著者

尾川 明穂

出版者

ASSOCIATION FOR CALLIGRAPHIC STUDIES

雑誌

書学書道史研究 (ISSN:18832784)

巻号頁・発行日

vol.2010, no.20, pp.11-25, 2010

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In this article I trace changes in Dong Qichang's 董其昌 perceptions of the reception of old techniques on the basis of his dated writings dealing with calligraphic and painting theory up until his mid-fifties. 1 confirm (1) changes in his perception of a change from the faithful transmission of old techniques to innovations in old techniques, and I then ascertain when (2) his viewpoint of differences according to historical periods and (3) his differentiation of the relative merits of early calligraphers appeared in his perception of innovations in old techniques. Further, with respect to the theory of Northern and Southern schools of painting, said to have been put forward by Dong Qichang, I suggest when he may have proposed this theory and ascertain that it does not conflict with my conjectural results regarding the above changes in his view of innovations in old techniques. I also take up for consideration passages in his writings that show evidence of his theory about the distinctive character of the calligraphy of particular periods, verifying their reliability in light of the circumstances regarding the above changes in his perceptions, and I further examine the question of whether he regarded the calligraphy of the Tang 唐 or the Song 宋 as superior, a question about which there has been no consensus in the past.<br>   The results of my investigations were as follows. It is to be surmised that the changes concerning (1) occurred between the ages of 37 and 44 with regard to calligraphy and at the age of 42-43 with regard to painting. I was able to confirm that the emergence of his viewpoint regarding (2) occurred at the age of 48 or later in the case of calligraphy and at the age of 51 in the case of painting. The differentiation of (3) can be seen at the age of 48 for both calligraphy and painting and would seem to have been discussed from this time onwards. Changes in his view of innovations in old techniques occurred at roughly the same time in his theories about both calligraphy and painting, and this would suggest that his views of calligraphy and painting were inseparable. As regards his proposal of a theory of Northern and Southern schools of painting, I surmise that this took place in the third month of his 45th year. This is not inconsistent with changes in his above view of innovations in old techniques and may be considered to guarantee the validity of my conjectures regarding both. With regard to his theory about the distinctive character of the calligraphy of particular periods, having ascertained in light of their dates and content that the writings in question are indeed by Dong Qichang, I take the view that, at least when he proposed this theory, he rated the calligraphy of the Tang dynasty more highly than that of the Song dynasty.