Fujiwara no Mototoshi

A poet from the late Heian period. There are different theories about his birth year. He was the son of the Minister of the Right, Toshiie. His grandfather was the Minister of the Right, Yorimune (the son of Michinaga). Although he was from a distinguished family, he only reached the rank of Junior Fifth Rank Upper Saemonnosuke. It is speculated that he was arrogant and proud of his knowledge, but also lazy in his official duties. He was one of the authors of "Horikawa-in Hyakushu" (completed around 1105). He was knowledgeable in waka poetry, and was one of the most highly regarded poets in the Manyo period. He became a monk in 1138 (Hōen 4) and took the Buddhist name Kakushun. In terms of waka poetry, as can be seen in his judgments on "Poetry Contest at the House of Minister of the Interior, Tadamichi, October 2, 1181," he valued the form of ancient waka poetry, avoided waka illness, and valued traditional positions, which led to a sharp conflict with Minamoto no Toshiyori, who sought a new style of waka poetry. His waka poems appear in "Horikawa-in Hyakushu," poetry contests, the family anthology "Motoshunshu" (three systems), and imperial anthologies such as "Kinyoshu." His style is traditional, reflecting his theory of poetry, but he also has a new feel that was influenced by the trends of descriptive poetry, such as "A summer night's moon, waiting for my hands, I see the clear waters by the rocks, ikumusubishitsu." He was the compiler of "Sumo-dateshiika" and "Shinsenroeishu." Fujiwara no Shunzei was one of his disciples. He died on January 16, 1281.

[Muneo Inoue]

"Research on the History of the Poetry World during the Insei Period" by Fumio Hashimoto (1966, Musashino Shoin)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

平安後期の歌人。生年には異説がある。右大臣俊家の子。祖父は右大臣頼宗(よりむね)（道長の子）。名門の出なのに従(じゅ)五位上左衛門佐(すけ)に終わったのは、学識に誇って高慢であり、公事(くじ)に怠惰でもあったからと推測されている。『堀河院(ほりかわいん)百首』（1105ころ成立）の作者の1人。歌学に詳しく、万葉次点の1人。1138年（保延4）出家、法名覚舜(かくしゅん)。歌論は、「元永(げんえい)元年十月二日内大臣忠通(ただみち)家歌合」などの判詞(はんし)に見るように、古歌の姿を重んじ、歌病を避け、伝統的立場を重んじており、新しい歌風を求める源俊頼(としより)と鋭く対立した。その和歌は、『堀河院百首』や歌合類、家集『基俊集』（三系統）、『金葉集』以下の勅撰(ちょくせん)集にみえる。歌論を反映して伝統的な歌風であるが、また「夏の夜の月待つほどの手すさびに岩もる清水いくむすびしつ」のように、時代の影響下に、叙景歌の流れを受けた新しい感覚のものもみえる。『相撲立詩歌(すもうだてしいか)』『新撰朗詠(しんせんろうえい)集』の撰者。なお、その門から藤原俊成(しゅんぜい)が出た。永治(えいじ)2年1月16日没。

［井上宗雄］

『橋本不美男著『院政期の歌壇史研究』（1966・武蔵野書院）』

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