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The Beauty of Japanese-style Calligraphy
The Beauty of Japanese-style Calligraphy ／ Heiseikan Special Exhibition Galleries July 13, 2013 (Sat) - September 8, 2013 (Sun)
Poems of Bai Juyi, By Fujiwara no Kozei, Heian period, dated 1018 (National Treasure)
The history of Japanese calligraphy developed under the influence of Chinese calligraphy techniques. As Japanese styles of social systems and culture evolved in the mid-Heian period (around the 10th century), the renowned calligraphers Ono no Tofu, Fujiwara no Sari, and Fujiwara no Kozei appeared, who established the Japanese style of calligraphy. From then on, the tradition of Japanese-style calligraphy became central in the history of calligraphy in Japan. This exhibition introduces the allure of calligraphy by looking at its history, through an array of Japanese-style calligraphy masterpieces.
A National Treasure, Mido kanpaku ki by Fujiwara no Michinaga
First public exhibition after having been registered as “Memory of the World”
Highlight of the Exhibition
General Information |
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| Period | Saturday, July 13 - Sunday, September 8, 2013 | ||||||||||
| Venue | Heiseikan, Tokyo National Museum (Ueno Park) | ||||||||||
| Hours | 9:30 - 17:00 (Last entry 30 minutes before closing) Saturdays, Sundays, Holidays until 18:00 Fridays until 20:00 (Last entry 30 minutes before closing) |
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| Closed | Mondays(Except for Monday, July 15, August 12) | ||||||||||
| Admission | Adults: 1500 (1300/1200) yen University students: 1200 (1000/900) yen High school students: 900 (700/600) yen Junior high school students and under: Free
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| Access | 10 minutes' walk from JR Ueno Station (Park exit) and Uguisudani Station 15 minutes' walk from Keisei Ueno Station, Tokyo Metro Ueno Station and Tokyo Metro Nezu Station |
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| Organizer | Tokyo National Museum, The Yomiuri Shimbun, NHK, NHK Promotions Inc. | ||||||||||
| With the Support of | Agency for Cultural Affairs | ||||||||||
| With the Special Assistance of | THE YOMIURI SHOHOKAI (THE YOMIURI CALLIGRAPHY SOCIETY) | ||||||||||
| With the Sponsorship of | Mitsumura Printing Co., Ltd | ||||||||||
| With the Assistance of | Aioi Nissay Dowa insurance Co., Ltd | ||||||||||
| General Inquiries | 03-5405-8686 (Hello Dial) | ||||||||||
| Exhibition Website | http://wayo2013.jp (In Japanese) The website has closed with the end of the exhibition. |
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Related Events
<Lectures>
The Beauty of Japanese-style Calligraphy
Heiseikan Auditorium
July 20, 2013 (Sat)
13:30 - 15:00
Heiseikan Auditorium
August 10, 2013 (Sat)
13:30 - 15:00
Related Exhibition
The Beauty of Japanese-style Calligraphy from the Modern Era Heiseikan Thematic Exhibition Room July 13, 2013 (Sat) - September 8, 2013 (Sun)
First public exhibition, since being registered as “Memory of the World,” of the National Treasure, Mido kanpaku ki, the world’s oldest autographic diary, written by Fujiwara no Michinaga |
Mido kanpaku ki is a diary written by Fujiwara no Michinaga (966–1027), who established the golden age ruled by regents and chancellors in the mid-Heian period. Matters of importance in regency government as well as the luxurious daily lives of the nobility are recorded in the diary. It is a first-class material which depicts the society and culture of those days. Michinaga is known to have built a close friendship with Fujiwara no Kozei, one of the three master calligraphers of the time, who excelled in Japanese-style calligraphy. Kozei’s influence can be detected in Michinaga’s style of brushwork.
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Mido kanpaku ki (Diary of the Regent of the Great Hall), Scroll 2 of the year Kanko 4
By Fujiwara no Michinaga Heian period, dated 1007 (Kanko 4) National Treasure Yomei Bunko Foundation, Kyoto ［on exhibit from July 13 to August 12, 2013］ |
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Mido kanpaku ki (Diary of the Regent of the Great Hall), Scroll 1 of the year Kanko 1
By Fujiwara no Michinaga Heian period, dated 1004 (Kanko 1) National Treasure Yomei Bunko Foundation, Kyoto ［on exhibit from August 13 to September 8, 2013］ |
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Part 1: Appreciating Calligraphy
Recognizing beauty in written characters, giving it form as calligraphy, and appreciating that calligraphy as artconstitutes a distinctive element of Japanese traditional culture. The kanji writing system was transmitted from the Chinese continent, then transformed by the Japanese in order to more accurately express their native language. |
Decorative Arts
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| Eyebrow cosmetic box, table, and writing Box, from the bridal trousseau of Chiyohime Designs from the Hatsune chapter of the Tale of Genji in maki-e lacquer By Koami Choju Edo period, dated 1639（Kan'ei 16） National Treasure The Tokugawa Art Museum, Aichi ［Eyebrow cosmetic box: on exhibit from July 13 to August 12, 2013, table, and writing box: on exhibit from August 13 to September 8, 2013］ |
Folding Screens
| Cypress Grove with Poem Calligraphy by Konoe Nobutada, Painting by Hasegawa Tohaku Azuchi-Momoyama to Edo period, 16th - 17th century Zenrinji, Kyoto ［on exhibit from August 6 to August 25, 2013］ |
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Calligraphy of Tea Ceremony
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| Akihagi no Segment from the Kokin waka shu Poetry Anthology, Sunshoan shikishi version Attributed to Ki no Tsurayuki Heian period, 11th century Important Cultural Property The Gotoh Museum, Tokyo ［on exhibit from July 13 to August 4, 2013］ |
Poem Ima wa haya, Masu shikishi version Attributed to Fujiwara no Kozei Heian period, 11th century Tokyo National Museum ［on exhibit from August 6 to September 8, 2013］ |
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| Poem Yoshino kawa, on Joined Poem Cards Tsugi shikishi version Attributed to Ono no Tofu Heian period, 11th century Important Cultural Property Agency for Cultural Affairs ［on exhibit from July 13 to August 4, 2013］ |
The Calligraphy of Rulers
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| Letter, to Yoichiro By Oda Nobunaga Azuchi-Momoyama period, dated 1577 (Tensho 5) Important Cultural Property Eisei Bunko Museum, Tokyo ［on exhibit from July 13 to August 12, 2013］ |
Letter, to One By Toyotomi Hideyoshi Azuchi-Momoyama period, dated 1593 (Bunroku 2) Important Cultural Property Kodaiji, Kyoto ［on exhibit from July 13 to August 12, 2013］ |
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Letter, to Choho
By Tokugawa Ieyasu Edo period, 17th century Important Art Object Tokyo National Museum ［on exhibit from July 13 to August 4, 2013］ |
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Model Book of Exemplary
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| Model Book of Exemplary Calligraphy: Kanbokujo Nara to Muromachi period, 8th - 16th century National Treasure MOA Museum of Art, Shizuoka ［on exhibit from July 13 to August 12, 2013］ |
Model Book of Exemplary Calligraphy: Moshiogusa Nara to Muromachi period, 8th - 16th century National Treasure Kyoto National Museum ［on exhibit from July 13 to August 12, 2013］ |
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| Model Book of Exemplary Calligraphy: Minu yo no tomo Nara to Muromachi period, 8th - 16th century National Treasure Idemitsu Museum of Arts, Tokyo ［on exhibit from August 13 to August 25, 2013］ |
Model Book of Exemplary Calligraphy: O tekagami Nara to Muromachi period, 8th - 16th century National Treasure Yomei Bunko Foundation, Kyoto ［on exhibit from August 13 to September 9, 2013］ |
Part 2: Three Great Calligraphers of the Heian Period and the Establishment of KanaIn the mid-Heian period, three exceptional calligraphers — Ono no Tofu (894–966), Fujiwara no Sari (944–998), and Fujiwara no Kozei (972–1027) — developed a delicate and elegant calligraphic style that grew out of a distinctly Japanese aesthetic sensibility.During this same time period, the Kokin waka shu imperial poetry anthology was compiled and an evolution of various kinds of kana characters accompanied the rise of waka culture. Since Japan did not have a writing system of its own in ancient times, the first kanji characters to arrive there were known as mana (“formal writing”) or otoko-de (“men’s hand”), while the simplified characters that abbreviated and transformed these mana characters into a cursive style were called karina (“provisional writing”). This word karina was elided to become kanna and eventually further shortened to become the word kana. |
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| Imperial Record of Posthumous Promotion and Conferring of Epithet on Priest Enchin By Ono no Tofu Heian period, dated 927 (Encho 5) National Treasure Tokyo National Museum ［on exhibit from July 13 to September 8, 2013］ |
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Poem on Kaishi Poem Card By Fujiwara no Sari Heian period, dated 969 (Anna 2) National Treasure The Kagawa Museum, Kagawa ［on exhibit from July 30 to September 8, 2013］ |
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| Poems of Bai Juyi By Fujiwara no Kozei Heian period, dated 1018 (Kannin 2) National Treasure Tokyo National Museum ［on exhibit from July 13 to September 8, 2013］ |
New discovery!
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Part 3: Calligraphy and FaithSince the time it was introduced to Japan, Buddhism was accompanied by the practice of transcribing sutra texts. The somber calligraphic style of sutra copying at the Nara court was somber, which continued into the Heian period. However, from around the time when envoy missions to Tang China ceased, Japanese-style culture had begun to spread. Calligraphic styles that had until that time which followed Chinese styles became moderated by a softness of touch.The utmost care is concentrated in every detail of the works, starting with the graceful Japanese-style calligraphy through to the details of the paper, the rollers, and even the wrapping braidscords. These magnificent sutra scrolls represent the height of ornamentation and thein ultimate sophistication of the culture of the time. |
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| Lotus Sutra, Known as Chikubujima kyo Heian period, late 10th - early 11th century National Treasure Tokyo National Museum ［on exhibit from July 13 to September 8, 2013］ |
| Fan-shaped Albums of the Lotus Sutra, Volume 1 and Kanfugen kyo Sutra Heian period, 12th century National Treasure Shitennoji, Osaka ［Volume 1:on exhibit from July 13 to July 28, 2013, Kanfugen kyo: on exhibit from July 30 to August 12, 2013］ |
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Part 4: Koyagire and Classic Works of CalligraphyDuring the period from the tenth to the eleventh century, when Japanese-style calligraphy was becoming established, the kana syllabary also came into being. The fragmentary texts together known as the Koyagire exemplify the consummation of the kana form.These calligraphic writings by people of ancient times are known as classic works of calligraphy (kohitsu), a term primarily used to refer to poetry anthologies from the Heian (794–1192) to the Kamakura period (1192–1333). From the Koyagire onward, noted calligraphers transcribed poetic anthologies such as the Kokin waka shu and Wakan roei shu onto magnificently decorated writing papers. Among the noble families of the time, such works were considered precious gifts that were presented as “ornamental model books.” Later, with the popularity of tea ceremony and the practice of assembling collections into albums, many ancient writings were divided into fragmentary sections. Nevertheless ornamental model books that survived in their original form were passed down with great care. |
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Kokin waka shu Poetry Anthology, Volume 20, Koyagire version Attributed to Ki no Tsurayuki National Treasure Heian period, 11th century Tosa Yamauchi Family Treasury and Archives, Kochi ［on exhibit from July 13 to July 28, 2013］ |
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| Wakan roei shu Poetry Anthology, Sekido version By Minamoto no Kaneyuki Heian period, 11th century Important Cultural Property Agency for Cultural Affairs ［scroll 1:on exhibit from July 13 to August 12, 2013, scroll 2:on exhibit from August 13 to September 8, 2013］ |
Part 5: The Sesonji School and the Development of the Japanese StyleFor a long time, the descendants of Fujiwara no Kozei served as official copyists at the imperial court and their calligraphic style later came to be known as the Sesonji School, a style that occupied an important position in the history of Japanese calligraphy.Emperor Fushimi (1265–1317), who was known as one of the great calligraphers of his time, demonstrated a mastery of Heian-period calligraphy in his fluid writing style, and his son, Prince Son'en (1298–1356), studied calligraphy from Sesonji Yukifusa and Yukitada, building on a mastery of older calligraphic styles to construct a unique style. His style had a great influence on later eras through the Shoren'in School and what would later become the Oie School. In the Muromachi period, many calligraphic schools lost their individuality and became stylized, and from this time forward, calligraphy spread as more of a practical writing form. As the society became stable in the Edo period, Konoe Nobutada, Hon'ami Koetsu, and other artists developed a dynamic and personalized approach to calligraphy based on the kana of classical times. The liberal combination of text and image was achieved by the ambitious creativity of Nobutada's large-format kana, Koetsu's waka poetry scrolls, and other innovative works, defining a new realm of beauty. |
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| Kokin waka shu Poetry Anthology, Gen'ei version By Fujiwara no Sadazane Heian period, 1120 (Gen'ei 2) National Treasure Tokyo National Museum ［on exhibit from July 13 to July 28, 2013］ |
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| Poems of the Thirty-six Poet Immortals, Honganji version (Tsurayuki shu 1 and Shitago shu) Tsurayuki shu 1: By Fujiwara no Sadazane Shitago shu: By Fujiwara no Sadanobu Heian period, 12th century National Treasure Nishi Hongwanji, Kyoto ［Tsurayuki shu 1:on exhibit from July 13 to August 12, 2013, Shitago shu:on exhibit from August 13 to September 8, 2013］ |
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| Waka Poetry Scroll with Underpaintings of Flowers of the Four Seasons By Hon'ami Koetsu Edo period, 17th century Private collection ［on exhibit from July 13 to August 4, 2013］ |
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| Narrative Picture Scroll of the Chronicle of the Heiji Civil War: The Removal of the Imperial Family to Rokuhara Calligraphy attributed to Fujiwara no Noriie Kamakura period, 13th century National Treasure Tokyo National Museum ［on exhibit from July 13 to August 4, 2013］ |
