Fan - Ougi

Japanese: 扇 - おうぎ

A fan is a tool used to create a breeze and cool oneself. Some fans are used for ceremonial purposes. It has a rib made of bamboo, wood, or plastic, with an axis on one side as the pivot, and the other end is opened and pasted with paper or cloth so that it can be folded. The Chinese name for a folding fan is Sensu, which is also used in Japan. The Hiougi, made of thin wooden boards bound together with thread and with one side as the pivot so that it can be opened and closed, was created first, and later the paper fan was invented. Fans that cannot be folded are also called Uchiwa (Japanese round fans). Uchiwa are said to have been introduced from China during the Nara period. In ancient and medieval Japan, fans made from cattails and called Hokisen (Japanese cattail fans) were used.

[Takada Yamato]

Hiogi

The hiogi fan was invented in Japan in the early Heian period, and is a wooden fan made of thin cypress boards bound with thread, and it was generally believed to have originated from a bundle of many wooden tablets. However, an everyday fan made from thin boards of fine, straight-grained cypress has also been excavated from the ruins of Heijo-kyo. One was discovered inside the womb of a Buddha statue that is said to be at Toji Temple in Kyoto, and has the inscription and letters from the first year of the Gangyo era (877), as well as birds, plants, and other designs painted in a graffiti style on 20 thin boards. Hiogi fans for men are thought to have been used as a reminder, and are left as is, with no patterns drawn on them. Each of these thin boards is called a bridge, and the number of bridges on a female fan is said to be 39 for an empress and 38 for a court lady, and names such as Mie Gasane and Itsue Gasane were also created for units of eight boards each. The Pillow Book states that "Five-layer Mie Gasane fans are so thick that they become too thick for books," and so it seems that heavy fans with many boards were also used.

An example of an item from the end of the Heian period is a folding fan said to have been donated to Itsukushima Shrine by the Taira clan, with 35 bridges adorned with silver crab-eye fittings (kaname) in the shape of butterflies and birds, a base of gofun (a white powder made from lead oxide used as paint) coated with powdered mica and sprinkled with gold and silver leaf, giving it a rich imperial style. The front side depicts a pine tree on a sandy beach, a man and woman, and a child, while the back side depicts plum blossoms on a sandy beach, an incense burner, and a one-wheeled cart (a depiction of a wheel being washed by the waves), and both sides are painted with reeds. In addition to these, it is said that three folding fans were donated by Saeki Kagehiro in 1184, and an elegant fan from the same period remains at Sata Shrine, decorated with colorful paintings on a white ground with pine trees and cranes on the front and bush clover, cherry blossoms, maple leaves and butterflies scattered on the back.

From the Kamakura period onwards, women's fans began to have decorative strings attached to the top of the ribs, or thread flowers attached to them. In the picture of Shigeisa no Kimi visiting the Empress in the "Pillow Book Emaki", the young girl holding up a folding fan is depicted with decorative threads, and in "Eshi Soshi" there are also illustrations of illustrated fans with decorative threads as motifs. In the late Kamakura period, an example of boys' folding fans having silk embroidered with family crests attached to the top of the ribs can be seen in the statue of Emperor Toba kept at Manganji Temple.

Women's folding fans from the Muromachi period are handed down as sacred treasures at Kumano Hayatama Taisha Shrine and Atsuta Jingu Shrine. The former has gold and silver leaf and sand scattered on the wood, retaining the style of the dynasty, but it feels a little dark and rough. The latter has red plum blossoms and rocky mountains on a chalk background, and is a successful modern technique using perspective, showing a plain style.

In the early modern period, women's fans gradually became larger, and fans called okazashi were also used. Flowering trees and phoenixes or long-tailed birds were painted in brilliant colors, and twisted threads of white, crimson, purple, light pink, yellow, and green were attached to the left and right sides of the ribs, and artificial flowers of pine, plum, and tachibana were stitched on them. These fans were worn when wearing formal attire, and were also called akome-ougi.

Among the early Edo period items are those handed down at Reiganji Temple, which feature paintings of phoenixes and maples on the wood, cloud patterns in gold leaf, and six different colored decorative cords. Around this time, even the so-called dogyo (young children) who had not yet reached adulthood began to use decorative folding fans. The wood has horizontal grain of cedar and is painted with auspicious motifs, with the Yamashina school featuring pine and red and white plum blossoms, and the Takakura school featuring pine and tangerines. The ribs also feature thread flowers sewn on them, just like women, and decorative cords are attached. The crown prince's dogyo was distinguished by painting the wood with whitewash and a Horai motif.

[Takada Yamato]

Paper fan

Hiogi fans were mainly used for ceremonial occasions in winter, except when wearing the formal attire of Sokutai, whereas paper fans were used exclusively in summer. They were used together with semi-formal attire such as Ikan and Noshi, women's formal attire such as Shozoku (12-layered kimono) and semi-formal Kouchigi attire, and it was customary to use Hiogi fans in winter and paper fans in summer. Paper fans were also created in Japan during the Heian period, but their origin is unclear. Paper fans were also called Kawahori (bats) in association with bats. A Heian period paper fan, said to have been used by Emperor Takakura (reigned 1168-1180) at Itsukushima Shrine, has five bamboo ribs exposed on the back of the fan paper. The inside cover of the "Heike Nokyo" (the Lotus Sutra donated by Taira no Kiyomori) depicts ten bones, and the metal fittings of the Domaru Yoroi (armor) said to have been donated by Minamoto no Yoshitsune and kept at Oyamazumi Shrine have eight-ribbed fan ornaments hammered into them.

The base paper for paper fans was also elaborately designed, with gold and silver leaf scattered throughout, just like the folding fans, but some of the fan-surface sutra copying papers handed down from Shitennoji Temple had designs printed with woodblock prints, suggesting that they were mass-produced at the time. It seems that attention was also paid to the fan ribs, as described in "The Pillow Book" as "The ribs of the fan are made of magnolia, and the colors are red, purple, and green," and "Poorer fans have ribs made of black persimmon and yellow paper pasted on them." In "Ban Dainagon Ekotoba," paper fans are seen being held even among the common people of Kyoto, and it seems that paper fans became popular among the general public from around this time.

In the Kamakura period, fans with openwork carvings on the bones appeared, and those with openwork carvings on all the bones were called minaeri-bone fans, and were used by both men and women, but were also favored by samurai as military fans. This can be seen in the "Pillow Book Illustrated Scroll" and "Honen Shonin Eden," and in military chronicles such as "The Tale of the Heike," there is a passage that reads, "All fans with the sun rising on a crimson background," which refers to a fan with a sun in gold leaf on a crimson background and all bones openwork carved.

At this time, large quantities of these were already being sent to China, and they seem to have been familiar as Japanese fans (wasen). In China, however, fans similar to modern fans began to be made, with a frame inserted between two sheets of fan paper and pasted together, and these were re-imported to Japan.

During the Muromachi period, this style became common, and other styles were born, such as the suehiro (also called chukei, with the top of the rib curved and the tip open like a ginkgo leaf), the bonbori (which opens less than the suehiro), and the shizumeori (which has a closed tip). Around this time, the suehiro replaced the hiogi as the winter fan, and the hiogi came to be used only on rare occasions and for important ceremonies. Also, because of the auspicious name suehiro, samurai also began to use them, and portraits from the time show that they came to be treasured not only for everyday use but also as an item of dignity. Paper fans also became widely used by the general public. "Seventy-one Poetry Contest" and "Scenes in and around Kyoto" are known to depict craftsmen of the Muromachi period, and show how fans are sold, and we can see that fan paintings of famous places in Kyoto were popular and fan shops were thriving. The "Fan-Painted Screen" at Nanzenji Temple dates from the Muromachi to Momoyama periods, and its fans feature paintings of flowers, birds, landscapes and historical events from China, with inscriptions written by monks.

The paper fans of the nobility in the early modern period all had simplified bone carvings or new openwork carvings in a T-shape, and thus came to have the significance of being tools that showed the style of the family, or the school of school. Among the winter suehiro, those for everyday use were called denchu-ougi, with some requiring 10 bones for the emperor and 8 bones for the nobility. The samurai used black bones for ceremonial occasions and thin white bones called denchu-ougi for everyday use. Of these, the ones favored by the shogun and feudal lords and used in the palace were called omeshi-ougi. It is thought that monks pioneered this type of usage, and it seems to have originated from the regulations that red bones were for monzeki class, black bones for inke class, and white bones for daifuku class and below.

Since the end of the Middle Ages, fans were created for each school of kemari, incense ceremony, and tea ceremony, which all became popular. With the rise of the performing arts, fans were also treated as important possessions, and in Noh theater, Noh fans were created by the four schools of Kanze, Hosho, Konparu, and Kongo, as well as the Kita school, which was born in the Edo period. In the world of kemari, the Asukai and Namba schools have had designated fans since the Muromachi period, called mari fans. In incense ceremony, the Shino school used record fans to record incense ceremonies, and in tea ceremony, fans preferred by the master of each school were used.

In Kabuki, there are set fans (nakakei) for pieces derived from Noh, and the fans worn by female roles are black-boned. Because the origins of Japanese dance fans lie in Kabuki, the practice of using set fans for schools whose heads are actors, that is, dance fans displaying the family crest, has remained unchanged to this day. Fans used by ordinary townspeople were often elegant, with no openwork carvings on the bones, and paintings and calligraphy by calligraphers and poets in addition to paintings by artists on the base paper.

When foreign trade flourished in the Meiji period, fans imitating those made in 16th century Europe were produced and exported. This style came into general use in the Taisho period, and evolved into the folding fans with many bones that are still used today.

[Takada Yamato]

East and West

The English word "fan" (or "fann" in Old English), which means a folding fan, a folding fan, or a round fan, comes from the Latin "vannus," which means a winnowing machine or a sorting machine, which are agricultural tools used to remove chaff and dust from grains. Meanwhile, the French word "éventail" (a folding fan or a folding fan) comes from the verb "éventer," which means to blow air or to fan. "Folding fans," which originally originated in the Orient, were highly valued by Westerners, along with pearls and silk.

Fans can be broadly divided into two types: rigid fans and screen fans, and folding fans. Both have undergone various changes in materials, shapes, and decorations over the years and with the times. As seen in umbrellas, the original form of fans was probably a large natural leaf. Eventually, people began to make them by weaving dried plants. In the ancient Orient, some also consider whisks (fly swags made of horsehair and feathers, seen by Buddhist monks) to be the original form of fans, and these can be seen in reliefs in Asia Minor from the 2nd millennium BC and in Assyrian reliefs from the 7th century BC. In ancient Egyptian murals from the New Kingdom, scenes of attendants following the king while holding palm-leaf fans with long pole-like handles are depicted. Meanwhile, the first record of feather fans made of two feathers in China is said to date back to the Zhou dynasty in the 10th century BC. Thus, we can see that the history of fans is much older in Eastern countries than in the West. In the Greek and Roman era, fans began to be used by individuals. The women in ancient Greek Tanagra figurines hold small heart-shaped fans, while the women in vase paintings hold large fans. These fans were called ιπισ, rhipis in Greek. Ancient Roman women further developed the fan, using brightly colored or gilded curved thin plates, while upper-class women sometimes had slaves fan them with long-handled feather fans.

In early medieval Europe, women did not use fans as an accessory, but the church used long-handled circular fans for ceremonial purposes, called flabellum in Latin, from the 9th century to the 13th century. It is recorded that Pope Boniface VIII (reigned from about 1294 to 1303) used 10 different types of fans, large and small, made of gold-painted parchment, silk, aloeswood, and ostrich feathers. It was after the Crusades that medieval women began to use fans, and they began to appear in "Chivalrics" in the 13th and 14th centuries. They called them émouchoirs (fly-sweaters). There is a record about King Charles V of France (1337-1380) that says, "When the king sits at the table, a flag swats away the flies." The flag is a small flag-shaped fan made of leather, called a ventarola (weather vane) in Italian, and was used until around the 16th century. It is also noted that the fans owned by Charles V included a foldable round fan made of ivory with an ebony handle. Thus, we can see that there are three types of fans: whisk-shaped or broom-shaped, flag-shaped, and wheel-shaped.

Meanwhile, fan paintings in China date back to the Song dynasty (960-1279), with fan-shaped designs becoming popular during the Ming dynasty (1368-1644). Fans are a Far Eastern invention, and in Japan in particular they are said to have been in use as early as the Hakuho period in the 7th century.

The biggest event in the 16th century for Western fans was the appearance of the folding fan. Fans were introduced to Europe via Portugal and Spain with the arrival of the Nanban people. Fans at that time, which had fewer folds, were called battoir fans (washing spoon fans) or Spanish fans. Catherine de Medici (1519-1589), who married Henry II of France from Italy, brought a round fan with feathers around it when she got married, but the fashion changed from round fans to folding fans during her lifetime, so the five leather fans she left after her death were all of the Eastern type. In addition, the inventory of her possessions left by the Archduchess of Tyrol in Austria in 1569 records two Spanish fans, and in 1593, Queen Henry IV of France left twelve Spanish fans. Queen Elizabeth I of England (1533-1603) was fond of broom-shaped fans.

Along with the development of French fashion, folding fans also developed and became common in the first half of the 17th century. Then, in the second half of the 17th century, fans with depictions of customs and fashions began to appear. However, it was not until the 18th century that European fans reached their peak, and they became an essential accessory for women in their daily lives. In this era, when gallantry was highly valued, fans took on a special significance, and elaborate fans made of gold, silver, ivory, and mother of pearl were favored, especially hiwagi-style fans called brisé. Painted fans also became popular, and famous artists such as Boucher and Fragonard took the lead in painting genre scenes on the fans. In the early 19th century, folding fans were briefly revived by Josephine, wife of Napoleon I, but after that they generally went into decline, and after the 1830s, with the appearance of printed fans, they have settled down to their present-day status.

[Akira Ishiyama]

``Kojiruien'' edited by Junjiro Hosokawa et al. (1959, Yoshikawa Kobunkan) ▽ ``Sozokusho'' by Sanetaka Nishisanjo (date unknown, published by Gunsho) ▽ GW ReadHistory of the Fan (1910, Kegan Paul, London) ▽ ` `Max von BoehnModes & Manners, Ornaments (1929, Dent, London)'' ▽ “KM Lester & BV OerkeAccessories of Dress (1940, Bennett, Illinois)”

[Reference] | Uchiwa | Fan painting

Paper fan
Made by Shibata Korezane. Ten bones. Meiji period. Length 31cm. Collection of the Metropolitan Museum of Art .

Paper fan

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

あおいで風をおこし、涼をとるための道具。儀礼用としての扇もある。竹や木、またはプラスチックなどを骨にして一方に軸を通して要(かなめ)とし、先方を広げて紙、布などを貼(は)って折り畳めるようにしたもの。扇子(せんす)は中国における呼び名で日本でも使われている。木の薄板を糸で綴(と)じ、一方を要として開閉できるようにした檜扇(ひおうぎ)が先に生まれ、後に紙扇が発明された。折り畳めないものを団扇(うちわ)ともいう。団扇は、奈良時代に中国から伝わったといわれる。日本の古代中世には蒲(がま)でつくった蒲葵扇(ほきせん)とよばれるものが使われた。

［高田倭男］

檜扇

檜扇は、平安時代の初期、日本で考案され、薄い檜(ひのき)の板を糸で綴じた板扇で、多数の木簡を束にしたものから案出されたというのが定説であった。しかし、また平城京跡から、細かい柾目檜(まさめひのき)の薄板でつくった日用品の扇が出土している。京都の東寺(とうじ)に伝えられる仏像の胎内から発見されたものは、20枚の薄板に元慶(がんぎょう)元年（877）の銘と文字、鳥、草木などが落書風に描かれている。男子用の檜扇は、備忘のために使われたらしく、木地のままで文様は描かない。この薄板の1枚を橋(きょう)とよび、女性用檜扇の枚数は、皇后が39橋、女官が38橋とされ、橋数の単位として8枚ずつ三重(みえ)がさね、五重(いつえ)がさねなどという名称も生まれた。『枕草子(まくらのそうし)』に「三重がさねの扇、五重はあまり厚くなりて、本などにくげなり」とあり、枚数が多く重いものも用いられたようである。

　平安時代末期のものとしては、厳島(いつくしま)神社に平家が奉納したといわれる檜扇があり、35枚の橋は蝶(ちょう)と鳥の銀製蟹目(かにのめ)金具（要(かなめ)のこと）が打たれ、胡粉(ごふん)（酸化鉛でつくった白い粉。絵の具にする）の下地に雲母(うんも)の粉を塗り、金銀箔(はく)を散らした王朝趣味豊かなもの。表には州浜(すはま)に松、男女と童(わらわ)を描き、裏面には州浜に梅花、香炉と片輪車(かたわぐるま)（車輪が波間に洗われるさまを描いたもの）を描き、表裏とも葦手絵(あしでえ)になっている。このほかに、寿永(じゅえい)3年（1184）佐伯(さえき)景弘寄進の檜扇3本が伝えられているし、同時代のものとして、佐多神社に胡粉地彩絵(いろえ)で表に松と鶴(つる)、裏には萩(はぎ)、桜、楓(かえで)に蝶を散らした風雅なものが残されている。

　鎌倉時代以降になると、女性用のものには親骨の上部に飾り紐(ひも)をつけて垂らしたり、糸花をつけるものも現れた。『枕草子絵巻』のなかで、中宮を訪ねる淑景舎(しげいさ)の君の図にある、童女がかざす檜扇には飾り糸が描かれており、『絵師草紙』にも飾り糸のついた絵扇を文様とした図柄がみられる。鎌倉時代後期になると、男子の檜扇には親骨の上部に、家紋を刺しゅうした絹を貼(は)り付けるようになった例も、満願寺蔵の鳥羽(とば)上皇像によって知ることができる。

　室町時代の女性用檜扇が、熊野速玉(くまのはやたま)大社、熱田(あつた)神宮に神宝として伝えられている。前者は木地の上に金銀の切箔(きりはく)、砂子(すなご)を散らし、王朝風の味わいを残してはいるものの、やや暗さと粗さが感じられる。後者は胡粉地に紅梅と岩山などで、遠近法を用いた近代的描法に成功し、淡白な味わいを示している。

　近世になると、女性用のものはしだいに大形となり、大翳(おおかざし)とよばれるものも用いられた。花樹に鳳凰(ほうおう)、または尾長鳥(おながどり)を極彩色で描き、親骨に白、紅(くれない)、紫、薄紅、黄、緑などの撚(よ)り糸を左右につけて垂らし、松、梅、橘(たちばな)の造花を綴じ付けたりした。これは正装する際の檜扇で、衵扇(あこめおうぎ)とも称した。

　江戸時代初期のものとしては、霊願寺に伝えられるものがあり、木地に鳳凰と楓を描き、雲形を金箔置きとし、6色もの飾り紐がつけられている。このころになると、元服前のいわゆる童形(どうぎょう)（稚児(ちご)）も装飾的な檜扇を用いるようになった。杉の横目を木地とし、吉祥文様(きちじょうもんよう)を描くのだが、山科(やましな)流の松と紅白の梅、高倉流の松と橘というふうに定められるようになった。また親骨には女性と同じように糸花を綴じ付け、飾り紐もつけた。皇太子の童形のときは、木地に胡粉を塗り、蓬莱(ほうらい)文様を描くことによって区別した。

［高田倭男］

紙扇

檜扇は正装である束帯(そくたい)を着用するときを除いては、主として冬の儀礼用とされたのに対し、夏はもっぱら紙扇を使用した。準正装である衣冠(いかん)や直衣(のうし)、女性の正装である女房装束(しょうぞく)（十二単(じゅうにひとえ)）や準正装である小袿(こうちぎ)装束などとともに使われ、冬に檜扇、夏に紙扇というのが習慣化していた。紙扇も平安時代に日本でつくりだされたが、その源は明らかではない。紙扇は蝙蝠(こうもり)からの連想で蝙蝠(かわほり)ともいわれた。厳島神社に高倉(たかくら)天皇（在位1168～1180）所用と伝えられる平安時代のものは、竹の五本骨が扇紙の裏に露出している。『平家納経』（平清盛が奉納した法華経(ほけきょう)）見返し絵には十本骨(じっぽんぼね)が描かれているし、大山祇(おおやまづみ)神社に伝わる源義経(よしつね)奉納とされる胴丸鎧(どうまるよろい)の金具回りには、八本骨扇の飾り金具が打たれている。

　紙扇の地紙も檜扇同様に趣向を凝らし、金銀の切箔などを散らしたが、四天王寺(してんのうじ)伝来の扇面写経料紙のなかには、下絵が木版印捺(いんなつ)されたものもあり、当時大量生産されていたこともうかがえる。扇骨にも気を配っていたらしく、『枕草子』に「扇の骨は朴(ほお)、色は赤き、紫、緑」「貧けなるもの黒柿(くろがき)の骨に黄なる紙張りたる扇」などとある。『伴大納言絵詞(ばんだいなごんえことば)』には、京の庶民のなかにも紙扇を手にしているものがみられ、このころから一般にも普及していったらしい。

　鎌倉時代になると、骨に透彫りをしたものが現れ、すべての骨に透彫りをしたものを皆彫骨(みなえりぼね)の扇とよび、男女ともに用いたが、同時に軍扇(ぐんせん)として武士にも好まれた。そのようすは『枕草子絵巻』や『法然上人絵伝(ほうねんしょうにんえでん)』にみられ、『平家物語』など軍記物に、「みな紅(くれない)に日出(いだ)したる扇」とあるのも、紅地に日輪を金箔で表し、骨がみな透彫りとなった扇である。

　このころ、すでに中国へも大量に送られており、倭扇(わせん)として親しまれていたようだが、中国で2枚の扇地紙の間に骨を差し入れて貼り合わせるという、現代の扇に似た形のものがつくられ始め、日本に逆輸入された。

　室町時代には、この形式が一般化し、末広(すえひろ)（中啓(ちゅうけい)ともいわれ、親骨の上部が反り、扇の先が銀杏(いちょう)の葉のように開いた形のもの）、雪洞(ぼんぼり)（末広より開き方の少ないもの）、沈折(しずめおり)（先が閉じた形のもの）などが生まれた。このころになると、末広が檜扇にかわって冬の扇として定着し、檜扇はごくまれに重要な儀式のみに使われることになった。また、末広という名の縁起のよさから、武士も用いるようになり、日常だけでなく威儀の具としても重宝がられるようになったことが、当時の肖像画などからもうかがえる。また紙扇は一般にも広く普及した。室町時代の職人を描いたものとして知られる『七十一番歌合(うたあわせ)』や『洛中洛外図屏風(らくちゅうらくがいずびょうぶ)』には、扇売りのようすが描写されているし、京名所の扇面画が流行し、扇屋が繁盛していたらしいこともわかる。南禅寺(なんぜんじ)の『扇面貼交(はりまぜ)屏風』は、室町時代から桃山時代にかけてのもので、扇面には花鳥山水や中国の故事が描かれ、僧の筆による賛も添えられている。

　近世の公家(くげ)の紙扇は、皆彫骨を簡略化した骨や、新しく丁字(ちょうじ)形に透彫りしたものになり、それで家の流儀、すなわち門流を示す道具としての意味をもたせるようになった。冬の末広のうち、平常用を殿中扇(でんちゅうおうぎ)と称し、天皇は10骨、公家は8骨と定めるものも現れた。武家では、儀礼用に黒骨を、日常は殿中扇とよんで白の細骨のものを用いた。そのうち将軍や大名が殿中で用いた好みのものを、御召扇(おめしおうぎ)とよんだ。このような使い方は、僧侶(そうりょ)が先鞭(せんべん)をつけたと考えられ、赤骨は門跡級、黒骨は院家級、白骨は大法師級以下として定められたことにその発端があったらしい。

　中世末以来、盛んとなった蹴鞠(けまり)、香道、茶道においても、それぞれの流儀の扇が生まれた。また芸能の勃興(ぼっこう)とともに扇は重要な持ち物として扱われ、能楽では観世(かんぜ)、宝生(ほうしょう)、金春(こんぱる)、金剛(こんごう)の四座と、江戸時代に生まれた喜多(きた)流に能扇が誕生した。蹴鞠の世界にも、室町時代から飛鳥井(あすかい)流、難波(なんば)流などに決まった扇があって鞠扇とよばれた。香道では、志野(しの)流に香の席の記録を書く記録扇が、茶道には各家元の宗匠(そうしょう)好みの扇が用いられた。

　歌舞伎(かぶき)においては、能楽から出た曲に決まった扇（中啓）があり、女役の扇は黒骨としている。日本舞踊の扇は歌舞伎にその源流があるため、俳優を家元とする流派の決まり扇、すなわち家紋を表した舞扇を用いるのは、現代でも変わっていない。一般の町人が使った扇は、骨に透彫りをせず、地紙に画家の絵のほか、書家や歌人が書画をかいた風流なものが多かった。

　明治時代になって、外国貿易が盛んになると、ヨーロッパで16世紀につくられた形式を模した扇をつくって輸出した。この形のものが大正時代になって一般に使われ始め、骨数の多い扇子となって今日に至っている。

［高田倭男］

東洋と西洋

扇、扇子、団扇の意の英語ファンfan（英古語ではfann）は、穀物からもみ殻やちりを取り去る農具である唐箕(とうみ)や風選機を意味するラテン語バンヌスvannusからきている。一方フランス語のエバンタイユéventail（扇、扇子）は風を送る、あおぐなどの意の動詞éventerからきている。もともと東洋に発する「扇」は、真珠や絹などと並んで、西洋の人々にことのほか珍重された。

　扇(ファン)には大別すると二つの型がある。団扇型rigid fan, screen fanと扇子型folding fanである。両者は時代や流行とともに素材、形、装飾にさまざまな変化を示しながら今日に至っている。傘などにもみられたように、扇の原初形態はやや大形の自然の木の葉であったろう。やがて人々は乾燥した草木の類を編んでそれをつくるようになった。古代オリエントではほかに払子(ほっす)（馬毛や羽でつくった蠅(はえ)払い。仏僧などにみられる）の類も扇の原始形とみる向きもあり、前二千年紀の小アジアの浮彫りや前7世紀のアッシリアの浮彫りにもそれらをみることができる。また新王国時代の古代エジプトの壁画には、竿(さお)のような長い柄(え)のあるシュロの葉の扇を支えて王に従う従者の場面などが描かれている。一方、2本の羽でできた羽扇についての中国最初の記録は、前10世紀の周代にまでさかのぼるとされている。こうして扇の史実は東洋諸国のほうが西洋のそれよりもずっと古いことがわかる。ギリシア・ローマ時代になると扇は個人が用いるようになる。古代ギリシアのタナグラ人形の婦人は小さいハート形の団扇を持っており、壺絵(つぼえ)の婦人は大型の団扇を持っている。これらの団扇は、ギリシア語でリピスιπισ, rhipisとよばれた。古代ローマの婦人たちはそれを発展させ、湾曲した薄板に鮮やかな彩色を施したり、金色に塗ったりしたものを用いる一方、上層の婦人では長い柄のついた羽扇で奴隷たちにあおがせることもあった。

　中世前期のヨーロッパでは、婦人が装いのアクセサリーとして扇を用いることはなかったが、教会は儀式用として、長めの柄のついた円型の扇を用い、これをラテン語でフラベルムflabellumとよんで、9世紀から13世紀ころまで用いた。ローマ法王ボニファティウス8世（在位1294ころ～1303）は、羊皮紙に塗金したもの、絹、伽羅(きゃら)の木、ダチョウの羽などからなる大小10種の扇を用いたと記されている。中世の女性が扇を用いるようになるのは十字軍遠征以後のことで、13、14世紀になると「騎士物語」にも登場するようになる。彼らはこれをエムシュワールémouchoirs（蠅(はえ)払い）とよんだ。フランス王シャルル5世（1337―1380）についての記録に「王がテーブルにつくと旗が蠅を払う」というのがある。旗とは革でできた小旗型の扇flag fanのことでイタリア語でベンタローラventarola（風見）とよばれ、16世紀ころまで用いられた。シャルル5世所用の扇にはほかに黒檀(こくたん)の柄のついた象牙(ぞうげ)製の折り畳める丸扇のあることも記されている。こうして扇には払子(ほっす)型または小箒(ほうき)型、旗型、車輪型の三つがあることがわかる。

　一方、中国での扇面画は宋(そう)代（960～1279）にまでさかのぼり、明(みん)代（1368～1644）になると扇子型が流行する。扇子は極東の発明で、とりわけ日本ではすでに7世紀の白鳳(はくほう)時代に用いられていたという。

　西洋の扇でも、16世紀のもっとも大きなできごとは、折り畳み式扇子が登場したことであった。扇子は南蛮(なんばん)人の渡来とともにポルトガルやスペイン経由でヨーロッパへと伝えられた。当時の折り目の数が少ない扇子は、バトワール扇battoir fan（洗濯べら扇）とかスペイン扇Spanish fanとよばれた。フランスのアンリ2世にイタリアから嫁いだカトリーヌ・ド・メディシス（1519―1589）は嫁ぐ際に周囲に羽付きの円い扇を持参したが、流行は団扇から扇子へと存命中に変わったため、没後に残した5本の革の扇はすべて東方の型ばかりであった。また、オーストリア、チロールの大公妃が残した1569年の財産目録には、2本のスペイン扇が、また1593年、フランス王アンリ4世妃は、12本のスペイン扇を残したことが記されている。イギリスの女王エリザベス1世（1533―1603）は箒型扇を愛好した。

　フランス・モードの発展とともに17世紀前半は扇子も発達して一般化するようになる。そして17世紀後半になると風俗や流行を扇面に描いたものも現れてくる。しかし、ヨーロッパの扇が全盛を極めるのは18世紀になってからで、婦人は日常生活でも不可欠なアクセサリーになった。ギャラントリー（優美さ）を重んじたこの時代は扇はことのほか意味をもつものとなり、それに応じて金、銀、象牙、真珠母などを用いた入念な扇、とりわけブリーゼbriséとよばれる檜扇状の扇が喜ばれた。また絵扇が盛んになり、ブーシェやフラゴナールといった有名な画家たちは率先して扇面に風俗画を描いた。19世紀初頭は一時ナポレオン1世妃ジョセフィーヌによって扇子は復活したが、その後は概して衰退に向かい、1830年代以後は印刷した扇の登場などもあって、ほぼ今日的な状況に落ち着いた。

［石山　彰］

『細川潤次郎他編『古事類苑』（1959・吉川弘文館）』▽『西三条実隆著『装束抄』（年代不詳・群書類従）』▽『G. W. ReadHistory of the Fan (1910, Kegan Paul, London)』▽『Max von BoehnModes & Manners, Ornaments (1929, Dent, London)』▽『K. M. Lester & B. V. OerkeAccessories of Dress (1940, Bennett, Illinois)』

[参照項目] | 団扇 | 扇面画

紙扇
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紙扇

出典　小学館　日本大百科全書(ニッポニカ)日本大百科全書(ニッポニカ)について　情報 | 凡例

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