Title: Kohitsu Tekagami (Ancient Calligraphy Handbook), Circa 750-1723. An Extraordinary Survivor of Manuscript Collecting, with 63 Pieces of Calligraphy and Art Attributed to Emperors, Noted Monks, Poets, and More
Author: Attributed to Emperor Kanmu; Emperor Go-daigo; Ono no Michikaze; Kukai; Ikkyu Sojun; Imagawa Yoshimoto; And Many Others
Condition: Good
An extraordinarily rare album of calligraphy and paintings compiled in the early 18th century, dubbed Kohitsu Tekagami, or Ancient Calligraphy Handbook, containing a truly exemplary collection of fragments from the Nara to Mid Edo Period, or 8th to early 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. As several of these authors are semi-legendary or even mythical, the authenticity of some of the truly early examples is questionable, and more likely several are later Heian Period examples. Just as a modern-day collector can acquire forgeries by accident, so too could the early collectors of Japan. Note the Oregon University study of carbon dating several examples of calligraphy which turned out to be slightly later copies on period paper.
This album is a masterful compilation, providing examples attributable to authors from the Late 7th century, up to the early 18th century. The list of attributed authors is rather surprising, spanning royalty, renga poets, monks, calligraphers, and more.
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, others in dizzying calligraphic styles, and the sutra fragments in a more rigid structure.
Of the 63 pieces of calligraphy and paintings which are in various formats, 56 have been identified or at least transcribed at most, are accompanied with corresponding kiwame-fuda inscriptions and stamps by their respective appraiser. In fact, some of them are accompanied with a second kiwame-fuda inscriptions and stamp, helping to strengthen the attribution a fair bit more. With examples as early as the Nara Period, there is a sweeping selection of fragments, and this album seems to have a number of examples attributed to more famed figures such as Emperor Kanmu, Ono no Michikaze, Kōbō Daishi, and even Oda Nobunaga.
As singular fragments, the calligraphy is already historically important from an artistic and scholarly viewpoint, and as a complete collection, a treasure representing both early modern collecting interests and appraisal practices.
The comprehensive list of identified attributed authors is as followed:
Emperor Kanmu 桓武天皇 (737–806), Emperor Go-Daigo 後醍醐天皇 (1288–1339), Sangi 参議 Councillor 佐利郷 [but more likely 佐理卿] = Fujiwara no Sukemasa/Sari 藤原佐理 (944–998), Ono no Takamura 小野篁 (802–853), Ono no Michikaze 小野道風 (894–966), 橘逸咸 or 橘逸成 [most likely is] Tachibana no Hayanari 橘逸勢 (782–842), Kumagai Naozane 熊谷治郞直實 (1141–1207), Kōbō Daishi 弘法大師 = Kūkai 空海 (774–835), Kyōgoku Fujiwara Kōmon 京極 藤原黄門 = Fujiwara Teika 藤原定家 (1162–1241), Ono no Komachi 小野小町 (825–900), Minamoto no Yoshitsune 源義経 (1159–89), Kajiwara Heizō Kagetoki 梶原平三景時 (1140–1200), 遊君静=Shizuka Gozen 静御前 (1165–1211), Musashibō Benkei 武蔵坊辨慶 (1155–1189), Kusunoki Masashige 楠正成 (1294–1336), Oda Nobunaga 織田信長 (1534–1582), Taikō Hideyoshi 太閤秀吉 = Toyotomi Hideyoshi 豊臣秀吉 (1537–98), Mongaku 文覚 (late Heian period), Yamazaki Sōkan 山崎宗鑑 (1465–1553), Konoe onhitsu 近衛御筆 [perhaps Konoe Nobutada 近衛信尹 (1565–1614), Saigyō Hōshi 西行法師 =Saigyō 西行 (1118–90), Yoshida Kenkō 吉田兼好 (1283–1350), Sendai Mutsu no kami Masamune 仙台陸奥守政宗 = Date Masamune 伊達政宗 (1567–1636), Genkū shōnin 源空上人=Hōnen 法然 (1133–1212), Nichiren shōnin 日蓮上人 (1222–82), Saimyōji Tokiyori 最明寺時頼 Hōjō Tokiyori 北条時頼 (1227–63), Takeda Shingen 武田信玄 (1521–73), Ōbaku Ingen 黄檗隠元 = Ingen Ryūki/Yinyuan Longqi 隱元隆琦 (1592–1673), Nitta Yoshi?? 新田義奥, Murasaki-no Ikkyū 紫野一休=Ikkyū Sōjun 一休宗純 (1394–1481), Imagawa Yoshimoto 今川義元 (1519–60), Nitta Yoshisada 新田義貞 (1301–38, Ishida 石田治部少輔三成= Ishida Mitsunari 石田三成 (1560–1600), Katō Kiyomasa 加藤清政 [most likely is] Katō Kiyomasa 加藤清正 (1562–1611), Konishi Settsu-no-kami 小西摂津守 = Konishi Yukinaga 小西行長 (1558–1600), Akita Jōnosuke 秋田城之助=秋田城介 {this is a title not a specific individual}, Umezu Han’emon 梅津半右衛門 = Umezu Noritada 梅津憲忠 (1572–1630), Monzeki brushwork 門跡筆, Yamamoto Sanetomi 山本実富 (1645–1703), Satake Ukyō daifu Yoshinobu 佐竹右京大夫義宣 = Satake Yoshinobu 佐竹義宣(1570–1633), Katagiri Ichinokami 片桐市正=Katagiri Katsumoto 片桐且元 (1556–1615), 最上義明 [most likely is] Mogami Yoshiaki 最上義光 (1546–1614), 小野於通 = Ono Otsū 小野お通 (1559–1631), Takimotobō 瀧本坊 = Shōkadō Shōjō 松花堂昭乗 (1584–1639), Ayanokōji Mitsuie 綾小路光家, Waku Hanzemon 和久半左衛門 Waku Zean 和久是安 1578–1638), Yawata Bettōsai 八幡別当斎, Yamamoto Kansuke 山本勘介 (1501–61), Matsuo Bashō 松尾芭蕉 (1644–94) {unclear authorship), Haijin [Haiku poet] Kikaku = 俳人其角 = Takarai Kikaku 宝井其角 (1661–1701), Yui Shōsetsu 由井正雪 (1605–51), Rengashi [Linked verse poet] Kigin 連歌師季吟 = Kitamura Kigin 北村季吟 (1624–1705), Tōshōgū 東照宮 = Tokugawa Ieyasu 徳川家康 (1543–1616), Asakura-shi 浅倉氏, Tsugaru Dewa no kami 津軽出羽守 {Seems to be generational title and name, e.g. Tsugaru Nobuaki 津軽 信著 (1719–44) could fit, but could also be an ancestor or successor}, Sasaki Manjirō 萬治郎 = Sasaki Genryū 佐々木玄龍 (1650–1723)
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 flowering brocade patterns of orange decorating the covers.
One brocade decorated album of exemplary calligraphy in orihon format (37.1 x 27 cm), 18 leaves with 63 calligraphy fragments
This album is in good shape, with rubbing and wear to the covers, with a few worm tracks. There are varying degrees of rubbing and wear to the fragments, and several are damp stained. Please refer to the photos for a better impression.