Kokin Wakashu Volume 5 (Koya-Giri Version)

Kokin Wakashū Volume 5 (Kōya-gire): Japan's Oldest Surviving Poetry Manuscript

Imagine holding in your hands a scroll that preserves the very essence of Japanese beauty — a manuscript written nearly a thousand years ago, where ink and paper come together in perfect harmony. The Kokin Wakashū Volume 5 (Kōya-gire) is precisely such a treasure. Designated as a National Treasure of Japan, this handscroll is one of only three surviving complete volumes from the oldest known copy of the Kokin Wakashū, Japan's first imperially commissioned poetry anthology. It is not merely a text to be read — it is a work of art that embodies the pinnacle of kana calligraphy, the elegant Japanese script that flowered during the Heian period (794–1185).

What Is the Kokin Wakashū?

The Kokin Wakashū (Collection of Japanese Poems of Ancient and Modern Times) was compiled around 905 CE by order of Emperor Daigo. The principal editor was Ki no Tsurayuki, one of the most celebrated poets and literary figures of the Heian period. Spanning twenty volumes, the anthology gathered approximately 1,111 waka poems organized by theme — from the changing seasons and love to travel and mourning. As the very first imperially ordered poetry anthology (chokusen wakashū), the Kokin Wakashū established the standard for Japanese poetic aesthetics for centuries to come and profoundly shaped the nation's literary culture.

The original manuscript presented to Emperor Daigo was unfortunately lost, likely destroyed by fire sometime before the twelfth century. However, numerous copies were made over the centuries by talented calligraphers. Among all surviving transcriptions, the Kōya-gire is the oldest, dating to approximately 1050 CE — roughly 150 years after the anthology was first compiled.

The Kōya-gire: A Name Born from History

The name "Kōya-gire" has an intriguing origin. The word "gire" (or "kire") means "fragment" or "cutting" and refers to the practice of cutting apart scrolls and books to create individual pieces for appreciation — a custom that flourished from the Muromachi period onward alongside the rise of tea culture. The "Kōya" in the name comes from Mount Kōya (Kōya-san), the sacred Buddhist mountain in Wakayama Prefecture. In the late sixteenth century, the warlord Toyotomi Hideyoshi presented a portion of the ninth volume to Mokujiki Ōgo, a high-ranking monk at Monju-in temple on Mount Kōya. Because this fragment became widely known through its association with Mount Kōya, the entire set of manuscripts from the same original copy came to be called the Kōya-gire.

The complete Kōya-gire originally comprised twenty scrolls, but only nine volumes have survived to the present day (Volumes 1, 2, 3, 5, 8, 9, 18, 19, and 20). Of these, only three remain as complete scrolls: Volume 5 (in a private collection), Volume 8 (held at the Mōri Museum in Yamaguchi Prefecture), and Volume 20 (owned by Kōchi Prefecture and housed at the Kōchi Castle Museum of History). All three complete scrolls are designated National Treasures. The remaining volumes exist only as scattered fragments (dankan) preserved in museums and private collections throughout Japan.

Volume 5: Autumn Poems in Masterful Brushwork

Volume 5 of the Kokin Wakashū is devoted to "Aki no Uta Ge" (Autumn Poems, Part 2). This particular scroll preserves the original handscroll (makimono) format, measuring approximately 26.4 centimeters in height and 573.6 centimeters in total length. The scroll is written on high-quality paper adorned with scattered mica dust (kira sunago), creating a subtle, shimmering surface that catches the light. This refined paper, simple yet profoundly elegant, reflects the sophisticated aesthetic sensibility of the Heian aristocracy.

The calligraphy of Volume 5 is classified as the "Second Style" among the three distinct calligraphic styles found within the Kōya-gire. Research has established that the entire Kōya-gire was a collaborative effort — a "yoriai-gaki" (joint writing project) in which three master calligraphers each took responsibility for different volumes. The calligrapher behind the Second Style is widely believed to have been Minamoto no Kaneyuki (active ca. 1023–1074), a renowned court calligrapher. His brushwork is characterized by bold, dynamically slanting strokes that rise to the right, with thick, expressive character forms produced through the frequent use of side-brush technique (sokuhitsu). It is regarded as the most individualistic and powerful of the three Kōya-gire styles.

It should be noted that while Volume 5 survives nearly complete, two poems were cut from the scroll at some point in history and now exist as separate fragments.

Why It Was Designated a National Treasure

The Kokin Wakashū Volume 5 (Kōya-gire) was designated a National Treasure on June 9, 1951. Several factors contributed to this distinguished recognition:

• It is part of the oldest surviving manuscript of the Kokin Wakashū, making it an invaluable primary source for the study of classical Japanese literature and the history of the Japanese language.
• As one of only three complete scrolls from the Kōya-gire, it preserves the original handscroll format, offering a rare and authentic glimpse into the physical form of Heian-period literary manuscripts.
• Its calligraphy represents the zenith of kana writing, embodying the perfected art of Japanese syllabic script that has served as a model for calligraphers for nearly a millennium.
• The manuscript demonstrates the practice of yoriai-gaki (collaborative calligraphy), providing important evidence of how major literary projects were organized among elite calligraphers during the mid-Heian period.

The Art of Kana Calligraphy

To fully appreciate the Kōya-gire, it is helpful to understand the significance of kana calligraphy in Japanese culture. Kana is the uniquely Japanese phonetic script that evolved from simplified Chinese characters (kanji) during the Heian period. While kanji were associated with official documents and Chinese scholarship, kana became the medium of personal expression — especially in poetry and private correspondence. The development of kana allowed Japanese poets and writers to capture the nuances and rhythms of their own language with unprecedented freedom.

The Kōya-gire stands at the very summit of this calligraphic tradition. Each of its three styles demonstrates a different approach to the art of "renmen" — the flowing, connected brush movement that links characters together in graceful continuity. In the Second Style seen in Volume 5, the calligrapher creates a sense of vitality and rhythm through bold variations in line thickness, energetic rightward slanting, and masterful control of ink density. The result is calligraphy that feels simultaneously powerful and refined — an expression of artistic individuality within the disciplined framework of court aesthetics.

Three Styles, Three Master Calligraphers

One of the most fascinating aspects of the Kōya-gire is that it was written by three different calligraphers, each with a distinct artistic personality. Understanding these three styles deepens the appreciation of Volume 5 in context:

The First Style, found in Volumes 1, 9, and 20, is considered the most refined and authoritative. The calligrapher — possibly Fujiwara no Yukitsune (1012–1050) — was likely the most senior of the three, as indicated by his assignment to the opening and closing volumes. The brushwork is restrained, elegant, and predominantly upright, with minimal use of connected strokes.

The Second Style, present in Volumes 2, 3, 5, and 8, is attributed to Minamoto no Kaneyuki. As seen in Volume 5, this style is characterized by its dynamic energy, bold strokes, and distinctive right-leaning slant. Kaneyuki's hand is also recognized in the painted screens of the Phoenix Hall at Byōdō-in temple in Uji — another masterpiece of Heian-period art.

The Third Style, seen in Volumes 18 and 19, is attributed to Fujiwara no Kintsune (d. 1099), though this identification remains uncertain. This style is the most relaxed and flowing of the three, with a quality that has been described as the most modern in feeling.

Where to Experience the Kōya-gire

Since Volume 5 is privately owned, it is not on permanent public display. However, it is occasionally exhibited at museums on special occasions. Visitors interested in experiencing the beauty of the Kōya-gire and related works have several options:

The Kōchi Castle Museum of History (Kōchi-jō Rekishi Hakubutsukan) in Kōchi City periodically exhibits the National Treasure Volume 20, which belongs to the First Style. The Tokyo National Museum in Ueno holds fragments from the Kōya-gire in its collection, including portions of Volume 19 (Third Style), and has organized special exhibitions dedicated to the beauty of kana calligraphy. The Gotoh Museum in Setagaya, Tokyo, possesses an important First Style fragment from Volume 1. The Idemitsu Museum of Arts in Tokyo also holds a notable First Style fragment. Additional fragments can be found at the Mitsui Memorial Museum, the Nezu Museum, the Artizon Museum, and other institutions.

For those particularly interested in seeing the Second Style — the same hand that created Volume 5 — the Mōri Museum in Hōfu, Yamaguchi Prefecture, houses the complete Volume 8, another National Treasure written by the same calligrapher.

Exploring Japanese Calligraphy Culture

A visit to see the Kōya-gire or its related fragments can be the starting point for a deeper exploration of Japanese calligraphy culture. Many art museums across Japan hold collections of kohitsu (ancient calligraphy) and tekagami (albums of exemplary calligraphy) that allow visitors to trace the development of Japanese writing as an art form. The Kyoto National Museum possesses the National Treasure Moshiogusa Album of Exemplary Calligraphy, which contains fragments from the Kōya-gire alongside other masterworks spanning several centuries.

For those interested in practicing Japanese calligraphy, numerous published reproductions and instructional books based on the Kōya-gire are available in bookstores throughout Japan. Many calligraphy studios and cultural centers also offer classes focused on kana calligraphy, where participants can study the techniques exemplified in these ancient manuscripts.

Nearby Attractions

While Volume 5 itself is in a private collection, the related Kōya-gire complete scrolls invite visits to several culturally rich destinations. If visiting the Kōchi Castle Museum of History to see Volume 20, travelers can also explore Kōchi Castle — one of only twelve original castles remaining in Japan — and enjoy the vibrant Hirome Market nearby. In Yamaguchi Prefecture, the Mōri Museum (housing Volume 8) is set within the beautiful gardens of the former Mōri clan estate in Hōfu City.

In Tokyo, where many fragments are held, visitors can design a calligraphy-themed itinerary connecting institutions such as the Tokyo National Museum, the Gotoh Museum, the Idemitsu Museum of Arts, and the Nezu Museum. Each offers not only calligraphic treasures but also serene garden settings that evoke the aesthetic sensibility of the Heian period.