Norinaga Motoori

Kojiki and Nihon Shoki are compilations of Japanese narrative history and myths, which were compiled during the Nara era.

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.

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

Early modern Japanese literature nurtured by the Kamigata and Edo townsfolk culture

本居宣長 撰

全44巻。付巻1。寛政2―文政5年（1790―1822）刊。明和元年（1764）に起稿し、35年の歳月を費やして寛政10年（1798）に完成。宣長69歳のときであった。内容は、総論（巻一）、序文の注釈と神統譜（巻二）、本文注釈（巻三～四十四）の各部分に分かれる。巻一には『直毘霊（なおびのみたま）』と題した一編があり、宣長の古道論の要旨が述べられている。 古代の文献をそのまま信仰すべきことを前提とするなど、国学思想の投影には後世からの批判もあるが、その厳密な考証は今日でも批判に耐えうる価値をもっていると評される。宣長の本文校訂、訓読、語釈、注釈は現在の古事記研究の基礎となっている。

著者:本居宣長

『源氏物語』の注釈書。寛政5年（1793）の64歳ごろ起筆、96年に完成、99年刊行。30年ほど前の宝暦13年（1763）に著した『紫文要領 （しぶんようりょう） 』を増補改訂したもの。『源氏物語』の本質が「もののあはれ」と評したことが有名であり、それまでの仏教的、儒教的観点からの解釈を退けて物語固有の意義をとらえようとした最初の文学論として注目される。後世に与えた影響も大きい。

本居宣長,64

随筆。寛政7年（1975）から文化9年（1812）の間に3巻ずつ刊行、全1005段よりなる。宣長が古典研究で得たさまざまな知識から、有職故実や語源の考証、談話・聞書抄録など、多様の分野にわたる学問・思想について見解を述べている。

著者:本居宣長

国学書。『古事記伝』完成後の寛政10年（1798）に著され、翌年刊行。国学の入門書として、研究の心構えや態度を平明に説いたもので、晩年の宣長が初学の門人に対する入門書として著した。

著者:本居宣長

本居宣長が著した意見書。紀州藩主徳川治貞の下問に応じて、天明7年（1787）12月に献上した。理論的内容を記した『玉くしげ』と、具体的な政治論を記した『秘本玉くしげ』の二部から成る。

選者:本居宣長／校訂者:斎藤彦麿

いそのかみささめごと。歌論書。宝暦13年（1763）頃の成立。全3巻（未完）。『排蘆小船 』を発展させ、物語と和歌とを統一的な美意識で解釈し、「もののあはれ」論を完成させた。

著者:本居宣長

なおびのみたま。国学書、神道書。文政8年（1825）刊。明和８年（1771）成立の「直霊（なおび）」を改稿したもの。古事記研究を通じて得た宣長の神道説・国体観などを述べたもので、はじめは『古事記伝』巻一の巻末に収められたが、のちに単行本となった。

著者:本居宣長

国学・暦学書。安永5年（1776）刊行。有史以前の日本人の暦日についての認識を考察したもの。

本居宣長 著,綛田屋平右衛門 [ほか]

けんきょうじん。国学書。天明5年（1785）頃成立。藤貞幹（とうていかん）の著「衝口発（しょうこうはつ）」が中国、朝鮮の史書を無批判に受け入れて日本上代の史実・風俗を論じているとして、古道観に立脚した反論を展開した。

宣長 [撰]

かかいか。語学・国学書。寛政２年（1790）頃成立。上田秋成と論争した往復文書を宣長が問答体にまとめたもの。上巻に古代の音韻をめぐる応酬一六条、下巻に宣長の「鉗狂人」に対する秋成の意見六条とその反論が加えられている。宣長の思想的立場がよく表れた書とされる。

本居宣長,写

本居宣長,河南宗助[ほか6名]

本居宣長 著,薑園

加藤千蔭,本居宣長,写

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本図は本居宣長自画自賛像の像容を写したものであるが、若々しく穏やかな容貌に描かれる。保存状態極めて良い。

本居宣長

本居宣長〈もとおりのりなが・1730-1801〉は、江戸時代中・後期の国学者。寿庵、鈴屋と号す。伊勢松坂の木綿問屋に生まれる。宝暦２年〈1752〉、23歳で京都に上って医学・漢学を修め、同７年帰郷して診療所開業のかたわら古典研究に打ち込んだ。34歳の時、賀茂真淵に入門し、のち紀州徳川家に国学をもって仕える。かれの書斎「鈴屋」には、門弟四百九十余名が集まったという。「もののあはれ」を提唱し、儒学を排した復古思想を主張するなど、名実ともに国学界の中心となり、江戸時代後期における国学を確立させた。この作品は、「初恋」と題して一首を詠むもの。『鈴屋歌集』（三之巻・恋歌）に所収される。温和な和様の書風を示す。「宣長／初恋／いかにせむ初山あゐの摺衣うらはづかしき下の乱れを」

本居宣長

A scholar of Japanese history and Japanology during the latter part of the Edo Period, Motoori Norinaga (1730-1801) was born into a cotton wholesaler’s family in Matsuzaka in Ise (Mie Pref.). He received training in calligraphy and yokyoku (songs for Noh performances) and was quickly absorbed in Chinese and Japanese classics. At age 23 (1752), Norinaga went to Edo to study medicine and Chinese classics. Five years later (1757), he returned to his hometown to open a clinic, where, while working as a practitioner, he also devoted himself to the studies of classics. When Norinaga was around 34, Japanese classical scholar Kamono Mabuchi (1697-1769) visited Matsuzaka. Norinaga went to study under Mabuchi, and over the years he came to lead the classical Japanese studies and was later hired to serve the Kishu-Tokugawa Clan (one of the three most powerful Tokugawa families that produced shoguns). The private school he was running, Suzuno-Ya, teemed with over 490 disciples. Through his research concerning the literary classic Genji Monogatari (Tale of Genji), Norinaga proposed a new interpretation of the essence of Japanese aesthetics, defining it as “mono no aware,” or appreciation for things representing natural beauty or classical sensitivity. He was the proponent of the ancient, original Japanese thoughts, without the Confucian influence, thus is generally regarded as the founder of Japanese studies during the latter part of the Edo Period. The 44-volume Kojiki-Den (lit. Tales of Ancient Japan) was published after 32 years of laborious research and is today revered as Norinaga’s lifework. In calligraphy, Norinaga mastered the softly flowing Wayo-style, also known as Oie School and Teika School, whose features contrast well with the more masculine Kara-yo, or the Chinese-style. The exhibited is a Choka (lit. long Japanese-style poem) from Suzunoya-Shu (Vol. V). The poem uses all of the 47 syllables of the Japanese alphabet (“iroha” or hiragana), without repeating the same syllable. Norinaga mixed ancient Manyo-gana syllables in this typically classical-style brushwork. Perhaps it was used as a calligraphic exemplar.

本居宣長

本居宣長〈もとおりのりなが・1730-1801〉は、江戸時代中・後期の国学者。伊勢松坂（三重県）の木綿問屋・小津定利〈おづさだとし・1695-1740〉の二男。名は栄貞（ひでさだ）。23歳で上京するや先祖の本居姓に復し、26歳のとき宣長と改名した。鈴屋（すずのや）と号す。医学を修業する一方、堀景山〈ほりけいざん・1688-1757〉に漢学を学び、また契沖〈けいちゅう・1640-1701〉の著書にふれるとともに和歌をも学ぶ。帰郷後は小児科医を開業し、古典研究に打ち込んだ。34歳の時、松坂を訪れた賀茂真淵〈かものまぶち・1697-1769〉に入門。のち紀州徳川家に国学をもって仕えた。彼が開いた鈴屋の学塾には、490余名の門弟が集まったという。著書は『石上私淑言（いそのかみささめごと）』『古事記伝』『玉くしげ』など多数があり、「もののあはれ」の提唱、復古思想の主張など、その業績は国学史上重要な地位を占める。この短冊の詠歌は、家集『鈴屋集（すずのやしゅう）』に収められるもの。温和な和様の書風に、国学に生涯を捧げた宣長の人となりがうかがえる。

本居宣長

A scholar of Japanese history and Japanology during the latter part of the Edo Period, Motoori Norinaga (1730-1801) was born into a cotton wholesaler’s family in Matsuzaka in Ise (Mie Pref.). He received training in calligraphy and yokyoku (songs for Noh performances) and was quickly absorbed in Chinese and Japanese classics. At age 23 (1752), Norinaga went to Edo to study medicine and Chinese classics. Five years later (1757), he returned to his hometown to open a clinic, where, while working as a practitioner, he also devoted himself to the studies of classics. When Norinaga was around 34, Japanese classical scholar Kamono Mabuchi (1697-1769) visited Matsuzaka. Norinaga went to study under Mabuchi, and over the years he came to lead the classical Japanese studies and was later hired to serve the Kishu-Tokugawa Clan (one of the three most powerful Tokugawa families that produced shoguns). The private school he was running, Suzuno-Ya, teemed with over 490 disciples. Through his research concerning the literary classic Genji Monogatari (Tale of Genji), Norinaga proposed a new interpretation of the essence of Japanese aesthetics, defining it as “mono no aware,” or appreciation for things representing natural beauty or classical sensitivity. He was the proponent of the ancient, original Japanese thoughts, without the Confucian influence, thus is generally regarded as the founder of Japanese studies during the latter part of the Edo Period. The 44-volume Kojiki-Den (lit. Tales of Ancient Japan) was published after 32 years of laborious research and is today revered as Norinaga’s lifework. In calligraphy, Norinaga mastered the softly flowing Wayo-style, also known as Oie School and Teika School, whose features contrast well with the more masculine Kara-yo, or the Chinese-style. A brushwork copy of a poem from Suzunoya-Shu (Vol. I) on a shikishi, decorated small square paper. The letters are scattered across undecorated paper. This piecewas perhaps detached from a shikishi bound into a book or a decorated screen door (byobu).

本居宣長

A scholar of Japanese history and Japanology during the latter part of the Edo Period, Motoori Norinaga (1730-1801) was born into a cotton wholesaler’s family in Matsuzaka in Ise (Mie Pref.). He received training in calligraphy and yokyoku (songs for Noh performances) and was quickly absorbed in Chinese and Japanese classics. At age 23 (1752), Norinaga went to Edo to study medicine and Chinese classics. Five years later (1757), he returned to his hometown to open a clinic, where, while working as a practitioner, he also devoted himself to the studies of classics. When Norinaga was around 34, Japanese classical scholar Kamono Mabuchi (1697-1769) visited Matsuzaka. Norinaga went to study under Mabuchi, and over the years he came to lead the classical Japanese studies and was later hired to serve the Kishu-Tokugawa Clan (one of the three most powerful Tokugawa families that produced shoguns). The private school he was running, Suzuno-Ya, teemed with over 490 disciples. Through his research concerning the literary classic Genji Monogatari (Tale of Genji), Norinaga proposed a new interpretation of the essence of Japanese aesthetics, defining it as “mono no aware,” or appreciation for things representing natural beauty or classical sensitivity. He was the proponent of the ancient, original Japanese thoughts, without the Confucian influence, thus is generally regarded as the founder of Japanese studies during the latter part of the Edo Period. The 44-volume Kojiki-Den (lit. Tales of Ancient Japan) was published after 32 years of laborious research and is today revered as Norinaga’s lifework. In calligraphy, Norinaga mastered the softly flowing Wayo-style, also known as Oie School and Teika School, whose features contrast well with the more masculine Kara-yo, or the Chinese-style. On the exhibit, the two characters represent the moon and the flower, and this brushwork is one of the best renditions by Norinaga. Perhaps it was written for a decorative rectangular frame to adorn a gate or a house’s entrance.

本居宣長

A scholar of Japanese history and Japanology during the latter part of the Edo Period, Motoori Norinaga (1730-1801) was born into a cotton wholesaler’s family in Matsuzaka in Ise (Mie Pref.). He received training in calligraphy and yokyoku (songs for Noh performances) and was quickly absorbed in Chinese and Japanese classics. At age 23 (1752), Norinaga went to Edo to study medicine and Chinese classics. Five years later (1757), he returned to his hometown to open a clinic, where, while working as a practitioner, he also devoted himself to the studies of classics. When Norinaga was around 34, Japanese classical scholar Kamono Mabuchi (1697-1769) visited Matsuzaka. Norinaga went to study under Mabuchi, and over the years he came to lead the classical Japanese studies and was later hired to serve the Kishu-Tokugawa Clan (one of the three most powerful Tokugawa families that produced shoguns). The private school he was running, Suzuno-Ya, teemed with over 490 disciples. Through his research concerning the literary classic Genji Monogatari (Tale of Genji), Norinaga proposed a new interpretation of the essence of Japanese aesthetics, defining it as “mono no aware,” or appreciation for things representing natural beauty or classical sensitivity. He was the proponent of the ancient, original Japanese thoughts, without the Confucian influence, thus is generally regarded as the founder of Japanese studies during the latter part of the Edo Period. The 44-volume Kojiki-Den (lit. Tales of Ancient Japan) was published after 32 years of laborious research and is today revered as Norinaga’s lifework. In calligraphy, Norinaga mastered the softly flowing Wayo-style, also known as Oie School and Teika School, whose features contrast well with the more masculine Kara-yo, or the Chinese-style. In this exhibit, Norinaga wrote “a scholar lamenting the passing of the year” on paper decorated with streams drawn with India ink.This poem appears in Norinaga’s private collection, Suzunoya-Shu (Vol. II). Letting the ink run across the paper’s surface was one of the ryoshi coloring techniques. A few drops of India ink dripping on the paper disperses lightly when tapped softly with a bamboo stick coated with resin or with just a plain small stick. The process is repeated until the ink makes a nice even coat. Another technique involves shaking the inkpot to produce ripple-like patterns on which ryoshi paper was placed upside down to transfer the ink’s design. Thanks to these elaborate techniques, no two ryoshi paper pieces had the same design. During the Edo Period, this technique was applied using indigo and safflower dyes.The exhibited ryoshi is covered with India ink and indigo dye, creating delicate patterns that perfectly match Norinaga’s refined classical calligraphy (Jodai-Yo; lit. ancient style).

本居宣長

A scholar of Japanese history and Japanology during the latter part of the Edo Period, Motoori Norinaga (1730-1801) was born into a cotton wholesaler’s family in Matsuzaka in Ise (Mie Pref.). He received training in calligraphy and yokyoku (songs for Noh performances) and was quickly absorbed in Chinese and Japanese classics. At age 23 (1752), Norinaga went to Edo to study medicine and Chinese classics. Five years later (1757), he returned to his hometown to open a clinic, where, while working as a practitioner, he also devoted himself to the studies of classics. When Norinaga was around 34, Japanese classical scholar Kamono Mabuchi (1697-1769) visited Matsuzaka. Norinaga went to study under Mabuchi, and over the years he came to lead the classical Japanese studies and was later hired to serve the Kishu-Tokugawa Clan (one of the three most powerful Tokugawa families that produced shoguns). The private school he was running, Suzuno-Ya, teemed with over 490 disciples. Through his research concerning the literary classic Genji Monogatari (Tale of Genji), Norinaga proposed a new interpretation of the essence of Japanese aesthetics, defining it as “mono no aware,” or appreciation for things representing natural beauty or classical sensitivity. He was the proponent of the ancient, original Japanese thoughts, without the Confucian influence, thus is generally regarded as the founder of Japanese studies during the latter part of the Edo Period. The 44-volume Kojiki-Den (lit. Tales of Ancient Japan) was published after 32 years of laborious research and is today revered as Norinaga’s lifework. In calligraphy, Norinaga mastered the softly flowing Wayo-style, also known as Oie School and Teika School, whose features contrast well with the more masculine Kara-yo, or the Chinese-style. The exhibited two characters read as “the pine tree promise.” The evergreen pine tree is a symbol of lasting friendship. Could it be that Norinaga wrote this piece for a close friend? Among the many brushworks left by this Japanology scholar, the exhibited piece is particularly known for its classical elegance.

本居, 宣長,本居, 大平

国学者本居宣長が、門人で福岡藩士の青柳種信にあてた書簡で、塙保己一や河村秀根等の他の国学者への評価や、最近古学が盛んになってきたことなどが綴られている。宣長の養子大平の種信宛書簡を附す。

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本居宣長の神社祭礼の研究を知る上では重要なものでり、未発表の資料である。また現代の通信教育と同じ添削を行っていた書状でもある。

本居宣長

A scholar of Japanese history and Japanology during the latter part of the Edo Period, Motoori Norinaga (1730-1801) was born into a cotton wholesaler’s family in Matsuzaka in Ise (Mie Pref.). He received training in calligraphy and yokyoku (songs for Noh performances) and was quickly absorbed in Chinese and Japanese classics. At age 23 (1752), Norinaga went to Edo to study medicine and Chinese classics. Five years later (1757), he returned to his hometown to open a clinic, where, while working as a practitioner, he also devoted himself to the studies of classics. When Norinaga was around 34, Japanese classical scholar Kamono Mabuchi (1697-1769) visited Matsuzaka. Norinaga went to study under Mabuchi, and over the years he came to lead the classical Japanese studies and was later hired to serve the Kishu-Tokugawa Clan (one of the three most powerful Tokugawa families that produced shoguns). The private school he was running, Suzuno-Ya, teemed with over 490 disciples. Through his research concerning the literary classic Genji Monogatari (Tale of Genji), Norinaga proposed a new interpretation of the essence of Japanese aesthetics, defining it as “mono no aware,” or appreciation for things representing natural beauty or classical sensitivity. He was the proponent of the ancient, original Japanese thoughts, without the Confucian influence, thus is generally regarded as the founder of Japanese studies during the latter part of the Edo Period. The 44-volume Kojiki-Den (lit. Tales of Ancient Japan) was published after 32 years of laborious research and is today revered as Norinaga’s lifework. In calligraphy, Norinaga mastered the softly flowing Wayo-style, also known as Oie School and Teika School, whose features contrast well with the more masculine Kara-yo, or the Chinese-style. This exhibited piece is a fine example showcasing Norinaga’s style, adopting the delicate Wayo (classical Japanese style). The long Japanese poem is quoted from Suzunoya-Shu (Vol.5).

刀水 [画]

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本居宣長他

内閣

宣長 [撰]

[屈景山著],[書写者不明]

宣長は京都での遊学時代、堀景山に儒学を学び、荻生徂徠(おぎゅう-そらい)の学風や契沖(けいちゅう)の古典研究に啓発された。『不尽言』は堀景山の著作。

著者:田中道麿／著者:本居宣長

田中道麿は江戸中期の国学者で、本居宣長最初期の門人。古典文学、特に『万葉集』の研究に力を注いた。

本居春庭（編）

本居春庭（もとおり はるにわ）は、本居宣長の実子で長男。宣長の所説を受け、動詞の活用形とその体系を定めた『詞八衢』(1808)を著した。本書は今日の国語学の基礎となっており、国学史上の不朽の作といわれるている。

選者:堀元厚／校訂者:宇野貞亮

堀元厚（ほりげんこう）は、江戸時代中期の医師。宣長の医学の師であった。『医経名数』は堀元厚の著書。

-,本居大平

本居大平（おおひら）は宣長の門人。13歳のとき宣長に入門、以後、宣長の旅に随行するなど傍に仕え、寛政11年(1799)に宣長の養子となる。宣長の死後、眼疾の実子・本居春庭に代わり、本居家を継いだ。

平田篤胤〈ひらたあつたね・1776-1843〉は、江戸時代後期の国学者。秋田に生まれたが、20歳で単身江戸に出る。寛政12年〈1800〉に備中松山藩士平田篤穂の養子となる。その後独学で国学を学び、本居宣長の影響をうけながら、みずからの学説を打ち立て、平田神道を大成、皇国学の発展・普及に貢献した。その過激な思想は幕府に嫌われ、江戸払いとなって、秋田に送還され、江戸帰還の願いも叶わず、失意のまま天保14年〈1843〉閏９月、68歳で死去した。生前・没後を通じて熱狂的な支持者を得たという。本図は、水干姿で鹿皮の敷物の上に坐す篤胤を描く。着衣を勁い墨線で縁取るのに対し、眉や鬢、鹿毛などは細緻な筆で描写している。その面貌から篤胤の意志の強さを強調しているようである。上部の和歌１首は、万葉仮名を多様した上代様の書風は、まさに篤胤の自筆とみて差し支えない。依頼によって、みずからの画像に自賛したものであろう。このほかに篤胤の養嗣子銕胤賛の画像（東京・平田神社蔵）が知られるが、それとは、太刀・結び紐などに相異が見られる。自筆の賛を持つ意味でこの画像の資料的価値は高いといえる。「帝（すめらぎ）の道たゞ一つ此をおきてあだし小径に依らめやも人／平篤胤」

江戸時代中後期の国学者本居宣長は享和元（1801）年９月29日、72歳にしてその生涯を閉じる。宣長はその前年に子の春庭（はるにわ）・春村（はるむら）に充てた遺言書には、この奥墓について記している。遺言書には、墓地の面積、塚を築くこと、塚の上に山桜を植えること、塚の高さ、塚に芝を貼ること、墓の点検を怠らないこと、のほか、墓碑銘や墓完成図なども添えられており、彼の奥墓に対するこだわりの深さが知られる。

樹敬寺

本居家の菩提寺（ぼだいじ）である松阪市新町の樹敬寺（じゅけいじ）の墓地の一角にあり、周囲には宣長の祖先の小津家や子孫の墓２６基がある。宣長は遺言書に「樹敬寺に而墓は道休大徳御墓之右隣へつづけ……後日お勝相果候はは此の墓地へ……」とあり、遺言どおり曽祖父小津三郎右衛門（道休）の右隣にあって、碑面に宣長と妻勝の戒名「高岳院石上道啓居士」「円明院清室恵鏡大姉」と刻まれている。この墓と背中合わせに長男春庭とその妻壱岐の墓がある。

松阪市

国学の大成者として著名な本居宣長が、家業の町医者を営みながら研究・後学の指導に当たったところで、「鈴屋」（すずのや）の呼称で親しまれている。旧宅には「見世（みせ）の間」「おいえの間」と呼ばれる部屋や仏壇・仏間、奥座敷、２階の書斎など、８室で構成される。建物自体は元禄４（１６９１）年に宣長の祖父によって建てられたもので、江戸時代中期頃の城下町の町屋の様相を残している。この家には宣長の国学を継承した子の春庭（はるにわ）なども居住した。この宅は本居家の家屋として明治中期まで継続するが、その後保存会により現在の松阪城跡内に移築された 。魚町には宅跡の礎石のほか、春庭旧宅や土蔵が残されている。

かはらじな　波はこゆとも　二見がた妹背の岩の　かたき契りは　本居宣長

著書「古事記伝」で、日本人古来のものの見方である「もののあわれ」や「やまとごころ」を説いた江戸中期の国学者で歌人でもあった本居宣長の旧宅跡。この地にあった鈴屋は松阪城跡に移されている。国指定特別史跡。