Handbook - Tekagami

One way of appreciating calligraphy such as Kohitsugire. "Te" means handwriting and "kagami" means model or mirror. Made of thick paper and arranged like an orijo, excellent handwriting is pasted in a regular order. In other words, it is an album of handwriting that can be opened easily and appreciated at any time. The front page usually starts with "Daishomu," said to have been written by Emperor Shomu, followed by "Chotorishitaegyogire with butterfly and bird illustrations." Usually it is one page, but there are also two or three pages, and each page has a tag affixed to it that lists the supposed author, the name of the page, and the opening line. In families who make a living by appraising calligraphy, the family's Kohitsu Tekagami was also a basic ledger for appraisals.

From the end of the Muromachi period, many old calligraphy pieces were cut up, and the trend of admiring old calligraphy pieces grew, and the popularity of tekagami also followed this trend. It was already practiced among connoisseurs in the Momoyama period, and the popularity reached its peak in the early Edo period. It was highly praised by people of all classes, and the successive publication of woodblock tekagami such as the "Keian Tekagami" (1651) clearly shows its reality. Representative tekagami include the national treasure "Kanbokujo" (MOA Museum of Art, Atami), "Minuse no Tomo" (Idemitsu Museum of Art, Tokyo), and "Moshiogusa" (Kyoto National Museum). In addition, tekagami with a single type of content were also created, such as tanzaku tekagami, sutra copying tekagami, and kōbunsho tekagami.

[Tamiko Oshita]

"Moshiokusa" edited by Kyoto National Museum (1969, Tankosha)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

古筆切(こひつぎれ)などの書跡の鑑賞形態の一つ。「手」は筆跡、「鑑」は規範、あるいは鏡の意味。厚手の紙を用いて折帖(おりじょう)仕立てにし、優れた筆跡を一定の配列で順序よく貼(は)り込んだもの。つまり、手軽に開いていつでも鑑賞できる筆跡のアルバムである。表は伝聖武(しょうむ)天皇宸筆(しんぴつ)「大聖武(おおじょうむ)」を巻頭に「蝶鳥下絵経切(ちょうとりしたえぎょうぎれ)」と続くのが一般的。普通、1帖だが、2、3帖のものもあり、一紙ごとに伝称筆者、切名、書き出しを記した極札(きわめふだ)が貼付(ちょうふ)される。極め（鑑定）を業とする家では、家伝の古筆手鑑は鑑定の基本台帳的存在でもあった。

　室町末期から多くの古筆が切断され、古筆切愛好の風潮が高まったが、手鑑の流行もそれと軌を一にする。すでに桃山時代に好事家(こうずか)の間で行われており、流行が頂点を極めるのは江戸初期である。貴賤(きせん)を問わず大いにもてはやされ、『慶安(けいあん)手鑑』（1651）など木版手鑑の相次ぐ刊行は、その実態を端的に物語っている。代表的な手鑑に国宝の『翰墨城(かんぼくじょう)』（熱海(あたみ)・MOA美術館）、『見ぬ世の友』（東京・出光(いでみつ)美術館）、『藻塩草(もしおぐさ)』（京都国立博物館）などがある。このほか、短冊手鑑、写経手鑑、古文書手鑑というように、内容の種類を単一に限定したものもつくられた。

［尾下多美子］

『京都国立博物館編『藻塩草』（1969・淡交社）』

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