稲葉華渓筆譜  [in Japanese] The works of calligraphy by Inaba Kakei  [in Japanese]

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Abstract

寛政期の絵入り狂歌本等において、例外的に記名して顕著な活躍をした書家に稲葉貞隆、号華渓がいる。寛政期における江戸の狂歌本の同伴者とでもいうべき存在であったが、向島の木母寺境内にある筆塚の碑文によれば、彼は、三井親和門で篆を得意とし、深川に住んで、寛政十二年、五十一歳で没したことなどが判明する。本稿は、この華渓の活動の足跡をできるかぎり跡づけてみようとしたものである。華渓が筆工として参加した板本は、寛政二年の勝川春章画『絵本接穂の花』から寛政十一年の葛飾北斎画『東遊』まで十年間で計九本を数える。担当したのは、俳諧、狂歌などの本文はもとより、とくに断らなくとも、題簽、序文も認めたことが多い。ほとんどが絵入り狂歌本であるが、とりわけ重要なのは、寛政四年『狂歌桑之弓』から寛政十年の『男踏歌』までの連年、出された、堤等琳、窪俊満ほかによる合筆春興絵入り狂歌本である。そして、その『男踏歌』を最後に、合筆絵入り狂歌本の筆耕の仕事から身を退いているが、これは板元の蔦屋重三郎の死を契機に、合筆春興狂歌本そのものが終焉を迎えたことが原因である。同じ頃、華渓は、北斎との結びつきを強めていったごとくで、合筆ではないが、絵入り狂歌本の体裁を受け継いだ寛政十一年の浅草庵編、北斎画『東遊』の筆耕を一部、務めている。また、その直前、寛政十年の初冬、古宗理の十七回忌が営まれたのを機に、俵家の宗理名を離脱して「北斎辰政」と改名する決意を固めていた北斎は、自らの懐旧の句を載せた摺り物を作成し、その書を華渓に担当させた。そのことを勘案すれば、『東遊』に題字を寄せたのは、「北斎辰政」を名乗って自立しようとした、その首途を後押しする意味もあったと思われる。Inaba Kakei was an exceptional calligrapher who was outstandingly active, by affixing his own signature, in the illustrated Kyoka books in Kansei era. He should be really called the companion for Kyoka books in Edo. According to the inscription of his brushes' barrow, it could be known that he was a pupil of Mitsui Sin'na and skillfill at seal engraving, living in Fukagawa he died at the age of 51 in Kansei 12th. This article is written for purpose to pursue the achievements of his activities as full as possible.The wood-block books, which Kakei was engaged as a copyist, could be counted nine from Ehon-tsugiho-no-hana depicted by Katsukawa Shunsho in Kansei 2nd to Azuma-asobi by Katsushika Hokusai in Kansei 11th. Usually he took charge of not only the text of Haikai and Kyoka, but also the title and the preface. Though his works were done within the scope of the illustrated Kyoka books, among them especially important books are the collaborated, by Tsutsumi Torin, Kubo Shunman and several other popular artists, and celebrated New Year books, which were published each year from Kyoka-kuwa-no-yumi in Kansei 4th to Otoko-doka in Kansei 10th. Then after Otoko-doka he was retired from the job of a copyist of the collaborated Kyoka books. Because taking the opportunity of the death of a publisher Tsutaya Junzaburo. The collaborated books themselves meet the end.In similar periods Kakei has seemed to be become to strengthen the relationship with Hokusai. Above all he was partly employed as a copyist of Azuma-asobi depicted by Hokusai in Kansei 11th. Azuma-asobi was not a collaborated kyoka book, but accurately in herited its style. Besides in October of Kansei 10th Hokusai determined to change his name to Hokusai 'Tokimasa from Tawaraya Sori and therefore prodused the Surimono carried his own Haiku and made Kakei write its calligraphy. In addition to Kakei wrote the words of the beginning of Azuma-asobi. In my view, it could be thought that Kakei purposed to support Hokusai's new start by giving his name as Hokusai Tokimasa.

Journal

  • The bulletin of the National Institute of Japanese Literature

    The bulletin of the National Institute of Japanese Literature (37), 1-32, 2011-03

    国文学研究資料館

Codes

  • NII Article ID (NAID)
    120005722003
  • NII NACSIS-CAT ID (NCID)
    AA12058284
  • Text Lang
    JPN
  • Article Type
    departmental bulletin paper
  • ISSN
    18802230
  • NDL Article ID
    11206878
  • NDL Source Classification
    ZK22(言語・文学--日本語・日本文学)
  • NDL Call No.
    Z13-1565
  • Data Source
    NDL  IR 
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