Collection of elegant waka poems

The 17th imperially commissioned anthology of waka poetry. 20 volumes. Includes prefaces in both Japanese and Chinese. Compiled by Kogon-in and supervised by Hanazono-in. Following the wishes of Fushimi-in and Kyogoku Tamekane, the two emperors aimed to compile a second imperial anthology of the Kyogoku school after the Gyokuyo Wakashu. In 1343 (Kōei 2), they consulted the Muromachi shogunate, received a report in October of the following year, and began the compilation project. Among the associates were Ogimachi Kinkage, Fujiwara Tamemoto (Gensetsu), Reizei Tamehide, and others. Toin Kinkata also participated in the discussions. With the completion of the two prefaces and Volume 1, Spring, written by Hanazono-in, a banquet was held on November 9, 1346 (Teiwa 2), and the work was completed around February 1349. Hanazono-in passed away in November of the previous year before it was completed. It contains 2,211 poems. The main authors were Fushimi-in, Eifukumon-in, Hanazono-in, Kogon-in, Tamekane, and other members of the imperial family, close vassals, and ladies-in-waiting from the Jimyoin line of the court, and it displays the characteristics of the contemporary Kyogoku school more strongly than the "Gyokuyoshu." His style of poetry took the Gyokuyo style even further into a state of serene serenity, with unique features such as miscellaneous poems on themes such as mountain huts, dawn, and evening, such as "The mountain pines disappear into the clouds in an instant, and all I feel is the loneliness of the evening rain" (by Princess Gishi), and a Zen-like Buddhist poem in the form of a landscape description, "Without swallows, the setting sun's shadows disappear from the eaves, and the spring breeze in the garden makes the willows blush" (by Hanazono-in). Both prefaces to the Japanese and Chinese works are excellent prefaces to a theory of poetry, full of the individuality and power of the writers. With this work, the Kyogoku school was destroyed, and in later generations, along with the Gyokuyoshu, it was considered an unorthodox style and ominous.

[Miyoko Iwasa]

"Fuga Wakashu" edited by Kasumi Tsuda and Miyoko Iwasa (1974, Miyai Shoten)" ▽ "Study on the History of the Medieval Poetry World: The Northern and Southern Courts Period" by Muneo Inoue (1965, Meiji Shoin)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

第17番目の勅撰(ちょくせん)和歌集。20巻。和漢両序を付す。光厳(こうごん)院親撰、花園(はなぞの)院監修。伏見(ふしみ)院、京極為兼(きょうごくためかね)の遺志を継いだ両院は『玉葉和歌集』に次ぐ第二の京極派勅撰集撰定を志し、1343年（康永2）室町幕府に諮問、翌年10月答申を得て撰集事業に着手した。寄人(よりゅうど)に正親町公蔭(おおぎまちきんかげ)、藤原為基(ためもと)（玄哲）、冷泉(れいぜい)為秀ら。洞院公賢(とういんきんかた)も議にあずかった。花園院作の両序と巻1春上の成立をもって1346年（貞和2）11月9日竟宴(きょうえん)を行い、49年2月ごろ完成。花園院は完成を待たず前年11月没した。歌数2211首。主要作者は伏見院、永福門院(えいふくもんいん)、花園院、光厳院、為兼はじめ持明院統(じみょういんとう)宮廷の皇族、近臣、女房らで、『玉葉集』以上に当代京極派の特色を強く打ち出している。歌風は玉葉風をさらに沈潜閑寂の境地に進め、山家、暁、夕などを主題とする雑歌(ぞうか)「山松はみるみる雲に消えはてて淋(さび)しさのみの夕暮の雨」（儀子(ぎし)内親王）、叙景の形をとった禅的な釈教歌「つばめなく軒端(のきば)の夕日影消えて柳にあをき庭の春風」（花園院）などに独自の特色がある。和漢両序も執筆者の個性と迫力に満ちた優れた歌論序である。これを最後に京極派は壊滅し、後世『玉葉集』とともに異風不吉とされた。

［岩佐美代子］

『次田香澄・岩佐美代子校注『風雅和歌集』（1974・三弥井書店）』▽『井上宗雄著『中世歌壇史の研究　南北朝期』（1965・明治書院）』

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