#259 Notes from a Classical Copy Study

What is the Sekidobon Kokin Wakashū?

Sekidobon Kokin Wakashū is an old manuscript fragment of the Kokin Wakashū, traditionally attributed to the mid-Heian-period calligrapher Fujiwara no Yukinari.

Main characteristics (commonly accepted views)

• Attributed to: Fujiwara no Yukinari (traditional attribution; authorship remains uncertain)
• Date: believed to have been produced in the late 11th century, somewhat later than Yukinari himself
• Content: partial manuscript of the imperial waka anthology Kokin Wakashū
• Collections: held by institutions including the Tokugawa Art Museum, The Gotoh Museum, and Tokyo National Museum
• Cultural status: designated Important Cultural Property and related classifications

Significance in the history of calligraphy

The Sekidobon Kokin Wakashū is regarded as an important example preserving the kana style associated with Fujiwara no Yukinari, one of the “Sanseki” masters of Japanese calligraphy.
Its varied line thickness, rounded brush movement, and rich tonal changes in ink had a major influence on the later development of kana calligraphy.

About This Work

For this study piece, I copied a two-page spread based on a facsimile edition of the Sekidobon Kokin Wakashū.

Dark green dyed paper was used for the work.

The Sekidobon is considered one of the important reference materials for studying mid-Heian kana calligraphy. In classical copy practice, observation extends beyond character shapes to include connected brushwork, spacing between lines, brush speed, pressure changes, use of negative space, and the composition of the page as a whole.

During this work, I examined these characteristics of the original manuscript while proceeding with the copy. I hope to continue incorporating insights gained from classical materials into future calligraphy works.

Ink holds the seasons long after they have passed.

What kind of classic is this?

The Fūshinjō is a renowned scroll that brings together three letters sent by Kūkai (also known as Kōbō-Daishi) to Saichō (Dengyō-Daishi) in the early Heian period. The third letter is the Kokkeijō, which is the piece I have transcribed in full.

Kūkai is counted among the “Three Brushes” and is one of the foremost masters of Japanese calligraphy. After studying esoteric Buddhism as a Japanese envoy to Tang China, upon his return he absorbed Chinese calligraphic methods, leaving a profound influence on his contemporaries and later generations. The flowing semi-cursive style and brushwork seen in Fūshinjō are often noted to reflect the influence of the Chinese master Wang Xizhi.

The Kokkeijō is thought to have been written around the Kōnin era (811-813) based on its content, and was exchanged in the course of correspondence with Saichō. The text suggests matters of borrowing and granting Buddhist scriptures, giving a glimpse of the scholarly and religious exchange of the age.

Among its calligraphic features are long strokes made in one breath and skilful handling of ink-continuations, twists, and faintings. This technical mastery strongly points to the expert use of brush and paper and the motion of a continuous line, making its detailed aspects (brush route, tip control, ink density) particularly rich for study through transcription.

A fresh experience of transcription

Until now, I had often practised transcription on hanshi-sized papers with six characters at a time, but trying a full-scale reproduction entirely changed my perspective. First, I had to reconsider the selection of brush, paper and ink — issues that never arose in my small-scale practice. I referenced several facsimiles of the original, each with different magnification ratios, and moved back and forth between the details of the original text and its overall rhythm.

I also experimented with various writing methods: standing, lifting the brush or slightly floating the paper, and so on — through which I experienced the changes in line-extension and brush-pressure. In doing so repeatedly, there came moments when I could see why Kūkai had chosen a particular form, thickness or ink moisten–dry contrast — and those moments were the great pleasure of transcription.

What I realised while writing is this: Kūkai did not write in order to imitate someone else. Because of that, no matter how faithfully one copies, one can never reproduce the original exactly. Rather, I felt that the awareness born of that difference contains one’s own discovery. In the final stage I also tried writing without looking at the original simply relying on the brush-memory and flow of strokes — it felt like a conversation with Kūkai from 1,200 years ago, and to me that is the true essence of transcription.

Exhibition Announcement

The work shown in the opening photograph has been produced for an exhibition. I chose a decorative mounting — a paper sprinkled with gold and silver particles — to give it a somewhat more festive look. Of course, Kūkai did not use such luxurious paper in his letters; this was my choice for the sake of display.

The background fabric is finely-woven silk dyed deep indigo.
This framed piece will be exhibited as a master’s work at the 8th Iroha Kai Exhibition. I invite you to view it in person when you are nearby.

Dates: November 8 (Sat) 9:00-17:00, November 9 (Sun) 9:00-16:00 (Reiwa 7)
Venue: Saitama Prefectural Saitama Kaikan, Exhibition Rooms 1 & 2
3-1-4 Takasago, Urawa-ku, Saitama-shi, Saitama Prefecture
Access: JR Urawa Station (West Exit) ≈ 6-minute walk

What is “Preface to the Sacred Teaching Inscribed at the Wild Goose Pagoda”?

This inscription was created during the Tang Dynasty and is one of the most famous masterpieces of Chinese calligraphy. It is inscribed on the stone of the Great Goose Pagoda in Xi’an. The inscription in honor of Xuanzang’s achievements was created by the emperors Taizong and Gaozong of the time, and it was written by Chu Suiliang, who wrote it in the clear style.

Before and After the Giant Wild Goose Pagoda

This time, I’ve chosen to present two versions of my rinsho (copying of classic calligraphy) side by side to reflect on how my writing may have changed before and after my trip to China.

During the journey, I visited the Giant Wild Goose Pagoda, where a portion of the lower section of the Yan Ta Sheng Jiao Xu (“Preface to the Sacred Teachings at the Wild Goose Pagoda”) is on display near the entrance.

歴史フリークな書作家がゆく中国 西安～敦煌　-複習編1/4 ＠西安-

行きて見しもの− 帝都の余韻にひたって人生の大きな仕事をひとつ終え、ついに長年の...

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I cannot say with certainty that what I saw was truly part of the original Yan Ta Sheng Jiao Xu, but I was deeply moved by the presence and subtle energy of the carved lines. There was something in their bearing—a quiet yet powerful impression—that left a lasting mark on me.

When I returned home and resumed my rinsho practice, I felt that the inspiration I had experienced somehow found its way into my brushwork. The texture of the lines and the rhythm of the strokes felt subtly different—something I could sense even as I wrote. This made me realize once again that travel offers not only beautiful scenery, but also fresh perspectives and sensitivities that can transform one’s artistic expression.

One day, I hope to return to the Giant Wild Goose Pagoda, and this time see the Yan Ta Sheng Jiao Xu with certainty and intention.

Having reached a significant milestone in life, I’m finally setting out on a long-cherished journey to Dunhuang—a place I’ve always dreamed of visiting at least once in my lifetime.

As I mentioned in my article on the Chinese poem “Grapevine Wine,” I’ve had a deep fascination with the Western Regions since my youth. In middle school, I even declared, “Someday, I want to perish in the Taklamakan Desert.”

Liangzhou Poem — Calligraphy on a Tang-Era Verse

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To fulfill this dream, I’m heading to China. I’ll document this journey in two parts on my blog: the “Preparation Phase” and the “Reflection Phase.”

1. Acquiring the “Globe-Trotter Travel Guide

I prefer having a physical travel guidebook at hand. For this trip, I sought out the “Globe-Trotter Travel Guide: Xi’an, Dunhuang, Ürümqi, the Silk Road, and Northwestern China.”

However, this proved more challenging than expected. Published in 2019, the guide is now out of print. Online searches yielded only used copies with varying conditions and prices. I ended up visiting multiple physical bookstores.

Eventually, I found a copy in a sweltering town while attending an exhibition by a respected calligraphy teacher. It felt like fate guiding me, and I couldn’t help but pump my fist in triumph upon finding it.

2. Mastering Chinese Phrases

Even with advanced translation software, it’s essential to learn basic local phrases. I used NHK’s “Gogakuru” as a reference.

Greetings:

• Thank you! 谢谢！(Xièxie!)
• Hello 你好！(Nǐ hǎo!)
• Excuse me. 不好意思。(Bù hǎoyìsi.)
• I’m sorry. 对不起。(Duìbuqǐ.)
• It’s okay. 没关系。(Méi guānxi.)
• You’re welcome. 不客气。(Bú kèqi.)
• I’m Kato. 我是加藤。(Wǒ shì Jiāténg.)

Responses:

• Yes. / No. 对。/ 不对。(Duì. / Bù duì.)
• There is. / There isn’t. 有。/ 没有。(Yǒu. / Méiyǒu.)
• Understood. 明白了。(Míng bái le.)
• Indeed! 可不是吗！(Kě bú shì ma!)
• Amazing! 真了不起！(Zhēn liǎo bu qǐ!)
• So-so. 还可以。(Hái kěyǐ.)
• Just looking. 我随便看看。(Wǒ suíbiàn kànkan.)

Questions:

• Excuse me, where is the restroom? 请问，洗手间在哪儿？(Qǐngwèn, xǐshǒujiān zài nǎr?)
• What is this? 这是什么？(Zhè shì shénme?)
• What should I do? 怎么办？(Zěnme bàn?)
• How do I get there? 怎么走？(Zěnme zǒu?)
• How do you write this? 怎么写？(Zěnme xiě?)
• What’s wrong? 怎么了？(Zěnme le?)

Requests:

• The bill, please. 买单。(Mǎidān.)
• One of this, please. 要一个这个。(Yào yí ge zhège.)
• Could you speak more slowly? 请慢点儿说，好吗？(Qǐng màn diǎnr shuō, hǎo ma?)
• Please wait a moment. 请等一下。(Qǐng děng yíxià.)
• Sorry, please wait another 10 minutes. 不好意思，再等十分钟。(Bù hǎoyìsi, zài děng shí fēnzhōng.)
• Let me think about it. 让我好好儿想想。(Ràng wǒ hǎohāor xiǎngxiang.)

3. Rewatching the Film “Dunhuang”

The film “Dunhuang,” released in 1988, is a Japanese-Chinese co-production directed by Junya Satō and starring Kōichi Satō. It’s based on Yasushi Inoue’s novel “Dunhuang.”

Set in the 11th century, after the Tang Dynasty and during the Five Dynasties and Ten Kingdoms period, the story follows Zhao Xingde, a young scholar caught in the turmoil of war in the Western Regions, particularly in Dunhuang—a key point on the Silk Road. The film poignantly portrays people’s deep reverence for culture.

For instance, there’s a scene where the Western Xia people proudly explain their unique script, derived from Chinese characters. Though no longer in use, their desire to record their language in their own script is deeply moving.

Later, Zhao hides Buddhist scriptures and murals deep within caves—a depiction based on historical events. In the late 19th century, a vast collection of documents known as the “Dunhuang Manuscripts” was discovered in the Mogao Caves. The film thoughtfully explores why these were hidden and preserved.

The passion of those who risked their lives to protect culture and faith is overwhelming. Thanks to their efforts, we can now witness the Dunhuang Manuscripts. The film’s stunning desert visuals and its quiet narrative about knowledge left a lasting impression. It reminded me that culture isn’t just passed down—it’s created and safeguarded by people’s hands, underscoring our responsibility in the present.

4. Revisiting “Hiromichi Sekiguchi’s Grand Chinese Railway Journey: The Longest One-Way Route of 36,000 km”

This travel program aired on NHK in 2007. Sekiguchi’s unpretentious personality, rich sensibility, interactions with locals, and diverse landscapes made it captivating—I recorded and rewatched it multiple times.

This time, I revisited the program and its accompanying book, filled with Sekiguchi’s insightful illustrations.

Notably, in the 43rd episode, Sekiguchi travels from Wuwei to Zhangye and then to Dunhuang in Gansu Province—a route I will also take.

While I may not have the opportunity to converse leisurely with locals as he did, the thought of seeing the arid landscapes, endless tracks, and bustling stations he experienced fills me with anticipation.

Sekiguchi’s reflections on China’s vastness and the warmth of its people offer valuable insights for my journey. Even within a limited timeframe, I hope to absorb and bring back something meaningful. With these thoughts, I concluded my “preparation” through the screen.

5. Copying Chu Suiliang’s “Preface to the Sacred Teaching at the Wild Goose Pagoda”

Chu Suiliang was a politician and calligrapher during the early Tang Dynasty. I plan to visit the Giant Wild Goose Pagoda, home to his renowned stele, the “Preface to the Sacred Teaching.”

Coincidentally, a high school student I’m teaching is currently working on this piece. Revisiting it through copying, I found myself captivated by its charm.

Chu’s calligraphy isn’t just beautiful; it exudes strength and elegance. There’s softness within discipline and dynamism within tranquility. It’s meticulously detailed yet warm—a true ideal in calligraphy.

Each stroke feels like touching the air of the Tang era. Tracing this work by hand before visiting Xi’an (formerly Chang’an) feels like a luxurious preparation.

Copying isn’t just about acquiring knowledge; it’s a gateway to experiencing the journey physically. It provided a serene and enriching time to mentally prepare for the Western Regions.

Preparing for the Western Regions’ Winds – Various Desert Travel Preparations

Travel Preparation 1: Food Considerations

I have a mild wheat allergy. Since this is a tour, meals may include noodles. While alternative menus are available, I prepared my own food just in case.

A thoughtful friend sent me a soup set, alleviating concerns about vegetable intake.

Other items I packed:

• Egg porridge – a convenient protein source
• SOYJOY – a wheat-free nutritional bar
• Freeze-dried miso soup – a comforting taste of Japan

Travel Preparation 2: Adding a Chin Strap to My Hat

In the sun-drenched desert, a hat is essential. However, strong winds could blow it away, so I customized it with a chin strap.

I sewed tape onto the hat to attach the clip, sealing the tape ends with a lighter to prevent fraying. I ensured the strap would sit just in front of my ears.

The chin strap, equipped with a UV-sensitive adjuster, was a handy find at Daiso. It’s surprisingly effective, even indicating UV intensity.

Now, even when cycling, I can rest assured my hat will stay put.

Embarking on the Journey – After Completing All Preparations

Having acquired the “Globe-Trotter Travel Guide,” practiced Chinese phrases, rewatched the film “Dunhuang,” revisited Sekiguchi’s railway journey, and copied Chu Suiliang’s calligraphy, I’ve completed my preparations.

From the food I packed to the modifications on my hat and the new raincoat, every detail has been considered.

Now, it’s time to set off on this long-awaited journey to Dunhuang. I look forward to sharing my experiences in the upcoming “Reflection Phase” of this blog series.

再見！

What kind of verse?

brief comment

The Sunshoan Shikishi is an exceptional classical calligraphy work created about 1,000 years ago.

Until now, I have been captivated by the expressive power of the Sunshoan Shikishi, but I mostly viewed it as a subject of research rather than appreciating its beauty for what it is. I realized that I hadn’t been purely enjoying its aesthetics. However, when I saw the original work at the recent Yomiuri Shodo Exhibition, I was simply struck by how beautiful it was—it moved me deeply.

When I attempted to copy the Sunshoan Shikishi myself, I found that my work had a chaotic feel to it, as if the ‘entropy’ was too high, making it difficult to reproduce its elegance. This time, I made a conscious effort to absorb the brushstrokes and rhythm, aiming for a faithful reproduction of the original. After many attempts, I felt I had come much closer to capturing the essence of the piece.

Through this process, I made numerous new discoveries and gained a deeper understanding. I introduced a reproduction of the Sunshoan Shikishi in a previous exhibition two years ago, but I feel that this current work is much closer to the original.

The Sunshoan-shikishi — A Complete Hand Copy

#110 A reproduction of Sunshoan-shikishi...

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The Sunshoan-shikishi — A Complete Hand Copy

#086 A reproduction of Sunshoan-shikishi...

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That said, there are still many areas where I fall short, and there remain numerous challenges to overcome. Moving forward, I aim to continue pursuing the beauty of the Sunshoan Shikishi, striving to deepen my understanding and enhance my expressive ability.

What verse?

Note

We are learning the essence of kana-sho by reproducing such a masterpiece as a model.

What old handwriting?

This time, it is not an original work, but a copy of an old handwriting.
The model of this work is ”Ise-shu”, which was written by a person who wrote the #035, #079, #52 and #60.

Among the Nishi Hongan-ji Temple collections, the Ise-shu is especially splendid because of the combination of luxurious paper called “tsugi-gami” and excellent brushwork, so it was cut out as a hanging scroll under the name “Ishiyamakiri” to raise funds for the establishment of the university. It is an old handwriting that makes your heart dance just by looking at the pictorial record.

A mulberry paper with beautiful gold sand and gradation was used for this work.

What kind of verse?

We are learning the essence of kana-sho by reproducing such a masterpiece as a model.

Size：	about 34×25 cm
Classic：	雁塔聖教序 (Yan-ta-sheng-jiao-xu) 褚遂良 (Chu Suiliang) wrote year 653

What subject？

We learn the essence of sho from such a great classic.

What kind of verse?

We are learning the essence of kana-sho by reproducing such a masterpiece as a model. This ancient writing is corrected at The Gotoh Museum　 in Tokyo.