Exhibition Title: The Works of AKAI Kiyomi and Calligraphy of the Ming and Qing Dynasties
Born in Tokyo in 1937, AKAI Kiyomi began studying calligraphy in his last year of high school, deepening his knowledge by frequenting antique bookstores and museums. He also held a large-scale exhibition in China, the birthplace of calligraphy.
During the post-war Showa era, there was a succession of discoveries of hidden masterpieces and new calligraphical works. AKAI was quick to organize these vast materials, which have become essential for those studying calligraphy.
This exhibition features AKAI’’s works, as well as his collection of Ming and Qing dynasty calligraphy.
１ 教学相長 Kyōgakusōchō
Growing together by teaching and influencing each other.
２ 大康 Taikō
The charater “大” means large, and “康” means peaceful. “大康” refers to a healthy state, a state where one is free of worries.
３惜寸陰 Sun-in-wo-oshimu
Meaning: Don’t waste a moment. The piece refers to the act of devoting oneself fully to something.
４ 造像記 Zōzōki- Buddhist statue inscription
“Zōzōki” refers to inscriptions carved on the side of Buddhist statues that describe the person who commissioned the statue, the background of its creation, and its origins. These inscriptions are characterized by sharp, strong strokes and powerful characters that slant toward the upper right. This style of writing dates back to the Northern Wei dynasty in China. The Longmen Grottoes, a World Heritage Site, are famous for these inscriptions.
This piece is a copy of a classical work that showcases excellent calligraphy.
５ 龍驤麟振 Ryūzyō-shinrin
Meaning: A cumulation of momentum. This piece combines the image of a dragon soaring powerfully into the sky and a kirin (a deer-like dragon-like mythological creature) standing proudly. It is an auspicious phrase. Both dragons and kirin (or qilin in Chinese) are creatures of Chinese mythology.
６ 臨雁塔聖教序 Copy of Emperor’s Preface to the Sacred Teachings
This piece is by Chǔ Suìliáng (596-658), who was active during the Tang dynasty in China. Along with Yu Shinan and Ouyang Xun, he is known as one of the “Three Great Masters of the Early Tang Dynasty.” This piece praises Genjo, a Buddhist monk, for bringing back scriptures from India and translating them into Chinese.
The brushwork is characterized by its slender yet sharp lines, combined with a fluid and graceful quality. The brush is held upright, with the initial stroke adding a slight curve, while the subsequent strokes are executed with restraint.
７ 養心 Yōshin
Meaning: Nurturing the heart.
8 The words of Xunzi
*Partial translation only.
The sages of old said, “One must not quit learning halfway through.”
Blue comes from indigo, but it is more blue than indigo.
Ice comes from water, but it is colder than water.
If a noble person studies widely and reflects on themselves many times a day, they will understand things and not make mistakes in their actions.
９ The words of Suikodōkensō
Meaning:
Yesterday’s mistakes must not be left unaddressed (they must be corrected).
But also, we must not cling to today’s good deeds.
10 七言律詩 Shichigon-risshi
今釈 SHI Jinshi （1614-1680）
He was known as a general at the end of the Ming dynasty in China, but became a monk after the fall of the Ming dynasty.
This piece was passed on to Japanese calligraphers, and YAMANAKA Shinten-ō, a calligrapher and politician who owned it during the Edo period in Japan, revered it as a masterpiece.
11 七言律詩 Shichigon-risshi
黄慎 Huang Shen （1687-1766）
Kōshin excelled at painting landscapes, people, and flowers. He studied calligraphy under Huaisu (a monk who specialized in free-flowing calligraphy) and became skilled in cursive script. He demonstrated an elegant and gentle style of calligraphy.
12 七言聯 Shichigonren
何 紹基 HE Shao-ji（1799-1873）
He studied under Bao Shichen and Ruan Yuan and had a strict and intense personality. He Shaoji wrote using the technique of raising his elbows and moving his arms. He often used thick ink and sheep’s wool to create calligraphy with strong brush strokes and swift lines.
13 臨西嶽華山廟碑
Copy of The Stele of Mount Hua Temple at the West Alp
楊峴 Yang Xian（1819-1896）
Yang Xian became a county magistrate but quickly resigned. He was caught up in the Taiping Rebellion (a large-scale uprising) and lost his home and children. Skilled in clerical script, he had many of his calligraphy works passed down through generations. This piece is one of his works.
14 漢詩幅 Kanshifuku
陳 鴻寿 CHEN Hongshou （1768-1822）
Chen Hongshou served as a county magistrate (head of the county). He studied under Ruan Yuan and excelled in poetry, prose, calligraphy, painting, and seal carving. He was one of the eight representatives of the Xiling Seal Carving Society, the main school of seal carving in China. His running script was light, elegant, and simple. He was also skilled at making pottery, which was highly prized.
15 臨石鼓文 Copy of Shiguwen
呉 昌碩 WU Changshuo （1844-1927）
From childhood, Wu Changshuo loved seal engraving and studied seals from the Qin and Han dynasties. As seen in this work, he repeatedly copied Shiguwen inscriptions to deepen his understanding of seal script. He took up painting after the age of 40 and became a master of calligraphy, painting, and seal engraving. He also had a significant influence on Japanese seal engraving.
16 団扇書画巻 Tuanshan Fans on Scroll
呉 大澂 WU Dacheng （1835-1902）
Wu Daicheng studied ancient characters in depth. While active in politics and military affairs, he carried around epigraphic materials. He was knowledgeable about seal script. This calligraphy, characterized by its straight strokes, reflects his studies.
17 Manuscripts for Refernce Books
In postwar Japan, the Showa era was a time when there was an abundance of calligraphy materials, and the need to classify and organize them became greater than ever before. AKAI compiled a reference book in a single generation to help students of calligraphy approach classical works in a functional manner. AKAI explains his reasoning for collecting Chinese calligraphy and paintings from the Ming and Qing dynasties as follows:
“I am conducting research to apply classical works to the modern era, placing emphasis on brushwork. Because I value authentic works, I seek out ancient calligraphy and paintings from time to time.”
Many examples of characters from the works he has acquired are reflected in his reference book.
18 Single-character Calligraphy
252 characters written in five different styles, compiled into 22 booklets in two boxes. A portion of this work is on display. The characters written are printed in type at the bottom left of the work.
19 行雲流水 Kō-un Ryū-sui
Meaning: clouds floating in the sky and flowing water.
This piece expresses the majestic aspect of nature. By extension, it means not clinging to things and acting calmly, leaving things to the course of nature.
20 Tapestry
「学須静」means “Quietness is necessary to develop learning and talent”.
