A Relative Perspective on Seimyaku in Naito Konan's Theory of Chinese Calligraphy History

Abstract

  Naito Konan (1866-1934), known as one of modern Japan's foremost historians of East Asia, also possessed a deep knowledge of Chinese calligraphy. In his writings on the history of Chinese calligraphy, what stands out in particular is his strong assertion of the legitimacy of the calligraphic lineage centered on the calligraphy of Wang Xizhi. This point has consistently been emphasized by later scholars, ever since it was explicitly stated by his student Kanda Kiichiro.

  One aspect of Naito's claim regarding the legitimacy of Wang Xizhi's calligraphy is that it is grounded in his depiction of the long course of its transmission through later generations. Notably, even at the risk of contradicting his own theory of reform in the Tang and Song dynasties, Naito came to a firm recognition of the enduring lifeline of Wang Xizhi's calligraphic tradition from the Song dynasty onward. In this article, I refer to the orthodox lineage of Wang Xizhi's calligraphic succession thus constructed as “Seimyaku,” borrowing Naito's own term.

  This article reexamines the extent to which Naito Konan regarded this concept of Seimyaku as absolute. In doing so, as part of considering the absoluteness of Seimyaku, it focuses closely on whether Naito's various statements concerning Seimyaku were internally consistent, or whether—if not outright contradictory—certain discrepancies can be discerned among them. Where such contradictions or gaps are observed, the article also examines their background and causes, situating them within the trends in the past of historical studies of Chinese calligraphy. Particular attention is given to the relativistic perspective concerning Naito's understanding of calligraphy.

  As a result of this examination, it has become clear that Naito's concept of Seimyaku should rather be situated in a relative position. Furthermore, this very relativity played a role in leading and shaping the plurality of theories in the development of Chinese calligraphy studies of the time.