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Ryutatsu (1527-1611) was born into a rich medicine trader&rsquo;s family in Sakai. He became a monk of the Nichiren sect at Kemponji Temple (Sakai City, Osaka Prefecture) and changed his name to Nittcho. The hut he had in the temple precinct was named &ldquo;Jizai-In&rdquo;, and he called himself &ldquo;Monk Takasabu&rdquo;. Later, he left the Buddhist order and became a layman. Not many years after, he became popular as a &ldquo;kouta&rdquo; singer and popularized a new form of vocal hailed as &ldquo;Ryutatsu-bushi Songs&rdquo;. He is particularly remembered for the fine performance rendered before Lord Toyotomi Hideyoshi at Fushimi Palace, where Ryutatsu sang to the drum accompaniment of Hosokawa Yusai. The song impressed Hideyoshi so much that Ryutatsu&rsquo;s reputation spread far and wide. Ryutatsu was also an achieved calligrapher and appreciator of the art, as evidenced by a surviving volume of Ryutatsu-bushi hand-copied by Ryutatsu himself (now a private collection). There is also another Ryutatsu-bushi manuscript (a single volume that has survived only in segments, some of which are preserved at the Tokyo National Museum) which was written on gold-, silver- and mica-decorated paper crafted by papersmith Soji, working in association with Hon-ami Koetsu (1558-1637). This version was written in ink and brush by Suminokura Soan (1571-1632), which shows Ryutatsu, in his fine taste, made friends with many prominent figures in the art world of the era. The genealogy of calligraphy lists Ryutatsu under the Sakai School, patterned after the style of Botanka Shohaku.Here, you can see a &ldquo;kouta&rdquo; song composed and copied by Ryutatsu onto a tanzaku paper strip. The hand is that of a well-trained, seasoned calligrapher. Jotted down in the right margin are musical notes in black ink, as a guide for singers. As Ryutatsu&rsquo;s brushwork is rare, the exhibited hanging scroll of song accompanied by musical notes is priceless.<\/p>\r\n"},{"number":1,"jp":"<p>\u591c\u3075\u3051\u3066\u304a\u308a\u3084\u308b\u3092\u3044\u307e\u304a\u3082\u3072\u3042\u306f\u305b\u305f\u3044\u3068\u3092\u3057\u306e\u541b\u3084\u8eab\u304c\u307e\u309d\u306b\u306a\u3089\u306c\u9686\u9054<\/p>\r\n","en":"<p>Deep into the night, I remembered that my love was supposed to visit. I don&rsquo;t know how to contain my love.<\/p>\r\n"}],"keywords":[],"bibliography":{"jp":"","en":""},"provenance":{"jp":"","en":""},"conservation_activities":{"jp":"","en":""},"notes":{"jp":"","en":""},"address":{"jp":"\u65af\u9053\u6587\u5eab","en":null},"related_objects":[],"embeds":[],"technique":{"jp":"","en":""},"shape":{"jp":"","en":""},"material":{"jp":"\u7d19\u672c\u58a8\u66f8","en":""},"state_and_edition":{"jp":"","en":""},"function":{"jp":null,"en":null},"background":{"jp":null,"en":null},"archaeological_context":{"jp":null,"en":null},"condition":{"jp":null,"en":null},"issue":{"jp":null,"en":null},"volume":{"jp":null,"en":null},"number_of_pages":null,"unit_number":{"jp":"","en":""}},"date_created":"2021\/04\/03","date_modified":"2022\/09\/14","iiif_manifest":{"2.1":"https:\/\/api-iiif.db.kemco.keio.ac.jp\/iiif\/object\/1250\/2.1\/manifest.json","3.0":"https:\/\/api-iiif.db.kemco.keio.ac.jp\/iiif\/object\/1250\/3.0\/manifest.json"},"lod":{"jsonld":null,"ttl":null},"doi":null,"kohurl":{"jp":"https:\/\/objecthub.keio.ac.jp\/ja\/object\/1250","en":"https:\/\/objecthub.keio.ac.jp\/en\/object\/1250"},"contributors_url":""}