Shikishi by Motoori Norinaga
- Person
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作者本居宣長
- Date
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制作年 AD18
- Title
- モトオリノリナガヒツシキシ
- Collections
- Century Akao Collection
- Depository
- Institute of Oriental Classics (Shido Bunko) Campus Mita
- Ref. number
- AW-CEN-000412-0000
- License
- CC BY Images license
- Creditline
-
慶應義塾（センチュリー赤尾コレクション）
- URL
- Classification
- Art
- AI Tagging
- Font Rectangle Wood Art Tints and shades
A scholar of Japanese history and Japanology during the latter part of the Edo Period, Motoori Norinaga (1730-1801) was born into a cotton wholesaler’s family in Matsuzaka in Ise (Mie Pref.). He received training in calligraphy and yokyoku (songs for Noh performances) and was quickly absorbed in Chinese and Japanese classics. At age 23 (1752), Norinaga went to Edo to study medicine and Chinese classics. Five years later (1757), he returned to his hometown to open a clinic, where, while working as a practitioner, he also devoted himself to the studies of classics. When Norinaga was around 34, Japanese classical scholar Kamono Mabuchi (1697-1769) visited Matsuzaka. Norinaga went to study under Mabuchi, and over the years he came to lead the classical Japanese studies and was later hired to serve the Kishu-Tokugawa Clan (one of the three most powerful Tokugawa families that produced shoguns). The private school he was running, Suzuno-Ya, teemed with over 490 disciples. Through his research concerning the literary classic Genji Monogatari (Tale of Genji), Norinaga proposed a new interpretation of the essence of Japanese aesthetics, defining it as “mono no aware,” or appreciation for things representing natural beauty or classical sensitivity. He was the proponent of the ancient, original Japanese thoughts, without the Confucian influence, thus is generally regarded as the founder of Japanese studies during the latter part of the Edo Period. The 44-volume Kojiki-Den (lit. Tales of Ancient Japan) was published after 32 years of laborious research and is today revered as Norinaga’s lifework. In calligraphy, Norinaga mastered the softly flowing Wayo-style, also known as Oie School and Teika School, whose features contrast well with the more masculine Kara-yo, or the Chinese-style. In this exhibit, Norinaga wrote “a scholar lamenting the passing of the year” on paper decorated with streams drawn with India ink.This poem appears in Norinaga’s private collection, Suzunoya-Shu (Vol. II). Letting the ink run across the paper’s surface was one of the ryoshi coloring techniques. A few drops of India ink dripping on the paper disperses lightly when tapped softly with a bamboo stick coated with resin or with just a plain small stick. The process is repeated until the ink makes a nice even coat. Another technique involves shaking the inkpot to produce ripple-like patterns on which ryoshi paper was placed upside down to transfer the ink’s design. Thanks to these elaborate techniques, no two ryoshi paper pieces had the same design. During the Edo Period, this technique was applied using indigo and safflower dyes.The exhibited ryoshi is covered with India ink and indigo dye, creating delicate patterns that perfectly match Norinaga’s refined classical calligraphy (Jodai-Yo; lit. ancient style).
A scholar lamenting the passing of the year: All the snow outside the window; Even if collected, would not give off enough light; For me to read. What a waste at the year’s end.
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- Title (EN)
- Shikishi by Motoori Norinaga
Physical description
- Weights and quantities
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Quantity 1幅
- Materials, techniques and shape
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Materials 墨流し(藍・墨)
- Attachments
- 桐箱
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