649) was the fourth son of Emperor Goyozei (1571-1617). At age 7, he was adopted by his uncle Nobutada (1565-1614), who was heirless. Nobuhiro’s promotion in the government hierarchy was spectacular. He was only 25 when appointed Regent and Head of Clan. While he was trained in the aristocratic ways of tea by Furuta Oribe (1543-1615), Nobuhiro had a humorous character and a carefree lifestyle. For example, even after he assumed Regency, he frequented the noted Shimabara night entertainment quarters and courted the then famous high-class geisha Yoshino Dayu. (Note: “geisha” is a woman working in sake houses, restaurants, etc., with deep training in singing and dancing and hospitality.) In this way, Nobuhiro was quite a man of the world. Since childhood, he practiced calligraphy under his adoptive father, Nobutada, and later attained such thorough mastery that one can hardly tell apart the works done by these two men. The powerful and dynamic flow of brush strokes, however, is Nobuhiro’s own. He was more than a faithful successor, reaching the highest level of attainment.We don’t know the recipient of this letter, but Nobuhiro writes that he has received the candle holder. Also, the recipient seems to have asked Nobuhiro to write calligraphic works of art, perhaps for renovating heavy paper doors at home. It was popular to decorate the sliding doors with inscriptions on decorated paper or poems written on narrow strips of paper and the like. Nobuhiro must have been talked into doing the work; however, in rather a firm tone, he says he will complete the inscription this time but will refuse to accept any further commissions.

近衛信尋

Early Edo aristocrat Konoe Nobuhiro (1599-1649) was the fourth son of Emperor Goyozei (1571-1617). At age 7, he was adopted by his uncle Nobutada (1565-1614), who was heirless. Nobuhiro’s promotion in the government hierarchy was spectacular. He was only 25 when appointed Regent and Head of Clan. While he was trained in the aristocratic ways of tea by Furuta Oribe (1543-1615), Nobuhiro had a humorous character and a carefree lifestyle. For example, even after he assumed Regency, he frequented the noted Shimabara night entertainment quarters and courted the then famous high-class geisha Yoshino Dayu. (Note: “geisha” is a woman working in sake houses, restaurants, etc., with deep training in singing and dancing and hospitality.) In this way, Nobuhiro was quite a man of the world. Since childhood, he practiced calligraphy under his adoptive father, Nobutada, and later attained such thorough mastery that one can hardly tell apart the works done by these two men. The powerful and dynamic flow of brush strokes, however, is Nobuhiro’s own. He was more than a faithful successor, reaching the highest level of attainment.From this letter, we can see that Nobuhiro had been invited to attend a renga composition event scheduled at the Kitano Tenman Shrine in Kyoto. He replies that he will gratefully accept the invitation, as it must have been extended by “His Imperial Wish.” We can safely assume that the renga party was being hosted by Emperor Gomizunoo. Unfortunately, we have no clues to determine the exact time of this auspicious event.

近衛信尋

Konoe Nobuhiro (1599-1649), a noble of the early Edo Period, was the fourth son of Emperor Goyozei (1571-1617) from his consort Chuwamon-In Sakiko (1575-1630). Emperor Gomizuno-o (1596-1680) was Nobuhiro’s half brother. On August 27, 1605, the young boy was adopted by his uncle Konoe Nobutada (1565-1614) to become his heir, and it was at the coming-of-age ceremony held on the following day that his name was changed to Nobuhiro. When all this happened, the boy was only 7 years old. Nobuhiro made spectacular career advances: In 1623, the 25-year-old Nobuhiro was appointed the Regent and the head of the Konoe Clan. However, Nobuhiro was more than an ordinary noble. He studied the art of ceremonial tea under the tea master Furuta Oribe (1543-1615). He was also a man of the world. For example, he courted a famous geiki, Yoshino Dayu (1606-1643), in the Shimabara entertainment quarters. Nobuhiro was also a talented painter but showed the greatest talent in brush-and-ink writing, thanks to coaching from his adopted father, Nobutada. Later, one discerns no stylistic difference between these two master calligraphers. The exhibited shikishi (decorated square paper) used brown-dyed ryoshi with a fabric pattern, depicting the popular pine, bamboo and plum motifs in gold mud on which a poem is copied from Shin Kokin Wakashu (New Collection of Ancient and Modern Japanese Poems; Vol. 1 “Spring Poems”). The hand, indistinguishable from that of Nobuhiro’s father, is a genuine work of the Konoe School successor, showcasing the school’s aesthetic essence.

近衛太郎君

近衛太郎君は、「信尹公息女」（『古筆流儀分』）「三藐院公ノ長女」（『皇朝名画拾彙』）とあるように、近衛信尹の娘で、筆跡は三藐院流（信尹の書風）の書き手と知られ、さらに画技では、父信尹が得意とした達磨・布袋・人麿の画賛に傑出した画才を発揮したという。歌仙色紙、書状、画賛等々、いくつもの遺例が現存するが、「太郎」という名前や花押の存在に加えて、信尹そっくりのいかにも男性的な書風を勘案して、太郎君が男性であったとも説もあり、いずれを決する確固たる証明もなく、謎につつまれている。 本図は、中国・唐代の人、倶胝和尚を描いたもの。この倶胝和尚、小院の住持に収まっていた若いころ、ひとりの尼（実際尼）が訪ね来て、「速やかに一句を」との問いに、倶胝は何も答えることができなかった。その悔しさで、寺を棄てて諸方遊歴を決意。そのうち馬祖道一の法孫・天竜智洪に参じ、この事を尋ねた。すると天竜は、何もいわずにただ１本の指を突き出して見せた。その瞬間、倶胝は大悟を得たという。これが、一指頭禅（倶胝指頭の禅・倶胝の一指・倶胝竪指とも）と言われる禅の公案。倶胝は以後生涯にわたって禅旨を問う者あればいつも指を１本立てて示したという。 本図は、倶胝が指を１本立てた姿を略画したもの。上部の賛の書風がいかにも信尹の書そのものを彷彿とさせるほど酷似する。賛の最後に見える花押は、近衛太郎君のもの。おそらくは、画・賛ともに、信尹の手本の存在を思わせる。 「うつしゑハなにとてものをいはさらむさゝくるゆひのものをいふとて （花押）」

和久半左衛門（是安）

Waku Hanzaemon (1578-1638) was a calligrapher of the early Edo Period. He went by his common name of Hanzaemon, but his real name was Toshihide and his pseudonym Zean. Hanzaemon showed an amazing talent in calligraphy even in his youth, studying the Sanmyaku-In Style (also called Konoe School) under Konoe Nobutada (1565-1614). He began service to Toyotomi Hideyori (1593-1615) at a young age, working as his private secretary, thanks to his mastery of calligraphy, and was treated well. Hanzaemon’s father, Waku Soze, later went to serve General Date Masamune (1567-1636) but was killed during the Summer Campaign at the Osaka Castle in May 1615. Taking pity on the young fatherless Hanzaemon, General Date invited him to live in the Date domain in Sendai. Thereafter, Hanzaemon lived under Lord Date’s patronage and dedicated his life to training numerous local youngsters. The shikishi shows a copy of Priest Jakuzen’s poem from the Senzai Wakashu (Anthology of Japanese Poems of a Thousand Years; Vol. IV, “Autumn Poems”) written over miniscule gold foils scattered across the paper. Running across the shikishi’s top is a design made by rubbing it on carved printing blocks with wax, thus creating a glossy motif of a dragon. Hanzaemon’s unrestricted writing style shows Konoe Nobutada’s influence and yet reveals his originality.

和久半左衛門（是安）

『続古今和歌集』所収の、後嵯峨院の詠歌。半左衛門の自詠歌ではないゆえに、署名を欠いている。 「城鳥　みやこ鳥なに事とはん思ふ人／ありやなしやは心こそしれ」

和久是安筆,By Waku Ze'an (1578–1638),後藤ゆき氏寄贈,Gift of Mrs. Goto Yuki,東京国立博物館,Tokyo National Museum

紅葉狩を話題とした和久是安の書状。江戸時代・17世紀のもの。「先月二十一日に出かけた北山の紅葉が非常に見事で、供の女性たちは茸狩にいそしみ、皆々手に余るほどのものとったので、御前をはじめ供の衆が臍を抱えて笑い、鬱を散じました。あなたがお供に来なかったのは残念でした」という内容。この御前様が誰かは不詳。宛先の斎雲も不明だが、本状も見事な三藐院で書かれている。

鷹司教平

鷹司教平（たかつかさのりひら・1609-68）は、江戸初期の公卿。関白鷹司信尚の子で、母は後陽成天皇の皇女清子内親王で。この懐紙は、「霞添山気色」の歌題から、寛永13年（1636）1月9日、後水尾院の御会始の時のものと知る。荒々しいまでに豪快、かつ大胆な筆致であるが、その書風には、明らかに近衛流が見てとれる。 「春日同詠霞添山気色／倭歌／教平／佐保姫の霞の／ころも色はへて早／たちそむるよもの／山の端」

花山院忠長

Kazanin Tadanaga (1588-1662) was a noble of the early Edo Period, born as the second son of Kazanin Sadahiro (1558-1634) and the daughter of Asakura Yoshikage. He smoothly moved up the career ladder and became the Lieutenant of the Imperial Guards of the Left of the Upper Junior Fourth Rank. However, he angered Emperor Goyozei (1571-1617) in July 1609 and was exiled to Matsumae Province in the then-barbarian territory of Ezo (today’s Hokkaido), farthest away from the capital of Kyoto. His crime was engaging in promiscuous affairs with court ladies. The incident also involved other young aristocrats, including the well-known Karasumaru Mitsuhiro (1579-1638). After many years of banishment, Tadanaga was finally pardoned in 1636. Soon afterward, he shaved his head to live as a Buddhist seeker and adopted the name Jo-Oku (lit. cleansing sin).The exhibited shikishi shows Ki-no-Tsurayuki’s poem from Kokin Wakashu (Collection of Ancient and Modern Japanese Poems), Vol. 5, “Autumn Poems Part 2,” written over red-dyed paper covered with paintings of autumn grasses in silver mud and ultramarine ink.Poem interpretation: In Mt. Moruyama, dewdrops and autumn drizzle seep through (“moru” means “leak” in Japanese; note the pun), so even the under-grass has changed its color. (Note: Mt. Moruyama still stands in Yasu County, Siga Prefecture, though the pronunciation has changed to Mt. Moriyama.)Tadanaga’s brush moves without restraint across the shikishi paper (square cardboard), retaining a clear structure. This writing style shows the influence of the Konoe School, also called Sanmyaku-In School. The brushstrokes are those of a young calligrapher, so this piece was likely written before Tadanaga’s banishment to Matsumae Province in the Land of Ezo.

禅昌（北野社松梅院）

松梅院禅昌は、江戸初期の連歌師。生没年未詳。京都北野天満宮の社僧。境内の松梅院（あるいは徳勝院）に住し、松梅院禅昌と称されていた。伝歴は不明であるが、連歌を通じて近衛信尹と交流があり、その書は信尹の影響を受けた、典型的な三貌院流である。 「竹契齢　呉竹の猶末の世は頼みあるきみがよはひはつきじとぞ思」

禅昌（北野社松梅院）

典型的な三貌院流を展開している。 「早春雪　久かたの空もわかれずふる雪に さはらでいかに春のくるらん　禅昌」

津田弁作

Tsuda Bensaku (years of birth and death unknown) was a samurai in the service of the Ogasawara household. Neither his place of birth nor his dates are known. Bensaku is the name by which he was popularly known, but his real names were Yoshiharu. He studied calligraphy in the Konoe school under Konoe Nobutada (1565-1614), completely mastering all its essential elements. The Konoe school flourished for another hundred years after the death of Nobutada. Nobutada’s adopted heir, Konoe Nobuhiro was one of the famous names to emerge along with Waku Hanzaemon (1578-1636), and Tsuda Bensaku was ranked with them.The Owl is not often seen in Japanese painting, which makes this a rare and precious item in the history of Japanese art. Here we have proof that Bensaku was quite capable of painting also with that meticulous care for which he was renowned in calligraphy. His calligraphy is a waka poem which, at a glance, almost looks like the work of Nobutada. It demonstrates just how superbly Bensaku had mastered the great calligrapher’s techinique.

西村藐庵

Nishimura Myakuan (1784-1853) was the town leader of Yoshihara in Edo. Privately attracted to the work of famous Kyoto potter Ogata Kenzan, who was Ogata Korin’s younger brother, Myakuan emulated Kenzan so well that he was sometimes called the fifth-generation Potter Kenzan. Myakuan, indeed, was a versatile and cultured man, trained in ceremonial tea, waka, and haikai. He was also an accomplished biwa player and a connoisseur of ancient calligraphic masterpieces and utensils for ceremonial tea. His calligraphy is dynamic without the slightest trace of hesitation, a proof of his years of training in the Konoe School (Sanmyaku-In School). One can see his talent on the exhibited tanzaku. The ryoshi paper was patterned by copying the designs of roughly woven cloth and then decorated with gold and silver foils.