Zhejiang Cultural Observation: What is hidden in the calligraphy of the Japanese "Ikkyu"?

　　Chinanews.com, Hangzhou, November 19th, title: Zhejiang Cultural Observation: What is hidden in the calligraphy of the Japanese "Ikkyu"?

　　Reporter Xie Panpan

　　"Don't worry, don't worry, rest, rest for a while!" The familiar "mantra" originated from the Japanese cartoon "Smart Ikkyu", which is a common memory of young people in China and Japan.

　　Recently, the prototype of "Brother Ikyu" - the authentic calligraphy of the Japanese Zen master Ikkyu Zongjun in the Muromachi period, came to Hangzhou, Zhejiang, setting off a wave of "memory killing".

　　As one of the activities to commemorate the 40th anniversary of the friendship between Zhejiang Province and Shizuoka Prefecture, Japan, it was jointly organized by the Zhejiang Provincial Institute of Culture and History, the China Academy of Art, the Shizuoka Fukui Affairs Bureau of Zhejiang Province, and the Japan-China Friendship Association of Shizuoka Prefecture, Japan. The Zhejiang Branch of China News Agency opened the "Endless Journey to the Green Mountains 3: Special Exhibition of Chinese and Japanese Artists' Works on the Road of Tang Poetry" in Zhejiang Exhibition Hall for the media, and the exhibition will last until November 26.

　　There are two calligraphy works that have become the "stars" of the exhibition hall, namely "Spring and Autumn Fifty Still Life Picture" by Fei Yintongrong, an eminent monk in the late Ming and early Qing Dynasties, and Japanese Zen master Ikkyu Zongjun's "Collecting Books from Ladders and Leaves at the Window, Picking Up Pine Flowers in a Bowl at Noon" Cuan Xiang", the two works are exhibited together for the first time.

Photo by Wang Gang at the exhibition site

　　In Japan's Muromachi period and the previous Kamakura period, Zen monks created a large number of Chinese poems, and the Chinese poems created by Ikkyu Zongchun are infused with strong Chinese cultural factors.

Fei Yin Tongrong is Yinyuan Longqi's heir teacher. The Obaku culture propagated by the latter has a lofty status and rich value in the history of Sino-Japanese exchanges. In recent years, it has become more and more important in practical significance.

　　"Deepening mutual learning between civilizations is the main theme of this exhibition." Jiang Yufeng, full-time deputy curator of the Zhejiang Provincial Institute of Culture and History, said that the two works transcend time and space, see the big from the small, and witness the long history of mutual learning between Chinese and Japanese civilizations .

　　Gao Shiming, president of the China Academy of Art, used four words to describe his feelings when he first saw Ikkyu Zongchun’s works—seeing the words as if they were faces, “Calligraphy can best show a person’s writing state and true temperament.”

　　What can I read from Ikkyu Zongjun's calligraphy?

Gao Shiming believes that Ikkyu Zongchun's calligraphy works can feel the person's true love and nature.

　　He read from the poem: The green shade outside the window is blowing, and the green "penetrates" into the book as the sunlight passes through the study, as if the book has become moist; cooking with pine flowers, it seems that the rice bowl is also filled with water. With fragrance.

"This is a state of life close to nature and free."

　　Since Jianzhen traveled to the east, Chao Heng and Enren traveled far away, and since the prosperous Tang Dynasty, the cultural exchanges between China and Japan can be traced back more than a thousand years. There is an endless stream of people who sent Tang envoys across the sea to China, and Chinese culture and art have been spread eastward, among which Tang poetry is the most brilliant. cultural treasures.

　　Gao Shiming said that Tang poetry is the common spiritual wealth of the people of China and Japan. It shapes the emotions and souls of the literati and artists of the two countries, and opens countless generations of singing and reciprocation across mountains and seas.

In the Tang Dynasty, countless literati made offerings among mountains and rivers, entered and stopped on the road, formed a road of Tang poetry, and deduced endless culture.

This road of Tang poetry stretches from beyond the Great Wall to Chang'an, from the south of the Yangtze River to Japan, where there is a strip of water, and integrates into the depths of Japanese culture.

　　Ikkyu Zongchun grew up in the Muromachi period of Japan, about 400 years later than the Tang Dynasty in China. In his poems, people can naturally "read" a kindness, which is not "violent" to the feeling of Chinese people reading Tang poems. At the same time It also "read" the continuous atmosphere of Sino-Japanese exchanges.

The audience took out their mobile phones to take pictures at the exhibition site Wang Gang

　　More than Ikkyu Zongchun's calligraphy, Guan Huaibin, a professor at the China Academy of Art, believes that Japan sent a large number of Tang envoys to China to learn Tang culture, "This can also be understood as the way Chinese and Japanese artists perceive art and nature and poetic. In terms of intentional expressions, they coexist and cross each other."

　　For example, the Japanese artist Matsuo Barbara’s haiku, “Jiang Edo’s 10th Autumn Festival sends streamers away, but refers to other places as my hometown” and the Chinese poet Zhang Jiuling’s poem “The bright moon rises above the sea, and we share this moment at the end of the world” have similarities in their creation.

　　Han Tianyong, a librarian of the Zhejiang Provincial Institute of Literature and History and a professor at the China Academy of Art, believes that based on the future, Chinese and Japanese artists can join hands in the research and dissemination of Tang poetry, and on this basis, continue to expand the new side of oriental culture.

　　Guan Huaibin also suggested that Chinese and Japanese artists take the road of Tang poetry as the spiritual carrier, take the profound historical culture of China and Japan as the foundation, trace the historical context together, and interpret the poetic aesthetics and culture of oriental landscape with new artistic expressions Connotation, highlighting the world spirit of Shilu culture and the significance of cultural innovation.

　　It can be seen that the calligraphy of "Ikkyu" in Japan not only hides traditional Chinese culture, but also contains historical evidence of exchanges and mutual learning between the two peoples, and can also become a footnote to the road of Tang poetry in the new era.

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