Koyagire - Koyagire

Calligraphy. This is the oldest copy of the Kokin Wakashū, written on white hemp paper covered with mica sand. It was originally prepared as a model for a set of 20 volumes. The name comes from the fact that Mokujiki Ogo of Monjuin Temple in Koyasan once received a fragment of the beginning of volume 9 from Toyotomi Hideyoshi, and that it has been preserved at Koyasan. It is said that the author was Ki no Tsurayuki, but this is incorrect. It is a collective work written by three calligraphers, and the extant extant works are classified into the first type (volumes 1, 9, 20), second type (volumes 2, 3, 5, 8), and third type (volumes 18, 19) according to their calligraphy style. Originally a scroll, only three volumes remain intact: volumes 5, 8, and 20 (national treasures, held by various families). The rest are in the form of fragments, held by various families. Of these, the second type of calligraphy is generally believed to be the handwriting of Minamoto no Kaneyuki, who also wrote the shikishigata (colored paper sculpture) of the Phoenix Hall at Byodo-in Temple in Uji. It is estimated to have been copied in the mid-11th century, making it a copy made about 150 years after the compilation of the Kokin Wakashū. It is characterized by elegant continuity and exquisite ink joining, and displays a refined style of calligraphy, making it highly valuable as one of the finest surviving examples of ancient calligraphy from the Heian period.

[Mitsuharu Kanzaki]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

書跡。一面に雲母砂子(きらすなご)を撒(ま)いた白麻紙(しろまし)に、『古今和歌集』を書写したもので、同歌集最古の写本。もと20巻1セットの調度(ちょうど)手本として調じられた。名称は、かつて高野山文殊院(もんじゅいん)の木食応其(もくじきおうご)が豊臣(とよとみ)秀吉より巻第9の巻頭の断簡を拝領し、それが高野山に伝存したことに由来する。筆者を撰者(せんじゃ)紀貫之(きのつらゆき)と伝承するが、これは当たらない。3人の能書の筆者が分担執筆した寄合書(よりあいがき)で、現存遺品をそれぞれ第一種（巻1、9、20）、第二種（巻2、3、5、8）、第三種（巻18、19）とよんで書風の分類をしている。もと巻子本で、巻5、8、20の3巻が完存（国宝、諸家分蔵）。残りは断簡として諸家に分蔵される。このうち第二種の書は、宇治平等院鳳凰堂(ほうおうどう)の色紙形(しきしがた)の筆者である源兼行(かねゆき)の筆跡とするのが定説である。11世紀中ごろの書写と推定され、『古今和歌集』撰進後、約150年の写本である。優雅な連綿、墨継ぎの妙が特色で、格調高い書風を展開し、平安朝屈指の古筆遺品として、その価値は高い。

［神崎充晴］

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