During the Edo period, Japan respected Confucianism, and a group of literati who liked Chinese culture emerged. In the field of calligraphy, compared with "harmony" calligraphy, the Japanese prefer the "Tang-style" calligraphy style with Chinese calligraphy characteristics. Due to the policy of closing the country in Edo and Japan, only the shipowners and crew of Qing Dynasty merchant ships who went to Nagasaki for trade, and many of them were proficient in calligraphy. In order to obtain ink from good calligraphers, some Japanese literati visited Nagasaki to consult for calligraphy knowledge. These calligraphy can best show the true face of Chinese calligraphy at that time, and can be regarded as the first choice for learning the style of "Tang-style" calligraphy.

Before the Edo period,"Wama" calligraphy, which was born in the 10th century, dominated the mainstream. After entering the Edo period, the Chinese-style "Tangyang" calligraphy style became the favorite object of Japanese literati. The so-called "Tang style" refers to the school of Chinese calligraphy styles such as Wen Zhengming and Dong Qichang in the Ming Dynasty, Zhao Mengfu in the Yuan Dynasty, and Su Shi and Mi Fu in the Song Dynasty.

At the end of the Ming Dynasty and the early Qing Dynasty (i.e., the early Edo period), in order to escape the war, Huangbo Sect monks led by Yinyuan Takashi traveled eastward to Japan. They not only spread Zen thoughts, but also spread Chinese calligraphy to Japan. Among them, Yinyuan Takashi, Muan Xing, and Fei Ruyi were respectfully known as "Huangbo Sanbi". There is also another outstanding figure among the Huang Bo monks, namely Independent Yi. His writing skills are excellent and he is regarded as the most powerful calligraphy master among them. Japanese calligraphers Kitajima Xueshan and Gao Xuandai (Tianyi) studied in independence. After that, Gao Xuandai passed on calligraphy skills to his son Gao Yizhai. Under the door of Yizhai, the Dongjiang River of Saeda was developed, and the Beijima Xueshan was passed on to Hosui Hirosawa. These Japanese calligraphers formed the mainstream group of the "Tang-style" calligraphy style at that time. Under its inheritance,"Tang-style" calligraphy became popular and poured into the study and desks of many Japanese literati. In addition, a large number of Chinese calligraphy manuscripts were imported into Japan through the Nagasaki trade, and Japanese literati used them as calligraphy models and imitated them, forming their own calligraphy style.

So far, there are many people who have studied the calligraphy of Huangbozong monks and the spread of Chinese scriptures to Japan and their influence, but they have ignored that there were also other groups with calligraphy skills among Qing people who went to Japan. As we all know, although Edo and Japan prohibited their own people from going to sea for trade, they allowed Qing people to go to Nagasaki for trade. This attracted Japanese literati who liked Chinese culture to flock to Nagasaki and asked for books from people who went to Japan to Qing Dynasty. The ink of people who went to Japan to Qing Dynasty had a profound impact on Japanese calligraphy learners. This article will focus on the calligraphy exchanges between Japanese in Edo and Qing people who went to Japan, which has long been ignored by academic circles, and examine the acceptance of Japanese calligraphers.

Calligraphy of Qing Dynasty People Going to Japan during the Edo Period

After the middle period of Qianlong of the Qing Dynasty, cargo owners of Tang ships (that is, Chinese merchant ships) basically did not follow the ship to Nagasaki. The ship owners replaced the cargo owners as the cargo person in charge of the cargo to go to Japan and handle trade affairs with full authority. Therefore, ship owners are generally trusted relatives or employers of cargo owners. The ship owner is only responsible for trading business. In terms of Tang ship navigation, there are the captain responsible for sailing and the general manager who is the general manager.

Since the fall of Qianlong in the middle and late periods, 10 to 13 Tang ships entered the port of Nagasaki every year. During this period, each Tang ship carried about 60 to 100 people. Therefore, about 600 to 1000 Chinese people went to Nagasaki every year, stayed in Nagasaki for three to five months, lived in the "Tangshiki" in Nagasaki (called "Tangkan" by the Chinese), and returned home after the trade ended. Some Japanese literati traveled thousands of miles to Nagasaki and made contact with Qing people. Good stories about diplomatic exchanges between them were sporadically recorded in Japanese travel diaries and other historical materials.

(1) Calligraphy by Qing people who went to Japan during the Ming and He Period (1764-1772)

A person from Mito Prefecture (now Ibaraki Prefecture) who went to Nagasaki on business, Chishui Chishui wrote the "Nagasaki Travel Diary" during his stay in Nagasaki. The article was written on October 14 in the fourth year of the Ming Dynasty (32nd year of Qianlong, 1767):

After that, we will go to Shichan Temple Tangren Hall. ... Hospitalized by the Tang people, we taste the delicious food. I heard that You Pu 'an was both talented and academic, but he was not allowed to talk in writing without permission. He only left with eye courtesy, which was filled with regret.

[Picture 1] The portrait of You Puan is collected from "Nagasaki Travel Diary" collected by the National Official Library of Japan (Call Number: 177-1072)

Long Baochishui went to the vicinity of Tangguan, where the Qing people lived, and particularly looked forward to communicating with You Pu 'an [Picture 1], who has both talent and learning. However, from the fact that "no hand-to-hand talks are allowed without permission", it can be seen that the Edo shogunate has very strict management of Qing people coming to Japan, and the Japanese cannot communicate with them at will.

Regarding You Pu 'an, the article "Qing People Came to Ship" in the "Names of Calligraphy and Calligraphy of the Yuan, Ming and Qing Dynasties" compiled by Peng Cheng, a literati painter of the Edo period, reads: "You Xun, the character Zhou, the word Pu' an, ancient Fujian, and the grass." It can be seen that he is good at walking grass. As a ship owner, You Pu 'an first sailed to Japan on the Youbadan ship in the second year of Ming He (30th year of Qianlong, 1765), and finally sailed to Japan on the fourth day of An Young (39th year of Qianlong, 1774). It took ten years.

The "Qing Cha Chanhe" compiled by Changjian Chishui records his correspondence with You Pu 'an:

I would like to reply that Mr. Chishui Chief was a servant of China. He was a guest of Qiongjiang River. He loved visiting celebrities and liked to make friends with high-ranking scholars. Although Mr. Chishui Chief cannot talk to each other in person, he can talk to each other in his own words, but he is still not satisfied.

Although Baochishui for a long time was unable to meet You Pu 'an, he sang poems with him through letters, and he should have seen his calligraphy.

[Picture 2] The portrait of Gong Tingxian was collected from "Nagasaki Service Diary" collected by the National Official Library of Japan (Call Number: 177-1072)

In addition,"Qingcha Chanhe" also contains the poems of Changjian Baochishui and Gong Tingxian [Picture 2], Zhang Yunwen and Wang Shiji, the owner of the Tang ship. Among them, Wang Shiji and Gong Tingxian have certain calligraphy attainments. The "Names of Calligraphy and Calligraphy in the Yuan, Ming and Qing Dynasties" article "Qing People Came to Ship" contains: "Wang Yuanchang, the word Shiji, was born in Xihe, and traveled the grass.…Gong Biao, also known as Kexian, was born in Wenling and ran script." The postscript of "Qing Cha Chanhe" records: "Gong Tingxian, the word Kexian, is from Wenling", and "Kexian" has the same pronunciation as "Kexian". It is speculated that Gong Biao should refer to Gong Tingxian. This person served as Ming He for three years (31st year of Qianlong, 1766) The ship owner of the 12th Fan Xu and the fourth year of Ming He (In the 32nd year of Qianlong, 1767), the owner of the Haiwufan ship went to Japan, while Wang Shiji went to Japan as the owner of the Xujiufan ship in the 3rd year of Ming He, the 4th year of Ming He, the 4th year of Ming He, the 1769, the 1761 ship in the 7th year of Ming He, the 1772, the 12th year of An Yong, the 1776, the 1778, and the 18th year of An Yong, and the 8th year of An Yong, the 1778, and the 18th year of Hai Qifan ship in the 8th year of An Yong, which lasted for fourteen years.

(2) Calligraphy by Qing people who went to Japan during the Tianming period (1781-1789)

At the end of September in the eighth year of Tianming (1788), Japanese literati painter Haruki Nanhu (1759-1839) visited Nagasaki. In October, when Harumi Nanhu went to Maruyama Jingjing House in Nagasaki to attend a Qing banquet, he met Zhou Renlu and Fei Qinghu and had a written conversation with them. Chunmu Nanhu introduced himself: "My surname is Chunmu, my name is Kun, my name is Ziyu, my name is Nanhu, and my nickname is Shishiting. A courtier of the Nagashima Clan of Seju, Japan, and a native of Sakurada, Efu. I have always liked the way of painting and painting, but I have no teacher to inherit, so Mr. Qi Qinghu is the first person to accept it." "Qinghu" refers to "Feiqing Lake". In Chunmu Nanhu's "Journey to the West", it is recorded: "The surname is Fei, the name is Zhaoyang, the word is Detian, and the other name is Qinghu. He lives in Huzhou Prefecture, Zhejiang Province and is from Tiaoxi." Fei Qinghu is good at painting, and Chunmu Nanhu asked her about brushes and painting techniques."Journey to the West" records:

Qing painted several mountains and rivers, and brought it with her, and I observed the brushwork from her family.

South (Lake): The ink is wonderful, and the appreciation is possible.

Qing (Lake): It's just freehand.

Nan (Hu): Is your painting style more than that of the rice family?

Qing (Lake): Mi Jia, Dong Xuanzai, Huang Dachi and other furniture teachers.

It can be seen that Fei Qinghu is good at painting and learns from the brushwork of Mi Fu, Dong Qichang and Huang Gongwang. "Journey to the West" also contains:

Yu asked Qinghu: Is there a wonderful painting brush?

Qinghu: Ask for more sheep pens.？？

Wen Qinghu's painting method is omitted here.

Chunmu Nanhu also had calligraphy exchanges with Zhou Renlu. Zhou Renlu introduced himself: "His surname is Zhou, his name is Ren Lu, his official name is Gong Xian, and his baby name is Hai Sheng. One word is an 'an, and the other word is Xichi, and his name is Renshan. He is from An County, Huzhou Prefecture, Zhejiang Province." The two had a written conversation:

Yu: Who is your style in learning books?

Ren: I learned from Wang Youjun's stone carving and learned from Liu Zongyuan and Dong Xuanzai.

Yu: I am very lucky to give you wonderful ink now.

Fan:

I have been in Japan for nearly twenty years and have observed customs and ancient customs. Therefore, I have made friends with scholars and scholars. I didn't expect that I would make an appointment with Mr. Nanhu before I set sail. It's a great fortune.

On the 5th day of the Spring Festival of Wushen, Zhou Renlu was in the wellbore house printed

Yu: The ink is wonderful and can be rewarded.

Zhou Renlu was proficient in calligraphy, and Chunmu Nanhu asked him how he learned calligraphy. Zhou Renlu replied that he first studied Wang Xizhi's stone carvings, and later learned Liu Zongyuan and Dong Qichang's calligraphy. Chunmu Nanhu also asked Zhou Renlu to engrave an inscription on the fan surface, and he was greatly impressed by it.

After that, on October 23, Chunmu South Lake arrived at Tangguan."Journey to the West" records: "On the 23rd of the next day, it will be sunny. Go to the museum with Qingchuan. Climb the travel pavilion with Feiqing Lake and meet Chicheng." Had a written conversation with Cheng Chicheng:

Yu's surname is Cheng, his name is Xiasheng, his name is Chicheng, and his name is Baitang. He is from Tangshan, Jiangsu. We have been trading here for sixteen years.

Kun (Nanhu): Who does the calligraphy you learned?

Chicheng: The word law refers to the king as the ancestor, and the reference refers to the zhao.

The above is the writing in the building of Chicheng.

Chunmu Nanhu asked Cheng Chicheng about his native place and how to study books. By the eighth year of Tianming (1788), Cheng Chicheng had been traveling between China and Japan for sixteen years. Based on this, it is speculated that his first trip to Japan should have been around the second year of An Young (1773). Cheng Chicheng initially took Wang Xizhi's calligraphy as his foundation, and also learned Zhao Mengfu's writing meaning.

On October 29 of the same year, Chunmu Nanhu also asked Fan Shaotang about the official script:

Nanhu asked the inkstone: I heard that Mr. Wang's calligraphy is excellent and I would like to show you the book.

Yan Yun: I don't know anything about calligraphy and painting, but I just paint it casually to entertain myself.

The inkstone cloud points eight points with a swing.

South: Mr. Zhang's calligraphy of "Cao Quan Stele" is not true.

Inkstone: In addition to reading, I learned literature and wrote clearly.

"Yan Yun" is Fan Shaotang. The recent neighbor Li Fang's "History of the Emperor's Books", Volume 9:"Fan Shaotang, the word Yan Yun, and the name Danxiang, is from Changzhou. Good at official script and good at seal cutting." The eighth addendum to the Qing Dynasty poet Yuan Mei's "Suiyuan Poetry Notes":"Fan Shaotang of the Wu Gate was good at official script, was able to draw, and seal carving. He died at the age of 30." It can be seen that he is good at official script. Chunmu Nanhu asked Fan Shaotang if he had learned "Cao Quan Stele". Although Fan Shaotang had read this script, his official script was learning from his own writing. "Journey to the West" also records: "Yan Yun, Bafen Shu is based on Wen Zhengming as the teacher."

(3) Calligraphy by Qing people who went to Japan during the Xianghe Period (1801-1804)

The May 13th note written by Shigebu Yoshida (commonly known as Heishima) and prefaced in the second year of Xiangwa (1802) records the scene of Yoshida and the Qing people participating in the banquet together after the sacrificial ceremony at Shengfuji Temple in Nagasaki:

The secretaries Ito Fujikuro and Yanagani accompanied him and ate at the same table with all the Tang people. The ship owners are named Cheng Chicheng, Pan Zhanwan and others. ... Chicheng took the fan and personally wrote a poem to him. Pan Zhanwan also wrote poems to present fans.

[Picture 3] The banquet scene between Qing people and Japanese people was collected from "Notes on Tsukishi" collected by Waseda University Library in Japan (Call number: Khar04 -00344)

Volume 6 of "Zhu Zi Ji Xing" collected in the Waseda University Library depicts the banquet scene at that time [Figure 3]. The Qing people wrote inscriptions on the fan surface under the gaze of two people on the left and right. The person who wrote the inscription was probably Cheng Chicheng. It can be seen from the picture that the fan title has the word "letter". In addition, the left half depicts three Japanese holding a fan to watch, which should have been donated by Cheng Chicheng. This picture can be said to be a rare portrait that can confirm what characters the owner of the Tang ship wrote.

(4) Calligraphy by Qing people who went to Japan during the cultural and political period (1804-1830)

Hu Zhaoxin, famous as a doctor, traveled eastward to Japan around the second year of cultural education (1805). On February 2, the second year of Culture, when Datian Nanmu was invited to watch the opera at the Tang Pavilion, he "also passed the cup to Hu Zhaoxin" and drank with him. Datian Nanmu's letter written on the 15th of the month mentioned Hu Zhaoxin's calligraphy:

Tang doctor Hu Zhaoxin returned to China in the spring. Send Guangchou Sanmei to ask him to write poetry. Calligraphy is extremely extraordinary, and he is not a general businessman. Note as follows.

In the early autumn of Jiazi, I heard cicadas after the rain at Qiyang Hotel

A rain gives rise to cool thoughts, and it constrains people to feel the beauty of the year. The sound of cicadas first reaches the tree, and guests dream of not leaving home. People in the north of Haibei are different, and people in the south of the Yangtze River are trusting all the way. The ghost girl in the old garden is here, and flowers are arranged every night.

Sumen Hu Zhaoxin

People say that the ocean is good, but I also try to swim lightly. When hanging the sail, I feel stable at first, but the wind is strong and my heart is worried. Gradually away from the mountain, chasing the surging waves. I can't bear to remember, and my hometown is full of sorrow.

After sailing away from the mountains, he tried to write for Mr. Nanmu's elegance

Sumen Hu Zhaoxin

Nanmu Datian believes that Hu Zhaoxin is quite attainments in calligraphy and is first-class compared with other people who went to Japan to Qing Dynasty. As a minister, Ota Nanmu once participated in the Nagasaki trade and was fortunate to receive Hu Zhaoxin's poems and inks.

The Fujikawa Library in the Kyoto University Library has a manuscript titled "Sakikan Notes" and the inner title "Hu's Written Words", which records the questions and answers between Hu Zhaoxin and Ogawa Fuman and others. The first page reads: "The three of us set out in Edo in mid-autumn, and arrived in Saki in mid-autumn. They talked with Qing guests several times, but they never got any kindness. The treasure of ten thousand wins is not as good as a single piece, although this is also a piece of Nanliao is excellent, so you can laugh and laugh. Sumen Hu Zhao's new question." Or it was written by Hu Zhaoxin himself. Judging from the handwriting, it can be described as beautiful and elegant [Figure 4].

[Picture 4] The first page of "Sakikan Notes" is collected by Fujikawa Library, Kyoto University Library, Japan (Call number: /9)

After that, brothers Jiang Jiapu and Jiang Yunge went to Japan as the owners of the Tang ship and kept calligraphy records. The Nagasaki Prefectural Library houses the "Portrait of Jiangjiapu" painted by Tsukimae painter Akihiro Saito in the fifth year of culture (1808). The portrait also contains a painting praise written by Jiangyunge [Figure 5]:

Jiang Jiapu, whose word is Dalai, is from Suzhou. He learned calligraphy and painting from Zhang Zongcang and Li Yunhai when he was a child, but he failed to succeed. He is really ashamed. Today, he visited Nagasaki in Wuchen and met him in Qiongshan. He was a friend at first sight. It is a rare friend. Mr. Rong's thoughts are painted in detail, and he feels deeply helpless.

[Picture 5] The portrait of Jiang Jiapu was collected from "Special Exhibition-The Era of the Four Great Chikumae Painters-Saito Akiura and Chikumae Tashi" compiled by Fukuoka Prefectural Art Museum, Japan, 2002

Among them, Zhang Zongcang (1686-1756) and Jiang Jiapu were both from Suzhou, Jiangsu Province. They were good at landscape painting and worked in the Palace Painting Academy. Li Yunhai has a "Thousand Character Text" written by him. According to the postscript of Kami 'an, a Japanese calligrapher, Li Yunhai is nicknamed Li Liang. Feng Jinbo of the Qing Dynasty's "Knowledge of Painting in Moxiang Residence" Volume 8:"Li Liang, also known as Ningshi, was a native of Wu County. He studied books from Qian Nesheng and painting from Zhang Mocen." Zhang Mocen is Zhang Zongcang. The relationship between the three men's contract and study can be seen.

After the first paragraph of praise, there are two seals "Jiang Dalai" and "Jiapu". At the end of the article,"In the winter, the younger brother Dami respects the title". Jiang Dami is Jiang Jiapu's younger brother Jiang Yunge, and "Wenzheng Geng Yin" is the thirteenth year of Wenzheng (1830). Based on this, some researchers believe that the first half of the painting praise was written by Jiang Jiapu, and the second half was written by Jiang Yunge in the 13th year of Wenzheng. However, judging from the same handwriting before and after, it may be written by Jiang Yunge.

[Figure 6][Japan] The postscript of Jiang Yunge contained in Ichikami's "Lue Kefa" collected by Waseda University Library, Japan (Call number: Bunko 01-01755)？

The "Lue Kefa" written by the calligrapher Shihemi 'an in the tenth year of Wenzheng (1827), which included the postscript written by "Sutaijiang Dami Yunge"[Figure 6]. Shihemi' an later noted: "In the year of Jiaxu, my father was in Qiyang, and I occasionally compiled it to show Jiangyun Pavilion. When I met him at the Yunge banquet, I wrote this sentence. Now I can't bear to abandon it, and I am appendixes it here." Kuanzhai, the father of Mi 'an, took this book to Nagasaki in the 11th year of the Cultural Revolution (1814). Jiang Yunge wrote a postscript for it. This book was cherished by Shihe Mi' an. This postscript is similar to the brushwork of the above-mentioned portrait of Jiang Jiapu.

Datian Nanmu mentioned in his letter on December 16, the first year of culture (1804):"During this period, the nine-fan ship was sent to Jiangtai because of the appropriate calligraphy and painting." It records that Jiang Jiapu went to Japan and was proficient in calligraphy and painting. Later, it was published as "Zi Jiufan Ship, the name of the ship is Juji, the owner is Zhang Qiuqin, and the deputy finance officer is Jiang Taijiao." It can be seen that Jiang Taijiao is the deputy finance officer of Zhang Qiuqin's ship.

On February 2, the second year of culture, Datian Nanmu met Jiang Jiapu when he went to Tangguan to watch the drama and recorded his appearance. "Qiongpu Zizui" records: "Seeing Jiangtai Jiao (Jiang Dalai, also known as Taijiao, and known as Jiapu), he was a great Han. The beard also looks very neat."

On February 15th of the second year of culture, Datian Nanmu wrote in a letter: "Jiangtai Jiao (No. Jiapu) is the reason why he failed. Painting and calligraphy are wonderful. Please paint orchids on the silk ground, and please also paint mountains and rivers." Judging from the perspective of "falling into the ranks", Jiang Jiapu is not an ordinary businessman and has a high degree of knowledge and cultivation. Datian Nanmu once asked him to paint orchids and mountains and rivers on the silk ground.

The next volume of "People in the Mountains" written by Tian Nengcun Takeda, a literati painter in the late Edo period, was written in the tenth year of culture (1813) and published in the sixth year of Tianbao (1835). It is stated that "It is already the year when Jiang Da came to plant crops (I heard that Jiapu's knowledge and articles appeared on the right side of my brother Yunge, and he was also the person who failed)." It can be seen that Zhutian of Tianneng Village also knew about Jiang Jiapu and heard that Jiang Jiapu's knowledge was higher than his brother Jiang Yunge.

[Picture 7][Japan] Painted by Araki Jun Zhan, Kani Shacun praised "The Picture of the Farewell Party of Meiguan Coshi" from "Hundred Flowers Dazzling Islands-The Masters of the Edo Countries-" edited by Ma Jiang Matsuoka, Chiba Art Museum, 2018

In addition, Sendai painter Meiseki Sukai stayed in Nagasaki for about ten years of culture. Although he had in-depth exchanges with many Qing people, he studied Jiang Jiapu. The "Picture of the Farewell Party of Meiguan Masters"(Figure 7), drawn by Junzhan Araki and written by Kanjing Shacun in the first year of Wenzheng (the 23rd year of Jiaqing, 1818), depicts the scene of Sugai Meiguan leaving Nagasaki in the twelfth year of culture (1815). When he left Nagasaki, he wrote inscriptions and painted with people who went to Japan to Qing Dynasty. The top of the picture depicts the scene of two Qing people traveling to Japan watching Japanese diplomacy. The Japanese should plan to seek diplomatic advice from the Qing people. This picture is a precious painting depicting the diplomatic exchanges between China and Japan.

Zhu Liuqiao was also the owner of Tang ships who went to Nagasaki for trade from the late cultural years to the Wenzheng years. In the first month of the ninth year of Wenzheng (the sixth year of Daoguang, 1826), Zhu Liuqiao's Tokai boat drifted near the mouth of the Oikawa River in Shizuoka Prefecture on its way to Nagasaki. The Shogun sent Noda Dipu and others to escort the Tokai boat to Nagasaki. During the escort process, Noda Dipu spent several months with Zhu Liuqiao on the ship. In order to get a word, he asked him to write a preface to the upcoming "Haihongyuan Short Manuscript"[Figure 8], which was on March 24 of the same year. As a result, Zhu Liuqiao's ink was preserved in Japanese books.

[Figure 8][Japan] Noda Dipu's "Sea Red Garden Small Manuscript" was collected from [Japan]"Data on the Detai Ship Floating in Enshu in the 9th Year of Bunsei-Data Collection of Tang Ships Floating in the Edo Period II", Osaka: Kansai University Publishing Department, 1986

(5) Calligraphy of Qing people who went to Japan during the Tianbao Period (1830-1844)

In the late Edo period, both father and son generations went to Nagasaki for trade as boat owners. From Zhou Aiting, who was 19 years old, left for Japan in the seventh year of culture (15th year of Jiaqing, 1810) to his death in Nagasaki at the age of 54 in the second year of Honghua (1845), Zhou Aiting devoted nearly 40 years of his life to Nagasaki trade. Zhou Aiting's calligraphy can be found in the praise of "Tang Boat Tu". The model year is "Juyue in the 20th Year of Daoguang". The "20th Year of Daoguang" is in 1840. The 11th Year of Tianbao in Japan."Juyue" refers to the ninth month of the lunar calendar.

(6) People from the Qing Dynasty who went to Japan who wrote the Japanese "Ilubo pseudonym"

There are also a small number of Tang ship owners who write Japanese pseudonym. The entry of "Southern Department·Tangguan" in Volume 2 of "Map of Scenic Places in Nagasaki" contains:

Meng Hanjiu, named Shitao, also known as Hanjiu, was from Zhapu, Zhejiang Province. ... During the reign of Kuan Zheng, he was in the Nagasaki Pavilion, learning Japanese Ilubo pseudonym and copying ancient songs. If there is anyone who asks for a letter, write it specifically.

[Figure 9]"Meng Han's Nine Kana Book" is collected from "Map of Nagasaki Scenic Places", Nagasaki Documentation Society, 1974

It can be seen that Meng Hanjiu learned a Japanese pseudonym while living in Tangguan, and someone specially begged him for letters. The pictures of his pseudonym and his calligraphy works are preserved in the "Map of Nagasaki Scenic Places"[Figure 9].

Japan's acceptance of calligraphy by Qing people who went to Japan in Erdo

Copying is the most basic method of learning calligraphy. According to Ma Chengfen's research, Chinese legals were imported into Japan during the Edo period from the seventh year of Yuanlu (1694), and from then to the second year of Wenjiu (1862), a total of 459 times, with 151 types of legals and more than 3700 pieces. Since so many manuscripts were introduced into Japan, why did Japanese literati go to Nagasaki to follow Qing people to learn calligraphy? What kind of influence did Qing people's calligraphy bring to Japanese literati?

Oyama and Qing (1783-1847)"Songwu Cong Hua" Volume 2,"Qin Qixin's calligraphy is better than the world", contains:

The source of Boduo wild contains the fragrance of Qin, known as Xingchi, and it is also like a vegetarian meal. He is good at calligraphy and first learned from the gate of Hoi Jiugao. My grandfather was also fond of calligraphy and was a disciple of Jiugao's father, Hoi Guangze, so he also followed Jiugao. After Jiuzhen's death, he entered the Dongjiang River Yuanlin, Guan Qining and other gates, but he was still unable to compare with the calligraphy of the Tang State. After more than ten years, I went to Nagasaki and became close to Xu Hezhou and Liu Peiyuan, who were special guests of the tribute ship. I first discovered the true nature of the Tang State and the books written by Hu Zhaoxin, a fellow villager from Suzhou and the Tang Dynasty. I especially praised them and regarded them as authentic notes and loved them. Since then, his calligraphy has gradually developed, and no one can compare it today. As the saying goes, although today's calligraphers learn based on the ancient manuscripts of the Jin, Tang, Song and Ming Dynasties, most of them use thousands of inscriptions, and it is difficult to see the true nature of the writing method. Isn't it suspicious to learn ancient methods? I learned it according to the true scripts of today's Qing people. Although the author is not ancient, he still retains the legacy of ancient times, which is far better than the original version of the couch.

Qin Qixin, a calligrapher in the late Edo period, once studied with famous calligraphers such as Hoi Hirosawa's son Hoi Kuyu, Dongjiang Yuanlin, and Guan Qining, but he believed that this was far inferior to Chinese calligraphy. So he went to Nagasaki specifically to learn from Xu Hezhou and Liu Peiyuan, who went to Japan and Qing Dynasty. Xu Hezhou went to Nagasaki in the sixth year of culture (14th year of Jiaqing, 1809), Liu Peiyuan went to Nagasaki in the sixth, seventh, eighth, ninth, tenth, eleventh, twelfth and fourteenth years of culture, and in the third and fourth years of culture. Therefore, Qin Qixin's simultaneous contact with Xu and Liu should be about six years old. After that, he studied with their fellow countryman Hu Zhaoxin, and his calligraphy skills became increasingly improved, reaching a new realm unmatched by no one. Qin Qixin believes that the true nature of brushwork cannot be seen by copying manuscripts. Real calligraphy learning should follow calligraphers and seek ink. This is an important reason why Qin Qixin's calligraphy level has advanced by leaps and bounds.

Shihe Mi 'an (1779-1858) also explained the importance of ink in the study of calligraphy in Volume 1 of "Mi' an Motan","The method of learning books is the first", which contains:

In the way of learning books, authentic works are the best, followed by ink carving. Mi Yuanzhang said that stone carvings cannot be learned, but it is no longer a person who writes it yourself and asks others to carve it. Therefore, we must observe it in real terms to gain interest. Dong Xuanzai also said that when he was young, Yu wrote small script to depict the "Huang Ting Jing" and "Dongfang Praise" that were passed down in the world. Later, when he saw the authentic works of the Jin and Tang Dynasties, he knew that the writing of the pen was wonderful and could not be passed down by stone carvings. Feng Dun also said that there are two essentials to writing. One is to use the pen, which must be authentic; the other is to tie the characters. Just look at the monument to know the beauty of tie the characters. It is also said that poor people cannot learn books, and there are no historical relics in their homes. However, you only need a few lines to understand the original work, and the scale of the frame can only be determined by the stone carvings. Based on this theory, we can see that non-authentic works are rare and interesting. ... I believe more and more in the words of the three families of Mi Dong and Feng, and hope to see the authentic book. When I was traveling in Nagasaki, I asked Hu Zhaoxin, a doctor on the ship, about his new calligraphy. He replied that many authentic works from the ancients had been seen.

Mi Fu, Dong Qichang and Feng Dunyin believe that copying ink is the best way to learn calligraphy. Only by viewing the ink can you know how to use the pen. However, the engraved edition has long lost its original style because it has borrowed the hands of others, leaving only "space scale". Shihemi 'an once asked Hu Zhaoxin for a book, and Hu Zhaoxin also told him that "authentic works of the ancients are more common."

The article "On the Strength of Brush" in Volume 2 of "Mi 'an Ink Tan" contains:

Yu asked Hu Zhaoxin about how to use the sheep's hair in Qigang. He replied: First twist the tip of an inch of pen by seven or eight minutes, dip it in ink, straighten the sharp edge and hang the wrist, and slowly write. The movement of ink essays naturally penetrates through the paper. Write smoothly, and you will get the beauty of warmth and the sum of ink. This is true for all pens, large and small, and the tip of the pen should be twisted more often. Later, he wrote it in this way, and the ink was calm, and he felt the meaning of his words. However, those who can't write with hanging wrists cannot use sheep's hair. The interest in this is beyond words. I also saw Zhaoxin writing like Japan. I questioned it. Zhaoxin said that this is not a good pen. It will be fluffy when twisted. If I change writing, I am afraid there will be stiff hair in the tip of the pen.

Shi Hemi 'an also asked Yang Hao how to open and move the pen. After that, he followed Professor Hu Zhaoxin's method to practice calligraphy, and his writing style became more stable. This is obviously something that cannot be brought by copying the script.

After realizing the importance of ink writing, Shihe Mi 'an began to seek and practice ink writing. The first volume of "Mi' an Mo Tan" contains:

His (Wang Zhuci) books are full of ink and originated from Minong Palace. His attitude changes little and he feels more beautiful. Because of this, he visited the school hundreds of times and learned the charm of the authentic book. Feng Dun Yin's authentic writings can be understood in a few lines. I really don't deceive me. Then he obtained the authentic works of Chen Hongshou, Qi Zhijia, Sun Wei, Wu Shantao, Dai Mingshuo, Monk Minggang, etc. They were all famous people in the late Ming and early Qing Dynasties and people who were good at writing at that time. I also heard that a friend had ancient ink in his house, so he would beg to read it, copy it, hide it, visit each other to learn, and gain more understanding day by day. Recently, I have also benefited from learning the authentic works of ancient celebrities.

Through studying ink, Shihemi 'an's calligraphy skills have been greatly improved, and he has gained a deep understanding of Feng Dunyin and other calligraphers' calligraphy theories on "the number of lines of authentic works can be understood with a pen." On this basis, Shihemi 'an criticized the methods of learning calligraphy through calligraphy, ink carving, etc.

He specializes in studying ink manuscripts, so although the books he writes seem quaint in appearance, they have no charm. ... The words of Dongjiang and the authentic works of the Song, Yuan and Ming people are mostly forged by later generations. If you read it when you know it is a fake, it will be harmless... The fake books are also from masters under the sect, and most of them have the writing intention of famous people. They are not harmless after learning, but their harm is not as bad as ink carving. Xie Zaiyun said that although the original works are inferior, they are still better than the ones carved in ink. This is what those who seek truth should know.

Shihemi 'an believes that when you study ink manuscripts, you can only see the "shape" of the book, but cannot learn the "spirit" of a calligrapher. Even if the calligraphy is forged by later generations, it still retains the style of writing, and its effect is far better than that of ink engraving.

Three conclusions？

After the Edo shogunate transformed from "martial rule" to "civil rule", Japan's calligraphy world changed accordingly. Compared with traditional Japanese calligraphy, Chinese calligraphy known as the "Tang-style" has become popular, and most calligraphy learners use legal manuscripts and rubbings shipped from China to Japan as models to imitate it. However, the engraved edition lost its original style to a certain extent due to the manipulation of others. Without certain calligraphy experience, direct copying of calligraphy will inevitably degenerate into mechanical calligraphy without charm. In this sense, it is very necessary to watch the calligraphy of a calligrapher with your own eyes.

Due to the inconvenient exchanges between China and Japan, and the closed-door policy implemented by Edo and Japan, the Qing people centered on merchants who regularly trade in Japan every year constitute the main target of Japanese literati's request for calligraphy and ink. Although the main social identity of these Qing people who went to Japan was not calligraphers, and they were unknown in the history of Chinese calligraphy, and their number was very small. Asano Nagasuo (1816-1880), who was good at appreciating calligraphy and painting in the late Edo period, pointed out in Volume 1 of "Shufangge Calligraphy and Inscriptions":"There are never anyone who can write among the tourists, only Shen Nanping, Yifujiu, Jiang Jiapu, and Hu Zhaoxin." However, because ink can understand the brushwork and structure, and contains the charm of a calligrapher, this small group of Qing people with calligraphy skills has had an important impact on the style of Japanese literati learning "Tang-style" calligraphy. After Japanese calligraphers such as Qin Qixin and Ishikawami Mian copied the authentic works of the Qing people, their calligraphy skills improved by leaps and bounds. Ishikawami Mian even advocated that "the method of learning books is the most important." From this point of view, the influence of the Qing people who went to Japan on diplomatic exchanges between China and Japan cannot be underestimated.

(Author's unit: Matsuura Akira, School of Foreign Languages and International Relations, Zhengzhou University, Kansai University, Japan; Xu Hao, School of Foreign Languages and International Relations, Zhengzhou University. The full text was originally published in the "Palace Museum Journal", No. 6, 2024. When The Paper News was transferred with the authorization of the author, the annotations were not included.)