@article{oai:tobunken.repo.nii.ac.jp:00006865,
 author = {秋山, 光和 and Akiyama, Terukazu},
 issue = {215},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Mar},
 note = {Among the Japanese scroll-paintings in the Mediaeval Age there is a group of black mono- chrome works termed hakubyō-ga (black drawing pictures. The majority of them treat of subjects from court life of the Heian Period (9th ― 12th centuries) and show a unique style of depiction consisting almost entirely of fine drawing of sumi (Indian ink). Their compositions and their conventional portrayal of male and female figures belong to the category of onna-e (“feminine-style picture”) typified, for example, by the Genji-monogatari Emaki dating from about the middle of the 12th century. It may be said that the hakubyō-ga is a black monochrome verion of the heavily coloured onna-e, in which the bright colour effect is replaced by the contrast fine black drawing for the contours and flat faces of intense black for men's crowns, ladies' hair, parts of buildings, etc. As far as surviving examples are concerned it was in the aristocratic society in about the 13th and 14th centuries that this unique art style was established and thrived. Representative specimens of this style known heretofore are the Makura-no-Sōshi Emaki and the Toyo-no-akari-e Sōshi in scroll form, and an old booklet-form copy of the Chapter of Ukifune of the Genji-monogatari with two illustrations (collection of the Museum Yamato Bunkakan). The scroll in the collection of Mr. ASADA Chōhei introduced here (height 25. 3cm., total length 684. 9cm.) is even more important than them both from artistic and from historical viewpoint. 
     This scroll consists of the versified text part occupying its first part (about 214cm.), and four black monochrome illustrations of scenes from the text. The text sings in a very symbolic manner about the sorrows and agonies of love and does not include any description of actual events or names of persons, so that it has been hard to identify the subject told in it. The scroll has therefore been tentatively named Fujinami-e Sōshi (picture scroll of wistaria blossoms) after a phrase in the text as well as wistaria blossoms depicted in the illustrations. I have recently discovered, quite accidentally, that the text is identical with a long verse at the end of the Takafusa-kyō Tsuya Kotoba (Love Romance of Lord Takafusa), a literary work by the noble and poet FUJIWARA Takafusa (1148—1206) in which he wrote about his own tragic love affair in a combination of prose and poetry. By looking up into the biography of Takafusa I have succeeded in identifying the contents of the subject scroll as well as its historical character. Takafusa was born in the eminent Fujiwara Family of court nobles and was a middle-class court official, but by marrying a daughter of TAIRA no Kiyomori, the head of the military class that overpowered the aristo crats in the second half of the 12th century, he shared the prosperity of the Taira Family (the Heike). Not heartily satisfied with his expedient marriage, however, he fell in love with a beautiful girl of the same Fujiwaras in about 1170―1171. He confessed his love repeatedly to the girl seven years younger than he, until his wooing was requited. His joy was only short-lived. The Emperor Takakura, charmed by the girl, called her into his palace, where she was named Kogo and was dearly cherished by the young Emperor. Unable to forget her, Takafusa took all opportunities to send her letters and poems of love, but Kogō, having already resigned herself to fate, threw away his letters and refused his appeals. The “Love Romance of Lord Takafusa,” describing the story and singing of his despair, consists of sentences narrating the circumstances and poems inserted here and there among them, and appears to have been finished up in about 1177. A later story about Kogō is stated in the Heike - monogatari the grand epic describing the prosperity and fall of the Heike (Taira Family), as follows: TAIRA no Kiyomori, father-in-law of Takafusa and father of Chūgū (First Consort) of the Emperor Takakura, had a spite against the beautiful lady who enamoured his two sons-in-law at the same time, and caused her to be banished from the Imperial palace. The Emperor let one of his courtiers find her in her seclusion in the suburbs and take her back to the palace, but finally she was forced to become a nun. This story appears to be a fact, for it is recorded in history that Kogō, who bore a princess in 1177, got tonsured two years after.
     When we examine the subject scroll with the above-mentioned historical facts in consideration, its four illustrated scenes can be interpreted as follows: (1) Success of love between Takafusa and Kogō; (2) Parting of the lovers due to the girl's summon to the palace,- Takafusa conversing with many ladies in the palace but still feeling desolate, and Kogō alone in another room; (3) Symbolic representation of triangular love of the Emperor Takakura, Takafusa and Kogō; and (4) Scenery at Kitano Shrine where the despaired Takafusa sought salvation of his soul. The four pictures are not narrative descriptions of Takafusa's love affair but are tacit representations of four stages of the story. Note the first and second scenes in which flowering plants (cherry, wistaria and plum) symbolizing respective seasons, and characters relating to them from the text of the story, are entangled with one another in a decorative manner known as ashide style (sort of enigma pictures with characters concealed in them). This symbolic manner of representation proves that the picture scroll is not a matter-of-fact illustration but belongs to the subjective, lyrical uta-e (poempicture) category.
     When we compare this scroll with other picture scrolls of the hakubyō type, we note that its drawing is even freer and softer, and that its compositions have much in common with the 12th century masterpiece Genji-monogatari Emaki. Judging from the costumes of figures in it, however, its actual age cannot date back earlier than the mid-13th century. Incidentally, the second half of the 13th century is the period in which poems from the “Love Romance of Lord Takafusa” were frequently accepted into Imperially edited anthologies, and in which the story about Kogō and Takafusa was added to the Heike - monogatari which was being enhanced by additions of various episodes.
     It is interesting to note that another picture scroll in the hakubyō style known as the Heike Kindachi Sōshi (see the article by Mr. NAKAMURA), illustrating a part of another literary work by Takafusa, was made somewhat later than the subject one, namely during the early 14th century. It was the epoch when the patricians in the Imperial Court, who were planning to resume cultural and eventually administrative supremacy over the militant class, cherished nostalgic reminiscence of the glorious aristocratic atmosphere of the 12th century. It is highly probable that this longing for the past renewed their interest in the tragic love of Takafusa. Most likely the scroll under discussion was born out of such background of the age, which was responsible also for its classical style of representation.},
 pages = {23--46},
 title = {「隆房卿艶詞絵」をめぐって―いわゆる「藤波絵草紙」の出典とその性格―},
 year = {1961}
}