Ikenobo Sen'o - Ikenobo Sen'o

Japanese: 池坊専応 - いけのぼう・せんおう

Year of birth: Year of birth and death unknown. A highly talented master of Tachibana in the late Muromachi period. Also known as "Sen'nou." A monk who lived in Ikenobo (Ikenobo) at Chohoji Temple (commonly known as Rokkakudo) in Kyoto. The date of his ordination and hospitalization are both unknown. His flower teacher is also unknown. He established the basis for the standards of the "Seven Tools" that are the components of Tachibana, and said that the shape is a circle, the balance is short in front, long in back, long on the right and short on the left, and that it is created using Shin, So, Se, Shoshin (small Shin), Mikoshi, Nagareshi, and Maeoki. It is no exaggeration to say that Sen'o was the one who perfected Tachibana. In the diary of Goyudono no Ue, a court lady writes, "I was made to do Ikenoha no Hanatate," which shows that the words "hanatate" and "tatehana" were in use around that time. Unlike Bun'ami, a member of the Dohoshu, who possessed the skills to "arrange flowers elegantly... in a way that suited the hearts of the people of the time," Sen'o was a florist who "arranged flowers in front of the Emperor and brought excitement to the atmosphere." In the preface to his oldest work, "Hana Ichido Zashiki no Kazari," published in 1523 (also known as "Ikenobo Sen'o Kuden"), Sen'o describes the beauty of tachibana as "the exquisite technique of the Sen school, which uses only small, sparsely arranged flowers...to evoke ever-changing beauty." His successor was Ikenobo Sen'ei. Ikenobo began calling itself the head of the school from the Kansei period (1789-1801) onwards, around the time of the 40th head, Senjo. The person who inherited the tradition in the Heisei period is the 45th head, Ikenobo Sen'ei. <References> Yasuhiko Murai and Tatsuro Akai, "Ancient and Medieval Art Theory" (Japanese Thought System 23), Kozo Okada, "Sen'o no Hana Densho" (Man'yo no Niwa, No. 6)

(Kouzo Okada)

Source: Asahi Japanese Historical Biography: Asahi Shimbun Publications Inc. About Asahi Japanese Historical Biography

Japanese:

生年：生没年不詳
室町末期の高才な立花の宗匠。「せんのう」ともいう。京都頂法寺(通称六角堂)中の池坊(池房)に住房した僧。得度,入院の時期,ともに不明。花の師も定かでない。立花の構成要素「七つ道具」の規範の基を定め,形は円,釣り合いは前短後長右長左短,真・副・請・正真(小真)・見越・流枝・前置などによって作られる,とした。立花の大成者は専応といっても過言ではない。宮廷女官の『御湯殿の上の日記』に「いけのはうはなたてさせらるゝ」とあり,このころ「はなたて」「たてはな」の語が用いられていたことが分かる。専応は,同朋衆文阿弥のように「当世の人の心にかなふ……すい(粋)に花たつる」技の持ち主とは異なる,天皇や高貴の「御前の花をさす」「風興」の花人であった。その著作で最も古い,大永3(1523)年本『花一道座敷のかざり』(『池坊専応口伝』として知られる)の序文に,立花の美しさを「只,小水尺樹を以て……千変万化の佳興をもよをす,宛仙家の妙術」と述べている。嗣は池坊専栄。池坊が家元を称するのは寛政期(1789～1801)以降のことで,40世専定のころからである。平成期の伝承者は45世池坊専永。<参考文献>村井康彦・赤井達郎『古代中世芸術論』(日本思想体系23),岡田幸三「専応の華伝書」(『万葉の庭』6号)

(岡田幸三)

出典　朝日日本歴史人物事典：（株）朝日新聞出版朝日日本歴史人物事典について　情報

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