golden ear

Chapter 350 Japanese Calligraphy
"I didn't expect Liu Meizi to have a good talent in the incense path, and this time it's a blockbuster!"

Wu Tianyuan took a sip of tea beautifully, looked at Liu Huasheng and said, "This time, the whole of Osaka knows that besides you, the tea ceremony master, your Liu family has a young incense master, haha!"

"Stop praising this little girl, or she will be even more proud. With her current level, it's not enough!"

"Dad, hum, I won't tell you anymore, I have an appointment with a friend, let's go!"

The two watched Liu Meizi leave, and Wu Tianyuan said seriously: "This step is considered the beginning. I have already begun to monopolize Hainan agarwood. When the finished product officially enters the Japanese market through the Liu family, Tianyuantang will have another product."

"I don't worry about your work. Come on, today is a rare fate. I just collected a good calligraphy. Let's take a look together!"

Liu Huasheng was very interested. He dragged Wu Tianyuan to the study, carefully took out a piece of calligraphy, and studied it together.

"Is this Kukai's Buddhist gatha?"

Wu Tianyuan was a little surprised and said, this is really rare, and he is interested in studying it.

"Yes, ancient Japanese calligraphy can be considered to have a long history, but the most precious are a few people, Heian Sanbi, Emperor Saga, Monk Kukai, and Tachibana Yasei. He is a master of his own school, and is sought after by people all over the country."

Liu Huasheng has been in Japan for so many years. Apart from the tea ceremony, he likes calligraphy and has a deep knowledge, especially in Japanese calligraphy.

"It is said that during the Tianping period of Japan, Empress Guangming copied Wang Xizhi's "On Le Yi". The personal dowry of Emperor Shomu. In the Heian period, kana characters were established, ushering in the heyday of calligraphy. For the children of the imperial family and nobles, calligraphy is an essential self-cultivation lesson."

"Yang Shoujing, a Chinese, came to Japan in the early Meiji period. He introduced the Chinese style of calligraphy from the Six Dynasties to Japan, like a spring breeze blowing into the world of Japanese calligraphy. Japanese calligraphy began to develop from respecting individuality and maintaining the inheritance of the genre to focusing on free expression. .Different from the art of painting, the art of calligraphy is a simple abstract shape of dots and lines. The thoughts and feelings of the writer are concretely reflected through the elastic brush."

"Japanese kana was originally just a symbol for marking the pronunciation of Chinese characters. Its history can be traced back to the fifth century AD. By the Heian period, it had basically taken shape. Among them, the most advanced usage was the Manyo Kana, which passed through Kai, Xing, and Cao. stage, got rid of the shape of Chinese characters and became hiragana.”

Liu Huasheng pointed to the monk's calligraphy and said: "The calligraphy of hiragana is called grass kana. At that time, men in Japan mainly used Chinese characters. Kana is only the characters used by women. Therefore, hiragana is also called "nushu" and "female characters". In short, Japanese kana It is a trinity combination of Manyo Kana, Hiragana, and Katakana."

"The script and script of Manyo's pseudonym are called "men's script", and then renamed the real name. "Grass" is the cursive script of Manyo's pseudonym, which is a text used by both men and women. The female script "Nvshu" was popular in the society during the Heian period of Japan It is also evolved from the Manyo kana grass style."

Wu Tianyuan doesn't know much about Japanese calligraphy, and he really doesn't have any authentic works in his hand, and he rarely sees works by big names.

"For example, the eight methods of Yongzi. A simple "Yong" character can include eight basic writing methods of calligraphy. Ce (short and horizontal), looting (horizontal folding), pecking (short and horizontal), Jie (把)."

"Side" means that the pen needs to be tilted. "Le" means that the pen should be retracted at the right time, like a horse. "Nu" means that it is strong and straight, showing a full bow. "Zhai" means that the hook is strong, and the shape is like a jump. "Ce" means that the brush is like the wind, and the brush is like whipping a horse. "Sweeping" means that it is chic and free, like a woman combing her hair. "Peck" means that the pen is turning sharply to the left like a bird pecking at wood. "Jie" The meaning and metaphor are completed, and the pen strokes slowly but forcefully to the right."

"The three strokes and three strokes in the history of Japanese calligraphy are revered as calligraphy saints. The three strokes refer to Kukai, Emperor Saga, and Tachibana Yasze. Among them, the most outstanding monk is Kukai. Kukai adopts Wang Xizhi's style, Yan Zhenqing's brushwork, plus his own calligraphy. His original creation and unique calligraphy brushwork are regarded as the founder of the way of entering wood."

"The representative works of Kukai include "Fushinjo" and "Enlightenment". Emperor Saga's regular script is in the style of Ouyang Xun. The running script and cursive script are in the style of Kukai. , "Original Text of Prince Idunai" is nothing more than a copy."

"Michikaze Ono, Sari Fujiwara, and Yukinari Fujiwara, famous Japanese calligraphers, are regarded as three traces. Their brushwork is called Noji, Saji, and Quanji respectively. The authentic works of Michikaze Ono can be regarded as typical of Japanese calligraphy. Representatives are "Pingfeng Tudai" and "Autumn Catalpa Post."

"Fujiwara Sari's style of writing is free and unrestrained, with a strong personality. His representative works include "Shihuai Paper". Fujiwara Yukinari inherited the style of Ono Michifu, and he is a master of Japanese calligraphy. His calligraphy is gentle and capable. His representative works include "Bai Letian" "Poetry Volume", "News". Xingcheng is also the ancestor of the "Zunsi School" of calligraphy, and has always been respected by people."

"The single posts used by the Japanese to practice calligraphy include the regular scripts of the Four Masters of the Tang Dynasty headed by Wang Xizhi's Lanting Preface and Wang Xianzhi's "Thirteen Lines of Luoshen". ", "Tingyunguantie" collected by Wen Zhengming, "Xihongtang Tu" collected by Dong Qichang, "Yu Qingzhai Tie" and "Sanxitang Tie" collected by Wu Yongqing."

Wu Tianyuan had an idea and asked: "That is to say, the Japanese also like pens, inks, papers and inkstones, the four treasures of the study?"

"Haha, do you finally understand what I mean?"

Liu Huasheng said with a smile: "The pen, ink, inkstone, and paper are called the "Four Treasures of the Study". In Japan, the seventeen complete sparrow-head brushes collected in Japan’s Zhengcangyuan are the oldest writing brushes in Japan.”

"There are many kinds of brushes. In terms of shape, there are long front, center front, short front, sparrow head, chicken feet, and willow leaves, and there are sheep, raccoon, rabbit, deer, cat, horse, and weasel. There are brushes made of one kind of hair, and there are brushes made of two or more kinds of hair.”

"It is necessary to choose the appropriate brush according to the written text and the condition of the paper. The Chinese calligrapher Wang Xizhi pays attention to "weak paper with strong brush, strong paper with weak brush". Japan Zunyuan's "Irumi Copy" has "hitting paper hair, only deer hair on paper, winter hair on sandalwood paper, summer hair from Sugihara, summer silk silk and wood brushes.”

Wu Tianyuan finally understood Liu Huasheng's intention, which was to remind himself that calligraphy is also a major category in Japan, which is broad and profound. Among other things, the four items of pen, ink, paper and inkstone have unlimited potential!
(End of this chapter)