Calligraphy It is said that during the Tianping period of Japan, Queen Guangming once copied Wang Xizhi's "Le Yi Lun". Wang Xizhi's elegant writing style won the love of many Japanese and was respected by the world. The calligraphy works of Wang Xizhi collected in Japan's Shoso-in were the dowry that Mitsuko brought with her when she married Emperor Shomu. Kana writing had been established during the Heian period in Japan, ushering in the heyday of calligraphy. For the children of the royal family and nobles, book theory is an indispensable self-cultivation course. The transformation of practical calligraphy into a technical skill occurred from the late Kamakura period to the Muromachi period in Japan. Like other arts, the calligraphy world has also produced many schools. The Saisonji sect founded by Fujiwara Yukinari, the pioneer of calligraphy, enjoys the highest authority among many schools. Zunen, who later joined this school, created a unique calligraphy style and founded the Seoren-in school. For a long period of history, the Seoren-in School has been the main school of Japanese calligraphy. The shortcoming is that all schools of calligraphy in the Muromachi period of Japan relied on oral transmission of secrets to pass down the family line from generation to generation. The disciples only knew how to adhere to the teacher's style, but had no intention of improving their calligraphy skills. In the Edo period, this tendency became increasingly serious. At the same time, as the culture of the townspeople developed, calligraphy also began to become popular among the Japanese as a form of cultural education. Although their calligraphy is not very good, they have broken the dull situation in the calligraphy world from one side. The Japanese use the copying method to learn the calligraphy of calligraphy names.
In the early Meiji period, Chinese Yang Shoujing came to Japan. He introduced the Chinese calligraphy style of the Six Dynasties to Japan, which was like a spring breeze blowing into the world of Japanese calligraphy. Japanese calligraphy began to develop from respecting individuality and maintaining genre inheritance to focusing on free expression. Different from the art of painting, the art of calligraphy is a simple abstract shape of dots and lines. The writer's thoughts and feelings are concretely reflected through the elastic brush. To this end, the writer is required to have superb skills and profound artistic conception, even denying the literal nature of calligraphy and emphasizing the transcendent realm of free use of pen and ink.
The three strokes and three traces in the history of Japanese calligraphy are respected by the Japanese as calligraphy saints. The three strokes refer to Kukai, Emperor Saga, and Tachibana Issei. The most outstanding among them is the monk Kukai. Kukai adopted Wang Xizhi's style, Yan Zhenqing's brushwork, and added his own originality to form a unique calligraphy brushwork, and he is regarded as the founder of Rubokudo (calligraphy). Kukai's representative works include "Wind Sign" and "Initiation". Emperor Saga's regular script is in the Ouyang style. The running script and cursive script are in Kukai style. His representative works include "Guangding Jie Ling". The authentic work of Ju Yishi has not been handed down to this day. "Prince Iduna's original text" is nothing more than a copy. In addition, Honami Koetsu, Konoe Shinin, and Shokado Akira are Kanei's three strokes. Yin Yuan, Mu'an and Ji Fei are three strokes of Huangbo. The city's Hemi'an, the official name Songweng, and Juanling Lake were the three strokes at the end of the shogunate.
The famous Japanese calligraphy masters Ono Michifu, Fujiwara Saori and Fujiwara Yukinari are regarded as three traces. Their writing techniques are called Yeji, Zuoji and Quanji respectively. Ono Michikaze's original works can be regarded as typical examples of Japanese calligraphy, represented by "Screen Screen Toshiro" and "Akihagi Tie". Saori Fujiwara's writing style is free and unrestrained, with a strong personality. His representative works include "Poetry Paper". Fujiwara Yukinari inherited the style of Ono Michio and is a master of Japanese calligraphy. Xingcheng's calligraphy is elegant and capable, and his representative works include "Bai Letian Poems" and "Message". Xingcheng is also the founder of the "Zunsi Sect" of Shudao Temple and has always been respected by people.
After the war, the exchanges between Japanese and Chinese calligraphers became even more continuous. In 1958, a Japanese calligraphy delegation headed by the famous Japanese calligrapher Toyomichi Harumi visited China for the first time. Since 1973, the "All Japan Calligraphy Federation" has sent a delegation of Japanese calligraphers to visit our country every year. In 1977, the famous Japanese calligraphy educators Kamijou Nobuyama, Tanedani Ogishu and others initiated the establishment of the "Japan-China Friendship Calligraphy Educators Association" to contribute to enhancing the understanding and friendship between the people of Japan and China. In addition to the above-mentioned famous calligraphers, there are: Nishikawa Ning, Kaneko Outei, Iijima Harukii, Tanaka Yuunun, Yanagida Taiun, etc.