Sadanobu Fujiwara - Sadanobu Fujiwara

A nobleman and calligrapher in the late Heian period. He was the fifth-generation grandson of Fujiwara Yukinari, famous as one of the Three Great Calligraphers. His father was Fujiwara Sadazane, who is thought to be the author of a number of posthumous works, including the Gen'eihon Kokin Wakashu. Influenced by his father, he was skilled in calligraphy, and joined the Honganjihon Thirty-six People's Collection (estimated to have been compiled in 1112) as a writer at the young age of 25, and wrote three volumes of the Tsurayukishu Volume 2 (Ishiyamagire), the Shitagoushu (Okaderakiri, Kasu Shikishi), and the Nakatsukasashu. After this, he showed his ability to take on all the important calligraphy works such as plaques, memorials, prayers, letters of reply from foreign countries, and shikishigata. Furthermore, he completed the "Ichibuki Issaikyo" (copying the entire Buddhist scriptures in one stroke) in 1151 (Nihei 1), which took him 23 years to complete. As a result, he became a speed writer and developed his own unique style of calligraphy that rose upwards using a side brush, which later gave birth to a style of calligraphy for copying sutras known as "Kataagari-yo" (Juboku Kudensho). He left many works of calligraphy, including the "Hyubon" (Parable Chapter) of the "Kunoji Sutra" (Tesshu-ji Temple, Shizuoka City), "Boshingire" (Volume 2), "Togakushi-kiri" (Togakushi Shrine, etc.), and the colophon of the "White Juyi Poetry Scroll" by Fujiwara no Yukinari (Tokyo National Museum). Although he only held the rank of Junior Fourth Rank and Vice-Minister of the Imperial Household, his presence in the history of calligraphy and copying sutras is significant.

[Hiroyuki Shimatani]

"The Complete History of Japanese Calligraphy" by Shigemi Komatsu (1970, Kodansha)" ▽ "A Study of the Shikishi Forms of the Phoenix Hall of Byodoin Temple" by Shigemi Komatsu (1973, Chuokoron-Bijutsu Shuppan)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

平安後期の公卿(くぎょう)、能書。三蹟(さんせき)の一人として著名な藤原行成(ゆきなり)の5代目の孫。父は『元永(げんえい)本古今和歌集』など一群の遺品の筆者と考えられる藤原定実(さだざね)。父親の影響から書に巧みで、『本願寺本三十六人家集』（1112年の成立と推定される）に25歳の若さで筆者として加わり、『貫之(つらゆき)集下』（「石山切(いしやまぎれ)」）、『順(したごう)集』（「岡寺切」「糟(かす)色紙」）、『中務(なかつかさ)集』の三帖(じょう)を揮毫(きごう)している。こののち、額、上表文、願文、異国の返牒(へんちょう)、色紙形(しきしがた)と、能書の大事を一手に引き受ける活躍を示した。さらに、5048巻に及ぶ一切経(いっさいきょう)を1人で書写するという「一筆一切経」を、23年間を費やして1151年（仁平1）に成し遂げた。そのため、速書(はやが)きとなり、側筆(そくひつ)を使った右肩上がりの独自の書風をなし、後世、「片上様(かたあがりよう)」（『入木口伝抄(じゅぼくくでんしょう)』）といわれる写経の書体の一つの型を生んだ。『久能寺(くのうじ)経』の「譬喩品(ひゆぼん)」（静岡市・鉄舟(てっしゅう)寺）や「戊辰切(ぼしんぎれ)」（巻下）、「戸隠(とがくし)切」（戸隠神社ほか）、さらに藤原行成筆『白楽天詩巻』奥書（東京国立博物館）など遺墨は多い。官位は従(じゅ)四位下・宮内権大輔(くないごんのたいふ)にとどまったが、書道史、写経史のうえでの存在は大きい。

［島谷弘幸］

『小松茂美著『日本書流全史』（1970・講談社）』▽『小松茂美著『平等院鳳凰堂色紙形の研究』（1973・中央公論美術出版）』

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