Calligraphy is a quiet profession, but occasionally out of the circle, mostly some almost acrobatic performances, such as Zeng Xiang's roaring book, Shao Yan's shooting book and so on.
The melon-eating masses expressed doubts, they always said that this is a kind of exploration, in fact, similar exploration, the Japanese have long done.
Because it is deeply influenced by Chinese culture, there is also calligraphy in Japan.
But because it is not original, it is much more monotonous compared with Chinese calligraphy.
Japanese monk Kukai "Hyacinth"
In China, calligraphy developed all the way from seal calligraphy and lishu, and then there were calligraphy, calligraphy, and cursive writing.
In ancient Japan, as soon as it got started, it was cursive writing, so the Japanese book world basically did not have anything to do.
In the Qing Dynasty, a major event occurred in the Chinese calligraphy circle, that is, the rise of epigraphy.
Epigraphy proposed a new aesthetic system in addition to the theory, saying that it is necessary to take the Fa Wei stele and take the Fa Seal.
Originally, this matter had nothing to do with the Japanese book world, because Japan did not have a Wei monument or a seal.
But there is one person who brought this trend to Japan, and that is Yang Shoujing.
Yang Shoujing, born in 1839, is a native of Lucheng Town, Yidu City, Hubei Province.
In 1880, Yang Shoujing, as an attaché of He Ruzhang, the Qing Dynasty's minister to Japan, went to Japan and stayed in Japan for five years.
Yang Shoujing brought the idea of epigraphy to Japan, and he brought hundreds of inscriptions to Japan, which gave a huge shock to the Japanese calligraphy community.
There was one person who was particularly interested in the inscription that Yang Shoujing had brought, and that was the Nishimobu Minghe (1838-1922).
Nishita Naruru uses a back wrist to write
Hinoshita Naruzuru (1838-1922), born in Hikone Castle (Hikone, Shiga Prefecture), was one of the most famous calligraphers of the Meiji period in Japan.
After coming into contact with Yang Shoujing, he showed a keen interest in the development of the Chinese book scene and traveled to China in 1891.
Nishimo Akizuru's letter
Nishimobu Minghe traveled in Jiangsu and Zhejiang generations, and had exchanges with Wu Changshuo and others, and he once wrote a poem "You Dong Wu Miscellaneous Works Seven Words and Sentences":
The sea spread the holy name of the book, and the clouds and smoke fell on the paper. Floating chakra for thousands of miles to seek the relic, the ancient Eastern Wu has a pen essence.
Wu Changshuo also had great respect for this calligrapher from Haidong, and gave a lot of inscriptions, and what he saw today is Guangxu's twenty-seven years (1901) "Gifting Minghe Old Meitu", with the inscription Shiyun:
A crane in the air, a dream to fusang. Cold hug Langya carving, inter-perched stone drum hall. Frozen plum looking for a partner, short Za envy Kang Qiang. Want to see the book, Nan Tian remembers the ancient madness.
There were many Hinata Naruto protégés, one of whom was named Tenrai Hidayai (1872-1939).
Hatai Tenrai was favored by his teacher because he had a strong sense of the times, and Hinata Naruto, who was a good teacher, encouraged Tenraku: "You don't have to follow my writing style like my other disciples, I have a lot of ancient Dharma posts here, you can choose to copy them as much as you like." ”
The Coming of The Day of The Day of The First Moon
Born in 1872, Hatai Tenrai promoted the establishment of the Calligraphy Art Society in 1933, which officially opened the chapter of modern Japanese calligraphy art.
The reason why modern Japanese calligraphy was born at this time was influenced by epigraphic thought on the one hand, and modern art on the other hand.
In 1935, Kitai Proposed that calligraphy should be an artistic style that is "neither words nor paintings", which can be said to be the earliest basis for the emergence of avant-garde calligraphy in the future.
However, when we look at the works of Tenrai Hiei himself, it seems that there is not much difference between them and traditional calligraphy.
There was a very famous disciple named Ueda Kuwato, and when we arrived at Ueda Kuwato, we finally appeared the kind of avant-garde calligraphy that we remember.
Born in 1899 in Hyogo Prefecture, Ueda Sangharu, whose original name was Shun, came to Tokyo in 1928 and threw himself under the hata irai tenrai.
In 1951 (Showa 26), Ueda Sangha created an avant-garde calligraphy work of "Love", which reflected the return of people to a peaceful and harmonious state of life after the war, and was soon exhibited at the Nippon Exhibition ("Japan Art Exhibition").
His work does not write a simple "love" word, but draws three imagery, similar to three mouths, which are collected into a single "pin" character. Three stones are formed in the way that lines are outlined in ink.
Later, according to Ueda Kuwato himself, when he created this work of "Love", he was completely inspired by the attitude of concession and attachment when children followed their parents.
The upper mouth is a child, so it is written a little childishly, and the ink is lighter. The following two are parents crouching next to the small mouth, you can imagine a family of three playing warmly on the lawn, it is a reproduction of love, so the title is "Love".
This kind of love is real and natural, without the slightest bit of hypocrisy. He borrowed the shape of the word "pin" to express the image of "love", which has nothing to do with the word "pin" itself, but is just a symbol.
It is precisely because this new concept of the work "Love" is very offensive, too avant-garde at the time, and it is seriously contrary to traditional calligraphy, setting off an uproar.
♂️
"None" written by Ueda Kuwato
To this end, he was angry and announced his withdrawal from the daily exhibition and withdrew the work.
This is avant-garde calligraphy, they don't necessarily write Chinese characters, they are exploring all kinds of shapes, caring about the feeling they give.
However, Ueda Sangyu can actually write normal characters, such as he wrote a piece of "Mr. Hatai Tenrai Monument" to the teacher, which is obviously a scholar Chu Suiliang.
Ueda Sangyu was very fond of Chu Suiliang, and he thought that Chu Suiliang's brushwork included all the possibilities of calligraphy, so later he accepted an apprentice in the well and taught him a period of Chu Suiliang.
Inoue Ichi, born in 1916, loved to draw from an early age and wanted to be a painter, but due to his poor family, he eventually applied for a free normal school.
After graduating from normal school, he became a primary school teacher, then the director of academic affairs, the principal, and finally retired at the age of 60.
The calligrapher was actually in Factou's life after work, and Inoue later wrote an article entitled "The Liberation of Calligraphy", and his proposition was:
Calligraphy was liberated from "calligraphy by calligraphers (playing tricks)" and became "calligraphy of people (calligraphy that can see the innocent mind)".
In January 1952, InoueIchi, Morita Koryu, Eguchi Kusanagi, and Sekiya Yoshimichi gathered at Ryoanji Temple in Kyoto to form the Ink People's Association.
The purpose of this group can be summed up simply as: to return the free humanity to the calligraphic essence, to make extensive acquaintances with those who hold an attitude of complete pursuit of pure truth.
Today we look at inoue's works, many people will politely say "can't understand", in fact, the subtext is "how is it so ugly"?
In fact, Inoue's pursuit is not good-looking, and his calligraphy moves towards expressiveness.
Writing calligraphy is no longer about reading the word, but about what you experience when you write it, and what the expressiveness of the word is.
This is the diversity of calligraphy, and the active exploration of the universality and commonality of calligraphy as a plastic art in the Era of Inoue and that era.
Of course, the development of calligraphy to this point can easily attract many people who are engaged in performance art.
How do we judge whether these people are sensational or really thoughtful, which requires deeper learning...
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