Month: March 2023

Tokyo National Museum

Tofukuji is one of the Zen temples representing Kyoto.

Known as a spot for fresh greenery and autumn foliage, it is a famous temple that has preserved many treasures such as ancient documents, calligraphy, classics, and portraits, even though it was devastated by war.

This exhibition, which will be the first opportunity to introduce the treasures of Tofuku-ji Temple, will bring together excellent works of Zen Buddhism culture, such as "The Five Hundred Arhats" by the painter Myocho.

In this article, we will report on the press preview held the day before the event.

Tofukuji is one of Kyoto's representative Zen temples, and is also known as a spot for fresh greenery and autumn foliage. The name Tofukuji is derived from the fact that each character is taken from Todaiji and Kofukuji in Nara.

Enni, who studied Zen in China, became the founder. Although Tofuku-ji Temple has been in danger of being destroyed by fire many times, it still retains the atmosphere of the Middle Ages and has been handed down to the present day with a number of buildings, and its gigantic temple complex is commonly known as the "Garandzura of Tofuku-ji Temple." .

The special exhibition "Tofuku-ji Temple" traces the history of Tofuk-ji Temple since its foundation, and introduces the full picture of Zen Buddhism culture through exchanges with the continent. It is an exhibition that widely conveys the significance and charm of the exhibition.

Numerous treasures of Tofukuji Temple, where the essence of Zen resides.

The exhibition hall of this exhibition is divided into the first venue and the second venue,

• Chapter 1 The foundation of Tofukuji Temple and Enni
• Chapter 2 Formation and Development of the Seiichi School
• Chapter 3 Legendary painter of Buddhist paintings, Myocho
• Chapter 4 Zen Buddhism Culture and International Exchange
• Chapter 5. Huge temples and Buddhist sculptures

It consists of 5 chapters.

Tofuku-ji Temple was listed as the fourth of Kyoto's five great temples during the period of the Northern and Southern Courts, and the main temple Tofuku-ji Temple and its sub-temple have many characteristics that tell the story of Zen Buddhism culture, such as cultural relics introduced from China, buildings, sculptures, paintings, and calligraphy. Cultural heritage is handed down. There are 7 National Treasures and 98 Important Cultural Properties, totaling 105, including Honzan Tofukuji Temple and sub-temple.
In particular, in Chapters 1 and 2, excellent works of Zen Buddhism art related to Enni and his successor, the Shoichi school, such as "Statue of Mujun Shihan" (National Treasure), which is called "the perfection of Southern Song portraiture", are lined up. increase.

What left a personal impression on me was Enni's grandchild disciple, Tofuku-ji Temple's 15th head priest Koseki Shiren (1278-1346 ) . Is it a handwriting representing the character for "tiger" or a picture of a sitting tiger? It's as if you're asking the person watching this , "What do you think you are?"

Myocho's Drawing Skills, the Legendary Painter of Buddhist Paintings

The highlight of this exhibition is the monumental masterpiece "The 500 Arhats" by Myocho, a painter of Buddhist images who is revered as a "master of painting." This work, which will be exhibited for the first time after restoration, is a representative work of the young Myocho, in which ink and rich colors are in perfect harmony. Two widths are still in existence at the Nezu Museum in Tokyo. This exhibition will be a valuable opportunity to reveal the whole picture for the first time (exhibition period varies depending on the width).
Next to it is a comic that explains the contents in a unique way, which is also a point that shows the playfulness unique to Tohaku.

Also on display is " Bodhidharma and Eto Tetsukakuzu," known as a masterpiece of Mingcho's maturity period. The symmetrical beauty of the composition, the intricate depiction of shadows, and the bright and relaxed brush strokes that anticipate Edo paintings… It is said to be a copy of a masterpiece of Chinese painting, but it is a masterpiece that allows you to enjoy Meicho's exceptional drawing power and originality.

Enveloped in the overwhelming power of a giant cathedral

Chapter 5 is where you can experience the actual “garan mask of Tofukuji Temple”. You will be overwhelmed by the scale and majesty of the extra-large Buddha sculptures that are suitable for a huge temple.

The standing statue of Tamonten, which will be unveiled for the first time after the restoration, and the standing statues of Kasho and Anan, both of which are important cultural properties, as well as the hand of Buddha, which boasts a gigantic 2-meter hand. Also pay attention. It is a valuable remains that proves the enormous size of the former principal image that disappeared.

The exhibition will be held until May 7th (Sun). Experience the vivid colors of Zen Buddhism culture and the overwhelming power of a huge temple at the venue.

Overview of the event

exhibition period	March 7 (Tue) – May 7 (Sun), 2023 *Exhibits may be changed during the exhibition
venue	Tokyo National Museum Heiseikan (Ueno Park)
Opening hours	9:30-17:00 (admission until 30 minutes before closing)
closing day	Monday *Open on March 27 (Mon) and May 1 (Mon)
viewing fee	General 2,100 yen University student 1,300 yen High school students ¥900 *Advance reservations are not required for this exhibition. If it is crowded, you may have to wait to enter. *You may have to wait to enter when it is crowded. ※Junior high school students and younger, people with disabilities and one caregiver are free of charge. Please show your student ID card, disability certificate, etc. when entering the building. * With this exhibition admission ticket, you can also see the general cultural exhibition only on the day of viewing. (Note) For details, please check the ticket information page on the official website of the exhibition.
Exhibition official website	https://tofukuji2023.jp/

*The content of the article is as of the time of the interview. It may differ from the latest information, so please check the official website of the exhibition for details. It is also possible that the works mentioned in this article have already been exhibited.

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Shitamachi Customs Museum

The Shitamachi Museum of Taito Ward stands on the banks of Shinobazu Pond in Ueno, Tokyo.

Since its opening in 1980 to convey the good old downtown Tokyo culture to future generations, the museum has entertained many visitors, but from April 1st, 2023, the facility will undergo a large-scale renovation. Did you know that the museum will be closed until the end of 2024 (date undecided) due to construction work ?

After the renovation, some of the current exhibits will no longer be visible, so I feel hopeful and sad at the same time.

Therefore, this time, I interviewed the inside of the museum to introduce the appearance of the Shitamachi Museum, which has been loved for about 42 years.

The final special exhibition, “Children of the Meiji, Taisho, and Showa eras -The world of children in the downtown area spelled out with materials-” is also mentioned in the latter half of the article, so be sure to visit during the remaining one month of business. please give me.

Shitamachi Museum of Customs Born from the Voices of Residents

It was destroyed by fire during the Great Kanto Earthquake in 1923 (1923) and World War II in 1945 (Showa 20), and was redeveloped in 1964 (Showa 39) to host the Tokyo Olympics. The streets and culture of the good old downtown area disappeared rapidly, and the lives of the common people changed completely.

Around the 40th year of the Showa era (1965), people who loved shitamachi culture began to voice their concerns about this situation, and the idea of establishing a museum to pass on the memories of shitamachi to the next generation was born. And on October 1, 1980, the Shitamachi Museum was finally opened.

In the exhibition room on the 1st floor, merchant houses, tenement houses, wells, etc. are reproduced in almost life-size as a downtown scenery of the Taisho era before the Great Kanto Earthquake (about 100 years ago) . In the exhibition room on the 2nd floor, we introduce materials and toys related to the history of the downtown area centering on Taito Ward.

The charm of the exhibition is that it is an experience-based content, where you can not only appreciate it, but also go up to the actual recreated tatami room and touch the exhibits (*). According to Mr. Honda, a researcher at the museum , this so-called hands-on exhibition method is now being used in various museums, but the Shitamachi Museum is actually the pioneer.

(*Due to the corona crisis, contact with the exhibits is prohibited, with the exception of some)

Since the museum was opened in response to a request from the private sector, it can be said that many of the items in its collection are donated items collected from inside and outside Taito Ward . You can enjoy a more realistic downtown atmosphere with furniture and daily necessities that are actually in your home.

It has been visited by more than 3 million people so far, and recently it has become a popular spot among young people seeking a retro atmosphere and foreigners visiting for sightseeing.

Travel back in time to the Taisho era 100 years ago

The first thing that catches your eye on the first floor is the bright red hexagonal automatic telephone (later renamed public telephone) box .
In 1900, Japan’s first automatic telephone appeared at Ueno Station and Shimbashi Station in Tokyo. At the museum, a restored box-type automatic telephone that was used from 1910 is on display.

The bright red color of the automatic telephone booth must have looked beautiful in the downtown area.

The phone body inside was actually used. The handset is split, not a dial type, but a type that first calls the operator and connects to the other party’s phone.

Nowadays, we rarely see push-button public phones, let alone dial-type ones, but I felt a sense of history because they were antiques from even before that. The position of the mouthpiece is very low, and it seems to be difficult for tall people to bend down to speak. It is an exhibition that makes you imagine what the average height of Japanese people was at that time.

This is a reproduction of the setting of a large merchant house facing the main street, the storefront of a Hanao (*) manufacturing wholesaler . You can see traditional merchant house architecture such as “dashigeta-zukuri” and “agedo” that have been handed down since the Edo period.

(*According to the notation of the exhibition commentary at the Shitamachi Museum, it is a flower thong instead of a thong.)

In the back of the workshop, colorful thongs hang down. At that time, people usually thought of footwear as clogs and zori, and thongs were a necessity in daily life. According to the season and kimono, they enjoyed changing the fashion by changing the materials, shapes and patterns that were in fashion at that time.

In terms of rare exhibits, there is a “Yojingo” hanging above the workshop. It’s like a present-day emergency bag.

“In the old Edo area, there were many floods, so in order to avoid getting wet, we set up a basket and threw all the important things in it. (Mr. Honda)

Explanation sheets are distributed for all of the exhibits, but there are probably many items that are unfamiliar to those of us who live in the present age, such as caution baskets. First of all, it might be interesting to go around the museum while guessing, “What will that tool be used for?”

This is a counter and business negotiation space. It is said that merchants always had a register (a place for writing accounts and paying bills), and only selected people such as the owner and the clerk were allowed to enter through the lattice of the register as a barrier. . Of course, you can freely enter the reproduction exhibition. There were abacuses, “money boxes,” which were safes at the time, and “mark boxes,” which were used to store personal seals.

“Regarding these reenactment exhibitions, there are documents that tell us that when the museum opened, the director and staff of the time stayed overnight to see what kind of things would be useful and where they would be useful, and then decide on the layout based on actual experience. is right-handed (back then, it was normal for left-handed people to be corrected), so there is a lot of attention to detail, such as arranging things so that you can grab things with your right hand.” (Mr. Honda)

Mr. Honda’s story tells us that the role of the museum was to convey the real life of the time, rather than the presentation of the exhibits.

In front of the merchant house, there are also rickshaws , which were invented in Asakusa and were a representative means of transportation before the spread of automobiles, and hakoguruma, which were indispensable for the delivery business, and are lively. It created a downtown atmosphere.

Living in a tenement house that nurtures the warmth of downtown hospitality

Across from the merchant’s house, there is a re-creation of tenement houses, which are familiar from period dramas, surrounded by narrow alleys.

The time of the interview was “Hatsuuma” (the first day of the horse in February). The Hatsuuma festival is held every year at Inari shrines across Japan to pray for a bountiful harvest. Since there is also a small Inari shrine in the same building, the tenement house was decorated with Jiguchi lanterns, which had been hung in the city during the Hatsuuma festival since the Edo period.

Jiguchi is a play on puns based on proverbs and sayings that were popular in the Edo period. Jiguchi lanterns were created by attaching caricatures to Jiguchi lanterns, and they entertained the people who gathered for the Hatsuuma festival.

In this way, the museum welcomes visitors with delicate productions that match the changing seasons, such as New Year decorations and Tanabata decorations. Decorations are also fun on special occasions, and can be a means of carrying gen and offering prayers to the gods and buddhas. It’s a smart device that allows you to experience the spirituality of the people of the time and the scenery of the four seasons in the downtown area.

By the way, before it was forbidden to touch the exhibits due to the corona disaster, it seems that they secretly prepared small things that only people who noticed, such as changing clothes in the drawer, could enjoy.

In the one-storied nagaya, which was common before the Great Kanto Earthquake, a candy store and a dokoya are reproduced.

Dagashi shops, which also sold toys such as spinning tops and marbles, were social gathering places for children. The kitchen and tatami room are also built in the setting that it is open in a part of the residence.

Regarding the infrastructure of the downtown area at that time, although electricity was available, electrical appliances were not widespread, and water and gas were not common. Such a situation is also transmitted from the fact that there was a water bottle in the kitchen to store water drawn from the well shared by the residents.

A wooden sink can be seen under the water jar, and a workshop like this where you build a sink near the floor and squat down to cook is called a “sit nagashi.” I was surprised to learn that this was also common in the Taisho era before the earthquake. This arrangement is unthinkable now.

Dotsuboya is a shop that makes and repairs copper products such as pots and kettles, as well as kettles. Various craftsmen lived in the downtown area, but the craftsmen of Doutsuboya were indispensable to people’s lives in an era when people used things carefully while repairing them.

On the wall of the workshop, a kind of Shinto altar, called “Kojindana”, which enshrines the god of fire, is made.

“Dotsuboya is a profession that uses fire, but at that time it was not possible to call a fire engine with a single phone call, so I think the fear of fire was much stronger than it is now. I would like to convey that it was an era when there were a great many people who were deeply religious.” (Mr. Honda)

Looking back, I found a Shinto altar at the candy shop I mentioned earlier. It is said that in the past, every household and every merchant house had a Shinto altar, so prayers to the gods and buddhas must have been an essential part of daily life.

The Inari shrine built in the back of the row house is also an exhibit that shows the depth of devotion.

Inari was enshrined as a guardian deity of land and mansions in the Edo period, and it is said that it was always built in each tenement house. As a result, many Inari shrines still exist today in the downtown area.

A house separated by a single thin wall. For those of us who live in modern times, a tenement house is a living space in which the concept of privacy is incomparably weaker than condominiums and apartments. Residents will inevitably become friendly with each other, and I think it was more necessary than ever to be considerate of not causing trouble to others.
The kindness of the people in downtown may have been formed from such a lifestyle.

The merchant house and row house in the exhibition room on the first floor were built when the museum opened in 1980, so they are over 40 years old. The floors and pillars, which must have been brand new when the museum first opened, had been damaged by people coming in and out almost every day for many years.

Everyone’s longing? You can also take a commemorative photo while sitting on the watch stand of the sento.

On the second floor, as a permanent exhibition, people’s lives in the 1950s are reproduced. The kitchen and living room of a downtown apartment. Starting with Toshiba’s black-and-white TV that uses vacuum tubes, and Japan’s first automatic electric rice cooker, there are a number of high-end home appliances of the time, so you might imagine a wealthy home.

Furnishings such as chabudai and chests of drawers, which must have been passed down from before the war, coexist with the latest home appliances. One can imagine the humble desire to keep using things that can be used for a long time, as well as the desire for convenience and comfort. . This kind of lifestyle gradually disappeared after the 1960s, and we entered an era of mass consumption. Behind the nostalgia, you can also understand the sense of crisis of those who thought about preserving the downtown culture, which was the impetus for the establishment of the museum.

Next to it, the watch stand that was actually used at the public bath “Kingyoyu”, which operated in Taito Ward from 1950 (1950) to 1986 (1986), was placed almost exactly as it was. . It is said to be the museum’s most popular photo spot because it is the museum’s largest donation and you can actually sit on it.

“Especially, men from the Taisho to Showa generations may have longed for it since long ago, and they seemed to really enjoy the bandai experience, and they really wanted to sit down. Many of them don’t seem to know what a bandai is, but when they see the exhibition, they say, ‘This is what a bandai is like’ and ‘I like it’. I see it… It seems that the exhibition, not just this bandai, is a catalyst for conversation among visitors.” (Mr. Honda)

It is not a commentary, not a curator, but an ordinary person explains the exhibits smoothly. One of the charms of the museum is that you can meet such scenes.

Special exhibition “Meiji, Taisho, Showa Children” is being held (until March 31, 2023)

In the exhibition room on the 2nd floor, in addition to the reproduced exhibition of the Showa apartment and the watch stand of the public bath, we usually display items related to the downtown area centered on Taito Ward and materials related to annual events. However, on this day , the last special exhibition before the renewal, “Children of the Meiji, Taisho, and Showa eras -The world of children in the downtown area spelled out with materials-” was being held. (Viewing fee is included in admission fee)

This exhibition focuses on the daily lives of children living in the downtown area from the Meiji to Showa eras, and introduces the games and rituals that children went through during the process of growing up, mainly from the materials held by the museum. what to do.

In particular, the materials related to children’s games are very rich, and the exhibits were roughly divided into “outdoor games” such as beigoma and menko, and “home games” such as marbles and pretend play.

Mr. Honda’s recommendation is the miniature hand tools sold from the Meiji to Taisho eras. The point is that it is made from the same materials as the real thing, such as wood, bamboo, tinplate, and ceramics. Even adults were thrilled by its sophistication.

Among the displays of materials related to children’s growth ceremonies such as Shichi-go-san and Okuizome, Mr. Honda says he wants people to pay particular attention to the “Semoncho” .

Semonjo is a sample book of “Semamori” which is sewn with colored thread on the back of one-piece maternity clothes worn by children from 0 to 2 years old.

A typical kimono has a seam in the center of the back, and it has been thought that the seam is regarded as an “eye” and has the effect of protecting the body from disasters coming from the back. However, since there is no seam on the back of the single-piece maternity clothes, it is said that the “eyes” called semamori were embroidered with colored threads to ward off evil. It is said that what is on display is a semamori from the Showa period, and that each design on the semamori has a meaning.

Mr. Honda says, “I would be happy if the exhibition of ceremonies related to the growth of children conveyed the hearts and minds of parents who have tried to protect their children in various ways.”

In addition, as a plan to be held at the same time as the special exhibition, in order to look back on the 42-year history of the museum, posters and flyers of the planned exhibitions and special exhibitions that have been held so far, as well as museum goods that are not available now. .

What will happen to the Shitamachi Museum after the renewal?

We asked Mr. Honda about the renovated Shitamachi Museum.

“We are still working out the details, but instead of repairing or refurbishing the current exhibition, we plan to completely change the impression for a new era. It’s planned (currently the exhibition is up to the 2nd floor), so I wonder if I can show you a completely different view. Please don’t worry about that.” (Mr. Honda)

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Around Ueno Station, where the Shitamachi Museum is located, there are many facilities where you can appreciate modern and contemporary works of art with high academic value. Among them, the existence of the museum, which has honestly continued for 42 years with exhibits that allow you to feel the signs of people who used to live in the downtown area, is a special place not only for local residents but also for people living in the present age. I feel like I’m taking my place.

The Shitamachi Museum, which not only conveys shitamachi culture to future generations, but also serves as a bridge between generations who have experienced the culture in real life and generations who do not know it, will begin preparations for a new life on April 1, 2023. from day. Whether you have ever been to the museum or not, please visit it once before the renovation work to keep it in your memory.

Shitamachi Museum Overview

location	2-1 Ueno Park, Taito City 5 minute walk from JR Ueno Station Shinobazu Exit
Opening hours	9:30 a.m. to 4:30 p.m. (Admission until 4:00 p.m.)
closing day	Mondays (or the following weekday if it falls on a public holiday), December 29th to January 3rd, special arrangement periods, etc.
Admission fee	General 300 yen (200 yen), Elementary, junior high and high school students 100 yen (50 yen) *Prices in parentheses are for groups of 20 or more. *Every Saturday, elementary and junior high school students living in or attending school in Taito Ward and their guardians are free to enter.
telephone number	03-3823-7451
Official site	https://www.taitocity.net/zaidan/shitamachi/

*The content of the article is as of the date of the interview (February 3, 2023). Please check the official website for the latest information.

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Taito Ward Calligraphy Museum

A legendary calligrapher who was active in China about 1700 years ago and was later revered as a “sage of calligraphy.” Wang Xizhi Ogishi (303-361, heresy) and his most famous work, “ Ranting order Renteijo The exhibition “Wang Xizhi and Rantei Cho” , which focuses on ” , is being held at the Taito Ward Calligraphy Museum.

Date: January 31 (Tue) to April 23 (Sun), 2023 * During the period, the exhibition will be changed according to the following schedule. First term: January 31 (Tue) – March 12 (Sun) Second term: March 14 (Tue) – April 23 (Sun) * Click here for the list of exhibited works *This exhibition is a joint project with the Tokyo National Museum. *The images posted were taken with special permission.

 

The most famous calligrapher, but there is no true trace? About Wang Xizhi

In the history of China, calligraphy flourished most during the Eastern Jin Dynasty in the 4th century, when an elegant aristocratic society was formed. Wang Xizhi appeared at a time when the aristocrats, who were striving to achieve the ultimate in elegance in all aspects of their daily lives, began to add artistry and criticality to calligraphy, which had been all about practicality.

Wang Xizhi refined cursive, cursive, and square script, which were transitional calligraphy styles at the time, and made great strides in artistry while incorporating his own emotions into calligraphic expression. The advanced new style of calligraphy with universal beauty that he acquired became the source of calligraphic norms even in Japan, where Wang Xizhi’s calligraphy was introduced in the Nara period, and to this day it is synonymous with nosho. It is

“Rantei Chou” (353) is such a representative work of Wang Xizhi, and a masterpiece that shines brilliantly in history. This is a draft of the preface of a collection of poems written in March of the 9th year of Yonghe (353), written at a banquet held by Wang Xizhi inviting 41 celebrities in the scenic land of Lanting in Guiji (Shaoxing City, Zhejiang Province). .

Wang Xizhi improvised while intoxicated with a draft of Ranteijo, written in beautiful cursive script, full of emotional sentiments about the pleasures of parties and the ephemerality of life. Anecdotally, no matter how many times he tried to make a clean copy, it never turned out better than the draft. Even now, it is treated as a compulsory work for people who are trying to learn gyosho.

Wang Xizhi’s calligraphy, including “Ranteijo”, was highly valued during his lifetime and was the object of collection among the aristocrats, but in fact, it seems that not a single true copy has survived.

In addition to being gradually lost due to wars and natural disasters, 300 years after the death of Wang Xizhi, the Tang dynasty who loved his calligraphy Taejong so bad The main reason is that the emperor (598-649) thoroughly collected them and buried them together with the Ranteijo when he passed away. However, Emperor Taizong commissioned excellent calligraphers to make “copies” such as copies and rubbed copies of works such as “Lanting Cho” and gave them to his subjects, and Wang Xizhi’s advanced calligraphy was passed down to future generations. It’s decided.

The special exhibition “Wang Xizhi and Rantei Cho” was planned to commemorate the 20th anniversary of the collaborative project between the Tokyo National Museum and the Calligraphy Museum. Paintings and calligraphy that show the influence of these works are exhibited in both museums.

“Ranteijo” appeared one after another. Which is the essence of Wang Xizhi?

The major feature of the exhibition is that you can compare more than 10 types of “Ranteicho” in the first half and the second half.

“Ranteijo” has been duplicated and duplicated. For this reason, the strength, speed, and speed of the characters are all subtly different, and the “Ranteijo” of various histories has been handed down, reflecting the skill of the people involved in the reproduction and the image they had of Wang Xizhi.

In the first half of the exhibition, we were able to appreciate 《Sadatake Honran-tei Chorus》 Hanju ship book Kanju Senbon ―》《Shinryu Honran Tei Introduction― Yamamoto Kakuzan Yamamoto Kyoto Former Collection―》《 Yui Eisho Honrantei-jo Wenzhi Wang home Former Collection―》《 Senwa Naifu Sennanaifu Former Zorantei Cho” , etc. By the way, the phrases such as “XX book” in the title of the work are used to distinguish it from other “Ranteijo”, such as the land where the stone that was the basis of the rubbing was found and the unique characteristics of the work.

《Jingu Honran Teijo – Hanjusenbon》 has a subdued character and an overall cool feel. When Emperor Taizong ordered his retainers to copy the “Rantei Cho”, the one who was the best was counted as one of the “three great masters of the early Tang”. ouyang Ouyoujun (557-641). This work is said to be a rubbed copy from the Song Dynasty, which is particularly old among the many “Seibubon” lineages.

The next thing that caught my eye was “Shinryu Honran Tei Chou – Formerly owned by Yamamoto Kakuzan -“ . The “Shinryu book” is named after the fact that the beginning and end of the text are half-stamped with the name of the Tang dynasty era, “Shenryu.” The “Shinryu-bon” is characterized by its lively and colorful characters compared to others, and it is often featured in textbooks because it is easy to read and learn.

However, according to Mr. Nakamura, the museum’s chief researcher, the character style of the Shenlong version reflects the refined aesthetics of the Tang dynasty. If so, it should be a little more simple.” Certainly, when I looked at the same work compared to others, I felt that the splashes and harassments were a little exaggerated.

Even in the same system, the character appearance is quite different and it is worth seeing. There seems to be various backgrounds, such as whether the person who duplicated it unconsciously brought out his own color, or whether he changed it intentionally to appeal to the people of the time. This is also a personality that was born because there is no true trace of “Ranteicho” and it is impossible to match the answers.

In addition to “Lanteicho”, there are several other works by Wang Xizhi (although they are reproductions) on display at the same exhibition, so even those who are not familiar with calligraphy will wonder, “Which Ranteicho still retains traces of Wang Xizhi?” You can enjoy it while considering it.

Also, although it goes without saying, there is something to be learned from watching Ranteijo on its own. For example, the kanji character ‘之’ appears frequently in ‘Ranteijo’, and I was surprised to find that each was written in a unique style and style.

I don’t know much about calligraphy, so I vaguely imagine that a person who is good at calligraphy has the best character shape perfected in themselves and always outputs that character shape without blurring. was However, in “Ranteijo”, “之” is written differently depending on the context. When viewing the work while reading the Japanese translation of “Ranteijo” in the exhibition room, one realizes that the charm of this work lies not only in the scenery, but also in the rich power of expression that conveys the artist’s emotions. I felt that I could understand part of the greatness of Wang Xizhi, who created the basics of calligraphy art.

In addition to the “Lanting Preface, ” several “Seventeen Chapters,” a collection of 29 letters written in cursive by Wang Xizhi, are also on display in the first half and second half.

“At first glance, it’s a plain work. The content of the writing conveys a feeling of poor health, but the fact that it’s written in beautiful characters, even though it’s said to be in poor health, gives the impression of Wang Xizhi. It’s nice, but the spacing and size between the characters is also a highlight.Just like there are main characters and supporting characters in a drama, there are characters that look good in calligraphy as well, and there are characters that look gorgeous, such as those with harai on the left and right. Please pay attention to the harmony of the entire calligraphy that has been completed.” (Mr. Nakamura)

Creating works with Wang Xizhi font? The popularity of Wang Xizhi is also in Japan…

The exhibition will also display calligraphy from before, during, and after the appearance of Wang Xizhi. In subsequent works, we can see how great the influence of Wang Xizhi was.

A master of regular calligraphy who was active from the end of the Later Han dynasty to the Wei dynasty of the Three Kingdoms, and was said to be admired by Wang Xizhi. shong show ( 151-230 ) recommendation Senkicho Hail ( Shinsho Saijo new year -Higobon-)” is “the first step in the development of calligraphy from slave script to regular script over a long period of time,” says Mr. Nakamura. There are remnants of clerical writing, and primitive characters that are slightly short and wide can be seen.

Wang Xizhi’s << yellow court sutra Kōteikyo 》 and << Filial Lady Cao’e Monument Kojo sogahi 》 (Original site: Eastern Jin Dynasty, 2nd year of Xiuping (358) / Displayed for the entire period). Compared to Sho’s calligraphy, it was noticeably more sophisticated, and I felt that he had grown taller and had a natural character style and brushwork that closely followed the movement of humans writing letters with a brush. I would like you to actually compare them.

Wang Xizhi’s works of about the same period include Michiyuki Hannya Sutra Vol . Handwriting before the Tang dynasty is very valuable. You can see the true appearance of the calligraphy in the era when Wang Xizhi lived.

The running calligraphy of Emperor Taizong of Tang, the central figure in the myth of Wang Xizhi Jin Temple inscription Shinshimei 》 was also there. It’s comfortable to write with a solid and dignified style like an emperor.

“A layman tends to think that if you write in cursive or cursive script by connecting lines to create a sense of speed, the calligraphy of Emperor Taizong was cut off on purpose. If you add too much leeway, the characters will look sloppy, but for the character “Moon”, for example, the lines facing each other between the first and second strokes are tightened. I hope you will enjoy that sense of balance.” (Mr. Nakamura)

As an indication of the popularity of Wang Xizhi after the Tang Dynasty, Holy Order of Kings Shuuou Shogyoujo ” and “Kofuku-ji Temple Cut Monument” (Wang Xizhi / Tang Dynasty, Kaiyuan 9 (721)) are interesting. It is said that it is a rubbed copy made from a stone monument in which each character is collected from Wang Xizhi’s calligraphy and made into sentences as if it were written by Wang Xizhi. The thickness of the lines in “Shu-o Sei Kyojo” has a collage-like atmosphere, but “Kofuku-ji Temple” is quite skillfully harmonized as a whole.

A complete collection of popular Chinese calligraphy created in the Song dynasty . Junkakakucho Junkakujo ― heavy snow Kyousetsu The book—” also contained Wang Xizhi’s calligraphy as a matter of course. According to the story, out of the 10 volumes, Wang Xizhi is introduced in volumes 6-8, and his son Wang Xianzhi is introduced in volumes 9-10. understand. When I came this far, I laughed at the size of the influence.

At the end of the exhibition, we introduced how Wang Xizhi was received in Japan. In the Heian period, Kukai and Ono Dofu, who learned from the copies of Wang Xizhi brought back by the envoys to Tang Dynasty, rose to prominence, and after their success, Japanese-style calligraphy called Kokufu Bunka and Wayo was established. In the Edo period, the trend toward respect for Wang Xizhi became stronger due to the popularity of Tang-style calligraphy, and at the end of the Edo period, a large number of Wang Xizhi calligraphy pamphlets (rubbed copies arranged in the form of calligraphy) began to reach Japan. It seems that it has always had an overwhelming presence not only in China but also in the history of Japanese calligraphy.

Among Japanese works, Rantei Preface by Gochiku Nakabayashi (1827-1913), a great master in the Meiji period, caught my eye. It is a work that I finished the sentences of “Ranteijo” in my own style, and the richness of the variation of the character line is not something you see very often.

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Until now, when I looked at the calligraphy of Wang Xizhi, I couldn’t understand what I should pay attention to, saying, “It’s certainly beautiful, but it’s kind of ordinary.” However, after visiting the exhibition, I reconsidered that the fact that I felt “normal” may be proof that people continue to be Wang Xizhi’s followers even after 1,700 years. .

For a limited time only, the exhibition will feature three works related to the “Seisetsu New Book,” a collection of gossip from the time Wang Xizhi lived, written during the Tang Dynasty, when the most beautiful regular script in China was written. Appears in All of them are national treasures written by hand.

From January 31 to March 12 , Sesetsu Shinsho Vol.
From February 28th to March 26th , 《Seisetsu Shinsho Vol.
From March 28 to April 23 , Sesetsu Shinsho Vol.
Don’t miss this rare opportunity.

The Tokyo National Museum, which has joint exhibitions, is within walking distance, so please visit both museums.

 

■ Overview of the special exhibition “Wang Xizhi and Lanting”

exhibition period	January 31 (Tue) – April 23 (Sun), 2023 * During the period, the exhibition will be changed according to the following schedule. First term: January 31 (Tue) – March 12 (Sun) Second term: March 14 (Tue) – April 23 (Sun)
venue	Taito Ward Calligraphy Museum
Opening hours	9:30 a.m. to 4:30 p.m. (Admission until 4:00 p.m.)
closing day	Mondays (or the following weekday if it falls on a public holiday), special organizing periods, etc.
Admission fee	General 500 yen Elementary, junior high and high school students 250 yen *Admission is free for those with a disability certificate, rehabilitation certificate, mental disability certificate, or specific disease medical care recipient certificate and their caregivers. *Every Saturday, elementary and junior high school students living or attending school in Taito Ward and their guardians are free of charge. For other details, please check the official website.
Taito Ward Calligraphy Museum Official Site	https://www.taitocity.net/zaidan/shodou/
List of exhibited works	https://www.taitocity.net/zaidan/shodou/wp-content/uploads/sites/7/2023/02/kikakuten_20230131.pdf

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