『寛永 太平がはぐくむ美』展を見て Reflections on the Exhibition "Kan'ei: Beauty Nurtured by an Era of Peace"

寛永行幸四百年を記念する展覧会の一つ。京都文化博物館での特別展「寛永　太平がはぐくむ美」。

寛永時代の美術と言えば、2018年にサントリー美術館で行われた「寛永の雅」展が記憶に強く残っている。

その展覧会では、小堀遠州、金森宗和と野々村仁清、狩野探幽の3人に焦点が当たられていた。

今回訪れた京都文化博物館の展覧会では、寛永行幸と合わせて本阿弥光悦、俵屋宗達、野々村仁清、池坊専好などの文化人に関する展示が中心だった。

寛永行幸で後水尾天皇を迎えるにあたって、二条城は大幅に改築された。小堀遠州はその工事を取り仕切っていた。

池坊専好は、後水尾天皇とも親しく、生花を中心に多くのイベントを企画した。また自らの生花を図で表した立花図を表し、それを見た弟子たちはそれに倣った。

そのデザイン力は、狩野探幽などの多くの絵師や職人たちも影響を与えたという。

後水尾天皇に嫁いだ東福門院の母は、徳川秀忠の正室で浅井三姉妹の一人お江だが、実は寛永行幸の時期に、危篤の状態にあった。

東福門院は勿論だが、当時は家光に将軍職を引き継いでいた徳川秀忠も、後水尾天皇を二条城に迎えるために京都に残らざるを得ず、二人ともその最後を看取ることはできなかった。

展覧会としては、やや体裁を欠いており、名が知れた二振りの刀剣で、集客を図るというやや悲しい内容だった。

せっかく京都の地で行われる展覧会なのだから、もっと”寛永の美”を現代に甦らせるような展覧会を企画して欲しかった。

This is one of the exhibitions commemorating the 400th anniversary of the *Kanei* Imperial Progress—a special exhibition at The Museum of Kyoto titled "Kanei: Beauty Nurtured by an Era of Peace."

When it comes to the art of the *Kanei* era (1624–1644), the exhibition "The Elegance of the *Kanei* Era," held at the Suntory Museum of Art in 2018, remains particularly memorable.

That exhibition focused on figures such as Kobori Enshu, Kanamori Sowa, Nonomura Ninsei, and Kano Tanyu.

The current exhibition at The Museum of Kyoto centers on the *Kanei* Imperial Progress and the cultural figures associated with it, including Hon'ami Koetsu, Tawaraya Sotatsu, Nonomura Ninsei, and Ikenobo Senko.

In preparation for welcoming Emperor Go-Mizunoo during the *Kanei* Imperial Progress, Nijo Castle underwent extensive renovations—a project overseen by Kobori Enshu.

Ikenobo Senko, who enjoyed a close relationship with Emperor Go-Mizunoo, organized numerous events, with a primary focus on *ikebana* (flower arranging). He also created *rikka-zu*—diagrams illustrating his floral arrangements—which his disciples then used as models.

It is said that his design sensibility also influenced many painters, such as Kano Tanyu, as well as various other artisans.

The mother of Tofukumon-in (who married Emperor Go-Mizunoo) was O-e—the legitimate wife of Tokugawa Hidetada and one of the three Asai sisters—who, as it happens, was in critical condition during the time of the *Kanei* Imperial Progress.

Consequently, neither Tofukumon-in nor Tokugawa Hidetada (who had by then passed the shogunate on to Iemitsu) could be present at her final moments, as they were both required to remain in Kyoto to welcome Emperor Go-Mizunoo to Nijo Castle.

As an exhibition, it felt somewhat lacking in cohesion; it relied on the inclusion of two well-known swords to draw in visitors—a rather disappointing approach.

Given that this exhibition is being held in Kyoto, I had hoped for one that would truly bring the "aesthetics of the Kan'ei era" back to life for the present day.