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segment from the beginning of Volume 20 of the Gosen Wakashu (Later selection of Japanese Poetry), authentically rendered by Fujiwara-no-Sadaie (also Teika). Sadaie dedicated the last years of his life to manuscript copying of classics and his loyalty to the original greatly influenced later scholars and followers. Although a few versions of Sadaie&rsquo;s authentic copies of the Gosen Wakashu (Later selection of Japanese Poetry) have been preserved, the last copy was completed on March 2, 1234(second year of Tempuku), when he was 73. This last copy is called the Tempuku Version of the Gosen Wakashu. In the worlds of waka poetry composition and chanoyu (also sado, chado) tea ceremony, Sadaie&rsquo;s authentic manuscript copies were admired and much sought-after treasures. The extant copies were carefully cut, one after another, into several segments. Even the Tempuku Version was fragmented into pieces at an early date, and they are called &lsquo;Joha-gire&rsquo;, with only 30 leaves remaining today. The edition name derives from the renga poet Satomura Joha (1525-1602) who once owned the original. Joha&rsquo;s letter attached to this fragment testifies that it is an authentic piece that Joha had treasured. The letter further testifies that authenticity was attested by other certifications by Konoe Taneie and Sanjonishi Kin&#39;eda, and that he transferred ownership upon request by Higuchi Saneyori of Echigo (today&rsquo;s Niigata Prefecture). Another certification by Shotaku, Joha&rsquo;s grandson, is also attached to the segment, to further attest its authenticity.<\/p>\r\n"},{"number":1,"jp":"<p>\uff3b\u91c8\u6587\uff3d\u5f8c\u64b0\u548c\u6b4c\u96c6\u5dfb\u7b2c\u4e8c\u5341\uff0f\u6176\u8cc0\uff0f\u5973\u516b\u306e\u307f\u3053\u5143\u826f\u306e\u307f\u3053\u306e\u305f\u3081\u306b\u56db\u5341\u8cc0\u3057\u4f8d\uff0f\u3051\u308b\u306b\u304d\u304f\u306e\u82b1\u3092\u304b\u3056\u3057\u306b\u304a\u308a\u3066 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\/>\r\n\u6587\u5b57\u666f &mdash;&mdash; \u30bb\u30f3\u30c1\u30e5\u30ea\u30fc\u8d64\u5c3e\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u540d\u54c1\u306b\u307f\u308b\u6587\u3068\u8c61\u300d\u5c55\uff082021.4 \u6176\u61c9\u7fa9\u587e\u30df\u30e5\u30fc\u30b8\u30a2\u30e0\u30fb\u30b3\u30e2\u30f3\u30ba\uff09\u56f3\u9332 \u63b2\u8f09<\/p>\r\n","en":"<p>FUJIWARA no Teika (1162&ndash;1241), one of the most revered poets and scholars of medieval Japan, was known for his excellent calligraphy, which is highly prized in the worlds of tea ceremony and early calligraphy. The J\u014dha Fragments are viewed as some of Teika&rsquo;s most representative works. More than 40 J\u014dha Fragments are known to exist from the eleventh volume of the Later Collection of Japanese Poems onward, and this fragment is particularly valuable because it is the first part of volume 20. Teika copied this poem anthology more than ten times, and judging from the handwriting and other characteristics of the texts, this fragment probably predates the J\u014dha Fragment in the Reizei Family Shigure-tei Collection, a designated National Treasure that has been dated to the second day of the third month of the year 1234. The name of the J\u014dha Fragments is thought to be derived from the famous renga (linked verse) poet SATOMURA J\u014dha (1525&ndash;1602), who possessed them, but this fragment comes with a letter that mentions it was a gift to NAOE Kanetsugu (1560&ndash;1619), the younger brother of HIGUCHI (\u014cKUNI) Saneyori (1562&ndash;1622) in the 19th year of the Tensh\u014d era (1591), a statement that provides much additional background information about the origins of these fragments. This fragment is also accompanied by certificates of authenticity from J\u014dha&rsquo;s grandson Sh\u014dtaku (1574&ndash;1636) and the Meiji-era calligrapher MAEDA K\u014dsetsu (1841&ndash;1916), and the letter is mounted on a magnificent scroll. The final owner before this work entered the Akao Century Collection was Fumiaki Kure(1890&ndash;1981), a collector of calligraphy who studied at Keio University.<br \/>\r\n<br \/>\r\nDescription from the exhibition Catalogue &quot;Letter-scape: Century Akao Collection, A World of Letters and Figures&quot;, Keio Museum Commons, April 2021<\/p>\r\n"}],"keywords":[],"bibliography":{"jp":"","en":""},"provenance":{"jp":"<p>*\u5b9a\u5bb6\u300c\u5f8c\u64b0\u548c\u6b4c\u96c6\u300d\u6700\u7d42\u66f8\u5199\u672c\u306e\u5929\u798f\u4e8c\u5e74(1234)\u66f8\u5199\u672c\u306e\u65ad\u7c21\u3002 *\u5ba4\u753a\u672b\u3001\u9023\u6b4c\u5e2b\u91cc\u6751\u7d39\u5df41527-1602\u304c\u4f1d\u3048\u6240\u6301=\u7d39\u5df4\u5207<\/p>\r\n","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":"","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\/07\/04","iiif_manifest":{"2.1":"https:\/\/api-iiif.db.kemco.keio.ac.jp\/iiif\/object\/177\/2.1\/manifest.json","3.0":"https:\/\/api-iiif.db.kemco.keio.ac.jp\/iiif\/object\/177\/3.0\/manifest.json"},"lod":{"jsonld":null,"ttl":null},"doi":null,"kohurl":{"jp":"https:\/\/objecthub.keio.ac.jp\/ja\/object\/177","en":"https:\/\/objecthub.keio.ac.jp\/en\/object\/177"},"contributors_url":""}