Japanese calligraphy

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The history of Japanese calligraphy (書道, shodō^?) 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.

Hushincho (風信帳), letter written by Kūkai to Saichō
9th century

1 Before the Nara period
2 Heian period
3 Kamakura and Muromachi period
4 Edo period
5 Today
6 See also
7 References

[edit] Before the Nara period

Inscription on the halo of the statue of Bhaisajyaguru, Hōryū-ji Temple
Written in the 7th century

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 the same temple. This Hokke Gisho is said to have been written by Prince Shōtoku in 615, but some scholars criticize this assertion. Hokkegisho was written in Cursive script and is a good example that illustrates the high degree of skill necessary to copy original Chinese texts in the 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 from this time. Both inscriptions were influenced by Northern Wei robust style.

In the 7th century, the Tang Dynasty established hegemony in China. Their second Emperor Taizong esteemed Wang Xizhi's calligraphic texts and this popularity influenced Japanese calligraphers. All of the original texts written by Wang Xizhi were lost, and some copies such as Gakkiron written by the Empress Komyo are regarded as important sources to know Wang Xizhi's style.

Soukou Shujitsu is the first text which shows the unique Japanese calligraphic style. This Tanka text was written in 749 and shows some differences from Chinese calligraphy.

[edit] 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 highly evaluated. Most notable admirers for each one were Emperor Saga and Tachibana no Hayanari.

At the same time Japan's unique calligraphic style was emerging. Kukai said to Emperor Saga, “China is a large country and Japan is relatively small, so I suggest writing in a 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 examples of such a transformation.

[edit] Kamakura and Muromachi period

[edit] Edo period

[edit] Today

Calligraphy has been adopted as an elementary school subject in the Japanese mandatory education system. In high school, calligraphy is one of the choices among art subjects, with music or painting. Some universities, such as University of Tsukuba, Tokyo Gakugei University and Fukuoka Kyoiku University, have special departments of calligraphic study which emphasize teacher-training programs in calligraphy.

Japanese calligraphy also fascinated many Western artists through the centuries - mainly calligraphers themselves, but famous names as well, who studied and practiced calligraphy as a parallel to their own art. Since the XXth century's later twenty years, one mostly notable name among them is the Italian scribe Fernando Lembo di Pino, also known as Yorukamome(夜かもめ) or Ou An Sensei (鴎庵先生).