Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo

Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo

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Title: Kamei Kō Hyakunin Isshu (Lord Kamei’s Hundred Poems, Hundred Poets, Circa 1577-1612. A Beautiful Handscroll of Manuscript Calligraphy, on Ten Differently Patterned Sheets, by a Sengoku Daimyo
Author: Attributed to Kamei Korenori
Condition: Very Good

An Azuchi-Momoyama to Early Edo Period, late 16th to early 17th century manuscript entitled Kamei Kō Hyakunin Isshu, or Lord Kamei’s Hundred Poems, Hundred Poets.

One of the classical anthologies of Japanese waka poetry, this follows the most popular and standardized version compiled by Fujiwara no Teika, comprising of one hundred waka poems by one hundred different poets of the Heian Period and earlier. The work was arranged for Utsunomiya Yoritsuna, the father-in-law of Teika's son Tameie, who was working near Mount Ogura at the time. Teika’s poetical impact and legacy has remained in Japan for centuries onwards, being renowned as one of the nations greatest poets, and dominating the poetry scene with his style and works from the Heian to Meiji Periods.

The manuscript has been written in a beautiful calligraphical hand, and most uniquely, written on ten different patterns sheets of paper, bearing a rather interesting texture. It is not quite like torinoko paper but is clearly of a finer quality than the standard paper used.

This manuscript edition has been attributed to the Azuchi-Momoyama and Edo Period daimyo Kamei Korenori (1557-1612), with an appraisal seal enclosed, and the calligraphy matching some digitized existing comparables.

Korenori was born the eldest son of Kamei Hidetsuna, in Izumo Province, as a retainer of the Amago clan. When the Mori Clan invaded, his father was killed in battle, the Amago clan’s lands seized, and the clan itself virtually annihilated without an heir to lead it. Korenori went into hiding, though in 1566, with his brother-in-law Yamanaka Shikanosuke, he slowly made efforts to reclaim the conquered lands for the Amago. In 1568 he met the first remnants of the clan, being Amago Katsuhisa and Yamanaka Yukimori, and it is believed he began to participate in battle around 1573. As the Mori Clan was already a mighty force, his attempts to restore the Amago met with limited success, and so, as Oda Nobunaga rose to power during this period, these attempts were largely abandoned, and the Amago remnants entered the service of future regent Toyotomi Hideyoshi in 1577. During the rebellion of Matsunaga Hisahide, Katsuhisa and Yukimori lost their lives while isolated at Kozuki Caslte, but Korenori avoided this fate as he was continuing to serve in Hashiba’s army. He was eventually made lord of Shikano Castle in Inaba Province, at the age of 24, and continued to distinguish himself, later serving Tokugawa Iseyasu and fighting at the Battle of Sekigahara, earning additional lands before his death in 1612.

Given that lord Korenori did not have the luxury of producing such a luxurious calligraphical manuscript until later, it is rather unlikely he produced this during his youth.

The calligraphy has been neatly bound in scroll format for preservation, the covers still bearing remnants of the original brocade decorations. There is a wooden box to accompany it, preserving the scroll.

One handscroll of calligraphy on fine, textured paper, 21.9 x 378 cm

This manuscript is in very good shape, with some old worm tracks and wear to the cover. A bit of the wear damage has obscured a few characters at the beginning, and there are numerous creases throughout.