Attributed to Hon’ami Koetsu (1558-1637) (calligraphy) and Tawaraya Sotatsu (1570-1643) (underpaintings), Bush clover (hagi), Momoyama – Edo period, early 17th century | 本阿弥光悦書・俵屋宗達下絵 萩下絵和歌色紙　ゆめ通ふ　桃山時代末期～江戸時代初期　17世紀初頭

拍品描述

poem card (shikishi) mounted as a hanging scroll: ink, colour and gold on paper, inscribed with the Yume kayou poem from the New Collection of Poems Ancient and Modern (Shin kokin wakashu), silk brocade border, accompanied with a fitted black lacquer storage box, inscribed in gold lacquer hiramaki-e on a silver lacquer cartouche Koetsu fuyu uta shikishi [Shikishi with a Winter Poem by Koetsu], further accompanied by a fitted wood storage box with inscription by Tayama Honan dated Showa yonjuhachi nen ichigatsu [January 1973] 木盒書田山方南（1903–1980年）昭和48年（1973年）題識 18 x 16.1 cm. Originally one sheet from a set of thirty-six decorated poem papers, later remounted as a hanging scroll. Sotatsu’s underpainting covers the lower half of the sheet in gold, with the branches and foliage of bush clover (hagi) rendered in gold and the blossoms in silver above. Koetsu’s waka is brushed in a broad, unrestrained hand, the line marked by rapid modulations in thickness and ink density. The calligraphy reads: even the path I traveled in my dreams has now vanished black bamboo snapping under the weight of snow in Fushimi Village1 Yume kayofu michi sahe taenu kuretake no Fushimi no sato no yuki no shita wore The poem appears in the ‘Winter Poems’ section (Book Six) of the Shin kokin wakashu [New Collection of Japanese Poetry Ancient and Modern], composed by Fujiwara no Ariie (1155-1216). After political power shifted to Edo, court culture was revived in Kyoto through wealthy townspeople who sought to cultivate a refined urban aesthetic. Sotatsu and Koetsu are thought to have worked under the patronage of this class; their collaborations were evidently popular, and numerous collaborative works survive. Formerly in the collection of Shiobara Matasaka (1877-1955), founder of the pharmaceutical company Sankyo, and the Manno Art Museum, Osaka. 1. Translated by Laurel Rasplica Rodd in Shinkokinshu: New Collection of Poems Ancient and Modern (Leiden, 2015), p. 277, no. 673. 來源 塩原又策（三共創業者，1877–1955年） 萬野美術館，大阪 展覽 《第8回東美特別展》，東京美術倶樂部，東京，1979年，頁58-59 《萬野コレクション 琳派展，萬野美術館，大阪，1988年，編號10 《特別展「光悦の書」慶長・元和・寛永の名筆》，大阪市立美術館，大阪，1990年，編號236 《光悦と宗達》，サントリー美術館，1999年，編號60 《萬野コレクションの名品一挙公開 琳派と茶道具》，サントリー美術館，東京，2001年，編號12 《琳派名品展》，三越（日本橋），東京，2015年，編號5 《琳派の精華》，岡田美術館，箱根，2015年，編號5 《美のスターたち-光琳・若冲・北斎・汝窯など名品ぞろい-》，岡田美術館，箱根，2018-19年，展覽編號444（沒載圖） 出版 矢代幸雄編，《大和文華》，卷45：光悦色紙特輯，奈良，1966年，圖版53 山根有三，《琳派絵画全集：宗達派2》，卷2，東京，1978年，圖版54 《光悦書宗達金銀泥絵》，東京，1978年，圖版72 萬野記念文化財団,《萬野コレクション撰集》，大阪，1988年，圖版57 小林忠編，《琳派》，卷5 総合，東京，1992年，編號10-10 小林忠編，《岡田美術館名品撰》，卷1，東京，2019年，編號93

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