Takanobu Fujiwara

He was a court painter and poet from the late Heian to the early Kamakura period. He was the son of Fujiwara Tametaka and the half-brother of Teika. He served as Kozukenosuke, Echizen no Kami, and Wakasa no Kami, and was also Umagon no Kami, Ukyo no Gon no Daifu, and Shoshi no Ge. In 1201 (Kennin 1), he followed Honen, to whom he had become a follower, and became a monk, taking the name Kaishin. He was a courtier and skilled painter, and is known as a pioneer of the new trend of realistic portrait painting, called "nise-e," at the time. The paintings depicting Hirano Gyokei, Hiegokou, and Koyasan Gyokou on the shoji screens of Saishoko-in Temple, which was built in 1173 (Joan 3), are collaborative works between Tokiwa Mitsunaga and Takanobu, but it is recorded that Takanobu only painted the faces of the figures. The three statues of Minamoto no Yoritomo, Taira no Shigemori, and Fujiwara no Mitsuyoshi (all national treasures) kept at Jingo-ji Temple in Kyoto are thought to be works closely related to Takanobu. He was also active as a poet, and his works were included in the Senzai Wakashu and other collections, and his family anthology Takanobu Asonshu has also been preserved. Records also show that he wrote fictional stories and historical tales. This versatility was passed down to his son Nobuzane, who excelled in portrait painting. The family produced such portrait painters as Senami, Tamenobu, and Goshin, who carried on the tradition of portrait painting, an important genre of painting in the Kamakura period.

[Etsuko Kato]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

平安末期から鎌倉初期の宮廷画家、歌人。藤原為隆(ためたか)の子、定家(ていか)の異父兄。上野介(こうずけのすけ)、越前守(えちぜんのかみ)、若狭守(わかさのかみ)を歴任し、右馬権頭(うまごんのかみ)、右京権大夫(うきょうごんのだいふ)、正四位下となる。1201年（建仁1）帰依(きえ)していた法然(ほうねん)に従って出家、戒心と号した。廷臣にして画技に長じ、当時の新風であった写実的な肖像画「似絵(にせえ)」の先駆者として知られる。1173年（承安3）に建立された最勝光院の障子絵に描かれた平野行啓(ひらのぎょうけい)・日吉御幸(ひえごこう)・高野山行幸(こうやさんぎょうこう)図は、常盤光長(ときわみつなが)と隆信の合作になるが、隆信は人物の面貌(めんぼう)のみを描いたと記されている。京都・神護寺に伝来する源頼朝(よりとも)・平重盛(しげもり)・藤原光能(みつよし)の三像（いずれも国宝）は、隆信と関連の深い作品と考えられる。歌人としても活躍し、『千載(せんざい)和歌集』などにはその作品が入集(にっしゅう)し、家集『隆信朝臣(あそん)集』も残されている。このほか記録によれば、つくり物語や歴史物語も著している。このような多才さは子の信実(のぶざね)に受け継がれ、とくに似絵に秀でた。その家系からは専阿弥(せんあみ)・為信(ためのぶ)・豪信(ごうしん)らの肖像画家が輩出し、鎌倉時代絵画の重要な一ジャンルである似絵の伝統を担った。

［加藤悦子］

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