Poetry Written by Fujiwara Sari

Fujiwara no Sukemasa's Poetry on Decorated Paper: A Living Masterpiece of Heian Calligraphy

In a quiet exhibition room at the Kagawa Prefectural Museum in Takamatsu, a single hanging scroll holds the power to transport visitors more than a thousand years back in time. The Fujiwara no Sukemasa Hitsu Shi-Kaishi (藤原佐理筆詩懐紙) is Japan's oldest surviving poetry paper — a National Treasure that captures a fleeting moment of aristocratic culture at the very dawn of Japanese-style calligraphy.

Written in 969 CE by Fujiwara no Sukemasa, one of the legendary "Three Traces" (Sanseki) of Japanese calligraphy, this remarkable work is far more than elegant brushwork on paper. It is a window into the Heian court, a testament to the emergence of a uniquely Japanese aesthetic, and a rare survivor from an era when poetry, beauty, and brushwork were inseparable.

What Is a Shi-Kaishi?

To fully appreciate this National Treasure, it helps to understand what a shi-kaishi (詩懐紙) is. In the Heian period (794–1185), aristocrats carried folded paper — called kaishi (懐紙), literally "pocket paper" — tucked inside the breast of their robes. Men typically used sturdy michinoku-gami (Michinoku paper), while women favored delicately colored sheets.

When a poetry gathering was held, participants would draw this paper from their robes and compose verses on the spot. A shi-kaishi specifically refers to a kaishi on which a Chinese poem (kanshi) has been inscribed. These were intimate, spontaneous records of literary gatherings — and almost none have survived the centuries. The Fujiwara no Sukemasa Hitsu Shi-Kaishi is the oldest such document known to exist in Japan, making it an irreplaceable artifact of Heian literary culture.

The Calligrapher: Fujiwara no Sukemasa and the Three Traces

Fujiwara no Sukemasa (944–998) was a mid-Heian nobleman and one of the most celebrated calligraphers in Japanese history. He was the grandson of the regent and Grand Minister Fujiwara no Saneyori, and he served as a court official rising to the rank of Councillor (Sangi) and Head of the Ministry of Military Affairs.

Sukemasa is revered as one of the Three Traces (Sanseki 三跡), alongside Ono no Michikaze and Fujiwara no Yukinari — three master calligraphers who together shaped the course of Japanese calligraphy. His brushwork is known as Saseki (佐跡, "the trace of Sa"), and it was characterized by an elegant yet dynamic quality, with flowing, rhythmic strokes.

Sukemasa's calligraphic talent was recognized from a young age. He served as the official calligrapher for the Daijō-sai (Great Thanksgiving Ceremony) screen inscriptions under three successive emperors — Enyū, Kazan, and Ichijō — an extraordinary honor that attests to his standing as the foremost calligrapher of his era. Despite his artistic brilliance, Sukemasa was known for a somewhat careless personality; many of his surviving works are actually letters of apology for forgotten duties, which have been treasured precisely because of their superb brushwork.

The Story Behind the Shi-Kaishi

This poetry paper was created in the spring of 969 CE (Anwa 2), when Sukemasa was just 26 years old and serving as Vice-Captain of the Right Palace Guards (Ukon'e Gon no Shōshō). His grandfather, the Grand Minister Fujiwara no Saneyori, hosted a poetry gathering at his residence, and the young Sukemasa was among the invited guests.

The opening lines of the shi-kaishi record the occasion: the gathering's theme was announced as "Wakan Nin'i" (倭漢任意), meaning participants were free to compose in either Japanese (waka) or Chinese (kanshi). Sukemasa chose to write a Chinese poem — a seven-character quatrain (shichigon zekku) — evoking the beauty of cherry blossoms reflected on the water's surface in late spring.

The poem paints a luminous scene: blossoms speaking silently across the water, light and shadow playing among the petals, fragrant flowers drifting on waves along both banks, and bush warblers singing of the lingering spring. It is a work of youthful vitality, yet the brushwork displays a maturity and sophistication far beyond Sukemasa's years.

Why It Was Designated a National Treasure

The Fujiwara no Sukemasa Hitsu Shi-Kaishi was designated a National Treasure on November 22, 1952. Several factors contribute to its exceptional significance:

• The Oldest Surviving Shi-Kaishi: No other poetry paper from a Heian-period poetry gathering is known to have survived, making this the earliest extant example in Japan.
• A Pivotal Moment in Calligraphic History: The brushwork reveals the transition from Chinese-influenced (karayō) calligraphy to the distinctly Japanese (wayō) style. Characters such as "flower" (花), "light" (光), "water" (水), and "spring" (春) demonstrate a fluid, graceful brushwork that departs from the rigid Chinese model.
• Authenticated Work of a Master Calligrapher: As the earliest known work by Fujiwara no Sukemasa, who was already showing the influence of his predecessor Ono no Michikaze, this piece provides crucial evidence for understanding the development of Japanese calligraphy.
• Historical and Literary Value: Beyond its calligraphic importance, the shi-kaishi documents Heian aristocratic culture — the customs of poetry gatherings, the format of literary composition, and the aesthetic values of the 10th-century court.

Highlights and What to Look For

When viewing this National Treasure, there are several elements that reward careful attention:

Visiting the Kagawa Prefectural Museum

The Fujiwara no Sukemasa Hitsu Shi-Kaishi is housed at the Kagawa Prefectural Museum, a comprehensive museum combining history and art, located adjacent to Tamamo Park (the ruins of Takamatsu Castle) in central Takamatsu. The museum offers a rich introduction to Kagawa Prefecture's cultural heritage, from ancient times through the modern era.

Please note that this National Treasure is not on permanent display due to conservation requirements. It is typically exhibited for a limited period each spring, usually for about two weeks. Visitors planning a trip specifically to see this work should check the museum's official website or contact them in advance for the current exhibition schedule.

Nearby Attractions

A visit to the Kagawa Prefectural Museum pairs beautifully with exploring the surrounding cultural district of Takamatsu:

• Tamamo Park (Takamatsu Castle Ruins): Directly adjacent to the museum, this historic castle site features beautiful gardens and one of Japan's rare seawater moats.
• Ritsurin Garden: One of Japan's most celebrated landscape gardens, approximately 20 minutes by bus from the museum. A masterpiece of Edo-period garden design.
• Yashima: A tabletop mountain east of Takamatsu offering panoramic views of the Seto Inland Sea, with historical connections to the Genpei War.
• Shikoku Pilgrimage Temples: Several temples on the famous 88-temple pilgrimage route are accessible from Takamatsu, including Yashima-ji (Temple 84) and Yakuri-ji (Temple 85).
• Sanuki Udon: Kagawa Prefecture is the undisputed capital of udon noodles. Dozens of renowned udon shops are within walking distance of the museum.