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| 豊臣秀吉の花押 Toyotomi Hideyoshi's Kaō |
When signing documents, people originally used a standard written form of their own name or their signature. Over time, people started stylising the way they signed their name to personalise it and to distinguish it from others’ signatures. As more time passed the stylisation became more sophisticated and the kaō was born. The kaō is a way of signing one’s name seen mostly in East Asian countries that use Chinese characters (kanji). Kaō first appeared in China in the Southern Qi Dynasty (479-502) and in Japan in the mid-Heian Period (794 to 1185). They were also referred to as ‘han’ and ‘kakihan’ in Japan and remained popular until the Edo Period (1603-1868)
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| Kaō of the Grandmasters of the Ueda Sōko Tradition of Chanoyu |
日本では、初めは名を楷書体で自署したが、次第に草書体にくずした署名（草名（そうみょう）という）となり、それを極端に形様化したものを花押と呼んだ。日本の花押の最古例は、10世紀半ばごろに求められるが、この時期は草名体のものが多い。11世紀に入ると、実名2字の部分（偏や旁など）を組み合わせて図案化した二合体が生まれた。また、同時期に、実名のうち1字だけを図案化した一字体も散見されるようになった。いずれの場合でも、花押が自署の代用であることを踏まえて、実名をもとにして作成されることが原則であった。なお、当初は貴族社会に生まれた花押だったが、11世紀後期ごろから、庶民の文書（田地売券など）にも花押が現れ始めた。当時の庶民の花押の特徴は、実名と花押を併記する点にあった（花押は実名の代用であるから、本来なら花押のみで十分である）。
History
In Japan people first signed their names in regular script (kaisho). In time people started signing in cursive script (sōsho) , and the end result was a complete stylisation of one’s name which beame know as a kaō. The oldest Japanese example of a kaō dates to the middles of the 10th centrury. In the 11th century people starting taking one part of each of two Chinese characters (kanji) of their name and combining them in a stylised fashion. This was the birth of the ‘nigōtai’ (two-part combination) style of creating a kaō. In the same period the ‘ichijitai’ (one stylised character) style of creating a kaō first appeared. This style takes one of two Chinese characters (kanji) of a person’s name and stylises this single character to create a kaō. In each of the styles, the kaō is used as a substitute for the person’s signature, and the kaō is created from the characters of the person’s real name. Kaō were first used by aristocrats, but were being used by common people by the end of the 11 century (for examples in documents stating the sale of rice paddy land). A charactersistic of the use of common people was that they often signed their full name as well as signing their kaō (a kaō is a substitute for a person’s signature, so just one would have sufficed).
鎌倉時代以降、武士による文書発給が格段に増加したことに伴い、武士の花押の用例も激増した。そのため、貴族のものとは異なる、武士特有の花押の形状・署記方法が生まれた。これを武家様（ぶけよう）といい、貴族の花押の様式を公家様（くげよう）という。本来、実名をもとに作る花押であるが、鎌倉期以降の武士には、実名とは関係なく父祖や主君の花押を模倣する傾向があった。もう一つの武士花押の特徴として、平安期の庶民慣習を受け継ぎ、実名と花押を併記していたことが挙げられる。武士は右筆に文書を作成させ、自らは花押のみを記すことが通例となっていた。そのため、文書の真偽を判定する場合、公家法では筆跡照合が重視されたのに対し、武家法では花押の照合が重要とされた。
From the Kamakura Period (1185-1333) the amount of documentation produced by the samurai (warrior class) made a marked increase. The use of kaō by the samurai class increased accordingly. The samurai developed their own characteristic ways of creating a kaō, different from the aristocrats. This was called ‘bukeyō’ (warrior style), and the aritocrat’s style ‘kugeyō’. Originally kaō were developed from the person’s name, but from the Kamakura Period the samurai started taking the kaō used by their ancestors and lord and adapting these kaō for their own use. Another characteristic was the samurai followed the custom of the common people of the Heian Period (794 - 1185) by signing both their names and kaō together. It was usual for the samurai to have a delegate compose a document and the person dictating the document only sign with their kaō. This custom meant that samurai documents were determined as genuine or not according to the kaō signed on the document. In contrast, the documents of aristocrats were determined as genuine according to handwriting.
戦国時代になると、花押の様式が著しく多様化した。必ずしも、実名をもとに花押が作成されなくなっており、織田信長の「麟」字花押や羽柴秀吉（豊臣秀吉）の「悉」字花押、伊達政宗の鳥（セキレイ）を図案化した花押などの例が見られる。家督を継いだ子が、父の花押を引き継ぐ例も多くあり、花押が自署という役割だけでなく、特定の地位を象徴する役割も担い始めていたと考えられている。花押を版刻したものを墨で押印する花押型（かおうがた）は、鎌倉期から見られるが、戦国期になって広く使用されるようになり、江戸期にはさらに普及した。この花押型の普及は、花押が印章と同じように用いられ始めたことを示している。これを花押の印章化という。江戸時代には、花押の使用例が少なくなり、印鑑の使用例が増加していった。特に百姓層では、江戸中期ごろから花押が見られなくなり、もっぱら印鑑が用いられるようになった。
By the Sengoku Era (Warring States Era) kaō had become more and more creative. Kaōs were developed without any reference to the person’s original name. For example, Oda Nobunaga (name characters 織田信長) used the character 麟 to develop his kaō, Toyotomi Hideyoshi (豊臣秀吉）used the character 悉 and Date Masamune (伊達政宗) used 鳥 (sekirei). The inheritor of a family would use their former father’s or family head’s kaō, and in this way the kaō can be seen as not only signifying a person, but also a particular rank or status. Kaō carved out of wood and stamped with ink can be seen in use from the Kamakura Period, but from the Sengoku Period their use increased significantly, and even more widespread during the Edo Period. These wooden ‘kaōgata’ made the kaō into another official seal. In the Edo Period inkan seals started to replace the use of kaō and the use of kaō started to decline.
1873年（明治6年）には、実印のない証書は裁判上の証拠にならない旨の太政官布告が発せられた。花押が禁止されたわけではないものの、ほぼ姿を消し、印鑑が取って代わることとなった。その後、押印を要求する文書については必要に応じて法定され、対象外の文書であっても押印の有無自体は文書の真正の証明に関する問題として扱われることに伴い、上記太政官布告は失効した。しかし、花押に署名としての効力はあり、押印を要する文書についても花押を押印の一種として認めるべき旨の見解（自筆証書遺言に要求される押印など）が現れるようになった。
また、政府閣議における閣僚署名は、明治以降現在も、花押で行うことが慣習となっている。なお、多くの閣僚は閣議における署名以外では花押を使うことは少ないため、閣僚就任とともに花押を用意しているケースが多い。
21世紀の日本では、パスポートやクレジットカードの署名、企業での稟議、官公庁での決裁などに花押が用いられることがあるが、印章捺印の方が早くて簡便である為非常に稀である。
In 1873 any documents not certified with a registered personal seal could not be considered as evidence in a court of law. This meant that although kaō were by no means banned, their use declined dramatically as they were superseded by personal seals (inkan). Overtime problems emerged with the law of recognising documents as genuine only if stamped with a personal seal, and the 1873 law was replaced.
From the Meiji Period and to the present day a custom has existed in in Parliamentary Cabinet meetings of using kaō for Ministerial signatures. As kaō are rarely used in everyday life, this custom means Ministers often have a kaō created for the first time when they assume office.
In 21st century Japan kaō are sometimes used for passport and credit cards signatures, company memos, and government approvals etc. However, the use of kaō is extremely rare as personal seals are more convenient.
茶道具を拝見する際、よく花押が道具に書かれています。道具に署名している花押を拝見するのが道具の拝見の楽しみの一つだと思います。
どなたの花押なのかがわかれば、道具の拝見の意義がより深まってくるのでしょう。また、花押をデザインとして拝見するのもいいでしょう。実名をもとにして作成されるので、どんな字のどんな部分を生かして作成されただろうと考えるのが楽しみですね。
In the chanoyu, viewing the equipage the host has selected for used in the tearoom is one of the delights of going to a tea gathering. Kaō are still often used by artists and tea masters. When you view equipage sach as tea caddies, calligraphy scrolls, etc. you can see kaō's in use by the craftsperson to sign their work. If you know who's kaō is written on the item you are appreciating, your appreciation and experience of the item deepens. Trying to guess who's kaō, and trying to guess what parts of their original name they used when creating their kaō is really enjoyable.
私の生徒の中、書道家としても活躍できる大変達筆な人がおります。実名はRoberto Di Leonardo ですが、イタリア語で名前のRobertoは「輝名」（きみょう）という意味、そして名字のDi Leonardoは「金獅」（きんし）という意味を持つそうです。素晴らしいお名前ですね。この間、チャレンジャーの金獅さんが自分の花押を作ってみました。色々と工夫した上、結局「金」と「輝」の二字を生かして作成ようです。どんな部分が「金」と「輝」からきているか想像できますか。
まったく初めて花押を書くのにもかかわらず、なかなかウマいと思っています。
One of my students is a very capable calligrapher. His name is Roberto Di Leonardo which in Italian means 'Shining fame' for Roderto, and 'Gold Lion' for Di Leonardo. What a wnderful name! By taking the meaning of his first and family names, characters with equivalent meaning can be used to form his Japanese name. Robbie has chosen 金獅輝名（Kinshi Kimyō）. 「金獅」（Kinshi 金 = gold 獅 = lion）is for Di Leonardo, and 「輝名」（Kimyō 輝 = shining, 名 = fame）is for Roberto. As Robbie is not one to stand down from a challenge, he decided to create his first kaō after I showed him some examples of kaō's used by the current and former Grandmasters of the Ueda Sōko Tradition of Chanoyu. After much consideration, he decided to use the 「金」and 「輝」characters to devise his kaō. Can you tell which parts come from where?
Though this was his first attempt at a kaō, I think the result speaks for itself. An elegant and strong kaō.
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| 金獅輝名（きんしきみょう）の花押 Robert Di Leonardo's kaō |
History sections translated fromWikipedia
http://ja.wikipedia.org/wiki/%E8%8A%B1%E6%8A%BC
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