細井広沢考

―『観鵞百譚』を中心に―

抄録

It is called Wayou-sho 和様書 that has rooted in the cultural climate of Japan and passed down as a school of calligraphy. On the other hand, the Chinese style calligraphy became popular in the Edo 江戸 era and especially was called Karayou-sho 唐様書.
  Amidst its popularity in the Edo-era, almost people who found and lead the Karayou-sho 唐様 emphasized that its origin was furnished with orthodoxy of Chinese-calligraphy. The reason for this was believed to be because of the awareness to be against the major Wayou-sho 和様書. In other words, in order for the Karayou 唐様 calligraphers to prosper, a motto was needed. However their insistences are mostly simply borrowing from Chinese ones, thus it is difficult to find Karayou 唐様 calligraphers' identity and originality in its writing.
  However, their writing at that time has information about Karayou-sho's 唐様書 trend and it can be useful materials to further understand Edo 江戸 era's calligraphy society 書道界. So it is so significant to focus on and analyze Hosoi Kohtaku 細井広沢 who is the moving the spirite behind the promotion of Karayou-sho 唐様書. In this article I investigated Karayou-sho's 唐様書 trend by looking into Kohtaku 広沢' and his writing Kanga Hyakutan 観鵞百譚.