Hanging scroll - Kakemono

Kakefuku, also known as scroll or scroll, are hanging scrolls that are mounted with calligraphy or paintings and hung on a tokonoma or wall to be viewed or appreciated, and play an important role in interior decoration. In the past, hanging scrolls of calligraphy and paintings were distinguished and called kakeji, kakee, etc.

Originally, kakemono is said to have evolved from scrolls (kansubon), and the mounting methods and techniques of these scrolls are quite similar. Kakemono in Japan are the successors of methods introduced from China, and are based on those that were developed during the Kamakura period along with Zen Buddhism. At the time, the word hyohai, pronounced in Song Chinese, was used, but it was also called hyohoi, hyohoe, and hyohoe. This means mounting, and hyohoshi, or hyoho artisans, who made a living doing this, became active. Already in the Heian period, hanging scrolls of Buddhist paintings were displayed indoors, but this was done by setting up a Buddhist stand and hanging the paintings. After the Kamakura period, the new Song style introduced from the continent was added to these traditional kakemono, and through further changes in architectural styles and connections with the tea ceremony, they gradually developed into the form of kakemono we see today.

Hanging scrolls became popular after Shoin-zukuri, modeled on the architectural style of Chinese Zen temples, developed and toko (alcoves) were installed. They were already adopted by samurai at the end of the Kamakura period, and later, in the mid-Muromachi period, Ashikaga Yoshimasa's Shoin decorations also followed suit, with masterpieces such as triplicates and paired scrolls (two scrolls) being hung on the toko of the hall. In addition to the Buddhist paintings that had been used up until then, landscape, flower and bird paintings began to attract attention, and Chinese paintings from the Song and Yuan dynasties were particularly highly valued. Also, hanging calligraphy on the tokonoma came later than Chinese paintings, and the earliest example is said to be a calligraphy work by the Song Dynasty monk Engo Kokugon, which was given to Murata Juko, the founder of wabi-cha tea, by his Zen teacher Ikkyu Sojun as proof of approval. Takeno Jōō, a disciple of Juko's grandson, was impressed by the fact that the teachings in Fujiwara Teika's book on waka poetry, Eika no Taigai, matched the ideals of wabi-cha tea, and was the first to hang Teika's Ogura Shikishi at a tea ceremony. This led to the use of other Teika's calligraphy works, as well as ancient calligraphy from the Heian period, for hanging tea. In the Nanpo Roku, a book on the tea ceremony written by Nanbo Sokei and transcribed by his teacher Sen no Rikyu, hanging scrolls are considered the most important tea ceremony implements, and among them, calligraphy by virtuous Zen monks is placed in the highest position. Even today, various hanging scrolls have been handed down, including Chinese paintings, Yamato-e paintings, and paintings that praise the art, as well as ancient calligraphy, kaishi, yōsō, shikishi, tanzaku, and letters, and all of them are supported by the spirit of respect for the writers, of welcoming them to the tokonoma alcove and of admiration, and are also loved for the purpose of appreciating their own beauty.

[Minoru Furuya]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

掛軸、掛幅(かけふく)、また軸、幅ともいう。書画を表装して床の間や壁間に掛けて拝見したり鑑賞したりするもので、室内装飾に重要な役割をもつ。古くは、書と絵画の掛物を区別して、掛字、掛絵などとよんだ。

　もともと掛物は、巻物（巻子本(かんすぼん)）から転じたものといわれ、その表装の方法や技法に共通な部分が多い。わが国における掛物は、中国から伝来した方法を継承したもので、鎌倉時代に禅宗とともに将来されたものが基盤となっている。当時、宋(そう)音で発音される裱褙(ひょうはい)のことばが用いられたが、「ひょうほい」、「ひょうほえ」、「ひょうほうえ」ともいった。これは表装を意味し、それを職業とする裱褙師も活躍するようになった。すでに平安時代に、仏画の掛物が室内に飾られたが、これは仏台を設けて仏画を掛ける方法をとった。鎌倉時代以後、従来のこうした掛物に、大陸から渡来の新しい宋様式が加味され、さらに建築様式の変遷や茶道とのかかわりによって、しだいに今日みられるような掛物の形式へと発展した。

　掛物が流行するようになったのは、中国の禅宗寺院の建築様式に倣い、書院造が発展して床(とこ)が設けられるようになってからである。鎌倉末期にすでに武家に取り入れられたが、のち室町中期の足利義政(あしかがよしまさ)の書院飾りもこれを受け、三幅対(さんぷくつい)や対幅(ついふく)（二幅）の名品が広間の床に掛けられた。それまで用いられた仏画のほかに、山水花鳥画が注目されるようになり、なかでも宋・元(げん)代の唐絵(からえ)が珍重された。また、書を床に掛けるようになったのは、唐絵よりも後のことで、わび茶の創始者、村田珠光(じゅこう)が、参禅の師、一休宗純から印可(いんか)の証(あかし)として授与された宋代の高僧、圜悟克勤(えんごこくごん)の墨蹟(ぼくせき)がもっとも早い例とされる。珠光の孫弟子にあたる武野紹鴎(たけのじょうおう)は、藤原定家(ていか)の歌論書『詠歌大概(えいかのたいがい)』の所説がわび茶の理念に合致することに感銘し、定家の「小倉色紙(おぐらしきし)」を初めて茶席に掛けた。これがきっかけで、ほかの定家の遺墨をはじめ平安時代の古筆(こひつ)も茶掛けに用いられるようになった。南坊宗啓(なんぼうそうけい)が師の千利休(せんのりきゅう)から聞き書きした茶道書『南方録(なんぽうろく)』では、掛物をもっともたいせつな茶の湯道具と考え、なかでも高徳の禅僧が書いた墨蹟を最高位に置いている。今日でも、唐絵、大和絵(やまとえ)、画賛物をはじめ、書における古筆、懐紙、詠草、色紙、短冊(たんざく)あるいは書状など、さまざまな掛物が伝存するが、それらはいずれも筆者を尊び、床の間に迎えて敬慕する精神が支えとなり、あわせてそれぞれのもつ美しさを鑑賞する目的をもって愛好されている。

［古谷　稔］

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