30138625

UNIVERSITY OF HONG KONGLIBRARY

This book was a giftfrom

Ms* Wen-chin Hsu

'Greeting'Shintaro Fukushima,Chairman of the Board of Directors,Japan Calligraphic Art Academy

First of all, I would like to express my heartfelt gratitude to Mr. Eric Hotungfor having assisted us in organizing the Hong Kong Exhibition to no smallextent. At the same time, I wish to express my profound thanks to Mr. AlanWong of the Hong Kong Arts Centre, who has kindly agreed to cosponsor theexhibition, and all other persons involved.

It is indeed a great pleasure that we have now been afforded an opportunityto stage the Exhibition of Japan's Calligraphy in Hong Kong, a representativeinternational city of the Orient.

In recent years, international cultural exchanges have gained in intensity,and many exhibitions of various arts have been held in Hong Kong as well.Calligraphic art is no exception, but in almost all cases, calligraphicexhibitions have been limited to a single school or a small group.

Nevertheless, the Exhibition of Japan's Calligraphy comprises the works ofrepresentative master calligraphers in almost all sectors of Japan'scontemporary calligraphy. It may well be called a comprehensive exhibition ofJapan's calligraphic art that is seldom staged outside of the country.

We should be more than glad if this exhibition could serve as a useful helpfor a better understanding of Japan's present-day art and culture, and also acontribution to furthering mutual understanding between Hong Kong andJapan.

Japan Calligraphic Art Academy Japan's "calligraphy" has a long history and tradition starting with thenation's contact with China in ancient times.

After a lengthy, unfortunate war,' 'calligraphy'' gained great popularity as anational art, enjoying a virtual boom.

In the meantime, however, Japan's calligraphic world became split intovarious schools and geographical regions, resulting in an intense competitionbetween different schools and regions.

Of course, national-scale exhibitions, such as the Nitten (Japan Fine ArtsExhibition) with a long tradition to its credit, provide opportunities forcalligraphers to refine and develop their arts through interchange irrespectiveof difference in school and region. But like-minded calligraphers, dissatisfiedwith factional rivalry, have banded together to form the Japan Calligraphic ArtAcademy, transcending difference in school and region.

The motive power for the establishment of this organization was providedby about 50 master calligraphers whose works are displayed at the currentHong Kong exhibition. All of them are leaders of various schools and regionswho have won a high reputation as masters of Japan's calligraphy.

They differ in school and therefore, in the style of expression. But theyshare the belief that they must join hands for further improvement of their artso as to refine Japan's' 'calligraphic art'' further and raise its value as a fine art.That is, they "cooperate, though not seeing eye to eye with each other."

The Japan Calligraphic Art Academy is a nog-profit juridical person of anational scale for the purpose of promoting the calligraphic art, which wasauthorized by the Ministry of Education in 1974 as a "juridical foundation."

It is engaged in seven categories of operation — that is, (1) survey andresearch regarding the calligraphic art, (2) holding of exhibitions, trainingsessions, duty meetings, etc., (3) fostering of calligraphic artists, (4)commendation of those who have contributed to the calligraphic art, (5)international exchange in the field of calligraphic art, (6) publication of anorgan magazine and others relating to the calligraphic art, and (7) otheroperations necessary for attaining the purpose of the organization.

The current Hong Kong exhibition belongs to the second and fifthcategories of operation.

The Japan Calligraphic Art Academy has 20 directors, three auditors and60 councilors.

The Board Chairman is Shintaro Fukushima who has assumed manyimportant posts in the Japan Government and journalism, and received theFirst Class Order of the Sacred Treasure because of his contributions in thosefields. Recently, he has served as chairman of the National LanguageCouncil, an advisory body to the Minister of Education.

He accepted the post of Board Chairman of the Japan Calligraphic ArtAcademy not only because he has a deep understanding of the calligraphicart, but also because he fully appreciates the eagerness of the 50calligraphers, who have formed the organization, for the improvement ofJapan's calligraphy.

Nihon-no-Shoten(Japan's Calligraphic Exhibition)and Hong Kong Exhibition

Nihon-no-Shoten (Japan's Calligraphic Exhibition) was born in 1973, andthe 10th exhibition took place in Tokyo in February this year.

This exhibition consists of the following five divisions:First, the division called "Representative Works of the Contemporary

Calligraphy'' is joined by veteran masters of Japan's calligraphic world — thatis, about 20 persons, who are members of the Japan Art Academy orrecipients of Japan Art Academy awards. All of them form the apex of Japan'scontemporary calligraphy and serve as the very symbols of various schools ofcalligraphy.

The second is "Works of 50 Contemporary Master Calligraphers" — adivision formed by about 50 first-line calligraphers, who are said to constitutethe nucleus of Japan's calligraphic world through their energetic activities.Their works enjoy a high reputation.

The works entered in the above two divisions are successively exhibited inabout 30 major class throughout the country.

Displayed at the present Hong Kong exhibition are the works of those 50calligraphers.

Next, there is the division called "Selected Works of Invited Calligraphers,"which is joined by about 70 leading calligraphers regarded highly for theirbrisk activities in the calligraphic world.

The fourth division, called "Selected Works of 100 ProminentCalligraphers," exhibits works of about 100 persons selected from all parts ofthe country as promising calligraphers.

The fifth division is called the "Exhibition of Selected Works." On displayare the works of about 300 persons selected by local newspapers andcalligraphers throughout the country and also by the Japan Calligraphic ArtAcademy, the sponsor of the Hong Kong exhibition.

As already noted, the Hong Kong exhibition consists of the works enteredby the members of the division "Works of 50 Contemporary MasterCalligraphers." Though somewhat differing in calligraphic history, all of themare leading calligraphers honored as recipients of the special awards from theNitten (Japan Fine Arts Exhibition), Japan's most respected art exhibition oflong standing, or those named councilors, memebers, etc. of the Nitten — thesymbol of still higher distinction.

They are recognized as representative masters in all spheres of calligraphy,such as traditional Chinese characters, "kana" syllabary peculiar to Japanand modern poems, which provide new, unique forms of expression,excepting avant-garde calligraphy.

The Hong Kong exhibition lasts for only four days. But the sponsors will bemore than happy if the exhibition serves to deepen the understanding ofJapan's contemporary calligraphy.

Abe, Seiseki (1915) Councilor, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionCounselor, Nihon Shogei-in (Japan Calligraphic Art Institute)

(corporate juridical person)

Akashi, Shunpo (1929) Councilor, Japan Calligraphic Art Academy (juridical foundation)Quasi member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionDirector, Sogen Calligraphic AssociationLecturer, Toyo University

Arai, Kofu (1937) Councilor, Japan Calligraphic Art Academy (juridical foundation)Quasi member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionStanding Director, Kenshin Calligraphic Association

Asaka, Tesshin (1926) Director, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Councilor, Mainichi Calligraphic Association (juridical foundation)Board Director, Nihon Shosaku-in (Japan Calligraphic Institute)

Asami, Kendo (1915) Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionStanding Director, Kenshin Calligraphic Association

Asami, Kinryu (1922) Councilor, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionVice President, Taigen Calligraphic Association

Boda, Shisen (1924) Director, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Councilor, Mainichi Calligraphic Association (juridical foundation)Standing Director, Nihon Shogei-in (Japan Calligraphic Art Institute)

(corporate juridical person)

Enokura, Koson (1923) Director, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionDirector, Nihon Shogei-in (Japan Calligrpahic Art Institute)

(corporate juridical person)Lecturer, Kobe University

Furutani, Soin (1924) Director, Japan Calligraphic Art Academy (juridical foundation)Councilor, the Nitten (Japan Fine Arts Exhibition)Councilor, Mainichi Calligraphic Association (juridical foundation)Standing Director, Nihon Shogei-in (Japan Calligraphic Art Institute)

(corporate juridical person)

Hanado, Hodo(1918) Councilor, the Nitten (Japan Fine Arts Exhibition)Councilor, Mainichi Calligraphic Association (juridical foundation)Standing Director, Nihon Shogei-in (Japan Calligraphic Art Institute)

(corporate juridical person)

Harada, Seison (1918) Councilor, Japan Calligraphic Art Academy (juridical foundation)Quasi Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionCounselor, Nihon Shogei-in (Japan Calligraphic Art Institute)

(corporate juridical person)

Hayashs, Koseki (1927) Auditor, Japan Calligraphic Art Academy (juridical foundation)Member, Mainichi Calligraphic ExhibitionStanding Director, Shodanin Exhibition

Hayashsda, Hoen (1926) Councilor, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionDirector, Nshon Shogei-in (Japan Calligraphic Art Institute) (corporate

juridical person)

Hibino, Koho(1928) Councilor, Japan Calligraphic Art Academy (juridical foundation)Quasi Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionDirector, Nihon Shogei-in (Japan Calligraphic Art Institute)

(corporate juridical person)Lecturer, Doshisha University

Higashiyama, Ichiro (1928) Director, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine arts Exhibition)Member, Mainichi Calligraphic ExhibitionStanding Director, Kenshin Calligraphic AssociationLecturer, Daito Bunka University

Ikeuchi, Soshu (1914) Councilor, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionStanding Director, Nihon Shogei-in (Japan Calligraphic Art Institute)

(corporate juridical person)

Inagaki, Suho (1925) Director, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Councilor, Mainichi Calligraphic Association (juridical foundation)Standing Director, Kenshin Calligraphic Association

Kaneko, Takayoshi (1943) Councilor, Japan Calligraphic Art Academy (juridical foundation)Quasi Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionLecturer, Komazawa University

Kawakami, Nanmei (1915) Councilor, Japan Calligraphic Art Academy (juridical foundation)Quasi Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionSpecial Member, Kenshin Calligraphic Association

Koyama, Sodo (1916) Director, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionAdviser, Nihon Shogei-in (Japan Calligraphic Art Institute)

(corporate juridical person)Lecturer, Mukogawa Women's University

Kurono, Seiu (1930) Councilor, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Director, Nihon Shogei-in (Japan Calligraphic Art Institute)

(corporate juridical person)Special Member, Kenshin Calligraphic AssociationProfessor, Aichi University of Education

Kuwata, Sanshu (1927) Director, Japan Calligraphic Art Academy (juridical foundation)Quasi Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionDirector, Nihon Shogei-in (Japan Calligraphic Art Institute)

(corporate juridical person)

Matsushita, Shido (1926) Councilor, the Nitten (Japan Fine Arts Exhibition)Member, Mainchi Calligraphic ExhibitionBoard Deputy Director, Senshi-kai Calligraphic Association

Murayose, Ohkei (1925) Councilor, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionStanding Director, Kenshin Calligraphic AssociationProfessor, Fukui University

Nakajima, Kosho (1925) Councilor, Japan Calligraphic Art Academy (juridical foundation)Quasi Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionDirector, Nihon Shogei-in (Japan Calligraphic Art Institute)

(corporate juridical person)Professor, Hanazono University

Nakamichi, Shunyo (1921) Councilor, Japan Calligraphic Art Academy (juridical foundation)Associate Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic Exhibition

Naruse, Eizan (1920) Director, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionStanding Director, Kenshin Calligraphic Association

Ohira, Santo (1916) Director, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Councilor, Mainichi Calligraphic Association (juridical foundation)Standing Director, Sogen Calligraphic Association

Osawa, Shiho (1930) Councilor, Japan Calligraphic Art Academy (juridical foundation)Quasi Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionBoard Deputy Director, Senshi-kai Calligraphic Association

Oshima, Ganzan (1925) Councilor, Japan Calligraphic Art Academy (juridical foundation)Quasi Member the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionStanding Director, Kenshin Calligraphic Association

Ozaki, Yuho(1924) Director, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionDirector, Nihon Shogei-in (Japan Calligraphic Art Institute)

(corporate juridical person)

Sadamasa, Shoto (1932) Councilor, Japan Calligraphic Art Academy (juridical foundation)Associated Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionStanding Director, Dokuritsu Shojindan Independent Calligraphers' Group)Professor, Tsurumi University

Suzuki, Tohka (1923) Councilor, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Councilor, Mainichi Calligraphic Association (juridical foundation)Member, Toho Shodo-in (Toho Calligraphic Institute)

Takagi, Seikaku (1923) Councilor, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionDirector, Nihon Shogei-in (Japan Calligraphic Art Institute)

(corporate juridical person)

Takagi, Sofu (1926) Councilor, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionStanding Director, Kenshin Calligraphic Association

Tanemura, Sando (1927) Director, Japan Calligraphic Art Academy (juridical foundation)Quasi Member the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionStanding Director, Kenshin Calligraphic Association

Toda, Teizan (1917) Councilor, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionStanding Counselor, Dokuritsu Shojindan (Independent Calligraphers'Group)

Tohchi, Sogai (1930) Director, Japan Calligraphic Art Academy (juridical foundation)Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionDirector, Sogen Calligraphic Association

Tsugane, Yoshikuni (1929) Director, Japan Calligraphic Art Academy (juridical foundation)Member, Mainichi Calligraphic ExhibitionPresident, Ryoun-kai Calligraphic AssociationProfessor, Nihon University

Umehara, Seizan (1922) Auditor, Japan Calligraphic Art Academy (juridical foundation)Quasi Member the Nitten (Japan Fine Arts Exhition)Councilor, Mainichi Calligraphic Association (juridical foundation)Special Member, Kenshin Calligraphic Association

Watanabe, Ryokuho (1918) Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionDirector, Sogen Calligraphic Association

% Yamada, Shoko (1921) Councilor, Japan Calligraphic Art Academy (juridical foundation)Associate Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionDirector, Nihon Shogei-in (Japan Calligraphic Art Institute)(corporate juridical person)

Yasuhara, Koun (1922) Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionStanding Director, Nihon Shogei-in (Japan Calligraphic Art Institute)(corporate juridical person)

Yokonishi, Katei(1923) Councilor, Japan Calligraphic Art Academy (juridical foundation)Associate Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic Exhibition

t Yoshizawa, Tesseki (1926) Auditor, Japan Calligraphic Art Academy (juridical foundation)Associate Member, the Nitten (Japan Fine Arts Exhibition)Member, Mainichi Calligraphic ExhibitionBoard Deputy Director, Nihon Shosaku-in (Japan Calligraphic Institute)

Abe, Seiseki Ten thousand states in peace and harmony240cm x 60cm

2 Akashi, Shunpo Tu MuWhere the Six Dynasties flourished, grass joins the sky,Heaven is placid, clouds are lazy, present and past unite,Birds come, birds go within the mountain scene:People sing, people weep amidst the water's sound.Deep autumn, screens and curtains, a thousand houses, rain;Setting sun, towers and terraces, a single flute, wind.Alas, there is no way of seeing Fan LiAlong the zigzag line of misty trees east of the Five Lakes.Translated by Witter Bynner

234cm x 48cm

3 Arai, Kofu Sitting Alone on Mount Ching-t'ingLi PoHigh aboveBirds have flown by.One solitary cloudMoves on at leisure.Mount Ching-t'ing and IRemain aloneAnd eyeEach other with much pleasure.Translated by Siu-kit Wong

135cm x 69cm

Asaka, Tesshin The stones and rocks on the other hill(from the Shih ChingXBook of Poetry)67.5cm x 69cm

5 Asami, Kendo Some men are making nets before the fisherman's hut;Out there near the ford, a flag is waving —there is the wine-house.21 Ocm x 60cm

6 Asami, Kinryu

7 Boda, Shisen

The dragon prances the unicorn springs(from the Chin ShuXHistory of Chin)240cm x 60cm

Village house: poem written on the ninth day of the ninth monttbyCh'ienCh'iToday my house is filled with rural delights:The yellow chrysanthemums on the east fenceshine upon the autumn fields.My eyes follow the drifting clouds, the evening birds. . .they are almost gone,And the green mountain, the rising moon, come into sight.43cm x 65cm

8 Enokura, Koson PoemsDewdrops on violets, scent of lilies in starlight. . .The road of my dawn is so beautiful!(By Yosano Tekkan)Peach flowers fall, forsythia flowers fall. . .So no wonder the heart of a youthful 20-year-oldhuman being cannot remain calm!(By Yosano Akiko)49cm x 176cm

9 Furutani, Soin The phoenix lance(from the Chin ShuXHistory of Chin)66cm x 126cm

10 Hanado, Hodo Dust gathers in the rice-pot(from a book on Zen Buddhism)135cm x 35cm

11 Harada, Seison On Seeing the Snow-Peak of Chung-NanTsu YungSee how Chung-nan Mountain soarsWith its white top over floating clouds —And a warm sky opening at the snow-lineWhile the town in the valley grows colder and colder.Translated by Witter Bynner

225cm x 48cm

12 Hayashi, Koseki A Drawing of a Horse by General Ts'aoat Secretary Wei Feng HouseTu FuThroughout this dynasty no one had painted horsesLike the master-spirit, Prince Chiang-tu —And then to General Ts'ao through his thirty years of fameThe world's gaze turned, for royal steeds.He painted the late Emperor's luminous white horse.For ten days the thunder flew over Dragon Lake,And a pink-agate plate was sent him from the palace —The talk of the court-ladies, the marvel of all eyes.The General danced, receiving it in his honoured home. . .After this rare gift, followed rapidly fine silks.From many of the nobles, requesting that his artLend a new lustre to their screens.. . . First came the curly-maned horse of Emperor T'ai-tsung,Then, for the Kuos, a lion-spotted horse. . .But now in this painting I see two horses,A sobering sight for whosoever knew them.They are war-horses. Either could face ten thousand.

They make the white silk stretch away into a vast desert.And the seven others with them are almost as noble. . .Mist and snow are moving across a cold sky,And hoofs are cleaving snow-drifts under great trees —With here a group of officers and there a group of servants.See how these nice horses all vie with one another —The high clear glance, the deep firm breath.. . . Who understands distinction? Who realfy cares for art?

You, Wei Feng, have followed Ts'ao; Chih Tun preceded him.. . . I remember when the late Emperor came toward his Summer Palace,The procession, in green-feathered rows, swept from the eastern sky —Thirty thousand horses, prancing, galloping,Fashioned, every one of them, like the horses in this picture. . .But now the Imperial Ghost receives secret jade from the River-God,For the Emperor hunts crocodiles no longer by the streams.Where you see his Great Gold Tomb, you may hear among the pinesA bird grieving in the wind that the Emperor's horses are gone.Translated by Witter Bynner

232.5cm x 48cm

13 Hayashida, Hoen Before the curtain stand the green hills whose radiance comesthrough the door;The light reflected on the lake beyond the railings is about to come up to us.139cm x 34cm

14 Hibino, Koho InaminoI've passed Inami field already,and behold nowhigh waves roaring in Higasa coveyonder, in front of me.Source: Man 'yoshu (A Collection of Myriad Leaves) No. 117854cm x 66cm

15 Higashiyama, Ichiro Poem on Mountain Cherry BlossomsNew leaves, slightly pink, already sprouting. .Mountain cherry blossoms are about to open.Source: By Wakayama Bokusui30.5cm x 52.5cm

16 ikeuchi, Soshu MiyoshinoMany birds I hear now singingamong the trees upon Mt. Kisa.Source: Man 'yoshu 64 Collection of Myriad Leaves) — Poem by Yamabe-noAkahito138cm x 36cm

17 Inagaki, Suho An extract from Ch'ien-tsu-wenYou walk up the steps to the grand hall.Your official cap is changed, your fortune is fixedin an aspiring star.To the right is the Imperial Library;To the left the Ch'eng-ming Gate to the Palace.Here you find the sayings of the sagesAnd all the capable men in the world;Works written with a free-flowing handand in plain square style;Old books on bamboo strips and the Confucian classiconce hidden in a wall.

18 Kaneko, Takayoshi The five dragons amidst thunder and lightning(from a poem by Ch'u Tsai entitled 'To a Taoist monk")111 cm x 111 cm

19 Kawakami, Nanmei Spring RainI am lying in a white-lined coat while the spring approaches,But am thinking only of the White Gate City where I cannot be.. . . There are two red chambers fronting the cold, hidden by the rain,And a lantern on a pearl screen swaying my lone heart homeward.. . . The long road ahead will be full of new hardship,With, late in the nights, brief intervals of dream.Oh, to send you this message, this pair of jade ear-rings! —I watch a lonely wildgoose in three thousand miles of cloud.Translated by Witter Bynner

Harmonizing a Poem by Palace-Attendant KuoWang WeiHigh beyond the thick wall a tower shines with sunsetWhere peach and plum are blooming and the willow-cotton flies.You have heard in your office the court-bell of twilight;Birds find perches, officials head for home.Your morning-jade will tinkle as you thread the golden palace;You will bring the word of Heaven from the closing gates at night.And I should serve there with you; but being full of years,I have taken off official robes and am resting from my troubles.Translated by Witter Bynner

75cm x 225cm

20 Koyama, Soclo Early SpringThis morning, frost is white. . .The sound of a fountain reminds meThe spring has arrived, while I was not aware.Source: A peom by Tsuchiya Bunmei225cm x 45cm

21 Kurono, Seiu Poems by Wakayama BokusuiAlas.. . A swan is driftingWithout being dyed by the azureof the sky and the sea.Today again, repeatedly striking the chordin my heart,I feel the heart itself is departing.Source: By Wakayama Bokusui60cm x 168cm

22 Kuwata, Sanshu Songs of Man'yoshuEastward upon the plain I seethe dawning. I turn round and nowbehold the setting moonabove you western mountain brow.69cm x 40.5cm

The travellers lying side by sideon yonder Aki Field perhapscannot sleep for the memoriesthey have of days gone by.Source: Man 'yoshu (A Collection of Myraid Leaves)81 cm x 40.5cm

23 Matsushita, Shido On her own, the bright moon comes and goes,Yet I can see no one beside the jade railings.135cm x 53cm

24 Murayose, Ohkei Poems on my new house at the foot of Hsiang-lu Peak:again written on the eastern wall (no.3)by Bo Chu-i

The sun is high, I have slept well and yetI do not want to get up.In this attic room, with layers of coverlets over me,I need not fear the cold.How good it feels to lean against the pillow and listento the bells of Yi-ai Temple,And to brush aside the curtain andlook at the snow on Hsiang-lu Peak.Stay on Mount Lu, and you can escape from allworldly troubles;The post of si-ma, after all, offers little morethan some restful days for the aged.Home is where you can find peace of mind andenjoy good health;The capital, Ch'ang-an, is not the only placeto which you can return.157cm x 48cm

25 Nakajima, Kosho A drop of rain freshens a thousand mountains(from a book on Zen Buddhism)210cmx48cm

26 Nakamichi, Shunyo At the Beginning of Spring in the Year Kuei-moaThinking of the Ancients on My FarmsTao Yuan-mingThe former master has left us an instruction:"Be anxious about the Way, not about poverty!"I revered it but it was remote and unattainable;I want instead to set my mind on continuing toil.I grasp the plough, glad at the season's tasks;With smiling face I encourage the farm folk.The level fields join with the wind from afar,And fine corn-shoots embrace a freshness.

Though I cannot measure the Year's harvest,In the immediate work there are many joys.Ploughing and sowing have their times of rest,But no travellers come to 'ask for the food'.When the sun sets, we return home together;With a jug of wine I cheer my near neighbours.Humming away, I close my brushwood gates;For a while I am a man of dykes and fields.Translated by A. R. Davis

234crn x 45cm

27 Naruse, Eizan FarewellWang Chang-lingWhen, drunk, we left a river tavern,fragrance of oranges and grapes lingeredThen, river wind carried cold raininto my boat, and I felt cool.Now. I think of you, in far away lakes,and mountains under the moon,You must be sad when you hear monkeys' crying,awakening from your long dream.Translated by Tang Zi-chang

159cm x 39cm

28 Ohira, Santo Beauty of EgyptA fantastically big temple, aglow with the golden sun, quietly stands in avast, still land. The resplendent sculptures of ancient Egypt quietly talk tome, immersed in the beauty of 4,000 years.Source: Own writing69cm x 159cm

29 Osawa, Shiho Toward the Temple of Heaped FragranceWang WeiNot knowing the way to the Temple of Heaped Fragrance,Under miles of mountain-cloud I have wanderedThrough ancient woods without a human track;But now on the height I hear a bell.A rillet sings over winding rocks,The sun is tempered by green pines. . .And at tweilight, close to an emptying pool,Thought can conquer the Passion-Dragon.Translated by Witter Bynner

Mount Chung-NanIts massive height near the City of HeavenJoins a thousand mountains to the corner of the sea.Clouds, when I look back, close behind me,Mists, when I enter them, are gone.A central peak divides the wildsAnd weather into many valleys.. . . Needing a place to spend the night,I call to a wood-cutter over the river.Translated by Witter Bynner

66cm x 138cm

30 Oshima, Ganzan A seven-character quatrainby Hsi P'ei-IanHere I sit, wrapping myself with a coverletand quietly thinking;The light of the lamp has died out and yetI could not sleep:Outside the gauze window, the moon has set andthe flowers leave no shadows,Only the sound of bells from a templecomes close to me.135cm x 35cm

31 Ozaki, Yuho In reply to Sun Hsin-fao's poem, using the samerhyming words: and to say farewell to Sun as he is transferredto Lu-chouBy Su Shih (or Su Tung-po)The same furnace, the same hammer —but the forms and shapes produced are different;The heavens do not will it, how would I darehope for achievement?I'm heedless of the way of the world, it's no wonderI've come to this, butThat someone like you should have failed, how can oneexpect the others to do well?Do not talk about government in the company ofgood officials like Kung Sui and Huang Pa,Better boast of one's calligraphy before Lo Hui and Chao Hsiwho could hardly write a decent character.I can only give you a cup of wine, as our forefathers didwhen seeing friends off to the frontier,And from my heart, to tell you againI wish you all the best.240cm x 60cm

32 Sadamasa, Shoto That which comes from the heart135cm x 69cm

33 Suzuki, Tohka To carry a huge earthern jar(from Chuang-tzu)70.5cm x 132cm

34 Takagi, Seikaku Flowers in SpringFlowers in spring, cuckoos in summer,the moon in autumn,And cold snow in w in ter . . . All make me feel serene.Source: By Dogen Zenji135cm x 69cm

35 Takagi, Sofu (Poems by Wang Chien)(1) Palace poems (no.80)She dances and dances, here dress of gauze becomes soaking wet;Someone comes and helps her down the jade stairs.Back in her chamber she freshens her face:Rouge mixed with water splashes on the gold basincarved with flowers.

(2) Lines written on the wall of a Buddhist monk's abodeMan drifts along like a leaf in the wind.Seas turn into land, mountains become plains —they will come to nothing.We are too busy fretting over age and sickness,Who would come and spend some quiet hours in this room?

(3) "Palace Poems" Nine SelectionsHer silken gown rustles,heavily embroidered,With golden phoenixes and silver geese, each in a flock;Every time she dances, it opens wide:"Peace and Long Life!"are written there inside.

(4) Palace poems (no.21)East of the city wall, facing the north, standsa house that soars to the heavens.There the curtain of pearls is neither let down nor hooked up.People on horse-backs quickly pass by —For fear the Emperor would suddenly appear on the balcony.

(5) On my sore eyes : poem sent to a colleagueThe weather is cold, my eyes sore, and I don't feel likedoing anything;It seems that I am watching someone who is movingin the fog, in the dark.I had to travel a lot when 1 was young. . .I hear the sound of hooves kicking the icy groundoutside the west wall.

(6) Poem written on Wei PavilionBright clouds above a far-reaching rivercome with the autumn sky;The sandy bank and sails made of rushes are veiled in the haze.A stretch of green grass that reminds one of TsJai-chouCovers the land beside the ancient tower,in the light of the setting sun.

(7) The old singerThe hoary-headed singer walks on, tears streaming down his face;He is leaving the capital today: on the birthdayof the Emperor's father.The official of the inner palace has many new ideas,And he thinks most of the old songsare jarring to his ear.

(8) Watching the rain on an autumn night: poem sent to twoscholars staying in Shih-weng Temple

It is dark in the mountains, the autumn rain is dripping downthe eaves of the quiet corridor;The leaves outside the room glitter in the light of the lamp.You sit across each other, reading,. . .In the temple, and when you have finished,You prepare your own beds and clean up the room.

36 Tanemura, Sando

(9) (no title)It is autumn; in the deep room behind closed doorsa lamp faces the wall.On this night, my dear lord has his dutiesin the Ming-kuang Palace.How time lingers,. . . the Milky Way stretches far,The northern star and that in the south face each other,so near and yet so far.81 cm x 225cm

Amid a jumble of varied bowls, large and small, jars, etc.,A vase shines with lustre as if to boastits own figure,And winecups seem smiling modestly,Both finding proper places.Source: A Poem by Kambara Yumei60.3cm x 151.2cm

37 Toda, Teizan The physical world(from the Heart Sutra)135cm x 69cm

38 Tohchi, Sogai Myriad blessings75cm x 165cm

39 Tsugane, Yoshikuni Drinking Alone with the MoonLi PoFrom a pot of wine among the flowersI drank alone. There was no one with me —Till, raising my cup, I asked the bright moonTo bring me my shadow and make us three.Alas, the moon was unable to drink

And my shadow tagged me vacantly;But still for a while I had these friendsTo cheer me through the end of spring. . .I sang. The moon encouraged me.1 danced. My shadow tumbled after.As long as I knew, we were boon companions.And then I was drunk, and we lost one another.. . . Shall goodwill ever be secure?I watch the long road of the River of Stars.Translated by Witter Bynner

200cm x 69cm

40 Umehara, Seizan Vajra (the hardest of metal) eats up cast iron44.5cm x 170cm

41 Watanabe, Ryokuho Live as long as the South Mountain135cm x 34.5cm

42 Yamada, Shoko Pine TreesThe verdure of evergreen pine trees,when spring comes round,Becomes even more vivid as if dyded further.Source; Kokinshu (Collection of Ancient and Modern Poetry): Vol. 1Poem by Minamoto-no Muneyuki273cm x 135cm

43 Yasuhara, Koun The moon shines on all156cm x 67.5cm

44 Yokonishi, Katei The bird is singing, the flowers are blooming still,Quietly asleep are the man and the mon.234cm x 54cm

45 Yoshizawa, Tesseki (no title)by Han ShanI have heard that on Mount T'ian-t'aiThere is a tree of rare white stone.I said to myself: I shall find it one day,But alas, I could not reach the stone bridge;How it saddens me! Fortunately1 won't stay long in this world :Today, as I look into the mirror,I see tufts of white hair on my head.41.4cm x 201 cm