This article tries to clarify the position of calligraphy in the history of the movement to found art museums in the Meiji period. While there are some preceding studies on the history of the movement to found art museums such as the discussions of Boku Shogen, there are none which discuss the theme from the perspective of calligraphy.

  With the advent of the Meiji period, the government encouraged nationalistic art, thus provoking objections from Western-style painters that triggered the movement to found art museums. After an exhibition site was torn down, artists themselves developed the movement, actively urged by the sense of crisis. However, very few calligraphers participated.

  After the idea of painting and calligraphy was replaced by the idea of “art” in the early Meiji period, the position of calligraphy remained officially undefined. Accordingly, no sections were spared for calligraphy at National Industrial Exhibitions or at annual art exhibitions sponsored by the Ministry of Education for some years. On the other hand, exhibitions and associations organized solely for calligraphy began to appear around the mid-Meiji period, including Rikusho Kyokai and Dainippon Sensho Shoreikai, which directed themselves toward “art.” In particular, Dainippon Sensho Shoreikai intended to construct “Teikoku Shodokan” and engaged itself in the movement to found art museums in cooperation with other art organizations. Though such efforts are noteworthy as they worked for the independence of calligraphy and its participation in the realm of art at the same time, no detailed discussions have been made to date. This article examines the environment of calligraphy in the Meiji period and illustrates the coexistence of both old and new, where some individuals and organizations developed activities to participate in “art” while traditional shogakais and miyabikais or exhibitions and parties of painting and calligraphy in the Edo style were still active.