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The 'History of Japanese calligraphy' (日本書道史) has been heavily influenced by Chinese calligraphy. For a long time, the most esteemed calligrapher in Japan had been Wang Xizhi, a Chinese calligrapher in the 4th century. After the invention of Hiragana and Katakana, the Japanese unique syllabaries, calligraphers developed styles intrinsic to Japan.
The oldest existing calligraphic text in Japan is the inscription on the halo of the Bhaisajyaguru statue in Hōryū-ji Temple. This Chinese text was written in ''Shakeitai'' (写経体) style, famed in Six Dynasties. There are also bibliographic notes for the Lotus Sutra in same temple. This ''Hokkegisho'' (法華義疏) have been said to be written by Prince Shōtoku in 615, but some scholars criticised this assertion. Hokkegisho was written in Cursive script and good example to show the high skill to copy Chinese original texts in Asuka period.
''Broken Stone in Uji Bridge'' (宇治橋断碑) and ''Stone in Nasu County'' (那須国造碑) are also typical examples in this time. Both of inscriptions were influenced by Northern Wei robust style.
In 7th century Tang Dynasty established hegemony in China. Their second Emperor Taizong esteemed Wang Xizhi's calligraphic text and this popularity influenced Japanese calligraphers. All of the original texts written by Wang Xizhi did lost, and some copies such as ''Gakkiron'' written by the Empress Komyo regarded as important sources to know Wang Xizhi's style.
''Soukou Shujitsu'' is the first text which shows Japanese unique calligraphic style. This Tanka text was written in 749 and shows some difference from Chinese calligraphy.
Emperor Kammu moved the capital from Heijō-kyō in Nara, first to Nagaoka-kyō in 784, and then to Heian-kyō, Kyoto in 794. This marks the beginning of the Heian era. Chinese influences in calligraphy were not changed in the early period. For example, under the Emperor Saga's reign royalty, the aristocracy and even court ladies studied copying Chinese poetry texts in artistic style.
Wang Xizhi's influences remained dominant, which are shown in calligraphies written by Kukai or Saichō. Some other Chinese calligraphers, such as Ouyang Xun and Yan Zhenqing were also became highly evaluated. Most notable admirers for each one were Emperor Saga and Tachibana no Hayanari.
At the same time Japanese unique calligraphic style was emerging. Kukai said to Emperor Saga “China is large country and Japan is relatively small, so I suggest to write in the different way.” ''Cry for noble Saichō'' (哭最澄上人), which was written by Emperor Saga for Saichō's death, was one of the example for such a transformation.
Calligraphy was adopted as one of the subject in elementary school of Japanese mandatory education system. In high school, calligraphy is one of the alternatives among art subjects, with music or painting. Some universities such as University of Tsukuba, Tokyo Gakugei University and Fukuoka Kyoiku University have the branch of calligraphic study and emphasize teacher-training programs with calligraphy.
Japanese calligraphy also fascinated through the centuries many western artists, mainly appreciated calligraphers, who studied and practiced calligraphy as a parallel activity to their Arts. Since the later years of the 20th century, one notable name among them is the Italian Fernando Lembo di Pino, also known as Yorukamome (夜かもめ) or Ou An Sensei (鴎庵先生).
★ East Asian calligraphy
★
★ Chinese calligraphy
★ ''History of Japanese calligraphy'' (和様書道史), Hachiro ONOUE (尾上八郎), 1934
The 'History of Japanese calligraphy' (日本書道史) has been heavily influenced by Chinese calligraphy. For a long time, the most esteemed calligrapher in Japan had been Wang Xizhi, a Chinese calligrapher in the 4th century. After the invention of Hiragana and Katakana, the Japanese unique syllabaries, calligraphers developed styles intrinsic to Japan.
| Contents |
| Before the Nara period |
| Heian period |
| Kamakura and Muromachi period |
| Edo period |
| Today |
| See also |
| References |
Before the Nara period
The oldest existing calligraphic text in Japan is the inscription on the halo of the Bhaisajyaguru statue in Hōryū-ji Temple. This Chinese text was written in ''Shakeitai'' (写経体) style, famed in Six Dynasties. There are also bibliographic notes for the Lotus Sutra in same temple. This ''Hokkegisho'' (法華義疏) have been said to be written by Prince Shōtoku in 615, but some scholars criticised this assertion. Hokkegisho was written in Cursive script and good example to show the high skill to copy Chinese original texts in Asuka period.
''Broken Stone in Uji Bridge'' (宇治橋断碑) and ''Stone in Nasu County'' (那須国造碑) are also typical examples in this time. Both of inscriptions were influenced by Northern Wei robust style.
In 7th century Tang Dynasty established hegemony in China. Their second Emperor Taizong esteemed Wang Xizhi's calligraphic text and this popularity influenced Japanese calligraphers. All of the original texts written by Wang Xizhi did lost, and some copies such as ''Gakkiron'' written by the Empress Komyo regarded as important sources to know Wang Xizhi's style.
''Soukou Shujitsu'' is the first text which shows Japanese unique calligraphic style. This Tanka text was written in 749 and shows some difference from Chinese calligraphy.
Heian period
Emperor Kammu moved the capital from Heijō-kyō in Nara, first to Nagaoka-kyō in 784, and then to Heian-kyō, Kyoto in 794. This marks the beginning of the Heian era. Chinese influences in calligraphy were not changed in the early period. For example, under the Emperor Saga's reign royalty, the aristocracy and even court ladies studied copying Chinese poetry texts in artistic style.
Wang Xizhi's influences remained dominant, which are shown in calligraphies written by Kukai or Saichō. Some other Chinese calligraphers, such as Ouyang Xun and Yan Zhenqing were also became highly evaluated. Most notable admirers for each one were Emperor Saga and Tachibana no Hayanari.
At the same time Japanese unique calligraphic style was emerging. Kukai said to Emperor Saga “China is large country and Japan is relatively small, so I suggest to write in the different way.” ''Cry for noble Saichō'' (哭最澄上人), which was written by Emperor Saga for Saichō's death, was one of the example for such a transformation.
Kamakura and Muromachi period
Edo period
Today
Calligraphy was adopted as one of the subject in elementary school of Japanese mandatory education system. In high school, calligraphy is one of the alternatives among art subjects, with music or painting. Some universities such as University of Tsukuba, Tokyo Gakugei University and Fukuoka Kyoiku University have the branch of calligraphic study and emphasize teacher-training programs with calligraphy.
Japanese calligraphy also fascinated through the centuries many western artists, mainly appreciated calligraphers, who studied and practiced calligraphy as a parallel activity to their Arts. Since the later years of the 20th century, one notable name among them is the Italian Fernando Lembo di Pino, also known as Yorukamome (夜かもめ) or Ou An Sensei (鴎庵先生).
See also
★ East Asian calligraphy
★
★ Chinese calligraphy
References
★ ''History of Japanese calligraphy'' (和様書道史), Hachiro ONOUE (尾上八郎), 1934
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