抄録
Among the small number of extant examples of Japanese tenth-century calligraphy, a comparatively large number of fragments are written on pieces of silk (kinujigire 絹地切) or twilled fabric (ayajigire 綾地切). These were originally from handscrolls of the collected works of Bo Juyi 白居易 (Boshi wenji 白氏文集), which were extremely popular in the early and mid-Heian 平安 period. Many of these are attributed to Ono no Tofu 小野道風 or Fujiwara no Sukemasa 藤原佐理, and while there are some that are thought to be genuine examples of their calligraphy, in actual fact they include a great variety of writing styles. A systematic study was undertaken by Komatsu Shigemi 小松茂美 in his Heiancho denrai no Hakushi monju to sanseki no kenkyu 平安朝伝来の白氏文集と三蹟の研究 (A study of the Boshi wenji brought to Japan in the Heian period and the three great calligraphers; Bokusui Shobo 墨水書房, 1965), and it was suggested that later copies derived from the works of Ono no Tofu.
These fragments written on silk fabric include fragments that were put on public display for the first time in autumn 2008 at the Sunritz Hattori Museum of Arts, where I work. These are fragments of the new yuefu 楽府 "Er wang hou" 二王後 and "Hai manman" 海漫々 in the Boshi wenji 3, the whereabouts of which had been unknown after having been previously in the possession of Hara Sankei原三渓.
In this article, I give a detailed description of the current state of these fragments, consider various aspects such the text of the fragments, the decorative underdrawings, the calligraphic style, and their relationship to copies, and I also attempt to determine their historical position. I reach the conclusion that, judging from the characteristics of the decorative underdrawings and the calligraphic style, they are highly likely to have been produced in the late tenth to early eleventh century. Further, through a comparison with copies by the emperor Fushimi 伏見 and Konoe Iehiro 近衛家熙 based on copies in Ono no Tofu's own hand, it is to be surmised that these fragments too were decorative models of calligraphy produced on the basis of copies in Ono no Tofu's own hand and were executed with a comparatively free attitude towards penmanship. These fragments may be regarded as valuable works indicative of one aspect of the diverse circumstances behind the development of the group of works subsumed under the designations kinujigire and ayajigire.
