Hosho-ryu

(1) A school of Noh. One of the five schools of shite actors. It originated from the Tobiza troupe during the Nanboku-cho period and was established earlier than the Kanze troupe, but many details about its founder are unknown. Ikkan IV, who served the Hojo clan of Odawara, was called Hanataka Hosho, and Hozan V, who was adopted by the Kanze family, was a master known as Kohosho. The Kanze family has been related by marriage since the Muromachi period, and the arts are similar, with Ikkan called kamigakiri as opposed to shimogakiri of the Konparu, Kongo, and Kita schools.

During the Edo period, it ranked third after the Kanze and Konparu troupes, and began to grow in power under the fifth shogun, Tsunayoshi. The eleventh shogun, Ienari, studied the Hosho school, and the school's influence expanded even further. The Kanjin Noh performance in Kanda in 1848 (Kaei 1), which was officially approved by the shogunate, was the last of its kind during the Edo period. The Maeda family of Kaga (Ishikawa Prefecture) also protected the Hosho school, and the foundation of Kaga Hosho continues to this day in Kanazawa. The 16th Hosho Kuro reigned supreme as one of the three great masters of the Meiji period, and gained many patrons among the nobility and high-ranking officials. Through rigorous training, he trained such masters as Matsumoto Nagashi, Noguchi Kanesuke, Kondo Kenzo, Takahashi Susumu, and Tanaka Ikunosuke. Although it is the school under the strongest control of the head of the school, it has many unique masters, boasts a solid style of performance, and is second only to the Kanze school in influence, with distinctive chanting. It was one of the first schools to restore its stage after the Second World War, and has spread its influence throughout the country, including Kanazawa, with the Hōshō Noh Theater in Suidobashi, Tokyo as its base. Following the 17th head of the school, Kuro (Shigefusa), who came from a branch of the Kanazawa family, the 18th head of the school was Hōshō Fusao (1920-1995), the 19th head of the school was Hōshō Fusateru (1958-2010), and the 20th head of the school is Hōshō Kazufusa (1986- ).

(2) A school of supporting actors in Noh. To distinguish it from shite actors, and because it belongs to the art line of the Shundo-ryu, which is a member of the Konparu school, it is called the Shimogakari Hōshō school. It is also called Shimo-Hōshō or Waki-Hōshō. It maintains its own unique style as a supporting actor, and is particularly characterized by its handling of kotoba (conversational parts). It was founded by Shundo Gonshichi, who died in 1692 (Genroku 5), and is the newest supporting actor school, but it has produced many masters over the generations, and the 10th head of the school, Hōshō Shin, was selected as the first member of the Imperial Art Academy, and his disciples Matsumoto Kenzō, Hōshō Yaichi, and Mori Shigeyoshi were active in the field. The current head of the Noh school is the 11th head of the family, Hōjō Akihiko (1922-).

(3) A school of Noh drums. It was not officially recognized as a school and was called the Hōshō Renzaburō school, but in 1986 (Showa 61) it changed its name to the Kanze school.

[Masuda Shozo]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

(1)能の一流派。シテ方五流の一つ。南北朝時代の外山座(とびざ)を源流とし、観世(かんぜ)座よりも早く成立していたが、流祖などは未詳の部分が多い。小田原の北条氏に仕えた4世一閑は鼻高宝生とよばれ、観世家から養子に入った5世宝山は小宝生(こほうしょう)とよばれた名人。なお観世家とは室町時代から姻戚(いんせき)関係があり、芸系も似通い、金春(こんぱる)、金剛、喜多(きた)三流の下掛(しもがか)りに対し、上掛(かみがか)りとよぶ。

　江戸時代は、観世座、金春座に次ぐ地位にあり、5代将軍綱吉のとき以来勢力を伸ばし、11代将軍家斉(いえなり)は宝生流を学んだため、流勢とみに拡大した。幕府の公許を得た1848年（嘉永1）の神田における勧進能(かんじんのう)は、江戸時代最後のものとなった。また加賀（石川県）の前田家は宝生流を庇護(ひご)し、今日も金沢に加賀宝生の地盤を伝えている。16世宝生九郎は、明治三名人の一人として時代に君臨し、華族や高官の間に多くの後援者を獲得した。厳しい稽古(けいこ)で、松本長(ながし)、野口兼資(かねすけ)、近藤乾三(けんぞう)、高橋進、田中幾之助(いくのすけ)らの名人たちを育てた。家元の統制力のもっとも強い流儀だが、個性的な名手が多く、堅実な芸風を誇り、謡に特徴をもち、観世流に次ぐ大勢力である。第二次世界大戦後も真っ先に舞台を再興させ、東京・水道橋の宝生能楽堂を根拠地に、金沢ほか全国に流勢が及ぶ。金沢の分家から入った17世九郎（重英(しげふさ)）以後、宝生英雄(ふさお)（1920―1995）が18世、宝生英照(ふさてる)（1958―2010）が19世、宝生和英(かずふさ)（1986―　）が20世として宗家を継承している。

(2)能のワキ方の一流派。シテ方と区別して、また金春流座付(ざつき)の春藤流(しゅんどうりゅう)の芸系に属するので下掛(しもがか)り宝生流とよばれる。下宝生、脇(わき)宝生とも。ワキ方としての独自性を保ち、とくにコトバ（会話部分）の扱いに特徴がある。1692年（元禄5）没の春藤権七(ごんしち)を流祖とし、ワキ方の流儀としてはもっとも新しいが、代々名人を輩出し、10世宗家宝生新(しん)は第1回の帝国芸術院会員に選ばれ、その高弟の松本謙三(けんぞう)、宝生弥一(やいち)、森茂好(しげよし)が活躍した。宝生閑(かん)、鏑木岑男(かぶらぎみねお)、野口敦弘(あつひろ)、森常好(もりつねよし)らが能楽界の水準を支えている。現宗家は11世宝生彰彦(あきひこ)（1922―　）。

(3)能の大鼓の一派。正式に一流派とは認められておらず宝生錬三郎派とよばれていたが、1986年（昭和61）、名称を観世流と改めた。

［増田正造］

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