東福門院と周囲の人々 寛永行幸と花の都の文化びと展から Tōfukumon-in and Those Around Her: Insights from the Exhibition on the Kan’ei Imperial Visit and the Cultural Figures of the "City of Flowers"

京都の泉屋博古館を訪ねるのは、2〜3年ぶりだろうか。この間、足を運ぼうと思うほど興味のある展示には恵まれなかった。

今回は、寛永行幸四百年を記念して京都で行われている展覧会の一つ。寛永行幸と花の都の文化びと展が行われていた。

東福門院という人物には、かねてより興味を抱いていた。

江戸幕府第二代将軍徳川家忠と、その正室で浅井三姉妹の次女お江の間に生まれ、後水尾天皇に嫁ぐことになった。

明らかな政略結婚。しかもその直前に後水尾天皇にはすでに御寮人との間に子供がいたことが明らかになり輿入れは延期。

しかし、不思議なことに、この二人の中はむつまじくなり、7人の子供を授かるまでになった。

その間も、後水尾天皇は幕府に反発して、紫衣事件などが起こっているにも関わらず。

この展覧会では、寛永3年に行われた、後水尾天皇による二条城への行幸、いわゆる寛永行幸と、その当時の幕府と天皇家、京都の文化人などの交流が紹介されていた。

東福門院にまつわる当時の文化人たちのサークルは、実に驚くべきものだ。

幕府より、東福門院には毎年莫大な金額が贈られていて、東福門院はその金を衣装をはじめとした様々な工芸品に費やした。それが、華麗な寛永文化を生み出した大きな要因となった。

さて、展示された品々を見ていこう。

二条城行幸図屏風は、この展覧会のメイン展示だが、横一線の2列の行幸が描かれている。

岩佐又兵衛の洛中洛外図屏風や、狩野内膳の豊国祭礼図屏風のダイナミックな表現と比べると、その差は歴然。まだ戦国の荒々しさを残していた桃山時代と、徳川幕府による統制された江戸時代の対比が、それらの屏風絵によく表れている。

東福門院は押絵を自ら製作していた。茶の千家3代目の千宗旦が、東福門院からその押絵をもらったことに感激した消息が、その交流を伝えている。

大通文智は、後水尾天皇にはすでに御寮人に産ませた子の一人。一度は鷹司家に嫁いだが離婚し、その後出家した。自らの血を墨に混ぜて書いたという妙法蓮華経観世音菩薩普門品は、彼女の業の強さを表しているようだ。

東福門院は、大通文智のことをいつも気にかけていたようだ。

その大通文智が帰依していたのが、一絲文守。大徳寺で沢庵宗彭に師事し、近衛信尋を通じて後水尾天皇からも信頼された臨済宗の僧侶で、その書画も展示されていた。

他にも、寬仁親王、烏丸光広、松花堂昭乗、江月宗玩、野々村仁清、土佐光起、住吉如慶らの展示があり、東福門院のそのネットワークの幅広さを実感できた。

この時代は、皇室、時の為政者（幕府）、町人、職人（アーティスト）たちが交流し、後世に残る文化を残した、唯一の時代かも知れない。

その有り様の一端を、この展覧会で名にしたような思いで、鹿ヶ谷の地を後にした。

It's probably been two or three years since I last visited Senoku Hakukokan in Kyoto. During this time, I wasn't able to find any exhibits that were interesting enough to make me want to visit.

This is one of the exhibitions being held in Kyoto to commemorate the 400th anniversary of Kan'ei Gyoukou. An exhibition of Kan'ei Gyoukou and the cultural people of the City of Flowers was being held.

I have been interested in the person Tofukumonin for some time.

She was born to Tokugawa Ietada, the second shogun of the Edo shogunate, and his legal wife, Oe, the second daughter of the three Asai sisters, and was to marry Emperor Go-Mizunoo.

An obvious political marriage. Furthermore, just before that, it was revealed that Emperor Go-Mizunoo already had a child with his dormitory, so the handover was postponed.

However, strangely enough, things became bitter between the two, and they ended up having seven children together.

During that time, Emperor Gomizunoo rebelled against the shogunate, even though the Purple Robe Incident and other incidents occurred.

This exhibition introduced Emperor Gomizunoo's visit to Nijo Castle in the 3rd year of Kanei, the so-called Kan'ei visit, and the exchanges between the shogunate, the imperial family, and Kyoto's cultural figures at that time.

The circle of cultural figures of the time surrounding Tofukumon-in is truly astonishing.

The shogunate gifted Tofukumon-in a huge amount of money every year, and Tofukumon-in spent the money on various crafts, including costumes. This was a major factor in creating the brilliant Kan'ei culture.

Now, let's take a look at the items on display.

The Nijo Castle Pilgrimage Folding Screen is the main exhibit at this exhibition, and it depicts two horizontal lines of the Pilgrimage.

Compared to the dynamic expressions of Iwasa Matabei's Rakuchu Rakugai folding screen and Kano Naizen's Toyokuni Festival folding screen, the difference is clear. The contrast between the Momoyama period, which still retained the roughness of the Sengoku period, and the Edo period, which was controlled by the Tokugawa shogunate, is clearly expressed in these folding screen paintings.

Tofukumonin made her own pressed pictures. The story of this exchange is reported in the news that Sotan Sen, the third generation of the Senke tea school, was thrilled to receive the stamp from Tofukumon-in.

Bunchi Jyoou was one of the children that Emperor Gomizunoo had already given birth to by an Oryonin. She once married into the Takatsukasa family, but divorced and then became a priest. The Myoho-Renge-Kyo Kanzeon Bodhisattva Fumon product, which she wrote by mixing her own blood with ink, seems to represent the strength of her karma.

It seems that Tofukumonin was always concerned about Bunchi.

The one that Bunchi was devoted to was Isshi Bunshu. He was a monk of the Rinzai sect who studied under Takuan Munepaku at Daitokuji Temple and was trusted by Emperor Gomizunoo through Nobuhiro Konoe, and his calligraphy and paintings were also on display.

There were also exhibits of Prince Tomohito, Mitsuhiro Karasuma, Shojo Shokado, Sogan Ezuki, Ninsei Nonomura, Mitsuoki Tosa, and Jyokei Sumiyoshi, and we were able to get a real sense of the breadth of Tofukumon-in's network.

This may be the only era in which the imperial family, the rulers of the time (shogunate), townspeople, and craftsmen (artists) interacted and left behind a culture that would last for generations to come.

I left Shisigatani with the feeling that I had made a name for myself through this exhibition.