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77 Dances : Japanese Calligraphy by Poets, Monks, and Scholars, 1568

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77 Dances : Japanese Calligraphy by Poets, Monks, and Scholars, 1568 (Canada $85.00 ; The first book on Japanese calligraphy that covers the significant Momoyama and Edo periods (1568-1868), 77 Dances examines the art of writing at a time when it was undergoing a remarkable flowering, as illustrated by over one hundred sumptuous il¬ lustrations. Everything from complex Zen conundrums to gossamer haiku poems were written with verve, energy, and creativity that display how deeply the fascination for calligra¬ phy had penetrated into the social fabric of Japan. Examining the varied groups of calligra¬ phers creating works for diverse audiences will , show how these artistic worlds both maintained their own independence and interacted to cre¬ Boston ate a rich brocade of calligraphic techniques and Boston, styles. The book begins with basic information on calligraphy, followed by six main sections, each Public representing a major facet of the art, with an MA introductory essay followed by detailed analy¬ ses of the seventy-seven featured works. The 021 essays include: Library • The revival of Japanese courtly aesthetics It in writing out waka poems on highly deco¬ rated paper • The use of Chinese writing styles and script forms • Scholars who took up the brush to com¬ pose poems in Chinese expressing their Confucian ideals • Calligraphy by major literati poets and painters • The development of haiku as practiced by master poet-painters • The work of famous Zen masters such as Hakuin and Ryokan PmWfj 77 DANCES 77 DANCES Japanese Calligraphy by Poets, Monks, and Scholars, 1568-1868 STEPHEN ADDISS Foreword by Richard Waller \ Weatherhill Boston &c London zoo6 Weatherhill An imprint ofShambhala Publications, Inc. Horticultural Hall 300 Massachusetts Avenue Boston, Massachusetts 01115 www.shambhala.com ©2.006 by Stephen Addiss All rights reserved. No part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. Frontispiece: Detail of #59, Kogetsu Sogan, Kimi (“You”). 987654321 First Edition Printed in Singapore ©This edition is printed on acid-free paper that meets the American National Standards Institute Z39.48 Standard. Distributed in the United States by Random House, Inc., and in Canada by Random House of Canada Ltd Designed by Margery Cantor Library of Congress Cataloging-in-Publication Data Addiss, Stephen, 1935- 77 dances: Japanese calligraphy by poets, monks, and scholars, 1568-1868 / Stephen Addiss; foreword by Richard Waller.—1st ed. p. cm. ISBN-13: 978-0-8348-0571-1 (hardcover: alk. paper) ISBN-10: 0-8348-0571-5 1. Calligraphy, Japanese—To 1600. 2. Calligraphy, Japanese—Edo period, 1600-1868. 3. Calligraphy, Chinese. I. Title. II. Title: Seventy-seven dances. NK3637.A2A33 2006 745.6'i9956—den 1006041062 To Audrey Yoshiko Seo Digitized by the Internet Archive in 2018 with funding from Kahle/Austin Foundation https://archive.org/details/77dancesjapanese0000addi CONTENTS Foreword by Richard Waller xi Acknowledgments xiii Introduction i Fundamentals of East Asian Calligraphy 5 A. The Revival of Waka Calligraphy 13 1. Emperor Goyozei (1571-1617), On the Oi River 17 2. Konoe Nobutada (1565-1614), Letter of Congratulations 19 3. Hon’ami Koetsu (1558-1637), Poem on Decorated Paper 13 4. Shojo Shokado (1584-1639), Li Po Preface 25 5. Karasumaru Mitsuhiro (1579-1638), Waka on Decorated Tanzaku 19 6. Konoe Iehiro (1667-1736), Heart Sutra 31 7. Gion Kaji (active early eighteenth century), Waiting for Blossoms 35 8. Gion Yuri (1694-1764), Five Lotus Sutra Waka 38 9. Ike Gyokuran (1728-1784), Three Waka on Flowers 41 10. Ota Nanpo (1749-1823), Kyoka: Saigyos Cat 44 11. Kamo Suetaka (1751-1841), Choraku-ji’s Cherry Blossoms 46 12. Otagaki Rengetsu (1791-1875), Lotus Cup 48 B. Calligraphers in the Karayo (Chinese) Tradition 52 13. Kitajima Setsuzan (1636-1697), Eight Immortals of the Wine Cup 59 14. Hosoi Kotaku (1658-1735), The Old Drunkard’s Pavilion (Screens) 60 15. Sasaki Shizuma (1619-1695), Fehon of the “Thousand-Character Essay” 65 16. Sasaki Shogen (n.d.), Tu Fujfuatrain 67 17. Hayashi Doei (1640-1708), Flowery Purity Palace 70 18. Ko Ten’i (Watanabe Gentai, 1649-1722), Window Snow 72 19. Mitsui Shinna (1700-1782), Eight Immortals of the Wine Cup 74 20. Morimoto Itsuzan (1702-1778), Single Line of Seal Script 77 21. Cho Tosai (1713-1786), Seal-Script Triptych 80 22. Ryu Kobi (Ryu Soro, 1714-1792), Dragons Growl 82 23. SawadaToko (1732-1796), On the Riverbank 85 24. Ichikawa Beian (1779-1858), Ink Bamboo Song 88 25. Maki Ryoko (1787-1833), Tea Song 90 26. Tokai Okon (1816—1888), Clouds 94 C. Calligraphy by Confucian Scholars 99 27. Hayashi Razan (1583-1657), Facing the Moon 104 28. Nakae Toju (1608-1648), Bring the Cb’in 107 29. Kumazawa Banzan (1619-1691), Letter with a Poem 109 30. ltd ]insa.i (1617-170^), Ripening Plums 112 31. Ito Togai (1670-1736), Quotefrom the I Ching 114 32. Ogyu Sorai (1666-1728), The Setting Sun 117 33. Hattori Nankaku (1683-1759), Spring and Autumn Quatrains 34. Uno Meika (1698-1745), Spring in Kitano 122 35. Shibano Ritsuzan (1734-1807), Poem on Mount Fuji 125 36. Koga Seiri (1752-1817), Magnolias 127 37. Kameda Bosai (1754-1826), Old Trees 130 38. Rai Sanyo (1780-1832), The Ballad ofSanjo Bridge 132 D. Calligraphy by Literati Poets and Painters 136 39. Ishikawajozan (1583-1672), Draft in Clerical Script 139 40. Gion Nankai (1676-1751), Autumn View 142 41. Ike Taiga (1723-1776), Couplet on a Fan 144 42. Uragami Gyokudo (1745-1820), Evening View 147 43. Nukina Kaioku (1778-1863), Poems on Sencha Set 150 44. Shinozaki Shochiku (1782-1851), Still Bright 153 45. Ema Saiko (1787-1861), On Becoming Fifty 155 46. Yanagawa Seigan (1789-1858), Rain over the Stream 157 E. The Haiku Calligraphy Tradition 160 47. Kaga no Chiyo (1703-1775), Six Spring Haiku 163 48. Yosa Buson (1716-1784), Letter to Kito 165 49. Oemaru (1722-1805), Fallen Leaves 168 50. Inoue Shiro (1742-1812), Falling Rain 170 51. Den Kikusha (1753-1826), Flowers of the Four Seasons 173 52. Sakai Hoitsu (1761-1828), Haiku on a Fan 175 53. Takebe Socho (1761-1814), Charcoal Kilns 177 54. Kobayashi Issa (1763-1827), Garden Butterfly 181 55. Sakurai Baishitsu (1769-1852), Four Seasons Haiku 183 F. Zen Calligraphy 185 56. Sakugen Shuryo (1501-1579), The Voice of the Raindrops 189 57. Fugai Ekun (1568-1654), Six Windows Shut 193 58. Takuan Soho (1573—1645), Things Revolve 194 59. Kogetsu Sogan (1574-1643), You Are Leaving 197 60. Gyokushu Soban (1600-1668), The Mosquito Bites the Iron Bull 199 61. Gesshu Soko (1618-1696), Huang-po’s Buddha-Dharma 202 61. Tetsugyu Dosa (1628-1700), ThePaper-Buddha Statue 204 63. Tetsugen Doko (1630-1682), Moon-Mind 207 64. Kakuzan Dosho (1640-1717), Death Poem 209 65. Bankei Yotaku (1622-1693), Leisurely Clouds 213 66. Kogetsu Zenzai (1667-1751), Not Thinking Good or Evil 215 67. Daido Bunka (1680-1752), Heart-Mind 217 68. Hakuin Ekaku (1685-1768), Kotobuki 220 69. Torei Enji (1721-1792), Mantra to Kokuzo 223 70. Tominaga Jakugon (1702-1771), Wind Arises 227 71. Jiun Onko (1718-1804), Horses 228 72. Gdcho Kankai (1739-1835), Striking the Bamboo 231 73. Seisetsu Shucho (1746-1820), One More Katsu 235 74. Inzan Ien (1754-1817), Complete Understanding 237 75. Daien Buttsu (d. 1825\Mumonkan Kdan 237 76. Daigu Ryokan (1758-1831), On the Road in Shinshu 239 77. Fugai Honko (1779-1847), The Mountain Spirit 243 Glossary 247 Selected Bibliography 249 Index 255 FOREWORD The University of Richmond Museums is pleased to be instrumental in the organization and national tour of this important and stunningly beautiful exhibition of Japanese calligraphy, 77 Dances: Japanese Calligraphy by Poets, Monks, and Scholars, is68-iS6S, which presents seventy-seven objects that let us explore the remarkably creative flowering of the art of writing during Japan’s early modern period. On loan from several public and private collec¬ tions in the United States, the objects were selected not only because the artists are historically important but also because the works exemplify the varieties of scripts and brushwork so beautifully employed in the calligraphy of the period. The traditional belief that the freedom of the brush inherently reveals one’s inner character encourages us to consider each of these works as a unique expression of the artist’s personality as well as collectively giving us a glimpse into the culture that held calligraphy in such high esteem. Opening at the Joel and Lila Harnett Museum of Art of the University Museums, the exhibition will go on national tour to several other museums, including the Birmingham Museum of Art, Alabama; the Herbert F. John¬ son Museum of Art, Cornell University, Ithaca, New York; and the Mori- kami Museum and Japanese Gardens, Delray Beach, Florida. The Momoyama and Edo periods (1568-1868), when Japan was ruled by powerful shoguns, were a time of great variety in the arts, including a re¬ newed interest in calligraphy. In this “early modern” period, peace and rela¬ tive prosperity replaced the civil warfare of the previous century, and artistic production and patronage spread through the population more than ever before. Calligraphy was practiced by classical-style poets, poets in Chinese style, Confucian scholars, literati artists, haiku poets, and Zen Masters, as represented in this exhibition. Furthermore, they wrote their texts on a number of media including screens, hanging scrolls, hand scrolls, albums, fans, and ceramics, all of which can be seen here. For the first time, the full range of early modern Japanese calligraphy is available for Western audi¬ ences, and we hope this will stimulate further scholarship and exhibitions. To the author, our colleague Stephen Addiss, we are indebted for intro¬ ducing us to this intriguing area of Japanese culture and for curating this exquisite exhibition.
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