Jump to main content
/

Sanetaka Sanjonishi

A courtier and scholar of the late Muromachi period (c. 1467 – 1573). Received instructions in the secret traditions of Kokin Waka Shu (“Collection of Ancient and Modern Japanese Poetry”) ,the so called Kokin-denju from Sogi, and emerged as an authority on Genji Monogatari (“The Tale of Genji”) and Ise Monogatari (“The Tales of Ise”). Sanetaka Sanjonishi was a literary figure also known as one of the best calligraphers of his generation.

1455-1537

A courtier and scholar of the late Muromachi period (c. 1467 – 1573). Born on April 25, 1455 as the second son of Kinyasu Sanjonishi. His given name was Kimiyo. His maternal grandfather was Fusanaga Kanroji. The Sanjonishi Family was a branch of the Ogimachi-Sanjo Family, which in turn was descended from the Sanjo Family. In the society of court nobles of that period, the Sanjonishi Family belonged to the upper middle class, and its name originates from the fact that the Sanjonishi estate was located on the west (“nishi” in Japanese) side of the Ogimachi-Sanjo Family estate. 

In 1458, after the early death of his older brother Sanetsura, Kimiyo was conferred peerage at the age of four and took the name Kiminobu. In 1460, his father Kinyasu passed away, and in 1469, at the age of 15, Kiminobu conducted a ritual to celebrate his coming of age, and took the name Sanetaka. He served four emperors—Gohanazono, Gotsuchimikado, Gokashiwabara, and Gonara—and reached the position of naidaijin (literary “Inner Minister”). As a court noble, he scrupulously performed his duties of connecting the Emperor’s Court with the Shogunate, and at the same time applied his knowledge of court rules, ceremony, decorum and records of the past in order to preserve the traditions and rituals of the imperial court. Sanetaka also worked to revive the classics by gathering and copying Japanese and Chinese books dispersed or lost during the wars. 

He studied Japanese poetry under Masachika Asukai using the pen name Chosetsu, and listened to Sogi’s lectures on Genji Monogatari (“The Tale of Genji”) and Ise Monogatari (“The Tales of Ise”) with Shohaku Botanka as an intermediary. In 1501, Sanetaka received instructions from Sogi in the secret traditions of Kokin Waka Shu (“Collection of Ancient and Modern Japanese Poetry”), the so-called “Kokin denju”), and also cooperated in the compilation of Sogi’s Shinsen Tsukuba Shu (an anthology of renga (linked verse) poems). Sanetaka also possessed profound knowledge of Chinese poetry and prose achieved through communication with Ryutaku Tenin, Jukei Gesshu, and other Zen monks from the Five Mountain System. These qualities made Sanetaka one of the preeminent literary figures of that period, respected both by court nobles and warriors. He entered into priesthood in 1516 under the Buddhist name Gyouku. Upon achieving enlightenment, Sanetaka was awarded the name Koin, and his posthumous Buddhist name was Shoyoin. He was also known as a skilled calligrapher, much of it preserved to this day, including on both tanzaku (strips of paper) and shikishi (square pieces of paper for writing poetry), on which he replied to requests from local lords, as well as copies of classic texts, captions to picture scrolls, draft poems, letters, etc. His works include Genji Monogatari Sairyusho (an annotated edition of the “The Tale of Genji”); Tatara Mondo (a manual on court rules, ceremony, decorum and records of the past); the private poetry collection Setsugyoku-shu; and the poetry diary Saishoso. Sanetaka passed away on October 3, 1537, at the age of 83. He was laid to rest in Nison-in Temple in Saga, Kyoto. Sanetaka had three sons, including his successor Kineda, and two daughters.  

Sanetaka Koki (literary “Lord Sanetaka’s Diary”) is a diary that Sanetaka began writing in 1474, when he was 20 and kept for 63 years, until 1536, the year before his death, when he was 82. The diary is a basic historical source of information about the political and social issues of the late Muromachi period (c. 1467 – 1573). The handwritten original, which consists of 106 rolled scrolls, one folded book, and 44 booklets, is preserved in the Historiographical Institute of the University of Tokyo, and has been designated an important cultural property. 

Related People, Things and Events

Books

実隆公記 永正3年12月22日

永正3年(1506)12月22日の三条西実隆の日記。越前の朝倉氏が新調した「京中」を描いたの屛風について、「越前朝倉屏風新調、一双画京中、土左刑部大輔新図、尤珍重之物也、一見有興(赤線部分)」と記す。これは文献に登場する「洛中洛外図屏風」に関する初出史料と目される。「土左刑部大輔」は土佐光信。

三条西実隆 弄花抄

三条西実隆による『源氏物語』の注釈書。10冊。牡丹花肖柏が一条兼良と宗祇の講釈を聞いてまとめた『源氏物語聞書』に基づく注釈で、書名の『弄花抄』は肖柏の号「弄花軒」による。掲出本は、紅葉山文庫の旧蔵書で、 「内閣文庫本」 として知られる写本。寛永21年の本奥書がある。

三条西実隆 細流抄

三条西実隆による『源氏物語』の注釈書。10冊。三条西家代々に伝わり三条西公条の「明星抄」に受け継がれた。従来、三条西公条(きんえだ)が 父実隆の講釈をまとめた著とされてきたが、近年の研究では否定されている。掲出は「内閣文庫本」として知られる資料で、 『源氏物語古注集成七』 (桜楓社)にも紹介される。江戸時代前期の書写 か。

三条西公条 明星抄

三条西公条(きんえだ)による『源氏物語』の注釈書。20冊。『細流抄』の著者である父実隆の講釈を基に作成した『聞書』を整理したもの。公条は『聞書』を手元に置き、実隆の校閲を受けた上で、天文8年から10年頃に作り直した。長年『明星抄』は、公条の子である実枝の手によるものと考えられてきたが、これは誤り。掲出本の書写は江戸時代初期か。

惟清抄

『伊勢物語』の注釈書。原表紙左上部に「帷情抄」と直書き。装訂は綴葉装(列帖装)。清原宣賢(1475-1550)の序、三条西実隆の奥書(掲出)がある。それらによれば、宣賢が大永2年(1522)5月に行われた実隆の講義を聞いて筆記整理し、実隆本人にもただしてまとめたもの。古典学の権威実隆の説として尊重された。

伊勢千句註

大永2年(1522)8月4日~8日に行われた、宗長、宗碩の両吟千句(通称「伊勢千句」)の注釈書。第十の百韻(「何木」)の発句は三条西実隆(聴雪)。掲出はその冒頭の聴雪発句。「すめる夜の月弓うたふ宮居哉」。本写本の書写年代は室町時代末期か。

源氏物語系図

源氏物語の登場人物を整理して系譜関係をわかるようにした系図。古来多く伝わる同種の系図の錯乱を三条西実隆が正して制作。長享2年(1488)3月の成立。長享本源氏系図として広く流布し、現存写本の大部分もこの系統のもの。その後明応8年(1499)・文亀4年(1504)、永正9年(1511)の実隆による転写本がある。掲出本は室町末から江戸初期の写本。永正9年本の奥書の後に「巻々年紀為備忽忘大概註付之 永正十二八」という注記のある永正10年本。

高野参詣日記(『群書類従』 紀行部12)

三条西実隆の紀行文。大永4年4月下旬から5月はじめにかけて、70歳の実隆が今生の思い出に住吉、天王寺、高野山などを参詣した際の紀行を記す。

雪玉集

三条西実隆の家集。天文6六年(1537)頃成立か。題詠と法楽歌が大部分を占めている。後柏原天皇の「柏玉集」、冷泉政為の「碧玉集」とともに三玉集と呼ばれ、江戸時代の二条派歌人に重視された。聴玉集。

A copy of Sanjonishi Sanetaka's own handwritten manuscript

三条西実隆等書写 源氏物語

浮舟の巻を欠く計53帖で、前半の17帖は三条西実隆等による室町時代の書写、後半の36帖は鎌倉時代の書写になる。うち34帖は、青表紙本、河内本系統ではない別本系統に属し、本文研究上に不可欠の資料として貴重である。桑名藩主松平定信の遺愛品と伝える。

三条西実隆書写 伊勢物語

三条西実隆自筆の写本。九州大学附属図書館の細川文庫の一冊。同文庫は、細川幽斎の曽孫・細川行孝(1637−1690)を初代藩主とする字土藩細川家の蔵書を所蔵する。

三条西実隆書写 本朝文粹 巻六

平安時代の漢詩文集。藤原明衡(989?-1066)編。全14巻。掲出の資料は、三条西実隆が巻第六のみを書写したもの。巻末に明応8年(1499)正月6日の書写奥書があり、花押も実隆のものと認められる。実隆の日記『実隆公記』明応8年正月4日及び6日条にも、本書巻六を書写したことが記されている。巻首に「三条西」朱印。

三条西実隆書写 本朝文粹巻六奥書

明応8年(1499)正月6日の書写奥書。奥書の末尾に実隆の花押が認められる。

三条西実隆書写 古今和歌集

三条西実隆の筆写による古今和歌集。奥書によれば、大永3年(1523)4月18日、孫の三条西実世(実枝)に伝えて、家代々の證本とするため、禁裏の御本を借り受けて老眼をしのいで書写した(「申出 禁裏御本、凌老眼書写之、伝于嫡孫実世朝臣、可為家之證本」)とある。実隆当時69歳。書写の原本は、二条為重写, 飛鳥井雅親校の貞応二年本。掲出は奥書の部分。

Related Works

Part of Volume 30 of Governing Principles of Ancient China

The 50-volume Governing Principles of Ancient China is a political text compiled in 631 under the order of the Tang Dynasty emperor Taizong (598–649). It is a text that was initially lost in China but survived in Japan. The oldest manuscript of the text is a 13-volume copy formerly owned by the Sekke-Kujō family, which is a designated national treasure currently held at the Tokyo National Museum (TNM), and is thought to have been copied in the 11th century. The TNM copy is bound in scrolls, as was common for Chinese classical texts during the Heian period (794–1184), and is made of paper dyed in purple, light blue, and brown hues, and ‘floating-cloud’ paper, all unique to the Heian period. This scroll covers part of volume 30, which is missing in the TNM copy. The 13 lines on ‘floating-cloud’ paper and the 8 lines on brown paper of this version are not connected, but the 21 lines in between can be found at the Tenri Library. It is part of volume 1, which was copied by FUJIWARA no Yukinari (972–1027), who had received the text from SANJŌNISHI Sanetaka (1455–1537) by Prince Kunitaka of Fushimi Palace (1456–1532) on the 16th day of the 11th month of the second year of the Entoku era (1490), and was divided into two parts after World War II. It now comes with a box with calligraphy by HŌNAN Tayama (1903–80) dated 1966, and is known to have been exhibited at the Tokyo Classics Fair in 1963. Description from the exhibition Catalogue "Letter-scape: Century Akao Collection, A World of Letters and Figures", Keio Museum Commons, April 2021

星光寺縁起絵巻 詞書巻上

『星光寺縁起絵巻』は、京都の六角大宮にあった星光寺の草創の由来と、本尊・地蔵菩薩の霊験を描く。伝土佐光信筆。前半に平資親が茨の中からで見つけた地蔵菩薩を安置して星光寺を建立した縁起が描かれ、後半では地蔵菩薩の霊験の物語が述べられる。『実隆公記』文明19年(1487)正月27日と2月29日の条に、土佐光信の描いた「星光寺縁起絵」の詞書を実隆が執筆したことが記され、本作はこの記事と結びつけて考えられていたが、現在では光信原本制作直後の良質の模本と見なされている。

Three Poems on Waka Kaishi by Sanjonishi Sanetaka

A court noble and poet of the Muromachi Period, Sanjonishi Sanetaka (1455-1537) inherited the family name and legacy at the mere age of 4 and, later, reached the high court standing of Senior Second Rank, assuming the administrative post of Minister of the Interior. After turning to the Buddhist life in 1516, he adopted the religious name of Shoyo-In Gyoku. Excelling in waka and renga, he received private oral instructions from Iio Sogi (1421-1502) and To Tsuneyori (years of birth and death unknown) in secret interpretations of ancient anthologies. Sanetaka was instrumental in hand-copying and studying the Genji Monogatari (The Tale of Genji). Closely following in the footsteps of scholarly aristocrat Ichijo Kaneyoshi (1402-81), Sanetaka also contributed greatly to the studies of Chusei Wagaku, or Medieval Japanese Studies, while at the same time cultivating friendships with Zen monks of the Five Sacred Mountains. Thoroughly versed in Chinese and Japanese classics as well as ancient decorum, among other arts, he was one of the foremost intellectuals of the age. He left behind the journal Sanetaka-Ko Ki (Lord Sanetaka’s Diary), several private anthologies such as the Setsugyoku-Shu (lit. “Collection of Snow Gems”) and the Saisho-So (lit. “Restoration Collection), and other publications. Lastly, Sanetaka was an acclaimed calligrapher, and his steady and fluid writing style, which became the Sanjo School, or Shoyo-In School, was later imitated by many.The three poems exhibited here are contained in Sanetaka’s Saisho-So. From the preface of the poem, one can learn that it was written at a monthly poetry party held February 5, 1503, at the house of Provisionary Middle Counselor Ohgimachi Sanjo Sanemochi (1463-1530). Sanetaka was 49 at the time.

Kakinomoto no Hitomaro by Tosa Mitsushige

萎烏帽子・直衣姿の人麿が立て膝で座り、前に硯箱を置いて歌を按ずる類型の構図。人麿の詠歌2首を散らし書きにする。明治時代の美術家、前田香雪の鑑定副簡によると、賛の筆者を三条西実隆、画は土佐光茂とする。賛に見える、懐の広いおおらかな書風はまさしく実隆の自筆に疑いない。この賛が実隆の自筆となると、年代的に考えても、人麿像の筆者を伝承の土佐光茂と考えて矛盾がない。

三条西実隆墓(『京都府写真帖』)口絵

京都二尊院の実隆墓。大永6年(1526)11月、没後に備えて実隆自らが建てた夫妻の墓。近くにに子の実枝、孫の実澄の墓もある

肖像(『大日本名家肖像集』)

京都二尊院所蔵 史料編纂掛模本

letters,strip of paper

九条家宛 三条西実隆書状

娘婿であった九条尚経(1469-1530)宛か。「乕(虎)狼」が遁走して京の情勢が平穏になったことを安堵する内容。永正17年(1520)年5月5日、実隆と昵懇であった細川高国の軍勢が、三好之長を敗死させ、細川澄元を洛中から追い落とした直後の書状と思われる。署名は実隆出家(永正13年)後の堯空。「自是可啓上処、尊札殊畏入候、京中無事落居侯条、先以珍重候、乕狼相遁候間、定而又可変改候歟、末世之運、無是非候、何様早々静謐、先以祝着候、旁重而可申入候、恐惶謹言、五月六日 堯空」

九条家宛 三条西実隆書状

東福寺の「寺家神人等之儀」について言及する書状だが具体的な内容は不詳。文中に登場する「陽首座」は、東福寺東福寺171世住持の了庵桂悟(1425-1514)の附弟であった鳳岡桂陽(実隆の三男)のこと。追而書に「猶北政所御帰之時、被申入候」とあるところから、実隆の娘の夫であった九条尚経済宛の書状か。署名は実隆出家(永正13年)後の堯空。

Letter by Sanjonishi Sanetaka

Muromachi nobleman Sanjonishi Sanetaka (1455-1537) was a famed man of culture with the highest academic and cultural achievements of the time. He was born as the second son to the Minister of the Center Kinyasu, but his elder brother Sanetsura died young, so he succeeded to the family headship at the age of 4. At this time, his birth name of Kinsei was changed to Kin-nobu, but that name was later changed to Sanetaka upon his coming of age. He continually climbed the administrative ranks and, in 1506, was appointed the Minister of the Center. Thoroughly familiar with both Chinese and Japanese classics and traditional ways and manners, he devoted himself to the research of ancient literary masterpieces like the Genji Monogatari (Tale of Genji). Succeeding to Ichijo Kaneyoshi (also pronounced as Kanera; 1402-81), Sanjonishi Sanetaka was instrumental in kindling renewed interest for Japanese studies during the Middle Ages of Japan. In waka poetry composition, Sanetaka received private coaching and oral instructions in the secrets of the form from Iio Sogi (1421-1502) and To-no-Tsuneyori (1401-?), thereupon developing his literary talents to their fullest. He and Botanka Shohaku (1443-1527) studied together under the same master. Takeno Jo-ou (1502-55), famed in the chanoyu tea ceremony, was Sanetaka’s disciple. The multi-talented Sanetaka was also an achieved calligrapher. Later called the Sanjo School or Shoyo-in School, his style of calligraphy had many followers. His personal diary, Sanetaka Koki (lit. Lord Sanetaka’s Diary), offers an important glimpse into the history of the latter Muromachi Period. The letter shown here was circulated by then Provisional Major Counselor Sanjonishi Sanetaka to his fellow aristocrats to ask about their attendance at the monthly poetry composition party being held at the palace. The addressee, simply written as the “New Junior Counselor” is the key to determining the year this letter was written. Since Takatsuji Norinaga (1469-1525) was appointed to the above post on January 28, 1490, he would have been the addressee as of February 4. From these facts, one can assume that this letter was sent on February 4, 1490, and Sanetaka’s aforementioned diary verifies this assumption. The meeting for wakan renku, or the poetry of linked Japanese or Chinese verse, was an exclusive palace event attended by Emperor Tsuchimikado and Prince Katsuhito (later Emperor Gokashiwabara). Sanetaka was 36 that year.

Letter by Sanjonishi Sanetaka

Muromachi nobleman Sanjonishi Sanetaka (1455-1537) was a famed man of culture with the highest academic and cultural achievements of the time. He was born as the second son to the Minister of the Center Kinyasu, but his elder brother Sanetsura died young, so he succeeded to the family headship at the age of 4. At this time, his birth name of Kinsei was changed to Kin-nobu, but that name was later changed to Sanetaka upon his coming of age. He continually climbed the administrative ranks and, in 1506, was appointed the Minister of the Center. Thoroughly familiar with both Chinese and Japanese classics and traditional ways and manners, he devoted himself to the research of ancient literary masterpieces like the Genji Monogatari (Tale of Genji). Succeeding to Ichijo Kaneyoshi (also pronounced as Kanera; 1402-81), Sanjonishi Sanetaka was instrumental in kindling renewed interest for Japanese studies during the Middle Ages of Japan. In waka poetry composition, Sanetaka received private coaching and oral instructions in the secrets of the form from Iio Sogi (1421-1502) and To-no-Tsuneyori (1401-?), thereupon developing his literary talents to their fullest. He and Botanka Shohaku (1443-1527) studied together under the same master. Takeno Jo-ou (1502-55), famed in the chanoyu tea ceremony, was Sanetaka’s disciple. The multi-talented Sanetaka was also an achieved calligrapher. Later called the Sanjo School or Shoyo-in School, his style of calligraphy had many followers. His personal diary, Sanetaka Koki (lit. Lord Sanetaka’s Diary), offers an important glimpse into the history of the latter Muromachi Period. This letter is signed “Sanetaka” with the first kanji character written in hiragana, so it could have been written before his retreat into a Buddhist temple on April 13, 1516. Since it is written in hiragana, it is most likely addressed to Emperor Gokashiwabara, but through the chief lady-in-waiting. Sanetaka gives thanks for the folding fan he received as a gift, which had a handwritten poem by the emperor and also expresses happiness that the ryoshi paper he procured to make a cover of a book pleased his Imperial Highness. In those days, senders signed their hiragana letters with the first character of their name written in hiragana characters.

Letter by Sanjonishi Sanetaka

Muromachi nobleman Sanjonishi Sanetaka (1455-1537) was a famed man of culture with the highest academic and cultural achievements of the time. He was born as the second son to the Minister of the Center Kinyasu, but his elder brother Sanetsura died young, so he succeeded to the family headship at the age of 4. At this time, his birth name of Kinsei was changed to Kin-nobu, but that name was later changed to Sanetaka upon his coming of age. He continually climbed the administrative ranks and, in 1506, was appointed the Minister of the Center. Thoroughly familiar with both Chinese and Japanese classics and traditional ways and manners, he devoted himself to the research of ancient literary masterpieces like the Genji Monogatari (Tale of Genji). Succeeding to Ichijo Kaneyoshi (also pronounced as Kanera; 1402-81), Sanjonishi Sanetaka was instrumental in kindling renewed interest for Japanese studies during the Middle Ages of Japan. In waka poetry composition, Sanetaka received private coaching and oral instructions in the secrets of the form from Iio Sogi (1421-1502) and To-no-Tsuneyori (1401-?), thereupon developing his literary talents to their fullest. He and Botanka Shohaku (1443-1527) studied together under the same master. Takeno Jo-ou (1502-55), famed in the chanoyu tea ceremony, was Sanetaka’s disciple. The multi-talented Sanetaka was also an achieved calligrapher. Later called the Sanjo School or Shoyo-in School, his style of calligraphy had many followers. His personal diary, Sanetaka Koki (lit. Lord Sanetaka’s Diary), offers an important glimpse into the history of the latter Muromachi Period. This letter describes the coming-of-age tradition of hagurome (teeth blackening) and mayuhiki (eyebrow shaving) held for Sanetaka’s first daughter, Yasuko (born November 7, 1480), who had turned 11. From the Sanetaka Koki, (lit. Lord Sanetaka’s Diary), one can learn that the coming-of-age ceremony was held on April 11, 1490. This letter indicates that Sanetaka himself performed the ceremonial eyebrow shaving when Yasuko was celebrating her 50th day after being born. But Ashikaga Shogun Yoshimasa died on the 7th of the new year, and the letter makes a reference to that. It is quite unfortunate that the addressee’s name has worn off.

中院通秀宛 三条西実隆書状

文明14年(1482)、実隆28歳の書状。朝儀に関する装束の準備の遅れを詫び、裁断の残り切れの返送する旨を伝えている。

Tanzaku by Sanjonishi Sanetaka

珍しく署名のかわりに花押を用いた短冊。「遊子行月 さしもはや深過ぬらん笛竹の夜ごゑよ月のいづくをかとふ(花押)」

Tanzaku by Sanjonishi Sanetaka

Sanjonishi Sanetaka (1455-1537) was born the second son of Minister of the Center, Sanjonishi Kinyasu (1398-1460). He closely served three reigning emperors, i.e., GoTsuchimikado, GoKashiwabara, and GoNara. He was given the title of Senior Second Rank and eventually became Minister of the Center. Thoroughly versed in Chinese prose and poetry and Japanese literature, ancient anecdotes, and manners and etiquette, he contributed to the rise of academism favoring local flavor during medieval Japan. He studied the art of waka composition under Asukai Masachika (1417-90) and later exhibited wide-ranging talent. He also received oral instructions about the secret interpretations of the Kokin Wakashu (Collection of Ancient and Modern Poems) from Iio Sogi (1412-1502). Sanetaka and Botanka Shohaku (1443-1527) were fellow disciples, and Takeno Jo-oh (1502-55) was Sanetaka’s student. As a trained calligrapher, Sanetaka established his own style, named the Sanjo School (also Shoyo-In School) and attracted a large number of followers. He left behind The Diary of Lord Sanetaka and a private anthology, Setsugyoku Shu (lit. “Collection of Snowy Gems”). He retired to pursue Buddhism at age 62 (1516) and adopted the pseudonym “Shoyo-In Gyoku”.

Tanzaku by Sanjonishi Sanetaka

Sanjonishi Sanetaka (1455-1537) was born the second son of Minister of the Center, Sanjonishi Kinyasu (1398-1460). He closely served three reigning emperors, i.e., GoTsuchimikado, GoKashiwabara, and GoNara. He was given the title of Senior Second Rank and eventually became Minister of the Center. Thoroughly versed in Chinese prose and poetry and Japanese literature, ancient anecdotes, and manners and etiquette, he contributed to the rise of academism favoring local flavor during medieval Japan. He studied the art of waka composition under Asukai Masachika (1417-90) and later exhibited wide-ranging talent. He also received oral instructions about the secret interpretations of the Kokin Wakashu (Collection of Ancient and Modern Poems) from Iio Sogi (1412-1502). Sanetaka and Botanka Shohaku (1443-1527) were fellow disciples, and Takeno Jo-oh (1502-55) was Sanetaka’s student. As a trained calligrapher, Sanetaka established his own style, named the Sanjo School (also Shoyo-In School) and attracted a large number of followers. He left behind The Diary of Lord Sanetaka and a private anthology, Setsugyoku Shu (lit. “Collection of Snowy Gems”). He retired to pursue Buddhism at age 62 (1516) and adopted the pseudonym “Shoyo-In Gyoku”.

Tanzaku by Sanjonishi Sanetaka

Sanjonishi Sanetaka (1455-1537) was born the second son of Minister of the Center, Sanjonishi Kinyasu (1398-1460). He closely served three reigning emperors, i.e., GoTsuchimikado, GoKashiwabara, and GoNara. He was given the title of Senior Second Rank and eventually became Minister of the Center. Thoroughly versed in Chinese prose and poetry and Japanese literature, ancient anecdotes, and manners and etiquette, he contributed to the rise of academism favoring local flavor during medieval Japan. He studied the art of waka composition under Asukai Masachika (1417-90) and later exhibited wide-ranging talent. He also received oral instructions about the secret interpretations of the Kokin Wakashu (Collection of Ancient and Modern Poems) from Iio Sogi (1412-1502). Sanetaka and Botanka Shohaku (1443-1527) were fellow disciples, and Takeno Jo-oh (1502-55) was Sanetaka’s student. As a trained calligrapher, Sanetaka established his own style, named the Sanjo School (also Shoyo-In School) and attracted a large number of followers. He left behind The Diary of Lord Sanetaka and a private anthology, Setsugyoku Shu (lit. “Collection of Snowy Gems”). He retired to pursue Buddhism at age 62 (1516) and adopted the pseudonym “Shoyo-In Gyoku”.The exhibit “Spring Rain” poem is included in the Setsugyoku Shu. According to this collection, “Spring Rain” was written for the Daily Waka Dedication at the Palace, which began on September 9, 1509. (During this event, participating poets visited the palace everyday to write and dedicate a poem.)

Tanzaku by Sanjonishi Sanetaka

Sanjonishi Sanetaka (1455-1537) was born the second son of Minister of the Center, Sanjonishi Kinyasu. He closely served three reigning emperors, i.e., GoTsuchimikado, GoKashiwabara, and GoNara. He was given the title of Senior Second Rank and eventually became Minister of the Center. Thoroughly versed in Chinese prose and poetry and Japanese literature, ancient anecdotes, and manners and etiquette, he contributed to the rise of academism favoring local flavor during medieval Japan. He studied the art of waka composition under Asukai Masachika (1417-90) and later exhibited wide-ranging talent. He also received oral instructions about the secret interpretations of the Kokin Wakashu (Collection of Ancient and Modern Poems) from Iio Sogi (1412-1502). Sanetaka and Botanka Shohaku (1443-1527) were fellow disciples, and Takeno Jo-oh (1502-55) was Sanetaka’s student. As a trained calligrapher, Sanetaka established his own style, named the Sanjo-In School (also Shoyo-In School) and attracted a large number of followers. He left behind The Diary of Lord Sanetaka and a private anthology, Setsugyoku Shu (lit. “Collection of Snowy Gems”). He retired to pursue Buddhism at age 62 (1516) and adopted the pseudonym “Shoyo-In Gyoku”.The exhibit “Last of Spring” poem is signed “Gyoku”. Although this Buddhist name should have been used after Sanetaka became a monk, he used it freely in the October 4th entry (1484) of his diary, when he was only 30 years of age. This means that one cannot determine the date of tanzaku using the poet’s signature as a clue. However, from the deeply impressive brushwork achieved by contrasting shades of Indian ink and by the steadfast movement of the brush, one can safely assume that this tanzaku was written in old age.

August 21, the first year of the KyouRoku era,Sanjonishi Sanetaka's

Institutions and External Links

  • 実隆公記 External Site

    東京大学史料編纂所が所蔵する『実隆公』自筆原本(重要文化財)。巻子106巻・折本1帖・冊子44冊のデジタル画像が閲覧できる。

  • 資料室-史料編纂所 External Site

    「実隆公記原本目録(PDF)」「実隆公記および三条西実隆関係文献目録」「史料編纂所架蔵三条西家旧蔵本一覧」のデータを閲覧できる。

References