著者

澤田 雅弘

出版者

大東文化大学

雑誌

大東文化大学漢学会誌 (ISSN:04149572)

巻号頁・発行日

vol.42, pp.217-240, 2003-03-10

著者

澤田 雅弘

出版者

書学書道史学会

雑誌

書学書道史研究 (ISSN:18832784)

巻号頁・発行日

vol.2005, no.15, pp.3-21, 2005-09-30 (Released:2010-02-22)

著者

澤田 雅弘

出版者

書学書道史学会

雑誌

書学書道史研究 (ISSN:18832784)

巻号頁・発行日

vol.2017, no.27, pp.1-14,86, 2017-11-30 (Released:2018-03-23)

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It can be inferred at first sight that there is a close relationship between the version of the Shiqi tie 十七帖 held by the Art Museum of the Chinese University of Hong Kong (hereafter Hong Kong version) and the Mitsui 三井 version, but there is no generally accepted theory about the relationship between these two versions. Wang Zhuanghong 王壮弘 has asserted that the Mitsui version is a reproduction of the Hong Kong version, while Wang Yuchi 王玉池 considers both to have been produced from the same woodblocks, with the Mitsui version having further “developed” the characteristics of lifting the brush between strokes (duanbi 断筆) and regularity of brush strokes. He Biqi 何碧琪 also considers both to have been produced from the same woodblocks and suggests that the differences between them arose because the Mitsui version was “retouched” or “re-inked.”  The main new findings obtained through the investigations described in this articles are as follows. (1) In view of the fact that not only do the scratches and cracks coincide in both versions, but the grooves of the carved strokes that happen to have been preserved in the rubbings also tally, it is obvious that both were produced from the same woodblocks, and the view that the Mitsui version is a reproduction of the Hong Kong version is wrong. (2) Some of the reasons for the differences that have arisen between the strokes in both versions lie in each version, but most of the differences are due to the ink and whitewash that were applied to the Hong Kong version. (3) The lifting of the brush between strokes, which stands out in the Mitsui version, is all the more noticeable because of measures taken to reduce it in the Hong Kong version, and claims by Chinese scholars that the Mitsui version has marred the intent of the original woodblocks are untenable. (4) Among Japanese scholars it has been argued that, while the lifting of the brush between strokes in the Mitsui version is unnatural, it was deliberately trace-copied to clarify the brushwork or else is a reflection of the intent of the original woodblocks, but this is a misconception based on a dearth of information about the Ueno 上野 version with which the Mitsui version has been compared, and the lifting of the brush between strokes can be widely seen in other versions too, notwithstanding differences of degree and frequency, and is by no means a reflection of aims peculiar to the Mitsui version. (5) The lifting of the brush between strokes is a technique that can be seen already around the time of the Western Jin, and since it may be considered to represent one aspect of Wang Xizhi's 王羲之 universal calligraphic techniques, the lifting of the brush between strokes in the Mitsui version preserves to a high degree the state of the original woodblocks and one aspect of Wang Xizhi's calligraphy.