Tracing Copy of “The Song of Everlasting Sorrow” by Bo Juyi possibly circa 1919 copy of a 1614 work After Sh?kad? Sh?j? This deluxe collotype reproduction, over seven meters in length records one of the most revered poems in East Asian literary history, originally written in 806 by one of the most revered poets of the Tang Dynasty. Over 800 years later, it was transcribed by one of the most revered calligraphers of the Momoyama period, and then dedicated by him to one of the most prominent courtiers and cultural arbiters in Kyoto of the time. In this way, this work encapsulates a sweeping hist

Tracing Copy of “The Song of Everlasting Sorrow” by Bo Juyi possibly circa 1919 copy of a 1614 work After Sh?kad? Sh?j? This deluxe collotype reproduction, over seven meters in length records one of the most revered poems in East Asian literary history, originally written in 806 by one of the most revered poets of the Tang Dynasty. Over 800 years later, it was transcribed by one of the most revered calligraphers of the Momoyama period, and then dedicated by him to one of the most prominent courtiers and cultural arbiters in Kyoto of the time. In this way, this work encapsulates a sweeping history of cultural transmission from China to Japan, and serves as a time capsule revealing the florescence of calligraphy and poetry during the early seventeenth century in Kyoto. “The Song of Everlasting Sorrow” composed by the Chinese poet Bai Juyi related the events surrounding the death— during the Anshi Rebellion in 755—of Yang Guifei, the beloved concubine of Emperor Xuanzong of the Tang dynasty. The poignant story of an empire being lost due to the infatuation of a ruler for his loved one resonated with readers in China, Korea, and Japan. Over the centuries it has served as a lyrical parable of how inconsolable love can lead people to act irrationally, letting the ways of the heart lead one down the path of destruction and despair. The themes of the poem are a leitmotif, for instance in celebrated The Tale of Genji, written by female author Murasaki Shikibu in the early eleventh century. The monk-calligrapher Sh?kad? Sh?j? is counted— along with Hon’ami K?etsu and Konoe Nobutada—as one of the “Three [Great] brushes of the Kan’ei period,” in this case referring to the early seventeenth century. Sh?j? was his Buddhist name he received in his youth. He served the Konoe family of nobles during the time the great courtier-calligrapher was the head, and thus availed himself of models of courtly calligraphy. At the same time, he was on close terms with Zen

How we Work

Contribute

Legal

Contact Us