Title: Wakan Roeishu (Collection of Japanese and Chinese Poems for Singing), Circa 1630-1660. Poetry Beautifully Illuminated and on Multicolored Sheets, by a Leading Disciple of Shōkadō Shōjō
Author: First Compiled by Fujiwara no Kintō; Calligraphy Attributed to Monk Hodōbō Kōi
Condition: Very Good
An Early Edo Period, mid 17th century manuscript edition of the Wakan Roeishu, or Collection of Japanese and Chinese Poems for Singing, in handscroll format.
The anthology is that of Chinese poetry and 31-syllable Japanese waka poetry, for singing to fixed melodied, though the melodies themselves are lost and considered extinct. First compiled by Fujiwara no Kintō Circa 1013, there are roughly 588 Chinese poems by roughly 30 Chinese poets, including Bai Juyi (772－846), Yuan Zhen (779－831) and Xu Hun (Circa 850). Of the Japanese poets of the Chinese verses, there are famed names such as Sugawara no Michizane, Minamoto no Shitagau (911－983), Ōe no Asatsuna (886－957), Ki no Haseo (845－912), and more. The 216 waka poems in the collection are by 80 famed poets such as Kakinomoto no Hitomaro, Ki no Tsurayuki, Ōshikōchi Mitsune, and many, many more.
The work is divided into two books, being Seasonal Poems, and Miscellanea. They are further sub-classified by common topics, with waka on the same subjects.
The manuscript has been produced on nine alternating, differently colored sheets of fine torinoko paper, and each one is beautifully decorated and illuminated with gold leaf, creating gold spray decorations, clouds, flowering reeds, and more, all to compliment the calligraphy.
This manuscript has been attributed to Hodōbō Kōi (?-1669), a priest at the Hodōbō Temple of Iwashimizu Hachimangu Shrine in the early Edo period and lived in the mountains of Hodōbō. He studied calligraphy and painting under Shōkadō Shōjō (1584-1639) and was known as one of his leading disciples. His handwriting has been copied in Shōkadō-style calligraphy manuals such as the "Takimoto Seiryūchō" and "Takimoto Kōchōchō." As his date of birth is relatively unknown, the rough dating of the manuscript is based off another piece of calligraphy by him dated September 1649, or (Keian 2), now held at Keio University (object 1400), and one said to be produced at the prime of his skills.
The manuscript calligraphy has been laid down and bound into scroll format, with decorated, green covers with floral designs. There are jikusai (knobs) made of lacquered wood.
One handscroll of illuminated poetry on fine paper, 30.5 x 510 cm
This handscroll is in very good shape, with some rubbing and wear to the covers. About 70 cm of the lower margins have a worm track, affecting two or three characters of text.