FUKUDA Jōshū Exhibition
Directors of the Chiba Calligraphy Association Exhibition
Exhibition Dates: Tuesday, August 25 – Monday, October 12, 2026
Born in Tokyo in 1928 (Shōwa 3), FUKUDA Jōshū moved to Chiba Prefecture at the request of his uncle, ASAMI Kishū. He played a pivotal role in establishing Shoseikai—founded by Kishū—as an incorporated association, which also served as his own entry into the world of calligraphy.
Living alongside ASAMI Kishū during the organization’s inception, Jōshū studied the masterpieces around him, using them as models for his inspiration. His dedication paid off in the 1950s, when he earned numerous prestigious awards.
Emphasizing the importance of studying directly from original handwritten works, Jōshū focused heavily on classical Chinese calligraphy of the Song, Ming, and Qing dynasties. He especially held a deep affinity for the styles of Mǐ Fú and Sū Shì, ultimately forging his own powerful and dynamic calligraphic style.
This exhibition explores the life and artistic achievements of FUKUDA Jōshū, who made immense contributions to the vibrant art scene in Chiba prefecture.
Running concurrently is the Directors of the Chiba Calligraphy Association Exhibition.
Surrounded by the Pacific Ocean on three sides and Tonegawa River to its north, Chiba prefecture is an area that has been blessed with a bountiful natural environment and warm climate. Its proximity to the Tokugawa Shogunate of the Edo period also allowed it to prosper both culturally and economically. We hope that you will enjoy these calligraphic works, the fruits grown from the nutrient-rich cultural soil of this land.
➀ Yūyō hizamazukite bonyū wo nomu (1970)
This piece describes a lamb taking a break from playing to kneel down and drink its mother’s milk. The scene described symbolizes filial piety, deep gratitude toward parents, and a humble, respectful attitude.
② Kahen no kōchō shunpū no sake, shōka no seikin yagetsu no kō (1981)
With the blossoms in full bloom, one enjoys wine in the spring breeze while listening to the beautiful sound of the birds. Beneath the pines, one plays the lute, taking in the moon and subtle fragrance of the night. This scene beautifully portrays an elegant lifestyle of appreciating nature, music, and wine in both day and night.
③ Mumonkan (1990)
The characters here express the enlightened mindset and teachings of Zen. They describe a mind completely free from delusion and open without bounds (kakuzen and dōkatsu), the idea that the path to enlightenment has no fixed gate (mumonkan), and the principle that one’s ordinary, daily mind is the ultimate truth (byōjo zedō).
④ Hika shosatsu ni tenji, gichō kiken ni asobu (1990)
Fluttering flower petals gently fall upon an open book, while playful butterflies dance around the desk and inkstone. This captures a peaceful and poetic scene of enjoying reading and writing in a study on a warm spring day.
⑤ Hama (1991)
This word means to ward off evil spirits and misfortune. In Japan, it is also known as an abbreviation for hamaya (arrow that ward off evil), given out at shrines during New Year’s. These are displayed as protections to ward against bad luck and hold a prayer for healthy growth of the children of the household.
⑥ Meigetsu roka Hakuroshū （1994）
“The bright moon, reed flowers, and egret.”
This poem depicts the scene of a pristine autumn night where everything—the moonlight, the pale reeds of the riverbank, and the egrets —is bathed in a brilliant white
⑦ Fūjin Raijin （1998）
“ Fūjin and Raijin ” (The Gods of Wind and Thunder)
風神 (Fūjin): The God of Wind (traditionally depicted holding a large bag of wind over his shoulders)
雷神 (Raijin): The God of Thunder (traditionally depicted surrounded by a ring of drums)
Since ancient times, they have been worshipped as a deities of nature that bring about abundant harvests, as well as guardian deities that ward off evil spirits and enemies.
⑧ Words of Laozi （2000）
This phrase refers to the fundamental source or origin that gives birth to and nurtures all things (every living creature and existence). Here, “mother” is used as a metaphor for the source of all life.
⑨ Ashita ni michi wo kikaba （2006）
“If one hears and understands the truth in the morning, one can die content in the evening.” This expresses the supreme value of discovering the truth, conveying a profound resolve to seek enlightenment without clinging to life.
⑩ Wang Yu Yun Poetry (2007)
Countless valleys echo with the sound of the evening breeze, while a few mountain peaks stand silent in the setting sun. This description beautifully contrasts the deep sounds of nature with the profound stillness of mountains bathed in the evening light.
⑪ Tenjō mugai (2015)
This phrase means that the expanse of heaven and earth is boundless and infinite. “Tenjo” refers to heaven and earth, while “Mugai” means without end or limits, symbolizing the vastness of nature and an eternal, infinite reach.
⑫ Nokogiriyama ganpō (2017)
This phrase refers to the rugged, craggy peaks of Mount Nokogiri (a famous mountain on the Boso Peninsula in Chiba Prefecture). It portrays the majestic landscape of sharp, saw-toothed rock formations and the fierce, powerful dignity of nature.
You can see that the kanji character for “mountain” originated from its shape.
⑬ Rin Kaitsū Hōyadō Kokuseki
This work is a calligraphic copy based on the Kaitsū Hōyadō Kokuseki, a historic inscription carved into a cliff face during the Later Han Dynasty (66 AD). It captures the robust, wild line-work and the rustic, classical beauty of the Han-dynasty Clerical script (reisho).
Kaitsū Hōyadō Kokuseki (66 C.E.)
This is a stone which details the construction of a mountain road, which took 4 years during the Han dynasty to build, carved into it. The script is old reisho. It has a simple and broad feel to it.
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.
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.
⑭ Sōzen-hi (185 C.E)
This is a monument that honors the achievements of Sōzen, who was a famous Chinese military commander of the Later Han dynasty. The wideness of the characters, as well as the long downward right stroke are characteristic of this piece. The characters are well-organized, and it is a mature expressions of the clerical reisho script.
⑮ Kaisho (block style) of the Northern Wei Dynasty
This is an example of kaisho block script. The sharp points and powerful strokes seen here are characteristic of this style.
During the period of strong Buddhist faith, stone temples were built on mountains outside the capital, such as the Longmen Grottos.
Gyūketsu Zouzouki
This inscription was created in the year 405 by a mother who was praying for happiness in the next world for the soul of her son, Gyūketsu. It is the oldest of the known dated inscriptions of the Dragon’s Gate Longmen Grottos.
⑯ 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.
⑰ “Sacred Order of the Wild Goose Pagoda” by Chu Suiliang
The artist’s varied brushwork takes full advantage of the brush’s elasticity. The lines are thin and supple yet strong, a magnificent combination. These are characters from a stone monument commemorating the achievements of monk Xuanzang who brought back a large number of sutras from India and translated them.
⑱ 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.