Hon’ami Koetsu (1558-1637) (calligraphy), attributed to Tawaraya Sotatsu (1570-1643) (underpaintings), Fragment from the New Collections of Poems Ancient and Modern (Shin kokin wakashu), Momoyama – Edo period, early 17th century|本阿弥光悦筆 伝俵屋宗達下絵　花卉に蝶摺絵新古今集和歌巻　桃山～江戸時代初期　17世紀初頭

Hirase Family, Osaka, by repute.

Sotatsu to Korinha meisaku ten [Masterpieces from the Sotatsu and Korin School], Fukuoka Prefectural Museum of Art, Fukuoka, 1967.

Owarike shodai Yoshinao seitan yonhyakunen shuki tokubetsu ten, Tokugawa Yoshinao to bunka saron [Tokugawa Yoshinao and His Salon Culture], The Tokugawa Art Museum, Nagoya, 2000, cat. no. 80.

Irodorareta kami ryoshi soshoku [Decorative Papers], The Tokugawa Art Museum, Nagoya, 2001, cat. no. 179.

Rimpa meihinten [Rimpa: The Debut of Essential Rimpa Masterpieces in the Okada Museum of Art Collection], Mitsukoshi (Nihonbashi), Tokyo, 2015, cat. no.4.

Rimpa no seika [The Essence of Rimpa], Okada Museum of Art, Hakone, 2015, cat. no. 2.

Ninsei & Kenzan, Okada Museum of Art, Hakone, 2017, no. 39.

Koetsu sho Sotatsu kingin doro-e [Calligraphy by Koetsu and Paintings in Gold and Silver by Sotatsu], Tokyo, 1978, pl. 16.

Kobayashi Tadashi ed., Masterpieces of the Okada Museum of Art, vol. 1, Tokyo, 2019, p. 126, no. 91.

This handscroll was a collaborative endeavour. Extending over 9.4 metres, the paper maker Soji joined ten sheets of paper of four alternating colours – white, pale yellow and two shades of light blue –sealing the reverse of each of the joins with his mark Kamishi Soji [Soji the Paper Maker]. The delicate underpaintings attributed to Sotatsu were rendered using woodblocks printed with gold and silver. Pine-graced hilltops, trailing ivy, a grove of bamboo, wisteria, and swallowtail butterflies in flight above crabgrass, subtly convey the transition from spring to autumn. For the concluding butterfly section, further butterfly patterns were printed to the reverse. Koetsu then scattered twenty verses in semi-cursive script from the Shin kokin wakashu poetry anthology across these designs.

From the late Momoyama period (1573-1615) to the early Edo period (1615-1868) – specifically, during the Keicho, Genna, and Kan’ei eras (1596-1644) – a number of collaborative works by Koetsu and Sotatsu, and within their circle, were created using the gold and silver painting technique (kingindei). Twenty-five such scrolls are known to exist and can be classified into two groups based on the technique used for the underdrawings: ten gold and silver underpaintings (kingindei-e) executed with a brush, and fifteen gold and silver printed designs (kingindei suri-e) made from woodblock prints.¹ The present work belongs to this latter group and is distinguished by its use of coloured papers joined together in sequence.

A literati figure of Kyoto, Koetsu was renowned both as a calligrapher and as a craftsman in ceramics and lacquer. The Hon’ami family were the foremost sword appraisers and polishers for the Imperial court and the Tokugawa shogunate. Sotatsu was connected to Sen no Shoan (1546-1614), successor of Sen no Rikyu (1522-1591).¹ Their collaboration likely began around 1602 during the restoration of the Heike Nokyu scrolls, reaching its peak in the early 1600s and ending circa 1614.² From his sixties onward, Koetsu produced numerous poem scrolls featuring woodblock-printed gold and silver designs, bearing the stylistic imprint of the Tawaraya studio.^.3

A similar example of a handscroll inscribed with verses from the Shin kokin wakashu is in the collection of the Cleveland Museum of Art, accession number 1966.118, go to: https://www.clevelandart.org/art/1966.118

1. Kobayashi Tadashi, ed. Rimpa no seika [The Essence of Rimpa], Japan, 2015, p. 13.

2. Tamamushi Satoko, “The Lotus Scroll: Koetsu and Sotatsu’s Collaborative Space” in The Artist in Edo, Yukio Lippit ed., Washington, 2018, p. 68-70.

3. Ibid.

4. Ibid. 

來源

傳平瀬家，大阪

展覽

《宗達と光琳派名作展》，福岡県文化会館，福岡，1967年

《尾張家初代義直生誕400年秋季特別展　徳川義直と文化サロン》，徳川美術館，名古屋，2000年，編號80

《彩られた紙　料紙装飾》，徳川美術館，名古屋，2001年，編號179

《琳派名品展》，三越（日本橋），東京，2015年，編號4

《琳派の精華》，岡田美術館，箱根，2015年，編號2

《美のスターたち-光琳・若冲・北斎・汝窯など名品ぞろい-》，岡田美術館，箱根，2018年，展覽編號448（沒載圖）

《仁清と乾山》，岡田美術館，箱根，2017年，編號39

出版

小林忠編，《岡田美術館名品撰》，卷1，東京，2019年，編號91

本手卷為一件藝術協力之傑作。全長逾9.4米，由紙師宗二將十張色紙按白、淡黃與兩種淺藍色交替拼接，並於每處接縫背面鈐「紙師宗二」印鑑。據傳宗達筆下的纖細底繪，乃是運用木版轉印金銀箔技法而成。松林山巔、垂蔓藤葛、竹林幽徑、紫藤垂瀑與翻飛鳳蝶，皆細膩傳遞從春入秋的時令流轉。卷末蝶紋段落更於紙背加印紋樣以增厚度。光悅繼而以半草書體，在這些紋樣間散落題寫《新古今和歌集》中的二十首和歌。

自桃山時代晚期（1573-1615年）至江戶初期（1615-1868年），具體而言是慶長、元和與寬永年間（1596-1644年），光悅與宗達及其藝術圈層，創製了若干採用金銀泥繪技法的合作作品。目前已知存世二十五件同類手卷，可依底繪技法分為兩類：十件為筆繪金銀泥繪（kingindei-e），另十五件為木版轉印金銀紋樣（kingindei suri-e）¹。本作即屬後者，其特徵在於將色紙按序拼接的裝幀形式。

身為京都文人，光悅以書道名家及陶漆藝匠雙重身份聞名。本阿彌家族乃朝廷與德川幕府首席刀劍鑑定研磨師。宗達與千利休（1522-1591年）繼承者千少庵（1546-1614年）交誼深厚。²二者合作約始於1602年修復《平家納經》之際，於十七世紀發展成熟，約止於1614年。³光悅自花甲之年後，創作大量以木版印製金銀紋樣為底的和歌手卷，深具俵屋工房風格印記。⁴

另有一例題有《新古今和歌集》詩句之手卷，現藏於克利夫蘭藝術博物館，典藏編號1966.118，詳見：https://www.clevelandart.org/art/1966.118

1. 《琳派の精華》，岡田美術館，箱根，2015年，頁13

2.玉蟲敏子，〈The Lotus Scroll: Koetsu and Sotatsu’s Collaborative Space〉，收錄於《 The Artist in Edo》，華盛頓，2018年，頁68-70。

3. 同上。

4.同上。