Fujiwara Tameie - Fujiwara Tameie

A poet of the mid-Kamakura period. His father was Fujiwara Teika and his mother was the daughter of Minister of the Interior, Saionji Sanemune. He was the Gon Dainagon Minbukyo. His posthumous name was Yukaku. He was also known as Nakanoin Zenmon and Minbukyo Nyudo. Initially, he was favored by both Emperor Gotoba and Emperor Juntoku due to his kemari (a traditional Japanese game of kemari), much to the dismay of Teika, but from around the Kenpo era (1213-19) he began to work on composing poetry, composing "A Thousand Poems by Lord Tameie." Encouraged by Jien, he renewed his determination to continue the art of waka poetry and worked hard. Although he faced resistance from those who were against the Mikohidari faction, such as Tomoe (Rensho) and Mitsutoshi (Shinkan), he managed to maintain his position. By order of Emperor Gosaga, he compiled the Shokugosen Wakashu in 1251 (Kencho 3), and was later ordered to compile another collection on his own. Later, Motoie, Ienari (who died midway through), Yukiie, and Mitsutoshi were added, and in 1265 (Bun'ei 2) he compiled the Shoku Kokin Wakashu. His sons Tameuji, Tamenori, and Tamesuke separated the family into three schools of waka poets.

Tameie is regarded as the compiler of the "Fuyoh Wakashu," and his annotations include "Kokin Josho" and "Gosenshu Masayoshi," his family anthologies include "Dainagon Tameieshu," "Chuinshu," "Chuin Eiso," and "Betsuhon Chuinshu," and his book on waka poetry is "Eiga no Ittai" (Yakumo Kuden). His style of poetry was gentle, elegant, and clear, and he was revered as a man of the middle way, and although his ideas of "controlled words" and "practice" were inherited from Mikohida waka poetry, they had a great influence throughout the Middle Ages. He also excelled in painting, and there are many issues regarding his relationship with waka poetry that remain to be explored in the future.

[Goto Jiro]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

鎌倉中期の歌人。父は藤原定家(ていか)、母は内大臣西園寺実宗(さいおんじさねむね)の女(むすめ)。権大納言民部卿(ごんだいなごんみんぶのきょう)。法名融覚。中院(なかのいん)禅門、民部卿入道とも称する。当初蹴鞠(けまり)により後鳥羽(ごとば)・順徳(じゅんとく)両院(いん)の寵(ちょう)を被り、定家を悲しませたが、建保(けんぽう)（1213～19）のころより歌作に努め、「為家卿(きょう)千首」を詠じ、慈円より励まされ、歌道家継承の志を新たに精進し、知家(ともいえ)（蓮性(れんしょう)）、光俊(みつとし)（真観）ら反御子左(みこひだり)派の抵抗にもあうが、よくその地位を守りえた。後嵯峨(ごさが)院の撰集(せんしゅう)下命により、1251年（建長3）『続後撰(しょくごせん)和歌集』を撰(えら)び、その後再度単独撰集の命を受けるが、のち、基家、家良（中途死亡）、行家、光俊が追加され、65年（文永2）『続古今和歌集』を撰進した。その子為氏、為教(ためのり)、為相(ためすけ)により歌道家の三家分立となった。

　為家は『風葉和歌集』の撰者と目され、注釈に『古今序抄』『後撰集正義』、家集に『大納言為家集』『中院集』『中院詠草』『別本中院集』、歌学書に『詠歌一体(えいがのいったい)（八雲口伝）』がある。歌風は温雅平明、中道の人として崇敬され、その「制の詞(ことば)」「稽古(けいこ)」の思想は、御子左歌学の継承であったとはいえ、中世を通じてその及ぼした影響は大なるものがあった。絵画にも秀で、和歌との関係には今後なお究められるべき問題が多い。

［後藤重郎］

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