Exhibition
The 160th Anniversary of KONDO Setchiku’s Birth – Exhibition of Related Works from the Collection
KONDO Setchiku was born in Edo (current Tokyo) and raised in a culture-rich environment provided by his father. He came to be known as a master calligrapher and a leader during the Taisho period, the beginning of the 20th century. He also contributed to the education of those who in turn became leading figures in the postwar period.
At the age of 16, he became of a disciple of KUSAKABE Meikaku, and studied a variety of sho, from kinseki calligraphy (Chinese characters engraved on metal and stone from long ago) to Ming and Qing calligraphy (Chinese characters from the mid-14th-20th centuries).
Japanese sho (calligraphy) experienced remarkable changes during the modern era when calligraphers were able to obtain highly accurate original calligraphy texts from China, the motherland of calligraphy.
On the historical context of Japanese calligraphy at this time:
The the first half of the 20th century marked the opening of the Tokyo Metropolitan Art Museum, and the start of large-scale exhibitions. In order for calligraphy to stand out in such a large venue, a new style of display utilizing installations of large, eye-catching characters in various places to create a showcase for the calligraphy was born.
Upstairs
1
Tōshi-byōbu（1917）
KONDO Setchiku ＜1863-1928＞
Tang Dynasty Folding Screen Byōbu
This piece clearly shows the influence of old clerical script and the calligraphy style of Zheng Dao Zhao, a calligrapher of early 6th century China. Please also see exhibition item ⑥ which features a copy of the original slab.
2
The Eight Immortals in the Midst of Drinking
KONDO Setchiku ＜1863-1928＞
“The Eight Immortals in the Midst of Drinking” by Du Fu of Tang Dynasty China has been a popular subject for calligraphy since ancient times. The poem tells the story of eight drinkers who are associated with the “Eight Immortals” (god-like beings).
When people come together, that gathering place becomes a drinking place, and at the same time, a place for poetry, calligraphy, and painting. This work is written in words that express the sentiments of those who yearn for a world that is supermundane. The brush strokes are broad, as if expressing the rhythm of the heart.
3
Poem by Li Bai
KONDO Setchiku ＜1863-1928＞
This piece features a famous poem by Li Bai, a Chinese poet of the 8th century. The brush strokes move gracefully through the paper, suggesting that this is a poem that Setchiku was familiar with writing.
The meaning of the poem is as follows:
Leaving early in the morning, we bid farewell to the beautiful morning glow of the White Emperor’s Castle in the clouds and head for our destination. The cries of monkeys can be heard from both banks of the river. We passed through the mountains by boat.
4
Gogon-niku: Five words, two phrases (1926)
KONDO Setchiku ＜1863-1928＞
This piece is written in clerical script. It describes a glorious spring season, with rustling bamboo and chirping of birds.
5
Shichigon-zekku; Seven words (1928)
KONDO Setchiku ＜1863-1928＞
This piece is said to be Setchiku’s last work, done at age 65.
The content of the piece conveys the artist’s direct attitude toward calligraphy. It celebrates the start of the new year, and the arrival of his 66th spring.
6
About Takuhon Books and Hi Monuments
In classical calligraphy, there are pieces that were written on paper, fabric, wood, and bamboo, as well as pieces that were carved into stone monuments, wood, and even metal. These works were used as the basis for learning and practicing calligraphy, and they would be copied onto paper using an ink rubbing technique. Those rubbings are called takuhon. Some takuhon would also be bound into books, called jō, that are easier to use for learning.
Ronkeisho-shi (511 C.E)
This is a rubbing depicting a poem that Zheng Dao Zhao composed himself, which was carved into stone. The wavy characters harmonize well with the bumpy surface of the stone, providing a unique aesthetic.
7
The wind of blessing blows and the heart is at peace. (1900)
KUSAKABE Meikaku＜1838—1922＞
Meikaku studied under MAKI Ryōkoi, a famous calligrapher of the Bakumatsu (end of Edo) period. He also idolized NUKINA Sūō. After a new government was established during the Meiji Restoration, he worked on official documents as Grand Secretary of the Cabinet. However, with the assassination of TOSHIMICHI Okubo, who was serving under him at the time, he resigned from his position and devoted himself fully to calligraphy. He systematically absorbed historical calligraphy texts from Mainland China, eventually giving birth to a style of calligraphy that had never existed in Japan prior. Many of his disciples went on to become famous people.
“The wind of blessing blows and the heart is at peace.”
This is a passage from Rantei-jo, the preface to Rantei.
This style, ranteijo, is the complete form of the gyōsho style. It is the most famous script in the history of shodō. The strokes are smooth, and there is a great variety in the shape of the characters.
The piece consists of poems that were written after a cleansing ceremony that took place in a place called Rantei. After the ceremony, it was time to celebrate, and so each person took to writing his own poem.
Study of the classics is essential to the improvement of one’s calligraphy skill. In particular, the period around the 4th century is abundant with many classics that feature tensho (seal script), reisho (clerical script), kaisho (regular script), gyōsho (semi-cursive script), and sōsho (cursive script) texts. This is also when Wang Xizhi, the man known as the Sage of Calligraphy, appeared.
Although it is best to learn directly from original scripts, these texts are very old and few originals from the 4th century remain today. Fortunately, however, there are examples of writings from the Western Wei dynasty period of the 6th century that have survived in Japan. An example of one of these writings is the “Boddhisatva Tathagata Sutra,” copied in the year 550, which is a national treasure that belongs to the Chion-in Temple collection in Kyoto.
8
Ryukyō-shōgai (1921)
KUSAKABE Meikaku＜1838—1922＞
In Meiji 15 (1882) when Narutsuru visited Tenryugawa River, he gave names to ten unusual stones and composed a poem. This work features one of those poems, written in his final years.
The “Ubō stone.”:
This rock appeared when a hermit was drunkenly feasting and left behind his eboshi – a type of hat. The “ubō” in “Ubō stone” is written with the same characters as “eboshi.”
9
Gogon-risshi
NAKABAYASHI Gochiku ＜1827-1913＞
Nakabayashi is one of the top calligraphers of the Meiji period. He was born in Saga, and when he moved to Edo, he studied calligraphy under famous calligraphers of the Edo period, such as Ichikawa Beian. After his study in Edo, he returned home, and it was at this time that he found the works of Yogenbi, a member of the Qing ministry representatives in Japan. It was this influence that prompted him to absorb work after work of famed Chinese calligraphers.
There are several stone monuments of his works still remaining today within the Naritasan compounds.
Exhibition Commemorating the 100th Anniversary of FURUTANI Sōin’s Birth
※Area on the second floor, at the top of the stairs
The exhibit features relative documents and calligraphy tools.
10
Ganshikabyōhi
Yan Zhenqing – Founder of the Yan script of calligraphy
The vertical lines and sweeping strokes seen here are unique to his style. The first stroke is rounded like the head of a silkworm, while the shape of the right sweeping stroke resembles that of a swallow’s tail.
11
Hikkonhi（Outside）
FURUTANI Sōin＜1924-2018＞
This monument is a place to give offering by burning brushes that have served their time. It was erected to commemorate the 1070th anniversary of Naritasan.
12
Tao Yuanming’s Poem on Drinking Wine (2014)
FURUTANI Sōin＜1924-2018＞
Born in Kyoto, Furutani Sōin was a great admirer of Nakano Etsunan, and chose to follow the path of a calligrapher because of his influence. He became a disciple of Tsujimoto Shiyū and Murakami Santō.
He studied many calligraphy works, starting with the works of Wang Xizhi, who is considered as the greatest Chinese calligrapher in history, as well as works from monks like Mokkan and Ryōkan of the Edo period. In his pieces, Furutani’s brush strokes are characteristic for their vitality.
First floor
13
San-shin-syū-kō-ryō (1982)
TANAKA Shinsyū ＜1892 -1992＞
TANAKA Shinsyū studied under KONDO Setchiku and KUSAKABE Meikaku. He worked to unite the calligraphy world during the postwar turmoil.
This piece was written when he was 90 years old. The characters depicted are “山” for mountain, “深” for deep, “秋” for autumn, “更” for furthermore, and “涼” for cool.
14
Shosōgūsei
MATSUMOTO Hōsui＜1893-1971＞
Matsumoto was born in Ehime prefecture in 1893, as Matsumoto Eiichi. He studied under Kondō Secchiku. The steady strokes of his brushmanship retain their relevancy, and his script is imitated by many of Naritasan’s priests, even today.
Hōsui was a member of the Japan Art Academy and renowned for his elegant style of writing, as seen in this piece. He was also a master of standard-style calligraphy.
15
Ronsho (1936)
HIDAI Tenrai <1872-1939>
HIDAI Tenrai was born in Nagano prefecture. He studied under KUSAKABE Meikaku.
Tenrai published and a book on the methodology of calligraphy study, which involves studying and reproducing ancient masterpieces of the classics. He was a very influential in the education field. He is considered the father of modern calligraphy, and many of his disciples continued to innovate the world of calligraphy. This piece, written in a traditional style with broad brushstrokes, fully demonstrates the charm of Tenrai’s later years.
This is a piece that incorporates the writing style of China’s Han Dynasty stone slabs and wooden plaques.
The meaning is to say that calligraphy is a picture of the heart.
16
Matsushibazu-san
MAEDA Mokuhō <1853-1918>
Mokuhō was one of the major contributors to the development of modern Japanese calligraphy. In 1882, he opened a bookshop called Hōbunkan. He even travelled to China to study ancient writings of characters that were carved into bronze vessels and stone monuments as well as their techniques, dedicating himself to translation and publication of these works.
While high quality texts became more easily obtainable after the Meiji Restoration, the study of Chinese literature in Japan fell into decline. Although this decline led Mokuhō to close his shop in 1888, he continued to be active in calligraphy societies, participating in exhibitions and consistently promoting classical texts.
17
Gentaku （original rubbing）“Taizan Kongo-kyo”
This is a Gentaku of Chinese characters which are engraved on a slight slope of stone in the mountain of China. 1043 of engraved characters are found at the present time. This collection contains 1119 characters of Gentaku.
18
Sekko (replica)
There two stones with Chinese characters carved on the surface are called “sekko” or rock drums from their drum-like shape. These Chinese characters are the oldest characters carved in stone, from 4~5 B.C. in China. The inscriptions, or “sekkobun” describe celebration to nature. The top of one of the two stones here was cut off and used as a mortar. The original sekko are a set of 10 such stones and are exhibited in the National Museum of China.
