千葉の銚子市にある、圓福寺の嵯峨本コレクションを中心に展示した展覧会。
以前、銚子の名所を紹介したテレビ番組でこの寺が紹介されていた。その際に、古書のコレクションがあることがチラリと紹介されていたが、世界有数と言われる嵯峨本のコレクションがあることはこの展覧会まで知らなかった。
京都・嵯峨の豪商、角倉素庵が、俵屋宗達や本阿弥光悦の力を借りて出版し、その後の江戸の出版文化に大きな影響を与えたと言われる嵯峨本。
俵屋宗達の関与には、これまでも異論があったが、最新の研究では、文字を主に書いたのは本阿弥光悦ではなく、その書の弟子でもあった、角倉素庵だったのではないかと考えられているようだ。
この展覧会では、本阿弥光悦（伝）と角倉素庵の二人の書が並んで展示されていた。確かによく似ている。
嵯峨本の中でも、伊勢物語は、初めて挿絵が入った版本。当時も人気が高かったようで、多くの版本が残っている。
江戸時代の、その後の挿絵入りの本の原点とも言える存在だ。
出版は何度も行われたが、その度に、いくつかの活字を入れ替えて、新たな伊勢物語本を作っていたという。
かなを使った活字の誕生には諸説あるようだが、おそらく、戦国時代にキリスト教の宣教師が出版して本にかなの活字が使われており、嵯峨本に影響を与えたのだろう。
漢字のかなとは違って、かなは文字が連なることがある。かなの活字はそうしたつながりの単位で作られた。
嵯峨本の中でもとりわけ有名な光悦謡本。その名前にも関わらず、光悦の筆でないことはほぼ確実だが、演目ごとに多くの版本が残っていて、その成立にはまだ謎が多いという。
その他にも、唐紙に雲母で背景を描いた美しい嵯峨本などを間近に見ることができ、小規模ながら、大きな広がりを感じ、嵯峨本の世界に誘惑されっぱなしの展覧会だった。
This exhibition focused on the Saga-bon collection of Enpukuji Temple in Choshi City, Chiba.
This temple was previously featured on a television program showcasing Choshi's famous sites. It was briefly mentioned that the temple has a collection of old books, but I had no idea until this exhibition that it also has one of the world's largest collections of Sagahon books.
Saga-bon are said to have been published by Suminokura Soan, a wealthy merchant in Saga, Kyoto, with the help of Tawaraya Sōtatsu and Hon'ami Kōetsu, and had a major influence on the publishing culture of the Edo period thereafter.
While Tawaraya Sōtatsu's involvement has long been disputed, the latest research suggests that it was not Hon'ami Kōetsu but his disciple, Suminokura Soan, who primarily wrote the characters.
In this exhibition, calligraphy by Hon'ami Kōetsu (allegedly) and Suminokura Soan was displayed side by side. They certainly look very similar.
Among the Saga-bon, The Tale of Ise was the first to be illustrated. It seems to have been very popular at the time, as many copies remain.
It can be said to be the origin of subsequent illustrated books from the Edo period.
It was published many times, and each time, some of the typefaces were replaced to create a new version of The Tale of Ise.
There are various theories about the origin of typefaces using kana, but it is likely that Christian missionaries used kana typefaces in books published during the Sengoku period, which influenced the Sagabon.
Unlike kana for kanji, kana characters can sometimes be linked together. Kana typefaces were created based on these linked units.
The Koetsu Utahon is particularly famous among the Sagabon. Despite its name, it is almost certain that it was not written by Koetsu, but many versions of each performance have survived, and much about its creation remains a mystery.
In addition, I was able to see beautiful Sagamoto works up close, with backgrounds painted in mica on karakami paper.Although the exhibition was small, it felt vast and we were constantly seduced by the world of Sagamoto works.
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