Sekido-bon Kokin Wakashū: A National Treasure of Japanese Calligraphy

Among the countless masterpieces of Japanese calligraphy, few command as much reverence as the Sekido-bon Kokin Wakashū — a surviving fragment of the Kokin Wakashū (Collection of Poems Ancient and Modern) that has been designated a National Treasure of Japan. Written in the flowing kana script of the Heian period (794–1185), this exquisite manuscript represents the pinnacle of classical Japanese court calligraphy and stands as a testament to the profound aesthetic sensibility that flourished in eleventh-century Japan.

The Kokin Wakashū itself holds a place of supreme importance in Japanese literary history. Compiled in 905 by order of Emperor Daigo, it was Japan's first imperially commissioned poetry anthology, containing over 1,100 waka poems that set the standard for Japanese poetic expression for centuries to come. The Sekido-bon is one of the most celebrated handwritten copies of this iconic anthology, treasured not only for its literary content but above all for the breathtaking beauty of its calligraphy.

History and Provenance

The Sekido-bon takes its name from the Sekido family of Nagoya, wealthy merchants who came to possess the manuscript in 1882 (Meiji 15). Before arriving in their hands, the work had been held by the powerful Maeda clan of Kaga Province (present-day Ishikawa Prefecture), one of the most influential feudal families of the Edo period. A colophon by Nakanoin Michimura, a courtier of the early Edo period, confirms that the manuscript once consisted of 48 folios bound in a single volume.

The original manuscript is believed to have comprised the complete twenty volumes of the Kokin Wakashū, arranged in two bound booklets (tetchōsō format). Over the centuries, however, portions were separated and dispersed. In 1952, the Sekido family's booklet was further divided, leaving 27 folios in the main booklet. Additional fragments — cut from the manuscript before and after this division — are now scattered among various private and institutional collections worldwide, including the Metropolitan Museum of Art in New York, the Tokugawa Art Museum in Nagoya, the Gotoh Museum in Tokyo, the Eisei Bunko Foundation, and the Itsuo Museum in Osaka.

Why It Was Designated a National Treasure

The Sekido-bon Kokin Wakashū earned its designation as a National Treasure of Japan for multiple compelling reasons. First and foremost, it is recognized as one of the finest examples of Heian-period kana calligraphy in existence. The manuscript demonstrates an extraordinary level of artistry in its brushwork, characterized by flowing continuous script (renmen) that links characters together in graceful, rhythmic sequences.

The calligraphy displays a remarkable mastery of modulation — the brush moves with varying speed, pressure, and direction, creating lines that are at once vigorous and elegant. The scribe employed a sophisticated technique known as fugihō, in which the brush handle is tilted and rotated to produce strokes of differing thickness and texture. This gives the writing a sense of dynamic energy while maintaining impeccable control.

Equally significant is the manuscript's use of beautifully dyed papers (somegami). The folios are made from torinoko-shi, a fine-grained paper produced from gampi fiber, dyed in rich hues of purple, indigo, brown, yellow, and green. The colors are arranged in alternating shades of light and dark, creating an effect reminiscent of ungen-saishiki — a graduated color technique borrowed from textile arts. Two fragments, held by the Eisei Bunko Foundation and the Itsuo Museum respectively, feature additional decoration with scattered gold and silver leaf.

As a historical artifact, the Sekido-bon provides invaluable evidence of book-making and calligraphic practices in the Heian period. It also preserves a textual tradition of the Kokin Wakashū that contributes to our understanding of how this foundational anthology was transmitted through the centuries.

The Art of the Calligraphy

The calligraphy of the Sekido-bon has long been traditionally attributed to Fujiwara no Yukinari (also known as Kōzei, 972–1027), one of the greatest calligraphers in Japanese history and one of the celebrated "Three Brush Masters" (Sanseki) of the Heian court. Modern scholarship, however, suggests that the actual scribe was a highly accomplished calligrapher active in the latter half of the eleventh century — someone deeply versed in the tradition that Fujiwara no Yukinari had established.

The writing is predominantly in onna-de (women's hand), the graceful cursive kana script that became the hallmark of Heian-period literary culture. Interestingly, the text also incorporates some katakana characters — an unusual feature that sets the Sekido-bon apart from many other classical manuscripts.

The characters are generally small and compact, overlapping and interweaving as they flow down the page. The scribe demonstrated a remarkable ability to modulate the ink density through skillful sumi-tsugi (ink replenishment), creating passages that transition from rich, dark strokes to delicate, fading traces in a manner that enhances the visual rhythm of the text. This interplay between dark and light ink, combined with the vibrant colors of the dyed paper, produces an effect of extraordinary aesthetic refinement.

The Kokin Wakashū: Japan's First Imperial Poetry Anthology

To fully appreciate the Sekido-bon, one must understand the profound cultural significance of the text it preserves. The Kokin Wakashū was compiled around 905 CE under the direction of the poet Ki no Tsurayuki, together with fellow editors Ki no Tomonori, Ōshikōchi no Mitsune, and Mibu no Tadamine. Commissioned by Emperor Daigo, it was Japan's first chokusenwakashū — a poetry anthology compiled by imperial decree.

The anthology comprises twenty volumes organized by theme, from the seasonal poems of spring, summer, autumn, and winter to verses on love, travel, mourning, and celebration. Its famous preface (kanajo), written by Ki no Tsurayuki, is considered one of the foundational texts of Japanese poetic theory, articulating the idea that poetry arises naturally from the human heart in response to the world.

The Kokin Wakashū exerted an immense influence on Japanese culture. It established the conventions for all subsequent imperial anthologies and became the essential reference for any aspiring poet. As the great medieval poet Fujiwara no Shunzei wrote, "In the art of poetry, one should look to and trust only the Kokin Wakashū." Even the lyrics of Japan's national anthem, "Kimigayo," derive from a celebratory poem in this collection.

Where to View Fragments of the Sekido-bon

Because the main body of the Sekido-bon is privately owned, it is not regularly available for public viewing. However, fragments and cut pieces (dankan) from this celebrated manuscript can occasionally be seen at major museums in Japan and abroad. The following institutions are known to hold fragments of the Sekido-bon or related pieces from the same manuscript tradition:

• Tokugawa Art Museum (Nagoya, Aichi) — Holds a fragment designated as an Important Art Object, donated by the Okatani family. The museum's rich collection of Heian-period calligraphy offers excellent context for appreciating this piece.
• Gotoh Museum (Tokyo) — Houses a fragment from Volume 16, one of the rarest surviving sections of the Sekido-bon.
• The Metropolitan Museum of Art (New York) — Acquired a fragment in 2020, consisting of two pages with four poems from the Tanabata (Star Festival) section, mounted as a hanging scroll.
• Kyushu National Museum (Dazaifu, Fukuoka) — Holds fragments of Volume 1 written on beautiful green-dyed paper.

Visitors interested in seeing these works should check each museum's exhibition schedule in advance, as calligraphic works on paper are displayed only for limited periods to protect them from light damage. Rotating exhibitions of Japanese calligraphy are typically held in spring and autumn.

Exploring Nagoya: Surrounding Cultural Attractions

Since the Sekido-bon has its deepest historical connections to Nagoya, a visit to this vibrant city provides an ideal opportunity to explore related cultural treasures. Nagoya, the capital of Aichi Prefecture, is one of Japan's great cities of traditional culture and craftsmanship.

• Tokugawa Art Museum — This world-class museum houses the art collection of the Owari branch of the Tokugawa family, including National Treasures such as the illustrated handscrolls of The Tale of Genji. Its calligraphy collection provides wonderful context for understanding the Sekido-bon.
• Nagoya Castle — One of Japan's most iconic castles, featuring the magnificent Hommaru Palace with its stunning fusuma paintings, recently restored to their original Edo-period splendor.
• Atsuta Shrine — One of Japan's most important Shinto shrines, said to enshrine the legendary sword Kusanagi no Tsurugi, one of the three Imperial Regalia.
• Nagoya City Museum — Offers exhibitions on local history and culture, including special displays of calligraphy and literary arts.

For visitors with a particular interest in Japanese calligraphy, a trip to Nagoya can be combined with visits to Tokyo's Gotoh Museum or the Nezu Museum, both of which regularly display important examples of Heian-period kana calligraphy.