Masterpieces from the Collection:
Calligraphy of the Meiji and Taisho Eras
The calligraphy world in Japan underwent a period of profound transformation from the late 19th to the early 20th century. During this era, many calligraphers forged their own paths of expression, built on a foundation of Western thought and a wealth of new materials brought over from mainland China, including stele inscriptions and ancient rubbings. Beneath the movement to build a new era, one can catch glimpses of a rebellious spirit against the traditional Oie-ryū and Karayō (Chinese) styles. Their works vividly reflect a search for a unique style suited to a rapidly changing society. This exhibition features a wide range of figures beyond the representative calligraphers of the time, including politicians, Sinologists (poets of Chinese verse), and waka poets who were deeply rooted in the cultural background of the period. This exhibition is made possible by our museum’s unique standing as the home of a comprehensive, systematic collection of calligraphy from this pivotal age.
1. Nin-no-ichiji Shūmyō-no-mon 忍之一事衆妙之門
MIWATA Beizan 三輪田米山（1821-1908）
Meaning: Patience is the gateway to all reason and the deepest mysteries.
This piece dates back to the Bakumatsu (end of Edo period) and Meiji Restoration (approx. 1853–1877), a turbulent era of transition when the Tokugawa shogunate collapsed and Japan transformed into a modern state. The artist, Beizan, was born as the successor to a family of Shinto priests of a shrine in Matsuyama. A self-taught master of the Wang Xizhi style of calligraphy, Beizan’s diary recordings reveal that he frequently took up the brush while enjoying sake. His style resonates with the ink traces of Zen monks, serving as a profound reflection of his inner self as he lived through a period of intense historical upheaval.
2. Kanshi-fuku 漢詩福 (1874)
OKUBO Kōtō 大久保甲東 (1830-1878)
Kōtō’s birth name was Toshimichi. Born in Satsuma (modern-day Kagoshima), he is revered as one of the Three Great Nobles of the Restoration, alongside SAIGO Takamori and KIDO Takayoshi. Despite his origins as a lower-ranking samurai, he steadily rose to prominence, playing a pivotal role in the overthrow of the Tokugawa shogunate and leading the nation into a new era. He devoted so much of his personal wealth to public works that he left behind no fortune. He was assassinated in 1878.
This piece is one of the works he created in 1874 during his mission to Qing Dynasty China to resolve the Taiwan Expedition crisis. The calligraphy is characterized by dramatic variations in character size. The piece evokes both the exhilaration of the new era and a profound sense of loneliness toward his homeland and the uncertain future.
3. Gogon-risshi 五言律詩
NAKABAYASHI Gochiku 中林 梧竹（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.
This piece writes of the contrast between the joy of reuniting with a friend with that of the chilly air of an autumn night. It incorporates a quote from a Chinese poem.
4. Shichigon-zekku 七言絶句
KIDO Shōgiku 木戸 松菊（1833-1877）
Shōgiku’s birth name was Takayoshi. Originally from the Choshu area (modern-day Yamaguchi), he is honored as one of the Three Great Nobles of the Restoration, alongside SAIGO Takamori and OKUBO Toshimichi. A visionary who advocated for constitutional government from an early stage, he laid the very foundations of Japan as a modern state. He was highly accomplished in Chinese poetry and maintained vibrant intellectual exchanges with the literati of Edo and Tokyo. As a master calligrapher, his brushwork reveals the authentic influence of the Ming and Qing styles of China.
This particular piece was composed during a visit to Nagasaki. The content evokes a vivid scene of the artist deeply immersed in poetry and calligraphy, surrounded by the gentle, persistent sound of falling rain.
5. Ga EMA Tenkō Koki-shi 賀江馬天江古稀詩 (1894)
IWAYA Ichiroku 巌谷 一六（1834-1905）
Ichiroku’s birth name was Osamu. A native of the Omi area (modern-day Shiga), he dedicated himself to national affairs alongside his compatriot EMA Tenkō during the turbulent Bakumatsu (end of Edo) period, later serving in the new government after the Meiji Restoration. Ichiroku received numerous requests for his brushwork, and as a result, his calligraphic works can be found all throughout Japan.
This piece was composed for the celebration of Ichiroku’s close friend EMA Tenkō’s 70th birthday. It is a brilliant congratulatory address filled with deep respect. The content depicts a scene where literati gather under blooming peony flowers, sharing sake and exchanging poems in a vibrant atmosphere of friendship.
6. Naritasan Fudōmyōō 成田山不動明王
YAMAOKA Tesshū 山岡鉄舟 (1836-1924)
Active from the end of the Edo period through the Meiji era, YAMAOKA Tesshū was a man of many talents: a retainer of the Shogunate, a politician, a master calligrapher, and a distinguished martial artist. Following the Meiji Restoration, he also served as a Goyogakari (Appointee) to the Imperial Household Ministry. As the founder of the Muto-ryū school of swordsmanship, he mastered the discipline under the philosophy of “Ken-Zen Ichinyo”—the oneness of the sword and Zen.
It is said that he produced as many as one million calligraphic works throughout his lifetime to fund projects such as the construction of Nikko’s Tōshōgu Shrine and the restoration of various temples. The piece shown here features the sacred title of Naritasan, which he is believed to have written during a pilgrimage here.
7. Shichigon- risshi 七言律詩
OKUHARA Seiko 奥原晴湖 （1837－1913）
Seiko was born into a family of feudal retainers of the Koga Domain (modern-day Ibaraki). She was later adopted into the OKUHARA family and moved to Tokyo, where she maintained vibrant exchanges with many literati of the time. With her spirited, unconventional appearance and bold brushwork, she became a celebrated figure in the world of calligraphy and painting circles.
This work reflects the influence of Zheng Xie (1693–1766), also known as Zheng Banqiao. The dynamic movement of the brush is a quintessential example of her style, symbolizing the artist’s own powerful personality. The content features a realistic and beautiful poem composed while walking through a mid-early summer breeze, capturing the essence of temples at dusk and the creatures by the water. The passage expressing a desire to “moor a boat and entrust one’s life to the waters” reveals a free spirit seeking refuge from the clamor of the mundane world.
8. Gogon-risshi 五言律詩
KUSAKABE Meikaku 日下部鳴鶴（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 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.
This poem teaches that the secret to finding serenity amidst a crowd lies within one’s own mind, not in the remote mountains. It emphasizes the importance of the power of the mind.
9. Shichigon-zekku 七言絶句
SHIBUSAWA Seien 渋沢青淵（1840-1931）
Seien’s birth name was Eiichi. Born in Musashi Province (a region spanning modern-day Saitama, Tokyo, and parts of Kanagawa), he mastered Classical Chinese studies and swordsmanship in his youth, often associating with loyalist activists who sought to restore imperial rule.
In 1864, he became a retainer of the Hitotsubashi family. In 1867, he traveled to Europe to observe the Paris International Exposition. After the Meiji Restoration, he served in the Ministry of Finance, where he dedicated himself to establishing the national tax system and the banking sector. Later, he resigned from government service and devoted his life to the private sector, participating in the founding and management of a vast array of enterprises. His efforts drove the development of Japanese commerce and industry, fostering the nation’s economic independence.
He is also widely recognized as the face of the Japanese 10,000-yen banknote.
This particular work is an original poem he composed during a visit to Kyoto. It captures the reluctance of the moment where he bids a farewell to a beautiful and talented geiko (geisha).
10. Yaza Jutsukai 夜坐述懐
ITO Shunpo 伊藤春畝（1841-1909）
Shunpo’s birth name was Hirofumi. He was born in Suō Province (present-day Yamaguchi Prefecture). In 1885 (Meiji 18), he became the first Prime Minister of Japan. He was a central figure in the establishment of modern Japanese institutions, playing a leading role in the promulgation of the Constitution. A dedicated scholar, he was particularly skilled in the art of Kanshi (Chinese-style poetry).
These two scrolls, rendered on high-quality nume silk (glossy silk), are housed together in the same box. The first scroll expresses a profound sense of crisis regarding the current state of affairs, likening Japan to “a small boat tossed about by the turbulent waves of the Great Powers.” The second scroll (this work) reflects his inner state during a sleepless night as the autumn wind blows. Considering the historical context of ITO Hirofumi’s life, it is likely that he was thinking of his comrades and soldiers stationed in distant lands during the first Sino-Japanese War, the Russo-Japanese War, or intense diplomatic negotiations.
11. Jōki Chajoku 条旗・茶褥 (1924)
TOMIOKA Tessai 富岡鉄斎 (1836-1924)
This work was used in a sencha tea ceremony. The piece on the left, which reads “seifū” was hung on a bamboo pole and displayed as a signboard. It encompasses the feeling of drinking a cup of tea to refresh your mind.
Tessai, who wrote the sign, is a popular figure worldwide in the history of modern Japanese painting. A scholar, he was also skilled in poetry, calligraphy, and painting, and the bold brush strokes seen here are characteristic of his style. He was one of the main figures at present at this sencha tea ceremony, which must have emphasized the strong presence of these characters during the gathering.
12. Yakuryū – Leaping Dragon. 躍(やく)龍(りゅう) (1904)
KAGAWA Shōseki 香川松石 (1845-1911)
Kagawa Shōseki was born in Sakura-shi, Chiba prefecture. The city was a key location for marine shipping, the industry in which Shōseki was employed doing administrative work. He studied under Maki Ryōko and Kusakabe Meikaku. After teaching at Chiba Normal School, he went on to become a central figure in Chiba prefecture’s calligraphy education. His uniform and clear calligraphy style was held in high regard as an example for beginner students to learn from, and was used in national textbooks.
This piece was written on New Year’s Day. The characters are written in a very lively way that, as the name suggests, is meant to resemble a leaping dragon.
13. Reisho Shichigon-ren 隸書七言聯 (1898)
NISHIKAWA Shundō 西川 春洞 （1847-1915）
Nishikawa Shundō was a renowned calligrapher of many talents, his works having a great impact throughout the Meiji, Taisho, Showa, and even Heisei periods. Ishikawa was born in the Edo period, and at age 5 he started learning calligraphy under Nakazawa Setsujō, who was a disciple of one of the greatest calligraphers of the Edo period, Maki Ryōko. After the Meiji Restoration, he worked for the Ministry of Finance, and then immersed himself in the study of calligraphy.
This poem was composed inspired by the scenery of the area of Iida in Shinshu (present-day Nagano Prefecture). As one gazes in every direction—north, south, east, and west—the one’s view is blanketed in snow, and all boundaries have vanished into a vast, seamless white. Using the word “雪華” sekka , referring to snowflakes like flowers, and “芙蓉山”（fuyōzan）, which is an elegant pseudonym for Mount Fuji, the poet praises the sublime beauty of the mountain standing before his eyes.
14. Gogon-risshi 五言律詩
KITAKATA Shinsen 北方 心泉 (1850-1905)
KITAKATA Shinsen was born as the third son of the head priest of Jofuku-ji Temple of the Higashi Honganji school of Jodo Shinshu Buddhism in Kanazawa. At the age of fifteen, he moved to Kyoto to pursue Buddhist studies. Following the Meiji Restoration, he relocated to Tokyo, where he studied Chinese poetry and the English language.
Appointed as a coordinator for overseas missionary work, he traveled to Shanghai in Qing-dynasty China, leading a group of international students. During his six-year stay, he traveled through various regions, including Suzhou and Beijing, and developed a deep friendship with Wu Changshuo, one of the most celebrated Chinese artists of the time. Through these experiences, he played a pivotal role in introducing the latest styles of Chinese calligraphy to Japan.
This piece reflects on the poet’s cherished memories of his days in Shanghai. He reminisces about how he and his companions enjoyed themselves, likening their revelry to the “Eight Immortals of the Wine Cup” – legendary wine-loving figures.
He uses the term “inchuzen”, a concept suggesting that the very act of drinking alcohol is a form of spiritual training and a path to the state of Zen. It is particularly fascinating to see such a reference from Shinsen, who was himself a Buddhist monk. For him, those six years in Shanghai must have felt like a beautiful, dream-like time.
15. Aihyōka 愛瓢歌
MAEDA Mokuhō 前田 黙鳳 (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.
This byōbu (folding screen) shows calligraphy copying the classical calligraphy engraved on stone and metal. The powerful strokes are characteristic of this style, which has formed the foundation for the variety of calligraphic styles in Shodō.
The poet repeatedly addresses the gourd—a traditional vessel for alcohol—as “you”, speaking to it as if to a dear friend. By citing historical legends, such as how the warlord Toyotomi Hideyoshi celebrated his victories by decorating gourds with gold leaf and increasing their number, the work highlights the long-standing role of the gourd as a vessel for sake. Ultimately, through this humble object, the poem conveys a timeless message: that living a life filled with the simple joy of drinking and sharing sake is the greatest joy.
16. Gogon-zekku 五言絕句
INUKAI Bokudō 犬養 木堂（1855-1932）
Born in Okayama, Inukai Bokudō was a prominent statesman active from the Meiji to the Showa era, becoming Prime Minister in 1931. Although he fell to an assassin’s bullet during the May 15th Incident the following year, this work is a precious “zeppitsu“—the final piece he made just before his death. He was deeply versed in calligraphy from all eras and is renowned for his powerful style, which was notably influenced by the Song-dynasty Chinese master Huang Tingjian (Kō Sankoku).
This piece describes the quiet scene of fishing, where the setting sun has not yet dipped behind the mountains. Having lived through the political turmoil of his period, at the end of his life Bokudō may have finally arrived to his own peaceful atmostphere such as this.
“The evening sun has not disappeared behind the mountains, the sky is painted red. My shadow still lingers upon the earth. From under the bamboo hat, the fishing waters are a vast, hazy blue. The misty waves roll on, grand and boundless.”
[Commentary] This was the final poem written by INUKAI Bokudō before his assassination. The imagery of the “lingering shadow” and the “boundless misty waves” suggests a serene acceptance of his fate and a sense of merging with the vastness of eternity as his life’s sun began to set.
17. Kimigayowa 君が代は
ONO Gadō 小野 鵞堂 (1862-1922)
ONO Gadō worked for the Ministry of Finance and a newspaper company before becoming a teacher. He then published his own journal and became involved in calligraphy education.
The flow of Japanese style calligraphy can be seen in this piece. The words portrayed are the title of Japan’s national anthem, “Kimi ga Yo”. The anthem itself sings of a wish for the longevity of those held dear.
18. In-In (Complete Set) 印印（全刊そろい）
A rare complete collection of In-In, a specialized seal-engraving (tenkoku) magazine published from its founding in 1930 through the post-war era. It serves as a significant resource documenting the development and perspective of the Japanese tenkoku community during the early Showa and turbulent post-war years.
Due to its limited circulation, the magazine has long been regarded as a foundational reference among enthusiasts. The publisher, SONODA Kojō, born into a family of seal makers in Shiga Prefecture, was a central figure in the modern Japanese tenkoku world. By providing a detailed record of contemporary activities, this publication holds high academic value and is considered a primary historical source for modern research in the field.
19. Rakushiron 楽志論 (1925)
KONDO Setchiku 近藤雪竹 (1863-1928)
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).
Translation: Let my residence have fertile fields and a spacious house, with mountains at its back and a flowing stream in front. Let moats and ponds encircle the estate, with bamboo and trees planted all around.
20. Shichigon-zekku 七言絶句
NAGAO Uzan. 長尾 雨山 (1864-1942)
Born in Takamatsu, Nagao worked as a teacher. In the year 1903, he went to Shanghai for 10 years to study Chinese ideology. Eventually, he became active in the field of calligraphy.
The four characters starting from the second character of the second line, “Kyōchū no Kyūgaku” (hills and valleys within the heart), signify that the ideal landscape is already perfectly envisioned in the artist’s mind before the brush ever touches the paper.
21.Shoron 書論 (1936)
HIDAI Tenrai 比田井 天来 (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.
