Title: Shoga Tekagami (Album of Calligraphy and Paintings), Circa 630-1725. An Extraordinary Survivor of Manuscript Collecting, with 88 Pieces of Exemplary Calligraphy and Art Attributed to Major Historical Figures and More
Author: Attributed to Emperor Shomu; Empress Komyo; Tosa Mitsumochi; Saichō; Ikkyū Sōjun, and Many More (Refer to Complete List)
Condition: Very Good
An extraordinarily rare album of calligraphy and paintings compiled in the 18th century, entitled Shoga Tekagami, or quite literally, an Album of Calligraphy and Paintings, containing a truly exemplary collection of fragments from the Asuka to Edo Period, or 7th 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. 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 truly masterful compilation, providing examples attributable to authors from the early 7th century, up to the early 18th century, with a fair distribution of represented periods, but with a heavy focus on those earlier, pre-Edo Period years. From Fujiwara no Kamatari to Takatsukasa Kanehiro, the list of attributed authors and artists is staggering, spanning Emperors, Empresses, Princes, renga poets, monks, calligraphers, and so much more. There are several remarkable paintings attributed to Tosa and Kano School artists of the 16th century, and even one composition at the beginning by master artist and Zen monk Sesson Shukei.
Some of the fragments are beautifully decorated with cloud motifs, while several are brightly illuminated, and a handful of the Asuka to Heian Period examples have been brightly produced in golden ink upon indigo dyed paper.
Of the 88 pieces of calligraphy and paintings which are in various formats, 84 have been identified, and barring one painting, all 88 pieces are accompanied with corresponding kiwame-fuda inscriptions and stamps by their respective appraiser. With examples as early as the Asuka Period, there is a staggering selection of early sutra fragments from the Nara and Heian Periods as well, with examples attributed to numerous members of the Japanese Imperial Family, including Emperor Shomu and Empress Komyo, with sutra fragments attributed to them.
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, appraisal practices, and an object worthy of the title of jūyō bunkazai, or Important Cultural Object.
The comprehensive list of identified attributed authors is as followed:
啄木鳥 顔輝 Yan Hui (Late 13th Century) – Woodpecker, Konoe Nobusuke 近衛信輔 = Konoe Nobutada 近衛信尹 (1565–1614), Kujō Norizane 九条教実 (1211–35), Ono no Komachi 小野小町 (825-900), Takatsukasa Kanehiro 鷹司兼煕 (1660–1725), Nijō Yasumichi 二条康道 (1607–66), Kanroji Suketsune 甘露寺資經 (1177–1251), Asukai Masatsuna 飛鳥井雅綱 (1489–1571), Kazan’in Masanaga 花山院 政長 (1450–1525), Karasumaru Mitsuyoshi 烏丸資慶 (1622–70), Fujiki Atsunao 藤木甲斐守敦直(1582–1649), Tosa Mitsunori 土佐光則 (1583–1638), Sumiyoshi Kunifuyu 住吉国冬, Kasuga Sukeharu 春日社家祐春, Sekiyama Zasu 石山座主真光院尊海 (1284-1358), 四条道場顕阿法師 Ji Sect Monk Ken’a (d. 1308), Renga poet 連哥師 Sōryū 宗柳,Renga poet Jōha 紹巴 = Satomura Jōha 里村紹巴 (1525–1602), Renga poet Genchin 玄陳 = Satomura Genchin 里村玄陳 (1591–1665), Renga poet Genchū 玄仲 = Satomura Genchū 里村玄仲 (1578–1638), Renga poet Shōshitsu 昌叱= Satomura Shōshitsu 里村昌叱 (1539–1603), Minase Ujinari 水無瀬氏成 (1571–1644), Two paintings by Tosa Mitsumochi 土佐光茂 (1496-?), both of which are scenes from the Tale of Genji: from the Eawase (Picture contest) and Asagao (Morning glory) chapters., Sesson 雪村 1492–1589. Landscape 山水, 法眼永徳 = Kanō Eitoku 狩野永徳 (1543-1590), 平相國清盛公 = Taira no Kiyomori 平清盛 (1118–1181), 池大納言頼盛 = Taira no Yorimori 平頼盛 (1133–86), 右大将頼朝 = Minamoto no Yoritomo 源頼朝 (1147–99), Kumagai Monk Renshō 熊谷蓮生法師 = Kumagai Naozane 熊谷直実 (1141–1207), Shunkan Sōzu (Bishop Shunkan) 俊寛僧都 (1143–79), Daitō Kokushi (Teacher of the Realm) 大燈国師= Shūhō Myōchō 宗峰妙超 (1282–1338), Musō Kokushi 夢窓国師＝Musō Soseki 夢窓疎石 (1275–1351), Ikkyū Oshō (priest) 一休和尚 = Ikkyū Sōjun 一休宗純 (1394–1481), Ikkyū Montei (Ikkyū’s disciple) Bokusai 一休門弟墨済,Taishokkan Kamatari 大職冠鎌足= Fujiwara no Kamatari 冠鎌芝 (614–669), Kibi no Otodo 吉備大臣 = Kibi no Makibi 吉備真備 (695–775), Abe no Nakamaro 阿倍仲麿 (698–770), Abe no Seimei 安倍晴明 (921–1005), 鶴岡別当晴円 Higashiyama Sadaijin Sanehiro 東山左大臣実熙 = Tōin Sanehiro 洞院実熙 (1409–59), Miidera Kaizan Chishō Daishi 三井寺開山智証大師＝Enchin 円珍 (814–891), Chikaku Daishi 慈覚大師 = Ennin (円仁) (794–864), Jie Daishi 慈恵大師 = Ryōgen 良源 (912–985), Gyōki Bosatsu 行基菩薩 (668–749), Saidaiji Kaizan Eison Bosatsu 西大寺開山興正菩薩 Eison Shōnin 叡尊上人 (1201–90) Kasagi Kaizan Gedatsu Shōnin 笠置開山解脱上人 = Jōkei 貞慶 (1155–1213), Shosha Kaizan Shōkū Shōnin 書写開山性空上人 (910–1007), Enkō Daishi 円光大師 = Hōnen 法然 (1133–1212), Togano-o [i.e. Kōzanji 高山寺] Kaizan Myōe Shōnin 栂尾開山明恵上人 (1173–1232), Takao Mongaku Shōnin 高雄文覚上人 = Mongaku (fl 12c), Sennyūji Shunjō Kokushi 泉涌寺俊芿国師 (1166–1227), Emperor Go-Shirakawa 後白河天皇 (1127–92), Emperor Go-Daigo 後醍醐天皇 (1288–1339), Go-Kōgon-in 後光厳院 (1338–74), Kajii dono [i.e. Sanzen’in 三千院] Seiin shinnō 梶井殿盛胤親王 (1651–80), Shōren’in Jidō Hosshinnō 青蓮院慧道法親主 (1282–1341), Emperor Shōmu 聖武天皇 (701–56), Empress Kōmyō 光明皇后 (701–60), Chūjōhime 中将姫 (747–775) (or d. 781), Shōtoku Taishi 聖徳太子 (574–622), Seichō [Confucius shrines] 聖廟＝Sugawara no Michizane 菅原道真 (845–903), Dengyō Daishi 傳教大師 = Saichō 最澄 (767–822), Gyōkō Montei 尭孝門弟 [disciple of Gyōkō 尭孝 1391–1455] Gyōe 尭恵 (b. 1430), Gyōkō Montei尭孝門弟 [disciple of Gyōkō 尭孝 1391–1455] Gyōshin 尭真 ,Tōfukuji Shōgetsuan Tesshoki 東福寺招月庵徹書記 = Shōtetsu 正徹 (1381–1459), Tesshoki Monjin [disciple of Tesshoki = Shōtetsu] Shōkō 徹書記門人正広 (1412–93), Tesshoki Montei Hirohata 徹書記門弟廣幡, Ankamon’in 安嘉門院=Abutsu 阿仏尼 (1222–83), Tamesuke 為相 = Reizei Tamesuke 冷泉為相 (1263–1328), Tameie Ason 為家朝臣 = Fujiwara no Tameie 藤原為家 (1198–1275), Tsunetaka 経隆 = Fujiwara no Tsunetaka 藤原経隆 消滅 (Avtive 1125-1181), Nonomiya dono Sadayori 野々宮殿定縁卿 (1636–77), Ano Saneaki 阿野実顕 (1581–1645), Ōgimachi Sanjō dono Sanehisa 正親町三条殿実久 (1656–95), Sanjōke Sanetō 三条家実任 (1264–1338), Kobori Taizenryō Masamori 小堀大膳亮政盛, Ninagawa Chikamasa 蜷川親当 = Chiun 智蘊 (d.1448), Takuan oshō 澤庵和尚 = Takuan Sōhō 沢庵宗彭 (1573–1646), Hōgan Yasuyori Nyūdō 判官康賴入道 = Taira no Yasuyori 平康頼(1128-1220?), Kamakura shōgun Munetaka shinnō 鎌倉将軍宗尊親王 (1242–74), Takauji shōgun = Ashikaga Takauji 足利尊氏 (1305–58), Shōjōin dono Yoshimochi 勝定院殿義持 = Ashikaga Yoshimochi 足利義持 (1386–1428), Jishōin dono Yoshimasa 慈昭院殿義政 = Ashikaga Yoshimasa足利義政 (1436–1490 ), Kobori Enshū Masakazu 小堀遠州政一 (1579-1647)
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. While albums have been known to sell within Japan, the only currently listed example of a similarly assembled example is presently being offered by Isseido Books for 39,000,000 JPY, or 250,000 USD roughly converted.
All of the paintings and calligraphy have been laid down and finely bound in orihon album format, with brocade decorating the covers, and metal corner fittings.
One finely bound album in orihon format (29.8 x 36.8 cm), 12 leaves with 88 calligraphy fragments and paintings
This album is in very good shape, with minor rubbing and wear to the binding, heaviest to the cover edges and part of the title label. Several paintings have varying degrees of wear, and a few of the calligraphy fragments have old staining or worm tracks.