The kana syllabary was invented in Japan during the Heian period (794-1185) based on kanji characters imported from China.
Sinuous and simple, brush-written kana gave birth to a uniquely Japanese, aesthetically pleasing form of calligraphy. The written works of the early masters, referred to as kohitsu, are highly regarded and widely appreciated to this day. Visitors are encouraged to allow plenty of time to appreciate the masterworks of kohitsu in the collection of the Kyoto National Museum.
Moshiogusa contains 242 calligraphy fragments dating from the Nara period through the Muromachi period. Notable inclusions are the Heian-period fragments Kōya gire (Kōya edition of Kokin wakashū [Collection of Ancient and Modern Japanese Poems]) and Hōrinji gire (Hōrin-ji edition of Wakan rōeishū [Collection of Japanese and Chinese Verses]).
It also contains rare examples of the Nan’in gire (Nan’in edition of Shinsenruirinshō [Collection of Poems from the Tang dynasty]) and Yotsuji gire (Yotsuji edition of Saibara [Gagaku] Sheet Music) as well as entirely unique fragments such as the Muromachi gire (Muromachi edition of the Hitomaro shū [Collection of Poems by Hitomaro]). The album is prized for not only its aesthetic qualities but also for the documentary value it brings to our understanding of the history of calligraphy.
Moshiogusa does not contain the authentication certificates found in most tekagami—usually inscribed strips of paper that are pasted into albums next to their corresponding entries. Instead, it is accompanied by a separate, twovolume concordance written by the Edo-period connoisseur Kohitsu Ryōhan (1790–1853). For this reason, scholars believe that Moshiogusa was used for actual practice by calligraphy appraisers, whose livelihoods depended on honing their ability to identif y and distinguish among different hands.
Even upon first glance, the scroll bedazzles both with its decorative imported Chinese paper printed with a design of oleander flowers in glittering mica on a gesso (gofun) ground and with its delicate but well-rounded streams of richly modulating brushwork.
This calligraphy received highest praise from the master calligrapher Karasumaru Mitsuhiro (1579–1638) through the poetic accolade: “Just like the flowers of the field, it is bathed in dew.”Although traditionally attributed to Ono no Michikaze (894–966), this work was morelikely produced between the late eleventh and early twelfth century.
Fragments from this particular copy of Kokin wakashū are nicknamed Hon’ami gire (Hon’ami segments) because of an association with the master calligrapher Hon’ami Kōetsu (1558–1637).
Kōetsu is said to have owned three scrolls (volumes 10, 11, and 14) of a copy of Kokin wakashū with the same aesthetic qualities as this work.Most surviving Hon’ami gire fragments are approximately ten lines long. Their white gofun grounds generally have sustained significant losses, making the texts very difficult to decipher. In contrast, this segment has eight entire sheets in extremely good condition, fully revealing to us an aesthetic that was prized by Heian-period aristocrats.
Although each scroll begins with the heading “Notes on Wakan rōeishū,” these two volumes contain a complete transcription of the text with no commentary, not an abbreviated version. The first scroll contains poems organized by season, while the second scroll includes a miscellaneous section. The second scroll has a colophon indicating that it was brushed on the second day of the fourth month in 1160 (Eiryaku 1) by Sesonji Koreyuki (n.d.), the son of Fujiwara no Sadanobu (b. 1088) and a leading calligrapher of his day. This work is extraordinarily important as the only surviving authenticated calligraphy in the hand of Koreyuki.
In addition to the rarity of its calligraphy, the decorative paper upon which Koreyuki’s brushwork is presented also makes this work highly significant. Beneath the text are paintings of scenic elements such as willow trees, flowing streams, and water birds; but even more interesting is the incorporation of stylized characters, known as ashide (literally, “reed technique”). The Heian-period aristocrats loved sophisticated poetry games, and it is said that these hidden background characters contained mysteries that could be unraveled through keywords found in the poetic calligraphy.
The set is thought to have originally comprised a total of either twenty-eight or thirty sheets (with the addition of poems on the prologue and epilogue sutras comprising the Threefold Lotus Sutra); only fourteen sheets survive today.With the exception of the Saigyō poem, which is mounted as a hanging scroll, each of the poems is mounted as a folio, resembling one leaf of an album. Remarkably, an essay entitled Baisō hikki (Notes of the Plum Window) by Hashimoto Tsuneakira (1755–1805) mentions that at that time the Nara Temple of Ichijō-in (part of the Kōfuku-ji temple complex) was in possession of fourteen poems written on kaishi, which had been composed on sutra-related themes by such poets as Saigyō and Jakuren. Thanks to this mention, we know that only these same fourteen poems of the set survived until the Edo period. The poem sheets each have a fold in the middle, and there are traces of what appears to be copies of Buddhist texts on the back, suggesting that the backsides of the sheets were used as a booklet in the distant past.These fourteen are the oldest surviving poems on kaishi sheets in Japan. They are considered all the more significant due to the poetic luminaries who composed and transcribed the poems. In addition, while numerous fragments of calligraphy are attributed to the priest Saigyō, only a handful of these are considered unmistakably authentic—further increasing the importance of this particular work.