Tsurayuki Kino

平安時代前期に成立した、日本最初の勅撰和歌集。貫之は撰者の中でも中心的な役割を果たした。貫之が書いたとされる「仮名序」は、和歌の文学的価値を高め、後世の歌学に多大な影響を与えた。

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 legendary beauty and female poet of the Heian period, counted among the Six Poet Immortals and Thirty-six Poet Immortals

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

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

A Heian period female author who produced Japan's oldest epic novel, The Tale of Genji

Genji Monogatari is a Japanese imperial tale written by Murasaki Shikibu during the Heian era. This fabulous story about Hikaru Genji, a royal prince, inspired many works of art.

Makura no Soshi (The Pillow Book) is Japan’s first example of essay literature. The author, Sei Shonagon, served Empress Teishi, the consort of the Emperor Ichijo. The Pillow Book gave readers a racy description of court life.

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

菱川師宣 画,本問屋

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。

往古の代表的歌人36人を選んで、画像とその代表和歌を記したいわゆる歌仙絵は、大和絵の題材として鎌倉期から盛行したが、江戸期の嵯峨本にも、その系譜をひいた本書のような冊子形体の歌仙絵がある。嵯峨本といえば、本阿弥光悦自身、もしくは光悦流の書風の活字による活字版がよく知られるが、本書は整版本である。当館本は、単匡郭で郭内が29.0×22.8cm(柿本人麻呂図)の大型本。天理図書館、ハーバード・アート・ミュージアム蔵本と同版でその後刷りと見られるが、歌仙の排列順序が異なる。亀甲紋表紙の中央に、「光悦画」と墨書された紙片が貼付されている。（2025.2最終更新）

刊

『土佐日記』は、土佐守に任ぜられた貫之が、承平4年（934）12月21日に任地をたち、翌年2月16日に帰京するまでの55日間の海路の旅をもとにした日記体の紀行文。冒頭で「男もすなる日記といふものを女もしてみむとてするなり」と記し、筆者を女性に仮託して、帰京までの行程を1日も欠かさず書き綴る。仮名文による新しい文学ジャンルを生んだ画期的作品であり、その後、女性を中心とした仮名文字の広まり、後宮文学の発展につながった。

紀氏（きうじ）の系図。紀氏は紀伊国を本拠とした古代氏族。平安時代に入り、政治的には、次第に藤原氏に圧倒されて政治的に衰退するが、詩作に優れた人物が多く、貫之・友則など『古今和歌集』に知られる多くの歌人を輩出した。

勅撰歌人を部類し、各人の世系・官位・没年・各集の撰出歌数を示したもの。『古今和歌集』から『続後拾遺集』までの一六集、増補分はそれにつづく二集の作者を収める。

三十六歌仙とは、平安中期、藤原公任が選んだ当代までの代表的歌人36人の総称。『古今和歌集』の時代の歌人として、紀貫之も選ばれている。

栗田宇兵衛[ほか1名]

「万葉集」「古今和歌集」「後撰和歌集」など、古来の歌4500首ばかりを、歳時、天象、地儀、人事、動植物など25項517題に分類したもの。作歌の手引、古歌考証の資料として利用される。

[風俗絵巻図画刊行会]

東京大学史料編纂所 編,東京大学

二条為明筆,By Nijo Tameaki (1295-1364),東京国立博物館,Tokyo National Museum

<p>This copy of the celebrated poetry anthology was owned by the poet Botanka Shohaku (1443-1527), who played a part in passing down the arts of poetry.<br /></p>

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

<p>The Kokin waka shu is an ancient poetry anthology compiled during the Heian period, which lasted from 794 to 1192. This copy was transcribed by Emperor Gofushimi around 300 years later. His father was Emperor Fushimi, a prominent calligrapher. Emperor Fushimi's monogram is stamped on the back of the two other ancient poetry anthologies: the Hakushi Shikan, or Poems of Bai Juyi, which is a National Treasure in the Tokyo National Museum collection, and the Katsurabon Man'yo shu, a work in the Imperial Collection. This reveals how Emperor Fushimi had been a keen collector and student of ancient works of outstanding calligraphy. Emperor Fushimi's calligraphic style was known as ‘Fushimi-in style' and it had a major influence on Japanese-style calligraphy during the Kamakura period. With its lavish, graceful air, Emperor Gofushimi's calligraphy also bears a strong resemblance to his father's.<br /><br />This book contains the kana preface and volumes 1 to 20 of the Kokin waka shu. It was transcribed solely by Emperor Gofushimi and the calligraphy is imbued with his extraordinary zeal. An inscription at the end contains the year 1322. There is also a postscript written by the Emperor when he was 35. This recounts how the transcription was completed many years previously, so the Emperor probably created this in his youth.</p>

頼山陽,Rai San'yo,京都国立博物館 Kyoto National Museum,Kyoto National Museum

貫之が書いたとされる仮名序（かなじょ）は、和歌より漢詩文が重要視されていた時代において、和歌の本質と効用を述べ、その後の文学に大きな影響を与えた。

伝藤原顕輔筆,Attributed to Fujiwara no Akisuke,東京国立博物館,Tokyo National Museum

<p>A section of the [Kokin waka shu] poetry anthology is transcribed on this segment. The brilliantly decorated writing paper features printed designs of plants and figures using mica powder. <br /></p>

育徳財団 編,育徳財団

藤原定家が文暦2年(1235)5月、紀貫之自筆本の『土佐日記』を書写し、貫之の筆跡も一部模写してとどめたと伝わる定家本。

京都国立博物館 Kyoto National Museum,Kyoto National Museum

「貫之集」は紀貫之の家集。10世紀中頃の成立とされる。三十六人集の一つ。

伝寂然

Small silver foils cover the entire surface of the paper, which is further scattered with miniscule gold foils. The silver and gold foils together create an image of a group of clouds, hence the name of this cut, ‘Murakumo’ (a group of clouds). This fragment shows calligraphy rendering of Tsurayuki Shu ,collected poems of Ki-no-Tsurayuki, one of the 36 accomplished poets of ancient Japan. Originally, the fragment was a part of a bound book of pasted leaves. Markings written between the lines show how this edition was compared with the variant editionｓ by Fujiwara-no-Sadaie (also Teika, 1162-1241) and is proof that the original book was possessed by Sadaie. The style of decorative paper used for this fragment resembles that of the Gofunchi-gire Version of the Gosen Wakashu, or Later selection of Japanese Poetry (the second imperially-commissioned collection of poems containing 20 volumes, with a total collection of 1420 poems) known to be rendered by the Priest Jakuren the style of the hand suggests that it was concurrent of the creation of pictorial calligraphy style in the Illustrated Anthology of Japanese and Chinese Poems for Recitation by Fujiwara-no-Koreyuki, and the text of the Illustrated Version of the Tale of Genji. From these facts, one can conclude that this Murakumo-gire was created between 1150s and 60s, before Sadaie’s time. The calligraphy is attributed to the priest-poet Jakuzen (date of birth and death unknown) of the late Heian Period, but is unverified.

藤原定信筆,By Fujiwara no Sadanobu (1088–after 1154),柳澤敬素氏寄贈,Gift of Ms. Yanagisawa Keiso,東京国立博物館,Tokyo National Museum

<p>A poem from an anthology of poems composed by the renowned poet Ki no Tsurayuki is transcribed in this work. The paper, which was made in Japan, features a pattern of linked circles printed with mica powder on a white ground. </p><br /><p>The Heian-period (794–1192) poet Fujiwara no Kintō created the Selections of the Thirty-six Poets, a collection of waka poems by 36 renowned poets of his age, known collectively as the “Thirty-six Immortals of Poetry.” The Honganji version is an old transcription of an anthology of poems by these poets discovered at Nishi-Honganji Temple in Kyoto. A portion of the Honganji version, two bound volumes known as the Collected Poems of Lady Ise and the final volume of the Collected Poems of Tsurayuki, was divided into its individual pages, and those pages were remounted and handed down in other forms, such as hanging scrolls. These pages are known as the “Ishiyama fragments,” named after Ishiyama in Osaka, where Honganji Temple was originally located.<br /><br />This fragment, remounted as a hanging scroll, is from the Collected Poems of Tsurayuki, a private anthology of the nobleman and poet Ki no Tsurayuki, who lived from the mid-9th century to the mid-10th century.<br /><br />Note the decorative paper on which the text is written. It is whitened using a fine powder made from crushed shells dissolved in a glue made from animal bones and skin, with a design of overlapping circles printed over its whole surface in powdered mica and scattered designs of birds and flowering plants depicted using silver paint made from a mixture of silver dust and animal glue. The gentle, beautiful designs of the writing paper harmonize wonderfully with the flowing script in black ink.<br /><br />The pages of the Ishiyama fragments are among the most opulent works ever produced on decorative writing paper. They are emblematic of a luxurious aristocratic culture that attached great importance to the beauty not just of writing, but also of the paper it was written on.</p>

藤原定信筆,By Fujiwara no Sadanobu (1088–after 1154),髙木聖鶴氏寄贈,Gift of Mr. Takagi Seikaku,東京国立博物館,Tokyo National Museum

"「本願寺本三十六人集」のうち『貫之集下』の断簡です。胡粉を膠で溶いて引き染めにし、二重蔓牡丹唐草文様を雲母で摺り出した華麗な料紙を使います。「本願寺本」は当時を代表する20人の能書の手になり、藤原定信は、「三跡」と称される藤原行成の子孫です。

京都国立博物館 Kyoto National Museum

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&#39;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&#39;s bold, sweeping brush.

紀氏のゆかりの地である三重県に立てられた墓所。