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Sadaie Fujiwara

Poet considered the best of Japan’s medieval period, who pursued an aesthetics of beauty in waka poetry

Person Heian period Kamakura period Kyoto History of Japan Japanese literature

1162–1241

Poet of the late Heian (1156–1185) and early Kamakura (1185–1199) periods. A classical scholar. While his given name was officially Sadaie, it is often read as Teika, using Sino-Japanese readings for the characters. His father was Toshinari Fujiwara, a poet of the Mikohidari lineage. His mother, Bifukumon-in no Kaga, the daughter of Chikatada Fujiwara, served the Empress of retired Emperor Toba. His childhood name was Mitsusue. Upon being ennobled with the rank of Junior Fifth Rank, Lower Grade in 1166, he was renamed Suemitsu, and then shortly after, Sadaie. In 1175 he was appointed Jiju (Chamberlain), and in 1211, he was given the rank of Jusanmi (Junior Third Rank) and re-appointed Chamberlain at the age of 50. In 1214 he became a Sangi (State Councilor). While he reached the rank of Gon Chunagon (Acting Middle Counselor) in 1232 at the age of 71, he retired from the post in the tenth month of the same year and entered the Buddhist priesthood the following year. On August 20, 1241, he passed away at  the age of 80. He was sometimes known as Kyogoku Chunagon and was given the Buddhist name Myojo.

While having been appointed Chamberlain at the age of 14, he was slow to rise in rank, losing the support of his father at an early age when his father left to join the priesthood, enduring the downfall of the Kujo family who he had served as Keishi (Household Steward) in his youth, and being plagued by a weak constitution from birth and an obstinate disposition. Receiving lessons from his father, as a poet he put his poetic talents to effective use from early on, participating in the Wakeikazuchi no Yashiro Uta-Awase poetry match for the first time in 1178 at the age of 17. He showed devotion to the art of waka poetry, with early achievements including his composition of Futamigaura Hyakushu (“Futami Bay Hundred-Poem Sequence”) in 1185 at the encouragement of the poet Saigyo and the selection of eight of his poems for the Senzai Wakashu (“Collection of a Thousand Years”) compiled by his father, Toshinari, in 1188. Sadaie strove for a new style with his poems, which were criticized by the old guard such as the Rokujo faction. In 1200, with the help of Toshinari’s influence, however, he came to participate in a hyakushu hundred-poem sequence event held by the Retired Emperor Gotoba, and his talent attracted the attention of Gotoba. After that, Sadaie would play an active central role in the poetry circles of the Imperial Palace. Selected as a compiler for the Shin Kokin Wakashu (“New Collection of Poems Ancient and Modern”), his reputation as a poet continued to grow.

Sadaie, who was aiming for a revival of dynastic waka poetry and culture, had a fervent interest in poetics as well, leaving behind a good number of essays and treatises on the subject. In Kindai Shuka (“Superior Poems from Recent Times”), he appraises his own poems as forms of yosei yoen (suggestiveness and fascinating style), and in Maigetsusho (“Monthly Notes”) as forms of ushin (conviction of feeling).

In his later years, he devoted efforts to researching Japanese classical literature and carried out transcriptions and revisions of many works, including Genji Monogatari (“Tale of Genji”) and Tosa Nikki (“Tosa Diary”). The kana orthography he used at this time forms the basis of the Teika kana-zukai (Sadaie kana orthography). After joining the Buddhist priesthood, he compiled the Shin Chokusen Wakashu (“New Imperial Waka Collection”) and put together the Ogura Hyakunin Isshu (“Classical Japanese Anthology of One Hundred Japanese Waka by One Hundred Poets”). For the 56 years when he was between the ages of 19 and 74 (1180–1235), he kept a minutely detailed diary known as Meigetsuki (“Record of the Clear Moon”), and his account of a journey accompanying retired Emperor Gotoba on an imperial visit to Kumano in 1201 during these years is called Kumano Goko-ki (“Record of the Imperial Visit to Kumano”). Shui Guso (“Meager Gleanings”) is one of the six personal collections of his poetry. Other notable works of his include Kenchu Mikkan (“Secret Comments on Kensho’s Annotations”), Hekiansho (“Notes on False Views”), and Genji Monogatari Okuiri (“Tale of Genji Endnotes”).

Related People, Things and Events

  • The three shrines of the Kumano region, Wakayama Prefecture, holy sites that have attracted worship from the imperial family and commoners alike

  • Japan’s first imperial anthology of Japanese poetry completed in the early Heian period (around 794 – 930). The eight collections of poems compiled at the behest of the Emperor from Kokin Waka Shu to and including Shin Kokin Wakashu (“New Collection of Poems Ancient and Modern”) by Sadaie Fujiwara are known under the collective name “Eight Imperial Anthologies of Japanese Poetry.”

  • A poet of the late Heian period; he forsook his life as a warrior to become a monk, travel across Japan, and create his own style of poetry

  • A mid-Heian period poem-tale structured as a biography thought to be of the poet Ariwara no Narihira

  • A Heian-period poet legendary as a handsome man with a free spirit, he is one of the Six Poet Immortals and one of the Thirty-six Poet Immortals

  • A collection of the best poems, one poem each, of 100 poets, especially the Ogura version

  • Japan's oldest collection of poetry, compiled in the Nara period

  • Birth and development of Japanese literature

  • A type of written art that originated in China and was nurtured and developed in the context of Japanese culture

Books

  • 源通具,藤原有家,藤原定家,藤原家隆,藤原雅経 撰,刊

    第8代の勅撰和歌集。20巻。鎌倉初期の成立。後鳥羽院の下命によって撰進された。藤原定家は撰者の1人。

  • 藤原定家,写

    藤原定家（1162-1241）による歌学書、『詠歌大概』の注釈書。奥書や識語は記されず系統は未詳。連歌師宗祇（1421-1502）による『詠歌大概』の注釈書『詠歌大概宗祇抄』の引用が認められるため、その影響下にあると思われるが、仏教関係の知識を多く記す点は掲出本に特異である。基幹となる注釈は、宮内庁書陵部に所蔵される『詠謌之大概』（函架番号：353・46）、『詠歌之大概抄』（函架番号：501・472）と同一だが、掲出本にはさらに行間や上部欄外に多くの小字の書き入れが認められる。

  • 編者:藤原定家

    第9代の勅撰和歌集。20巻。貞永1年（1232）6月、後堀河天皇の下命で藤原定家が撰した。

  • 著者:藤原定家

    定家の著とされる歌論書。承久元年（1219）成立。1巻。詠歌の心得を詳しく説いたもので、有心（うしん）体を高く評価する。『和歌庭訓』とも。

  • 東常縁,写

    定家の自撰集。建保4年（1216）までに正編三巻が編まれ、その後増補追加されて天福元年（1233）までに成立したと考えられている。

  • 定家が自詠200首を選び、百番の歌合形式に仕立てた撰歌集。

  • 菱川師宣 画,本問屋

    藤原定家が京都小倉山の山荘で選んだといわれる百首の歌。本作品は各ページに『小倉百人一首』の歌と歌人の肖像を掲出した絵本。伝本はまれで、他にはフランス国立図書館所蔵本が知られる。本書には、後表紙見返しに考証学者森枳園（名は立之。1807-85）の明治4年（1871）の識語があり、もと大田南畝の所蔵、表紙に南畝自筆で「小倉山百人一首延宝刻菱川師宣画」と記すというが、現在ではほとんど判読できない。百人一首の歌人を描いた作品は江戸時代以降のものが残っており、狩野探幽や尾形光琳の作も知られる。版本としては、本書は早いものの一つである。

  • 著者:藤原定家

    歌論書。承元3年（1209）、将軍源実朝の依頼で執筆し、贈ったもの。求めに応じて書き贈ったもの。『古今和歌集』の序を引き、紀貫之以来の和歌史批判を通して、寛平以後の歌にならうことを説き、秀歌の例を引いたもの。

  • 藤原定家,写

Teika-bon (works transcribed or revised by Sadaie)

  • 育徳財団 編,育徳財団

    中世和歌を代表する歌人である定家は、すぐれた古典文学研究者でもあった。『古今和歌集集』をはじめとする三代集、『土佐日記』『更級日記』『伊勢物語』『源氏物語』などの書写を何度も行ったという。定家が書写または校訂した書物は「定家本」と呼ばれ、今日の古典研究の礎となっている。

  • 育徳財団 編,育徳財団

    鎌倉時代に定家により書写された国宝「土佐日記」（公益財団法人前田育徳会所蔵）の複製。

  • 伝慈円

    This is a fragment from the 20-volume the Gosen Wakasyu (Later Anthology of Poems), the second anthology of Japanese poems (waka) compiled upon imperial command issued by Emperor Murakami. Copies of this anthology during the Kamakura Period include the first one rendered in 1223 and another one in 1234, both by Fujiwara-no-Sadaie (Teika, 1162-1241). Together they are called the Teika Versions and and occupy an important place in Japanese literature. The latter copy was created when Sadaie was 73 years old to preserve it as a family proof for his granddaughter. Most copies made after the Kamakura Era inherit the styles shown here, without much difference in the text. The segment shown here, attributed to Priest Jien (Jichin, 1155-1225), likely dates back to the early Kamakura Period in the early 13th century, thus, preceding the aforementionedTeika versions. With the absence of other segments from the same origin, the one shown here has a priceless value. Originally, it was a square-shaped booklet containing the copies of the two volumes of the Gosen Wakashu, compiling them into two volumes.

  • 写

    室町時代の歌人正徹（1381-1459）による写本の転写。書名は原表紙の書き題簽による。本文の第3丁までと第4丁以下とは筆跡、紙質が異なり、第4丁以下には朱墨で注を書き入れる。巻末に「戸部尚書」すなわち藤原定家（1162-1241）の本奥書2種、祖父定家の真筆本を一字も違えず書写したとする冷泉為相（1263-1328）の奥書があり、さらに「千松末葉正徹在判」とある。正徹の奥書がある『伊勢物語』写本は、かなり伝存している。本書は清原家伝来。なお、藤原定家は『伊勢物語』を何回も書写しており、今日伝わる写本はほとんど定家本の系統である。

  • 菅原孝標女 [著],吉沢義則 監修,吉池浩 校註,河原書店

    「更科日記」は平安時代中流貴族の一女性の回想記。定家が筆写した「更級日記」は、現在三の丸尚蔵館に所蔵されている。

  • 片桐洋一 校,古典文庫

    『拾遺和歌集』（二十巻）は『古今和歌集』『後撰和歌集』につぐ三番目の勅撰和歌集で、11世紀初頭に成立。定家は、これらの三代集を何度も書写したという。

  • 片桐洋一 校,古典文庫

Related Works

  • 土佐光成筆,By Tosa Mitsunari (1647–1710),東京国立博物館,Tokyo National Museum

    『新古今集』の「寂しさはその色としもなかりけり槙立つ山の秋の夕暮れ」(寂蓮)、「心なき身にもあはれは知られけり鴫立つ沢の秋の夕暮れ」(西行)、「見渡せば花も紅葉もなかりけり浦の苫屋の秋の夕暮れ」(藤原定家)が三夕の和歌。歌絵を伴なった歌仙絵。

  • 狩野探幽（1602～74）筆,By Kanō Tan'yū (1602–74),東京国立博物館,Tokyo National Museum

    狩野探幽による藤原定家像。これは、「歌仙絵（かせんえ）」と言われるジャンルの絵です。和歌の名人として知られる歌人（歌仙）の姿を描き、その歌を書き添えたものです。この「新三十六歌仙図帖」は、後鳥羽天皇（ごとばてんのう）が選んだとされる鎌倉時代の名歌人36人を左十八歌仙、右十八歌仙にわけ、左帖（さじょう）と右帖（うじょう）と呼ばれる2冊の冊子で紹介しています。見開き2面ごとに歌人の姿と、その人物が詠んだ歌が配置されています。右帖では、人物は見開きの左面、和歌は右面にありますが、左帖ではその逆の配置です。右帖と左帖を並べて同時にページをめくれば、和歌をはさんで左右の歌仙が向かい合い、歌を競い合う、まるで紅白歌合戦のような架空の対決が実現したのかもしれません。　この図帖は、左大臣の鷹司房輔（たかつかさふさすけ）が、五代将軍徳川綱吉に嫁ぐ娘に贈ったものです。作者の狩野探幽（かのうたんゆう）は、江戸時代初期に活躍した幕府最初の御用絵師。衣の模様や髪、顔の表情など、緻密な配色で繊細かつ優美に表現されています。また、それぞれの和歌を書いたのは当時の名だたる公家たちと、たいへん豪華な図帖です。将軍家の婚礼に関わるという制作事情を考えれば、納得のいく力作です。

  • 狩野山卜,Kano Sanboku,京都国立博物館 Kyoto National Museum,Kyoto National Museum

    江戸時代。狩野山卜筆の藤原定家像。

  • 伝二条為家,Attributed to Nijo Tameie,京都国立博物館 Kyoto National Museum,Kyoto National Museum

    【国宝】手鑑「藻塩草」の一帖。鎌倉時代。江戸時代、筆蹟鑑定を家業としていた古筆家に伝来したもの。

  • 伝土佐光起

    藤原定家〈ふじわらのさだいえ・1162-1241。「ていか」と呼び慣わされる〉は鎌倉時代前期の歌人、歌学者、古典学者。俊成の子で歌壇の権威の家に育ち、『新古今和歌集』の撰集（建仁元年〈1201〉撰集下命）のころには後鳥羽院を中心とする歌壇の代表歌人となっていた。『新古今和歌集』『新勅撰和歌集』の撰者となったほか、家集『拾遺愚草』や歌学書『詠歌大概』『近代秀歌』など多くの歌書を著し、晩年には古典の書写や校訂に積極的で、『古今和歌集』の書写など写本の種類・分量は半端でない。こうした定家の和歌・歌論は後の文芸や文化に深い影響を与え、殊に古典研究の業績は、以後の本文研究の規範となるもので、後世に益するところはきわめて大きいといえる。さらに、19歳の時から書き続けた日記『明月記』がある。これら定家自筆の書写本・書状・懐紙などに見える独特の奇癖ある書風は、「定家流（ていかりゅう）」と呼ばれて、和様書道のひとつとして確立した。定家の自筆とする「小倉色紙」が、室町時代から興った茶道と密接な関わりをもったことから、茶の湯・歌道を介在して、その書風がとくに尊ばれたのである。こうした定家へのあこがれは、鎌倉時代以降、室町・江戸時代を通じて永く続いた。ことに和歌の世界においては、歌聖定家の崇拝の象徴として肖像画が多く制作された。京都・冷泉家には鎌倉時代の画像が伝存する。そのなかの１幅に、伝藤原信実筆本があり、それは衣冠・束帯の強装束の定家像である。この形式の画像がのちの定家像には多い。本図もそのひとつである。上部に記される歌は、定家の詠歌（『続後撰和歌集』・巻第十四所収）である。筆者は不明ながら、粘り強い重厚な筆致のなかに定家流の面影が宿る書風である。画は、江戸時代前期の画家で、土佐派を再興したとされる土佐光起〈とさみつおき・1617-91〉の筆と伝えられる。確証はないが、正統な画法をもつ有能な絵師になるものである。「白玉の緒絶の橋の名もつらしくだけて落つる袖の涙に定家卿」

  • 奥村政信筆,By Okumura Masanobu (1686–1764),東京国立博物館,Tokyo National Museum

    かやぶきの屋根の庇の上に「小倉山」とある。定家が嵯峨の小倉山山荘の障子に貼る色紙形として選定したという伝承を見立絵として描いたもの。作者・奥村政信（1686-1764）は江戸時代中期の浮世絵師。

定家流
定家自筆の書写本・書状・懐紙などに見える独特の書風は、「定家流」「定家様（よう）」と呼ばれ、和様書道の流派のひとつとして確立した。新古今時代の歌道の権威として著名になった定家は、その書も尊ばれ、江戸時代に入ると定家の筆跡をまねることが流行した。奇癖、悪筆と評される定家の書風だが、むしろその奇異な様が茶人たちの間で好まれたという。筆圧の強弱を極端に表した線質が特徴である。

Letters and fragments

  • 藤原定家／三条実房

    Fujiwara-no-Sadaie (also called Teika, 1162-1241) was Toshinari’s son (Toshinari is also pronounced as Shunzei, 1114-1204.) The highest rank he attained was middle counselor. Emperor Gotoba discovered great literary talent in Sadaie, and, as one of the representative waka poets of the Kamakura Period, Sadaie cast unfathomable influence on Japanese poetry thereafter. He was editor and a member of selection committees for the Shin Kokin Wakashu (New Collection of Ancient and Modern Poems) and the Shin Chokusen Wakashu (New Imperially Compiled Poetic Anthology). He was also an achieved literary scholar who edited, collected, and transcribed many anthologies of Japanese poetry. He authored his private collection, Shui-Guso; a thesis on poetry, Eigano-Taigai (An Outline for Composing Tanka); and Kindai Shuka (Outstanding Modern Poems). His private diary, Meigetsu-Ki (Clear Moon Journal), is an important document that sheds light on the daily life of this earnest scholar and talented poet. The letter shown here was addressed to Sanjo Sanefusa (1147-1225). Its content can be summarized as follows: “I wanted to see you last night, but you did not report to the palace office. How are you? Please forgive my insolence in bringing this up, but I’d like to ask you to lend me something I really need. I’d like to borrow a black-lacquer-coated leather belt that should be worn when accompanying the Emperor on his outing.” The small characters found between the lines of the original letter are Sanefusa’s response, and he writes, “I won’t be able to report to the palace until around the 20th, but yes, I will lend you the belt.” The writing of a response on the original letter is called kanpenjo, and this style is usually allowed when the replying person has a higher rank than the original writer.

  • 藤原定家筆,By Fujiwara no Teika (1162–1241),東京国立博物館,Tokyo National Museum

    藤原定家が、左近衛少将から左近衛中将に転任することを願って提出した申文。同僚との比較、転任を希望する理由などを記す。その結果、建仁２年（1202）10月に長年の宿願を果たした。本文書は九条家伝来で、昇進には、九条良経【よしつね】（1169～1206）が関与した可能性が高い。（160913_平企:和紙の魅力）料紙の表面はやや繭肌【まゆはだ】で、顕微鏡では繊維の方向性は無く、切断した藍着色繊維がみえる。簀目は確認できない。簀のある面に文字を書いており、溜め漉きとみられる。定家が九条良経に宛てたと推定され、当時の公家社会で広く使用された檀紙の一種と考えられる。

  • 藤原定家筆,By Fujiwara no Teika (1162–1241),東京国立博物館,Tokyo National Museum

    鋭く張りのある筆致で自然に書写されており、藤原定家特有の癖が強く打ち出される前の壮年期の筆跡と推定される。源通具(みちとも)と藤原俊成の娘が行った私的な五十番歌合に、定家が判詞（はんし）を加えた草稿本であると考えられており、数枚の断簡が確認される。

  • 藤原定家筆,By Fujiwara no Sadaie (1162-1241),東京国立博物館,Tokyo National Museum

    歌道の大家として著名な定家の書は、後の世まで尊重された。

  • 藤原定家筆,By Fujiwara no Sadaie,九州国立博物館,Kyushu National Museum

  • 藤原定家筆,By Fujiwara no Teika (1162–1241),筒井邦子氏寄贈,Gift of Ms. Tsutsui Kuniko,東京国立博物館,Tokyo National Museum

    <p>This segment was transcribed for reference by the poet Fujiwara no Teika. The original diary entry was made by the courtier and government official Taira no Nobunori (1112-87). </p>

  • 藤原定家筆,By Fujiwara no Teika (1162–1241),山本富子氏・山本賢二氏寄贈,Gift of Mrs. Yamamoto Tomiko and Mr. Yamamoto Kenji,東京国立博物館,Tokyo National Museum

    胡粉地（ごふんじ）に唐草の雲母刷(きらず)りを施した唐紙に蝉丸の歌１首を書いたもので、定家の撰として名高い『百人一首』の中の１つ。　茶の湯では、唐物（からもの）と呼ばれる中国の美術工芸品が珍しいものとして大切にされます。床の間を飾る掛軸も、室町時代は中国から入ってきた禅宗の僧侶が記した書が用いられていました。しかし、室町末期の茶人・武野紹鴎（たけのじょうおう）が「あまのはら」という和歌が書かれた小倉色紙を茶会で掛けて以来、平安時代から鎌倉時代にかけての日本の詩や歌を記した書も茶会で用いられるようになりました。　小倉色紙とは、平安時代末期から鎌倉時代にかけての歌人、藤原定家が100人の歌人から和歌を一首ずつ集めて、色紙一枚につき一首を書いたもののことで、京都・小倉山荘にあったことからその名で呼ばれています。現在でも親しまれている『百人一首』のもとになりました。　今回ご紹介する作品は、定家が平安時代前期の歌人、蝉丸の歌を記した小倉色紙です。貝殻を砕いた粉末・胡粉（ごふん）を膠（にかわ）というのりで溶き、それをぬって色紙を白く装飾しています。墨をたっぷりと含んだ筆で書かれた文字は、やや丸みを帯びているのが印象的です。それぞれの文字の大きさを調節しながら、色紙全体にバランスよく配置しているのは、和歌によく通じていた定家ならではの書き方といえるのではないでしょうか。

  • 藤原定家筆,By Fujiwara no Teika (1162–1241),植村和堂氏寄贈,Gift of Mr. Uemura Wadō,東京国立博物館,Tokyo National Museum

  • 伝藤原定家筆,Attributed to Fujiwara no Sadaie,個人寄贈,Private donation,九州国立博物館,Kyushu National Museum

  • 藤原定家 奥書,Postscript by Fujiwara no Sadaie

    嘉禄3年（1227）

  • 藤原定家

    Meigetsuki was Fujiwara-no-Sadaie (also Teika, 1162-1241) &rsquo;s diary. Although some leaves are missing, the entries in the diary span 56 years between February 1180, when Sadaie was 19, to December 1235, when he was 74 years old. The diary describes the aristocratic high society of the early Kamakura Era, social aspects and political developments in great detail, while many entries refer to the compilation of imperially commissioned poetry anthologies, poetry composition, the hand-copying of classics and the research involved. The diary is a priceless document evidencing the life of Sadaie as a poet and literary scholar.The segment shows the typical eccentric hand particular to Sadaie, as he himself admitted his hand was &lsquo;like that of a monster&rsquo;. However, fanned by reverence for Sadaie in the world of tea ceremony (chado or sado) , his style was established into the Teika (Sadaie) School by his descendants. This piece is the entry of July 15, 1199, modifying the entry in print format. It describes that a daughter is in mourning after the death of her father, the Generalissimo Minamoto-no-Yoritomo, and due to this, some court ceremony and the dispatch of the emperor&rsquo;s convoy were being delayed.

  • 藤原定家

    Authentic calligraphy works done by Sadaie (also Teika) originally created as scrolls and bound-books were frequently cut into segments, as they were such sought-after pieces. The great admiration Sadaie&rsquo;s hand commanded in the poetry society, tremendous popularity of his works along with the rise of the art of chanoyu (also sado, tea ceremony), and an increasingly larger number of calligraphy aficionados and collectors as Calligraphic Exemplars became greatly popular. As a result, Sadaie&rsquo;s Meigetsuki and other books depicting ancient practices at court were cut into segments known as &lsquo;Kiroku-gire&rsquo; (&lsquo;Segmented Records&rsquo;), which commanded the utmost reverence from Sadaie devotees. These Kiroku-gire segments were classified into Dai Kiroku-gire (larger) and Ko Kiroku-gire (smaller) , depending on their size. The segment shown here is a Kiroku-gire, and is instantly a valuable record of court life and manners. It is an authentic document depicting Sadaie&rsquo;s true life as a person, while allowing readers a glimpse into the vivid lifestyles in the aristocratic or samurai families and ancient history.

  • 藤原定家筆

    A segment from the beginning of Volume 20 of the Gosen Wakashu (Later selection of Japanese Poetry), authentically rendered by Fujiwara-no-Sadaie (also Teika). Sadaie dedicated the last years of his life to manuscript copying of classics and his loyalty to the original greatly influenced later scholars and followers. Although a few versions of Sadaie&rsquo;s authentic copies of the Gosen Wakashu (Later selection of Japanese Poetry) have been preserved, the last copy was completed on March 2, 1234(second year of Tempuku), when he was 73. This last copy is called the Tempuku Version of the Gosen Wakashu. In the worlds of waka poetry composition and chanoyu (also sado, chado) tea ceremony, Sadaie&rsquo;s authentic manuscript copies were admired and much sought-after treasures. The extant copies were carefully cut, one after another, into several segments. Even the Tempuku Version was fragmented into pieces at an early date, and they are called &lsquo;Joha-gire&rsquo;, with only 30 leaves remaining today. The edition name derives from the renga poet Satomura Joha (1525-1602) who once owned the original. Joha&rsquo;s letter attached to this fragment testifies that it is an authentic piece that Joha had treasured. The letter further testifies that authenticity was attested by other certifications by Konoe Taneie and Sanjonishi Kin&#39;eda, and that he transferred ownership upon request by Higuchi Saneyori of Echigo (today&rsquo;s Niigata Prefecture). Another certification by Shotaku, Joha&rsquo;s grandson, is also attached to the segment, to further attest its authenticity.

The world of Sadaie’s Meigetsuki (“Record of the Clear Moon”) diary

  • 藤原定家筆,By Fujiwara no Teika (1162–1241),東京国立博物館,Tokyo National Museum

    重要文化財。本図は『明月記』の天福元年6月記。この時、定家は72歳、正二位権中納言であった。1日条より29日条までの記事を収め、定家の晩年の筆の特徴が顕著である。

  • 奈良国立博物館,Nara National Museum

    13世紀・鎌倉時代。形状は墨書きで掛け軸にかけられている。

  • 藤原定家,Fujiwara Sadaie,京都国立博物館 Kyoto National Museum,Kyoto National Museum

    定家38歳の建久10年（1199）正月から3月までを収めた一巻。定家の書風は「定家流」と呼ばれるが、日記にみえる書風がその原型となっている。

  • [藤原定家] [撰]

    挿絵が描かれる。巻子装。巻1: 正治元年八月. 巻2: 正治元年九月. 巻3: 建仁元年三月. ほか. 巻4: 建仁元年十二月. ほか. 巻5: 建仁三年十二月. 巻6: 嘉禄二年十月. 巻7: 嘉禄三年七月. 巻8: 寛喜二年二月. 巻9: 寛喜二年三月. 巻10: 寛喜二年九月

  • 藤原定家,ふじわらていか

  • 藤原定家撰,Compiled by Fujiwara no Sadaie,豆田弘氏寄贈,Mameda Hiromu,九州国立博物館,Kyushu National Museum

  • 藤原定家筆,By Fujiwara no Sadaie,九州国立博物館,Kyushu National Museum

  • 藤原定家

    Meigetsuki was Fujiwara-no-Sadaie (also Teika, 1162-1241) &rsquo;s diary. Although some leaves are missing, the entries in the diary span 56 years between February 1180, when Sadaie was 19, to December 1235, when he was 74 years old. The diary describes the aristocratic high society of the early Kamakura Era, social aspects and political developments in great detail, while many entries refer to the compilation of imperially commissioned poetry anthologies, poetry composition, the hand-copying of classics and the research involved. The diary is a priceless document evidencing the life of Sadaie as a poet and literary scholar.The segment shows the typical eccentric hand particular to Sadaie, as he himself admitted his hand was &lsquo;like that of a monster&rsquo;. However, fanned by reverence for Sadaie in the world of tea ceremony (chado or sado) , his style was established into the Teika (Sadaie) School by his descendants. This piece is the entry of July 15, 1199, modifying the entry in print format. It describes that a daughter is in mourning after the death of her father, the Generalissimo Minamoto-no-Yoritomo, and due to this, some court ceremony and the dispatch of the emperor&rsquo;s convoy were being delayed.

  • [藤原定家] [撰]

  • [藤原定家] [撰]

  • [藤原定家] [撰]

  • [藤原定家] [撰]

  • [藤原定家] [撰]

  • 藤原定家

    Authentic calligraphy works done by Sadaie (also Teika) originally created as scrolls and bound-books were frequently cut into segments, as they were such sought-after pieces. The great admiration Sadaie&rsquo;s hand commanded in the poetry society, tremendous popularity of his works along with the rise of the art of chanoyu (also sado, tea ceremony), and an increasingly larger number of calligraphy aficionados and collectors as Calligraphic Exemplars became greatly popular. As a result, Sadaie&rsquo;s Meigetsuki and other books depicting ancient practices at court were cut into segments known as &lsquo;Kiroku-gire&rsquo; (&lsquo;Segmented Records&rsquo;), which commanded the utmost reverence from Sadaie devotees. These Kiroku-gire segments were classified into Dai Kiroku-gire (larger) and Ko Kiroku-gire (smaller) , depending on their size. The segment shown here is a Kiroku-gire, and is instantly a valuable record of court life and manners. It is an authentic document depicting Sadaie&rsquo;s true life as a person, while allowing readers a glimpse into the vivid lifestyles in the aristocratic or samurai families and ancient history.

Videos

  • 北海道・野付湾の小さな港町・尾岱沼（おだいとう）。この地方に代々伝わる冬の遊びが、「下の句かるた」です。百人一首の下の句を読み、下の句の書かれた木札を取るかるた遊び。もともと江戸後期に会津の武家や商家で広まった遊びでした。江戸末期、ロシアとの国境警備を命じられた会津藩士たちが野付周辺に移住した際に持ち込んだと言われます。会津藩士たちが残した置き土産、町の集会所で、勝負は夜通し続きます。<br><br>（この動画は、２０１４年に放送したものです。）

Past Exhibitions

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Institutions Holding Related Materials

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

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

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

  • Nara National Museum collects, preserves, displays, researches and provides educational programs about cultural properties with a focus on Buddhist art.

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

  • 藤原定家筆の作品「紹巴切（後撰集 巻第20）」を所蔵している（センチュリー赤尾コレクション）。コレクションは随時公開されている。所在地は東京都港区。

  • 京都府京都市右京区にある、百人一首の歴史などを伝えるミュージアム。

External Links

  • 東京都世田谷区上野毛にある私立美術館・五島美術館のコレクション紹介。「小倉色紙」（伝藤原定家筆）を所蔵。

  • 藤原定家の子孫であり、歌道の家として知られる冷泉家（上冷泉家）に伝わる古写本、建築、年中行事などの文化遺産を保存活用、冷泉流歌道を継承することを目的として設立された。定家の明月記の多くを蔵する。

References

  3. 集英社
  4. 久保田淳 [ほか] 著,集英社,久保田, 淳(1933-)||クボタ, ジュン <AU00198553> 秋山, 虔(1924-)||アキヤマ, ケン <AU00251308> 白畑, よし(1906-)||シラハタ, ヨシ <AU01038173> 目崎, 徳衛(1921-)||メザキ, トクエ <AU01047554>
  5. 五味文彦著,岩波書店,五味, 文彦(1946-)||ゴミ, フミヒコ <AU00189827>
  6. 稲村榮一 著,ミネルヴァ書房
  7. 堀田善衛著,新潮社,堀田, 善衛(1918-1998)||ホッタ, ヨシエ <AU01016762> 著
  8. 倉本一宏 監修,臨川書店
  9. [源通具, 藤原有家, 藤原定家, 藤原家隆, 藤原雅経] [撰],小林大輔 編,角川学芸出版,角川グループパブリッシング
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Last updated
March 6, 2024