Sanmyakuin-ki: A Window into the Soul of Japan's Master Calligrapher

In the quiet hills of northwestern Kyoto, where the famous Ninnaji Temple stands sentinel over centuries of imperial history, lies a treasure house of aristocratic heritage: the Yomei Bunko. Among its extraordinary collection of over 200,000 historical documents and artworks, one recent addition to Japan's Important Cultural Properties stands out as a particularly intimate portal to the past—the Sanmyakuin-ki, the personal diary of Konoe Nobutada.

Designated as an Important Cultural Property in June 2023, this remarkable manuscript offers visitors a rare opportunity to encounter the handwriting of one of Japan's greatest calligraphers and to understand the turbulent era in which he lived.

Who Was Konoe Nobutada?

Konoe Nobutada (1565-1614), posthumously known by his Buddhist name Sanmyakuin, was far more than a nobleman of the Konoe family. Born as the second son of Konoe Sakihisa, he inherited leadership of one of Japan's five regent families (gosekke) at the tender age of 18, following his father's forced retirement after the Honnoji Incident of 1582.

What makes Nobutada extraordinary in Japanese cultural history is his recognition as one of the "Three Great Brushes of the Kan'ei Era" (Kan'ei no Sanpitsu), alongside the artist Hon'ami Koetsu and the monk Shokado Shojo. These three masters revolutionized Japanese calligraphy during the transition from the Momoyama to Edo periods, breaking free from the rigid, formulaic styles that had dominated the Muromachi period.

Nobutada's calligraphic style, known as the Konoe-ryu or Sanmyakuin-ryu, was characterized by bold, dynamic brush strokes and large-scale characters that brought unprecedented power to traditional Japanese writing. His innovation of writing large kana characters on folding screens transformed calligraphy from intimate scroll work into dramatic architectural statements.

The Sanmyakuin-ki: Contents and Historical Significance

The Sanmyakuin-ki consists of 7 scrolls, 18 bound books, and 6 documents written entirely in Nobutada's own hand. The collection is divided into two main categories: the "honki" (main diary), which records daily events chronologically, and the "bekki" (separate records), which organizes information by topic or subject matter. Interestingly, the bekki portions are more detailed and extensive than the main diary, revealing Nobutada's particular interests and concerns.

One of the most significant portions of this collection is the "Kanpaku Senge-ki" (Record of the Regent's Proclamation), which documents Nobutada's long-awaited appointment as Kanpaku (Imperial Regent) in 1605. This section includes Nobutada's own copies of the official documents issued by the imperial court, painstakingly transcribed onto specially prepared paper that matched the original documents.

A Life of Political Drama and Cultural Achievement

The diary reveals a life marked by both triumph and tribulation. Nobutada's journey to the position of Kanpaku was fraught with political intrigue. In 1585, when the ambitious warlord Toyotomi Hideyoshi sought to become Regent, Nobutada found himself entangled in negotiations that would reshape Japanese political history. Hideyoshi became an adopted son of the retired Konoe Sakihisa and eventually secured the Kanpaku position for himself, with promises that Nobutada would eventually succeed him.

However, when Hideyoshi passed the position to his nephew Hidetsugu instead, Nobutada was left waiting. His fiery temperament led to further complications—when he attempted to join Hideyoshi's military campaign to Korea in 1594, Emperor Go-Yozei was so angered by this breach of protocol that Nobutada was exiled to Satsuma Province in southern Kyushu.

The diary's records of this exile period are particularly valuable to historians, providing detailed observations of life in Kyushu during the late 16th century. During his two years in Satsuma, Nobutada engaged deeply with local culture and the Shimazu clan, contributing to cultural exchange between Kyoto aristocratic traditions and regional customs.

It was not until 1605—twenty years after his initial petition—that Nobutada finally achieved his lifelong dream of becoming Kanpaku. He held this position for less than a decade before his death in 1614 at the age of 50.

Why This Document Matters

The Sanmyakuin-ki holds exceptional value for multiple reasons. As a primary historical source, it provides firsthand accounts of political events, court ceremonies, and cultural activities during one of Japan's most transformative periods—the transition from the warring Momoyama era to the peace of the Tokugawa shogunate.

For scholars of Japanese calligraphy, the document represents an unparalleled opportunity to study the everyday writing of one of history's greatest masters. Unlike formal calligraphic works created for display or gifting, a personal diary reveals the natural flow of an artist's hand, the spontaneous expression of his thoughts, and the intimate relationship between writer and brush.

The document also illuminates the customs and procedures of the imperial court, particularly regarding the significant ceremony of Kanpaku appointment. The careful transcription of official documents demonstrates both Nobutada's reverence for his position and his understanding of the historical importance of preserving such records.

Visiting Yomei Bunko and the Surrounding Area

The Yomei Bunko, established in 1938 by the 29th head of the Konoe family (and three-time Prime Minister of Japan) Konoe Fumimaro, houses the family's treasures accumulated over more than a thousand years. The collection includes 8 National Treasures and 60 Important Cultural Properties, most famously the diary of Fujiwara no Michinaga, the "Mido Kanpaku-ki."

Please note that the Yomei Bunko is not a regular public museum. Access is primarily for scholars and researchers, with general admission available only through advance reservation for groups of 20 or more. However, many treasures from the collection are periodically displayed at special exhibitions at major museums such as the Kyoto National Museum.

The surrounding Omuro area offers rich cultural experiences. The nearby Ninnaji Temple, a UNESCO World Heritage Site, features the only surviving original Golden Hall (Kondo) from the imperial palace, along with famous late-blooming cherry trees that attract visitors each spring. The "Kinukake no Michi" route connects Ninnaji with other World Heritage sites including Ryoanji Temple and Kinkakuji (Golden Pavilion), making for an excellent day of cultural exploration.

The Legacy of the Three Great Brushes

To fully appreciate the Sanmyakuin-ki, visitors interested in Kan'ei period calligraphy might also explore the works of Nobutada's fellow "Great Brushes." Hon'ami Koetsu's elegant collaboration with the painter Tawaraya Sotatsu produced some of Japan's most beautiful decorated paper works, while Shokado Shojo's refined style influenced generations of calligraphers.

Together, these three masters represented a renaissance in Japanese calligraphy—a return to the elegant aesthetics of the Heian period combined with the bold, individual expression that characterized the cultural flowering of the early Edo period. The Sanmyakuin-ki stands as both a historical document and an artistic legacy, connecting modern visitors to this remarkable moment in Japanese cultural history.