Zhuanli wenti, compiled by Xiao Ziliang of Southern Qi, is an important work on miscellaneous scripts. The manuscript currently preserved in Bishamondo Temple in Kyoto is known as the only existing manuscript. This paper clarifies the issues surrounding the Bishamondo Temple manuscript, evaluates its merits and drawbacks as an existing manuscript, and further discusses which aspects of the Zhuanli wenti have been inherited and which have been discontinued between the Zhuanli wenti and the related works in its genealogy.

  Among the contents of the Bishamondo Temple manuscript, the text describing miscellaneous scripts can be found inherited in Gujin wenzi zan by Wei Yi of the Tang dynasty and the Eighteen-style Calligraphy Script Stele by Mengying of Northern Song and other later works on miscellaneous scripts.

  This indicates that the understanding of miscellaneous scripts, as conveyed through texts, has been consistently shared since the compilation of Zhuanli wenti. On the other hand, while the miscellaneous scripts shown as graphic images have many design similarities between the Bishamondo Temple manuscript and Gujin wenzi zan, there are noticeably differences in design between the Bishamondo Temple manuscript and the Eighteen-style Calligraphy Script Stele, with only partial stylistic similarities. As a reasonable interpretation of this, this paper assumes that the Bishamondo Temple manuscript and Gujin wenzi zan have preserved the appearance of Tang dynasty miscellaneous scripts, and concludes that the differences in the design of many of the calligraphic styles in the Eighteen-style Calligraphy Script Stele are due to the loss of the original forms during the process of transmission. Miscellaneous scripts from the Song dynasty onward share many design features with the Eighteen-style Calligraphy Script Stele, suggesting that the Eighteen-style Calligraphy Script Stele can be said to be positioned at a turning point in the history of miscellaneous scripts.

  This study examines and compares the views of previous studies on the calligraphy of the “Imperial Inscription of Toshodaiji Temple” in Toshodaiji Temple, Nara, Japan, with the Ji Wang shengjiao xu script and other examples of calligraphy from the Tang and Nara periods, to clarify the characteristics of its style and brushwork. As a result, it was confirmed once again that the calligraphy of the “Imperial Inscription of Toshodaiji Temple” is based on the style of Wang Xizhi, particularly in the letterforms and brushstrokes found in the “Imperial Inscription of Toshodaiji Temple”.

  However, a closer examination of the letterforms and brushstrokes reveals that the inscriptions in the “Imperial Inscription of Toshodaiji Temple” were not assembled from characters found in the Ji Wang shengjiao xu or other examples of Wang Xizhi's work, nor were they created by combining radicals. Additionally, it was found that the technique used in the inscription was simplified and not as advanced as that used in the Ji Wang shengjiao xu script.

  The author of the “Imperial Inscription of Toshodaiji Temple” is said to be Emperor Kohken, who was already an ex-emperor, or emperor emerita, the highest authority in effect, when Toshodaiji Temple applied for the grant of the official inscription. For Toshodaiji Temple, which was seeking designation as a Jogakuji Temple, officially protected private temples, the inscription executed by the emperor was likely the most effective means of demonstrating its connection to state authority, and the Wang Xizhi style of calligraphy, which would have been accepted as a symbol of China at the time, would have also served as a straightforward representation of Toshodaiji Temple's character, given that the temple was founded by Ganjin, a Buddhist monk who journeyed to Japan.

  “Jiugongfa”, also known as “Jiugongshi” or “Jiugongge”, is a learning method in which a square is divided into nine grid boxes arranged in three vertical and three horizontal lines, and the grid boxes and boundary lines are used as a guide to grasp the location of the strokes. In China, it continues to be improved and used as a learning method for beginners, with related books still being published. However, in Japan, it is not widely used today, and “Tianzige” and “Mizige” are more commonly observed. Regarding “Jiugongfa”, there are discrepancies in current dictionary commentaries due to differing interpretations of its sources.

  This paper aimed to clarify some aspects of Qing dynasty calligraphy education by using “Jiugongfa” in Qing dynasty calligraphy theory as a starting point. It examined a broad range of related discourses, traced their development, and discussed their relationship to “Linmo,” or calligraphic copying, that provide the background for the discussion, while also discussing the previously mentioned issue.

  As a result, regarding the discussion of “Jiugongfa”, only a limited number of people, such as the Wang Shu and the Jiang Heng families, mentioned it in the early Qing dynasty. However, we found that the publication of Feng Wu's Shufa Zhengzhuan and Ge Shouzhi's Hanqi Shufa Tongjie, collections of writings from the previous era, indirectly stimulated the discussion, and Bao Shichen's new theory led to its widespread dissemination after the Tongji period. Additionally, by focusing on the discourse surrounding Linmo in the Qing dynasty, we highlighted how copying for beginner students was gradually encouraged and led to the introduction of copying into “Jiugongfa”. We also pointed out that the emphasis on the literal representation of shape in the learning process for beginner students was the underlying factor that led to the encouragement of copying and the popularity of “Jiugongfa” in the Qing dynasty.

  Wu Changshuo is known as the “last literary man.” He interacted with many Japanese intellectuals through poetry, calligraphy, painting, and seal carving. He lived during the turbulent period from the late Qing Dynasty to the Republic of China, a time when nationalism was emerging in the world. This article discusses the reasons behind Wu Changshuo's interest in communicating with Japanese intellectuals during this period, with the aim of exploring his concept of national idea.

  First, I compared and analyzed Wu Changshuo's poems about the Taiping Rebellion he experienced as a young man with the writings of his son Wu Dongmai and grandson Wu Changye, to identify Wu Changshuo's national idea in his early years.

  Next, using the Sino-Japanese War in which Wu Changshuo participated, along with materials on the history of modern thought as supporting evidence, we clarified his national idea and the shift in his perception of Japan based on it, specifically, the transition from a perception of Japan based on the Hua-Yi distinction to a perception of Japan based on the modern view of the nation-state.

  In addition, we have also examined materials related to the educational tours to Japan conducted by Luo Zhenyu, a friend of Wu Changshuo, as supplementary materials. After the Sino-Japanese War, the Qing recognized the importance of preserving its own culture while strengthening national power, which led to a trend of increased exchanges and cooperation with Japan, which shared a common cultural background. Many Qing intellectuals accepted this idea, and it is considered that Wu Changshuo also sought to interact with Japanese intellectuals based on this idea.

  Finally, we suggested that the establishment of the Xiling Seal Art Society, which holds an important position in the history of Sino-Japanese calligraphy exchange, is related to the historical situation that required cooperation with Japan based on the will to “self-improvement of the country” and “maintain nationalism.”

  Li Ruiqing (1876-1920) and Zeng Xi (1816-1930) were both calligraphers who moved to Shanghai and made a living by their artistic activities following the Xinhai Revolution in the early Republic of China.

  They are widely recognized as the leaders of the artistic circles in Shanghai, known for their novel calligraphy style called “Juti.” Previous studies on these artists have covered a wide range of subjects, including their activities as calligraphers, their calligraphic styles, their publishing business, and their theories on calligraphy, and have also included the publication of chronological histories and catalogs. However, the differences in their calligraphic expressions have not been thoroughly examined, as both of them have been categorized under the label of “Juti.” In fact, even when we compare their ling-shu (writing calligraphy with copying) works on the identical subject, it is evident that their expressions of “Juti” differ significantly. The fact that they were aware of the differences in the classics they favored highlights the significance of examining the “Juti” calligraphic style.

  The purpose of this paper is to examine the uniqueness and expressive effects assumed by Li Ruiqing and Zeng Xi's “Juti” by focusing on the “fluctuation” in their interpretations. By clarifying this point, we believe we can shed light on its relevance to Li Ruiqing's Yumeihuaan-shuduan and other calligraphic theories, as well as on the use of “fluctuation” in calligraphic expression. In this paper, we focus on examples of ling-shu.

  In conclusion, we found a certain correlation between Li Ruiqing's works and his theory of calligraphy. After taking this into account, we focused on the difference in “Juti” between the two artists, and confirmed that the difference was caused by changing two aspects, “the number of amplitude” and “height difference.” These expressive effects suggested that Li Ruiqing emphasized harding and sense of unity, while Zeng Xi fostered softing and sense of disunity.