Shoren-in style

This school of calligraphy was founded in the Nanboku-cho period (14th century) by Monzeki Sonen, the head priest of Shoren-in Temple. It is also known as the Sonen school, and as Shoren-in Temple was located in Awataguchi, Kyoto, it was also called the Awata school or the Awataguchi school, and in the Edo period it was also called the Oie school. It is the most noteworthy school in the history of calligraphy and calligraphy in Japan. Sonen's style of calligraphy opened up a unique realm by combining the elegant and gentle Sesonji style with the powerful brushwork of the Song Dynasty, which earned him the respect of the former residents of Shoren-in Temple, and successive head priests were devoted to it. In particular, Prince Sondo (1332-1403), Empress Sonno Jungo (?-1514), Prince Sonden (1472-1504), Prince Sonchin (1504-1550), Prince Soncho (1552-1597), and Prince Sonjun (1591-1653) were known for their calligraphy, and their calligraphy remains are still preserved today. In the history of calligraphy, these schools are further divided into four schools: the Sonno school, the Sonchin school, the Soncho school, and the Sonjun school, and these are collectively called the Shoren-in school. Its simple and elegant style of calligraphy was not limited to Shoren-in Temple, but spread to the Imperial Court, aristocrats, and other temples, and in the Edo period, in line with the Edo shogunate's educational policies, it spread to the samurai class and general public as a family style. The handwriting of Prince Sonen and others was collected in books of calligraphy such as "Honcho Meiko Bokuho" and "Wakan Hissenshu," and in addition, many models such as "Jionji Hojo" (an original copy still exists, in a private collection) were published, which were major factors in its popularity.

[Hiroyuki Shimatani]

"The Complete History of Japanese Calligraphy" by Shigemi Komatsu, 2 volumes (1970, Kodansha)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

南北朝時代（14世紀）青蓮院門跡(もんぜき)尊円(そんえん)法親王を祖としておこった書の流派。別名尊円流とも称し、また青蓮院が京都粟田口(あわたぐち)にあることから、粟田流、粟田口流ともいわれ、江戸時代には御家(おいえ)流の名もあった。わが国書道史・書流史上もっとも注目すべき流派である。尊円法親王の書風は、端正温雅な世尊寺(せそんじ)流に宋(そう)風の力強い筆法を加味した独自の境地を開いたもので、青蓮院の歴住たちの尊崇を集め、代々の門跡はこれに傾倒した。とりわけ、尊道(そんどう)法親王（1332―1403）、尊応准后(そんのうじゅんごう)（？―1514）、尊伝(そんでん)法親王（1472―1504）、尊鎮(そんちん)法親王（1504―1550）、尊朝(そんちょう)法親王（1552―1597）、尊純(そんじゅん)法親王（1591―1653）は能書で知られ、今日に遺墨を伝えている。また書流史では、その末流をさらに尊応流、尊鎮流、尊朝流、尊純流の4派に分け、これらを包含して青蓮院流とよぶ。その平明で高雅な書風は青蓮院のみにとどまらず、宮廷や貴族、他の寺院へと広まり、江戸時代には幕府の文教政策に伴い、御家流として武家階級や一般庶民にまで流布していった。筆跡の模刻本『本朝名公墨宝(ほんちょうめいこうぼくほう)』『和漢筆仙集(わかんひっせんしゅう)』などに尊円法親王以下の筆跡が所収され、加えて『慈恩寺法帖(ほうじょう)』（真跡本現存、個人蔵）などの手本が多数刊行されたことが普及の大きな要因となった。

［島谷弘幸］

『小松茂美著『日本書流全史』全二巻（1970・講談社）』

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