書学書道史研究
Online ISSN : 1884-2550
Print ISSN : 1883-2784
ISSN-L : 1883-2784
最新号
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論文
  • 浦野 俊則
    2022 年 2022 巻 32 号 p. 1-14,130
    発行日: 2022/10/31
    公開日: 2023/03/31
    ジャーナル フリー

      Ke Lei and Ke He are bronzewares excavated in 1986 from tomb No. 1193 at the Yan state in Western Zhou dynasty Cemetery, Fangshan District, Beijing, and they are from the early Western Zhou period. Both bronzewares have inscriptions on the cover and the inner surface. All four inscriptions contain the same text comprising 43 characters, with each inscription written in a different calligraphic style. Setting the diversified calligraphic style as a criterion for determining the calligraphic style in Jinwen, and assuming that the inscription calligraphers (craftspeople) produced the inscriptions by imitating inscription manuscripts written in a certain style, we compared the different calligraphic styles in the four inscriptions. As a result, the number of variant characters was: (1) 2 on the Lei vessel inscription, (2) 19 on the Lei lid inscription, (3) 23 on the He vessel inscription, and (4) 24 on the He lid inscription. Moreover, based on the circumstances that the unclear characters in (1) affected the variants in (2), (3), and (4), that there are variants in (2) that seem to have imitated (1), and that the same variants in (2) are found in (3) and (4), it is assumed that (1) is a primary inscription, (2) is a secondary inscription that imitated (1), and (3) and (4) are tertiary inscriptions that imitated (2).

      These results indicate the order of inscription production and suggest that there were multiple inscription calligraphers (craftspeople). Also, it is assumed that the differences in the calligraphic styles of the inscriptions reflect the differences in the craftspeople's ability to write and imitate.

      In addition to Ke Lei and Ke He, there are other variations in style in the same inscriptions. The details of such variations will be the subject of a future study.

  • 呉 雲峰
    2022 年 2022 巻 32 号 p. 15-28,130-129
    発行日: 2022/10/31
    公開日: 2023/03/31
    ジャーナル フリー

      In 1977, a number of artifacts were discovered in Zhong-shan-wang-mu in the Zhongshan state of the Period of Warring States in Pingshan, Hebei Province, China. Among them, the three artifacts “Cauldron, Zhong-shan-wang Ding,” “Square Wine pot, Zhong-shan-wang Fang-hu,” and “Round Wine pot, Zhong-shan-wang Yuen-hu” are called “Zhong-shan-wang-ling's three vessels.” The pieces are engraved with different inscriptions: a total of 469 characters in the Zhong-shan-wang Ding inscription, 450 in the Zhong-shan-wang Fang-hu inscription, and 182 in the Zhong-shan-wang Yuen-hu inscription. Although the three inscriptions are different from each other, they are all ritual inscriptions praising the achievements of the previous king and wishing for the prosperity of the nation.

      This paper consists of four chapters, and the outline of each chapter is as follows. Chapter 1 looks back on a turbulent period when various ideas flourished, and cultural prosperity promoted art creation and explored the artistry of bronzewares from the patterns of the time. Chapter 2 studies the inscriptions cast on bronzewares. With the rise of the arts, calligraphy also developed, and each principality made innovations in calligraphic styles. Amid such developments, the Chu state took certain bronzeware motifs, simplified and transformed the figurative forms, and decorated the characters, gradually giving rise to Chu-style Niao-chong-shu. The Zhongshan state, influenced by Chu-style Niao-chong-shu but with its own local cultural characteristics, created Zhong-shan-wang-ling 's three vessel inscriptions. Chapter 3 systematically analyzes the calligraphic style of Zhong-shan-wang-ling's three vessel inscriptions from three physical aspects of the style: kettai (character composition), hippô (stroke technique), and shôhô (centering and balancing of rows). Chapter 4 focuses on exploring the mental images of Zhong-shan-wang-ling's three vessel inscriptions by referring to the classification and analysis methods described in Er-shi-si-shi-pin, a typical Tang Dynasty poetry treatise that is not bound by physical objects but imagines the concept of calligraphic style and discusses the aesthetic categories of 24 different mental images.

  • 家入 博徳
    2022 年 2022 巻 32 号 p. 29-42,129
    発行日: 2022/10/31
    公開日: 2023/03/31
    ジャーナル フリー

      This paper compares and analyzes the Gosen-wakasyu Japanese poem anthology by Fujiwara Tamesuke, in the Nihon University Library collection, which is noted in the postscript as fui-ichiji (exact copy), and the original Gosen-wakasyu in the second year of Tenpuku by Fujiwara Sadaie in the Reizei-ke siguretei-bunnko collection, with the aim of determining the extent to which Gosen-wakasyu in the Nihon University Library collection accurately copied the original Gosen-wakasyu in the second year of Tenpuku in the Reizei-ke siguretei-bunnko collection, and clarifying Tamesuke's perception of fui-ichiji.

      Through this study, we can conclude that Tamesuke's concept of fui-ichiji was basically to follow the original by writing Chinese characters in the Chinese script and Japanese letters in the Japanese script. For the Chinese characters, we believe that he attempted to copy them exactly as they were in the original, as was made clear in this study. However, not all of them match the original. We considered that this was because of the process of adjusting a waka-poem to fit in a single line or to writing habits that arose in the process of writing it. As for kana, he does not seem to be as conscious of consistency with the original as with the Chinese script, as variant kana that differ from the original are occasionally found. It is possible that he interpreted fui-ichiji as fui-ichion (exact copy of the sound) for kana.

      Further, by stating “fui-ichiji” in the postscript, we believe that Tamesuke was trying to show that he was the legitimate heir to the Mikohidari-ke and that he was a suitable person to compile the imperial anthology.

  • ―中世書道における相伝と思想の様相―
    加藤 詩乃
    2022 年 2022 巻 32 号 p. 43-56,129-128
    発行日: 2022/10/31
    公開日: 2023/03/31
    ジャーナル フリー

      The Kirinsho is a set of calligraphic theories thought to have been established roughly between the Nanbokucho period and the Muromachi period. Numerous Syahon, Hanpon, and Nukigaki have been handed down, but they can be divided into three main lineages. Among them, two are known as Rufubon and are printed in Zoku Gunsho-ruijyu 31st series (Vol. 63, No. 913) and Nihon-shogaen No. 1 (Kokusyokankokai). The content of these works covers a wide range of topics, including ancient practices about calligraphy, calligraphic styles, calligraphy formats, writing practices, exemplars, stationery, the origins of letters, and the biographies of calligraphers.

      In this paper, as a basic study of Kirinsho, we have first organized information on the various existing works, discussed their content and philosophical aspects, and clarified the background of the formation of Kirinsho, including the history of its transmission as recorded in Juboku kankensho (edited by Jimyoin Motoharu).

      As a result, it was found that these works were initially regarded as a hallmark of “hisho” among the Sesonji-ke and surrounding Kaki-yaku families. With regard to the aspect of thought, they convey the worldview of the Medieval Nihongi and Medieval Shinwa of that time in calligraphy. Amid the complicated mixture during the transmission from Sesonji-ryu to Jimyoin-ryu, we can see evidence of an attempt to ensure the transmission of the secret origin of hiden by applying the rich thought of the people of the time and strengthening the basis of hiden. The secret works handed down as Jikkansho were passed down to Shimizutani-ke and then to Jimyoin-ke, and when they reached Jimyoin Motonori, we assume that they were renamed Kirinsho and positioned as a compilation of secret texts so that they would not be scattered and lost in the future.

  • 下田 章平
    2022 年 2022 巻 32 号 p. 57-70,128
    発行日: 2022/10/31
    公開日: 2023/03/31
    ジャーナル フリー

      In this paper, we mainly analyzed materials in the Naito Collection in Kansai University Library as part of Luo Zhenyu's research collection and examined the background of Luo Zhenyu's retreat to Kyoto to pursue his collection activities. We then further examined the Luo Zhenyu calligraphy, painting, and inscription rubbing collection (hereinafter the “Early Luo Zhenyu Collection”) and discussed the methods used to promote and sell them to Japanese collectors. As a result of the study, we found that Luo Zhenyu's decision to retreat to Kyoto was based on the arrangement by Fujita Kenpo, who determined that he would be able to raise the funds necessary to afford the expenses for the retreat and academic publishing. In fact, the initial cost of the Kyoto retreat was financed by the Uenobon Jushichijo. The sale of the Early Luo Zhenyu Collection also served to educate Japan about the reality of Ming and Qing calligraphy, paintings, and the good inscription rubbings and formed the core of the Ueno Yuchikusai and Onishi Kenzan collections. Yamamoto Jiho seemed to be inspired by such a movement and expanded the Ming and Qing calligraphy and paintings collection in a short period of time. Furthermore, the Luo Zhenyu collection was cataloged for sale in advance, and an exhibition of the collection was held. It should be noted that this later became a guideline for the collection group led by Inukai Bokudo in terms of methods of promotion and sale. In addition, we also found that Luo Zhenyu not only purchased the collection from Chinese collectors but also widely engaged in sales on their behalf and sales intermediation when the collection was transferred to the east. This suggests that a portion of the many calligraphy, paintings, and inscription rubbings released by the financially impoverished Qing imperial family and high-ranking officials flowed out through Luo Zhenyu to Japan, seeking a sales channel.

  • ―清朝名家を中心として―
    権田 瞬一
    2022 年 2022 巻 32 号 p. 71-84,128-127
    発行日: 2022/10/31
    公開日: 2023/03/31
    ジャーナル フリー

      Kawai Senro (1871-1945), with his profound knowledge and acute foresight, is regarded as the founder of a style in seal carving that is solid and thick with a classical grace, based on the techniques of Chinese imperial seals and seal carvings of noble families in the Qing dynasty. The appearance of Kawai's work brought a breath of fresh air into seal carving in Japan, providing a guideline for later carvers to follow.

      According to previous research, Kawai first studied under Shinoda Kaishin, during which time he discovered the seal carvings of noble families in the Qing dynasty. From there, he first learned the techniques of the Zhe school, then adopted the styles of Xu Sangeng and Zhao Zhiqian through input or compilations of seal marks, and then leaned toward the style of Wu Changshuo for several years prior to his meeting with Wu himself at the age of 30. Previous studies on Kawai mostly discuss how his carving style developed during the course of such changes.

      This paper focuses on the acceptance of the style of noble families in the Qing dynasty, which was fundamental in the formation of Kawai's early style. In particular, we targeted Kawai's seal carvings made between the ages of 25 and 37, when the styles of the Deng school (Deng Shiru), Xu Sangeng, Zhao Zhiqian, and Wu Changshuo were actively adopted, and examined the similarities and differences with selected specific seal carvings by specific seal carvers from whom Kawai is presumed to have learned when making his own seal carvings, and identified the originality of Kawai in his expression in seal carving.

      As a result of the examination, we pointed out that although the style of this period can be said to be an imitation of the classic style of Zhao Zhiqian and Wu Changshuo in the Deng school, it was sublimated as a Kawai style while following the methods of the two schools, and has a sense of unity unique to Kawai. In short, as Kawai's expression of seal carving, which does not waver regardless of what classic styles he learned, the authors noted the strict symmetry and even spacing between characters, the stable character form with the center of gravity adjusted up and down, and the spacious layout with the characters not too close to each other, all of which combined to yield a bright and clear atmosphere.

  • ―書の学会を生み出すもの―
    菅野 智明
    2022 年 2022 巻 32 号 p. 85-98,127
    発行日: 2022/10/31
    公開日: 2023/03/31
    ジャーナル フリー

      The Zhongguo Shuxue Study Group (hereinafter “Zhongshu Study Group”) was founded in 1943 in Chongqing, China, with Chen Lifu, Director of the Ministry of Education of the nationalist government, Yu Youren, President of the Control Yuan, and Chen Yinmo from the Control Yuan as promoters and supporters. Since then, it has attracted attention as the pioneer of a calligraphy society on a national scale.

      The actual management of the Zhongshu Study Group was left to the strong leadership of one individual, Chen Zishan, rather than to the collective leadership structure of the experts. Although Chen's role in the Zhongshu Study Group has been noted in previous studies, the fundamental question remains unanswered as to why Chen took the lead when so many other elite researchers had gathered there.

      The establishment of the Zhongshu Study Group was undoubtedly influenced by external and extraneous factors, such as the wartime relocation of the capital and the cultural promotion of national prestige. At the same time, however, the birth of this society must also be attributed to the state of the calligraphy scene at that time. In other words, the academicization of calligraphy, as symbolized by the Zhongshu Study Group, reflects part of the characteristics of calligraphy that are different from those of other academic and cultural fields, which are expected to emerge more clearly by focusing on Chen.

      This paper aims to investigate the factors that caused Chen to play a leading role in the establishment and operation of the Zhongshu Study Group, particularly from the immanent aspect of how calligraphy was positioned in the academic and cultural context. Through this approach, we will reveal part of the process by which calligraphy gained academic status in the late nationalist government period.

  • ―張蔭麟・宗白華の言説を中心に―
    梁 開印
    2022 年 2022 巻 32 号 p. 99-112,126
    発行日: 2022/10/31
    公開日: 2023/03/31
    ジャーナル フリー

      Since ancient times, calligraphy has had many different roles in China, making it a very complex cultural phenomenon. In the early 20th century, the Western word “art” was translated in Japan as “bizyutsu” (art), and later, “art” was introduced to China. During this period, the proposition that “calligraphy is an art” emerged in China, and many scholars later proposed such in their respective works. People today already regard calligraphy as an art. To begin with, how can calligraphy be placed in the category of Western art when it is a traditional Chinese culture, and what is the theoretical basis for placing it in the category of art? This paper takes the emergence of the proposition that “calligraphy is an art” in China from the early to mid-20th century as a starting point and examines the theoretical basis for why calligraphy is an art, focusing on the discourses of the scholars who presented this proposition, especially Zhang Yinlin and Zong Baihua. Zhang Yinlin's theory was based on the emotionalism that was popular in the West in the early 20th century. Zong Baihua used classical Chinese philosophical thought to make his point based on the hieroglyphics of Chinese characters and the tools they use. However, neither has solved the question of why calligraphy is an art. From a traditional perspective, Chinese calligraphy has multifaceted cultural values. The perception that “calligraphy is an art” since the modern era focuses only on the characteristics of the external form of calligraphy and defines the essence of calligraphy from Western literary theory. Although calligraphy has made significant progress in terms of art form under the criteria of art, from an overall perspective, the essence of calligraphy is not a singular entity, and calligraphy is not equal to the art of writing. To judge the essence of calligraphy as art simply by focusing on the external form would be a one-sided view of calligraphy.

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