Title: Kohitsu Tekagami (Ancient Calligraphy Handbook), Circa 1130-1745. An Extraordinary Survivor of Manuscript Collecting, with 26 Pieces of Calligraphy and Art, Including One Attributed to by Hon'ami Koetsu
Author: Attributed to Yamazaki Sokan; Saigyō Hōshi; Hon'ami Koetsu; and Others
Condition: Very Good
An extraordinarily rare album of calligraphy and paintings compiled 17th century, titled Otekagami, or Atlas of Revered Hands, containing a truly exemplary collection of fragments from the Nara to Mid Edo Period, or 8th to mid-18th century.
Also known as a “mirror of hands”, a tekagami is an album of calligraphy fragments from various poems, literature, sutras and other religious texts, letters, and more, typically accompanied by written and stamped appraisals known as kiwame-fuda, though the examples in this album are not stamped by the appraiser who likely worked on all of these examples. Much of the following information provided is thanks to the exceptional work of the U of Oregon Tekagami and Kyogire Projects.
However prevalent manuscript collecting was in Europe, it was just as lively in Japan, especially during the Edo Period, and continues today with a dedicated group of calligraphy collectors. To own a piece of calligraphy attributed to a famed poet, calligrapher, or historical figure, is akin to owning a magnificent leaf from a Book of Hours, or Missal, or Breviary. There’s a tangible, historical connection to be made between the collector and the piece itself, made more real with the kiwame-fuda inscription. It should also be noted that barring the cost of the calligraphy piece itself, there were steep charges that came with a single kiwame-fuda appraisal, often costing roughly $550 USD converted to modern sums for simpler examples, and much more if appraising significant examples.
It should be noted of course that such appraisals are not definitive, and at the end of the day, all listed attributions are those provided by prior Edo Period appraisers, not yet subjects to modern day scholarly study and identification.
This album is a masterful compilation, providing examples attributable to authors from the late 7th century, up to the mid-18th century. The list of attributed authors seemed to heavily focused on famed poets.
Some of the fragments are beautifully painted and decorated with different motifs, while others are brightly illuminated. The calligraphy is all varying, some done in bold brushwork, and others in dizzying calligraphic styles.
Of the 26 pieces of calligraphy and paintings which are in various formats, 19 have been identified or at least transcribed at most, are accompanied with corresponding kiwame-fuda inscriptions and stamps by their respective appraiser. The other fragments appear to be calligraphy poetry by authors such as Fujiwara no Teika and others, but no calligraphers are named.
With examples as early as the Late Heian Period Period, there is a varied collection of fragments, with noted authors such as Saigyo, and even one by the famed calligrapher and poet Hon’ami Kōetsu.
The comprehensive list of identified attributed authors is as followed:
Jōi hōin 定為法印 (Kamakura era), Rengashi [linked verse poet] Risei 連歌師 理成 (active 15-16c; the son of Sōjin 宗訊 b. 1483), Tōji Kinshōin 東寺金勝院, Hon’ami Kōetsu 本阿弥光悦 (1558–1637), Sono Chūnagon Mototaka 園中納言基香 = Sono Mototaka 園基香 (1691–1745), Hirohata Dainagon Toyotada 廣幡大納言 = Hirohata Toyotada 廣幡豊忠 (1666–1737), Nishinotōin Dainagon Tokinari 西洞院大納言時成, Kikutei Kin’akira 菊亭公詮 (fl. early 18c) Kuze saishō Michinatsu 久世宰相通夏 (mid Edo), Rengashi 連歌師 [Linked verse poet], Ōgimachi Dainagon Kin’osa 正親町大納言公統 = Ōgimachi Sanjō Kin’osa 正親町三条公統 (early to mid-Edo), Shigenoi Chūnagon Kimi-* 滋野井中納言公, Seikanji Chūnagon Hirofusa 清閑寺中納言熙房 (1633–86), Fushiminomiya Sadaatsu 伏見宮貞敦 (1488–1572), Hino *-suke 日野＊資, Middle counselor 中納言 [unable to discern remainder], Asukai Dainagon Masaaki 飛鳥井大納言雅章 (1611–79), Shirakawa Nijō dono 白川二條殿, Saigyō Hōshi 西行法師 = Saigyō 西行 (1118–90), Yamazaki Sōkan 山崎宗鑑 (1465–1553)
It should be noted that no example of a Tekagami, with all or most of its fragments identified, has been offered at any Western sale or catalog in recent decades.
All the calligraphy has been laid down and finely bound in orihon album format, with faded brocade designs of blue and white geometric patterns decorating the covers.
One brocade decorated album of calligraphy in orihon format (33.5 x 38 cm), 22 leaves with 26 calligraphy fragments
This album is in very good shape, with some rubbing and wear to the binding, heavier to the corners. Some of the fragments have varying wear or scuffing to them, with one example more heavily worn, partially affecting text.