Although Japanese calligraphy originated from our country, its citizens’ love for calligraphy is no less than that of our Chinese. Below are Japanese calligraphy works that I have compiled for you. I hope they are useful to you!

Appreciation of Japanese calligraphy works

Pictures of Japanese calligraphy works 1

Japanese calligraphy works pictures 2

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Japanese calligraphy Works Picture 4

Tradition and Modernity of Japanese Calligraphy Education

■He Li

Since the 1980s, our country has made great progress in cultivating high-level calligraphy talents. Remarkable results, in contrast, the basic education and social education of calligraphy appear weak. Japan, which is separated by a sea from our country, started early in calligraphy education and accumulated considerable experience. Until now, it has established a relatively complete calligraphy education system and achieved multi-level development, namely popular education, vocational education and art. The three levels of education go hand in hand. Popular education is the most extensive calligraphy education, which makes calligraphy an indispensable part of Japanese national life; vocational education, including teacher education and professional and technical education, is an important link in promoting the integration of calligraphy with society and realizing the practical value of calligraphy; Art Education is the advanced stage of calligraphy education, with the educational goal of cultivating calligraphers and advanced calligraphy talents.

Popular calligraphy education

Low starting point and wide scope are the two characteristics of popular calligraphy education in Japan. It uses the basic knowledge and skills of calligraphy as the teaching content. Classes, basic calligraphy knowledge teaching and cultural activities organized by government departments and various educational institutions, and the basic teaching part of various calligraphy groups all belong to the popularization of calligraphy education.

First of all, calligraphy education in Japan’s compulsory education stage is compulsory. Writing classes are offered in Chinese language subjects from elementary school to junior high school, and are equipped with special writing textbooks certified by the Ministry of Education, Culture, Sports, Culture, Sports, Science and Technology. This course mainly teaches the basic knowledge and skills of writing, and also plays a role in assisting the teaching of Chinese language and other subjects, reflecting the necessity of its mandatory teaching.

Secondly, calligraphy education in social educational institutions is a popular calligraphy education that is led by personal will and regards calligraphy education as "lifelong learning". Social educational institutions provide equal learning opportunities to the Japanese people regardless of age, gender, identity, academic qualifications and other educational qualifications. In Japan, there is a customary saying about calligraphy education: "Learning calligraphy at forty" and "fun after old age", which reflects the characteristics of calligraphy education that is suitable for lifelong learning regardless of learning starting point and age.

According to relevant survey results, Japan’s annual average calligraphy population in 2000 and 2008 was 6.29 million, accounting for approximately 5% of the country’s total population, which means that one in 20 Japanese I personally learn calligraphy as a hobby. If Japanese people who want to learn calligraphy and are preparing to learn calligraphy are also included, the calligraphy population in a broad sense was 9.52 million in 2008, accounting for about 7.5 of Japan's total population.

In addition, the traditional cultural activities of the entire Japanese society have become an important carrier for the widespread popularization of calligraphy education. For example, the New Year Calligraphy Test Conference held every New Year is the most widely influential and representative national calligraphy education activity. In Japanese, the New Year's writing test is called "Shu Chu", which means writing with a brush for the first time in a year. It is also called "Jishu", "Hatsu Inkstone", etc. The New Year test originated from the previous palace rituals, developed in the Edo period, and became popular among the common people. The traditional practice of writing in the New Year is to use the fresh water Ruoshui you draw for the first time in the year to grind ink on January 2 of the new year, and write poems facing the direction that can bring good luck. As for the content of the New Year's test writing, it is different from the poems that reflected palace life in the past. After the Edo period, what was written was personal wishes and goals for the new year.

Every New Year, media from all over Japan will report on New Year's writing test conferences across the country as a grand New Year event.

By carrying out traditional activities of a national nature, the Japanese government hopes to deepen the understanding and knowledge of culture among all citizens, especially the younger generation. As one of its activities, calligraphy has become more widely and deeply popularized in this social atmosphere of respecting and inheriting traditional culture.

Calligraphy vocational education

Contemporary Japanese calligraphy vocational education is mainly divided into two directions: teacher education and professional and technical education.

Calligraphy classes in primary schools and junior high schools and calligraphy classes in high schools are the main source of demand for calligraphy teacher education in schools. In Japan, many college students regard primary and secondary school teachers as their ideal career. If you want to become a teacher of Chinese language, a main subject in elementary and junior high schools, and a calligraphy class teacher in high schools, you must have a certain level of calligraphy. According to the regulations of the Tokyo Metropolitan Board of Education, to obtain the qualification of a high school calligraphy class teacher, you need to have a bachelor's degree and study calligraphy, calligraphy history, calligraphy theory and appreciation, Chinese literature and Chinese literature, and calligraphy education methods. Five categories of courses and obtain corresponding credits. There are more than 330 universities across Japan that comply with the relevant regulations set by the Ministry of Education, Culture, Sports, Culture, Sports, Science and Technology and can provide teaching to obtain junior Chinese language and high school calligraphy teacher qualifications. These universities are the main places for school calligraphy teacher education.

At the same time, with the continuous deepening of Japan's "lifelong learning" educational innovation concept and practice, the demand for social calligraphy education by ordinary citizens is also increasing. There are countless social calligraphy education institutions of various types across Japan, including calligraphy classes held by official public centers and cultural centers, as well as calligraphy education institutions run by social calligraphy groups and individuals. Some large social calligraphy education groups also engage in calligraphy teacher education and award students with internal teacher qualifications within the group. Students with this teacher qualification can open calligraphy classes and engage in educational work in social calligraphy education institutions; students with corresponding academic qualifications can become primary and secondary calligraphy teachers after completing prescribed courses at universities designated by the Ministry of Education, Culture, Sports, Science and Technology.

Another component of calligraphy vocational education is calligraphy professional and technical education. There is such a profession in Japan called "Reward Scholars", who are responsible for writing various certificates, letters of thanks, name cards for meetings and events, ceremony schedules, greetings, posters, envelopes, etc. The demand for this profession is closely related to the traditional habits of Japanese society. For example, students' graduation certificates, conference banners, seat name cards, etc. are mostly written with calligraphy brushes by "appreciators" or similar professionals, and in There are unique regulations on fonts and formats. In response to the society's demand for this profession, many social calligraphy groups will carry out vocational training and education for "prize scholars" and grant corresponding qualifications.

In contrast to the "appreciative scholar" who embodies the characteristics of traditional culture, with the rapid development of computer technology, a new method of processing and designing calligraphy works using the plane image processing function of computers has emerged in Japan. industry, this industry is called "design calligraphy" or "data-based calligraphy", "art calligraphy" or "commercial calligraphy". The design calligraphy is based on handwritten calligraphy works, and on this basis, commercial processing is performed on many elements such as advertising, packaging, trademarks, and product design. More and more citizens are also beginning to use the method of designing calligraphy to create personalized works such as greeting cards. Since designing calligraphy does not require superb calligraphy skills, those engaged in this industry are not only people who specialize in calligraphy, but also people in the design field and other art fields.

In addition, industries related to calligraphy and calligraphy education also need calligraphy professional and technical personnel. For example, employees in the manufacturing industry of pens, inks, paper and inkstones and other calligraphy utensils must also be experts in calligraphy.

It can be seen that contemporary Japanese calligraphy vocational education embodies the characteristics of supply and demand being integrated with each other, which is the basic premise for the sustainable development of calligraphy education.

Calligraphy art education

Calligraphy art education is a high-level calligraphy education, with the educational goal of cultivating calligraphers and advanced calligraphy talents.

Contemporary Japanese calligraphy art education has three main aspects: first, the calligraphy professional education system in higher education institutions is further improved to provide guarantee for cultivating senior calligraphy talents; second, calligraphers are engaged in high-level artistic creation through art and art education activities. At the same time, the artistic concepts and techniques with the characteristics of the times and the nation will be passed down; the third is to create opportunities for the people to come into contact with high-level calligraphy art and cultivate a broad soil for calligraphy art.

The cultivation of advanced calligraphy talents is positioned at the height of retaining, inheriting, and promoting Japanese traditional culture and art. Calligraphy professional education in Japanese higher education institutions currently has a complete education system from undergraduate to doctoral degrees. In 2001, Daito Bunka University opened Japan's first calligraphy department. In 2003 and 2005, it opened a master's degree program and a doctoral program in calligraphy. The master's degree in this discipline is based on kanji culture and kana culture, cultivating high-level professional calligraphy talents, calligraphy researchers, calligraphy educators, calligraphers, etc., and promoting international exchanges of calligraphy, and cultivating these talents to inherit the tradition of calligraphy and Japan A leading figure in calligraphy and calligraphy. The doctoral program is divided into three research directions: Chinese calligraphy, Japanese calligraphy, and calligraphy cultural heritage. Among them, the calligraphy and cultural heritage direction not only cultivates high-level calligraphy talents, but also teaches methods and methods for actual investigation and research of existing calligraphy cultural heritage. Knowledge, guide students to conduct fieldwork and obtain research results from it.

The opportunities for ordinary Japanese citizens to come into contact with high-level calligraphy art are also increasing. The most common and direct one is the exhibition of fine calligraphy art. The Japan Exhibition, which started in 1907, is the largest art exhibition in Japan. Its fifth department is calligraphy. Every year you can see the latest creations of Japan's most famous calligraphers at this exhibition. At the same time, calligraphers pass on their artistic concepts and calligraphy skills through personal educational activities, such as cultivating heirs within the family or recruiting disciples.

Popular education, vocational education and art education constitute the contemporary Japanese calligraphy education as a whole. If calligraphers are the apex of the Japanese calligraphy education pyramid, then the broad masses of the people are the base supporting the apex.

The combination of "tradition" and "modernity"

Japan's "modern culture" in each era has always acquired new development forms while retaining Japanese sensibility and making it more popular. It is passed down in everyone’s life?. The so-called "modern" does not specifically refer to today's social life, but to the social and cultural phenomena that appeared in various historical periods of Japan and were influenced by foreign cultures at that time. In other words, while Japanese culture pursues "modernity", it can always reconcile it with the revival of "tradition". As for calligraphy itself, adapting to "modernity" will inevitably bring about a tendency of pragmatism, while carrying forward "tradition" often focuses on the artistry of calligraphy.

In the past, Japanese calligraphy education was based on ancient Chinese calligraphy education. Whether it was the establishment of calligraphy education institutions, teaching content, teaching methods and calligraphy copybooks, the two countries had many similarities. at. While learning Chinese calligraphy, Japan began the development and evolution of originality in line with national tradition. The development of common people's education in the Edo period brought about the popularization of education. This popularization of education is of great significance to the development of Japanese calligraphy education, that is, it cultivates the social foundation on which calligraphy depends on the survival of the general public. Since then, Japan has taken the lead in modern calligraphy education in schools, retaining the functions of writing, art and traditional culture education in calligraphy education, and fixed it in the form of independent courses before the war. Modern Japanese education uses both schools and society to arrange the functions of literacy, writing, basic knowledge, traditional culture education, and art education in calligraphy education.

One of the successful experiences of Japanese calligraphy education is to distinguish the practicality and artistry of calligraphy education, thereby reducing and avoiding the utilitarian influence of foreign culture and modern society in the process of inheriting traditional culture. interference, thereby creating a relatively pure calligraphy education environment.

The two-way development of practicality and artistry in calligraphy education cannot be achieved in one day alone. This needs to start from the most basic and extensive national education. This is the second successful experience of Japanese calligraphy education? It is developed and implemented from the bottom up. Bottom-up refers to cultivating the survival foundation of calligraphy first, paying attention to the two major links of basic education and social education. Only with a solid foundation can we cultivate high-level professional talents and make them useful, forming a virtuous cycle for the development of calligraphy education.

Among the two links of basic education and social education, basic education is less difficult, and there will be no big difficulties in training and equipping teachers. Learning calligraphy itself does not require special places or advanced tools, and it can be carried out even in areas and schools with poor conditions. It is relatively difficult to carry out social education, and the results are relatively slow. Because social education is a huge project, building museums, art galleries, and cultural centers alone cannot solve the fundamental problem. The key is to change people's concepts and consciousness. This requires people from the calligraphy and education circles as the main force, with national actions as the leading role, starting from the education of the broad masses of citizens, using various channels to carry out national activities that respect education and tradition, and create a society with strong traditional culture and calligraphy culture education. Atmosphere.

However, in recent years, Japanese calligraphy education has begun to face some problems, the most important of which is that the "calligraphy population" is on a downward trend. From 2009 to 2012, the proportion of the "calligraphy population" in the country's total population dropped from 6.4 to 3.5 year by year. There are roughly three reasons for this: First, Japan's economy has been in a long-term slump since the late 1980s, and national consumption has become increasingly tight, and people's consumption in leisure and entertainment has naturally decreased. Second, Japan has entered a super-aging society, and the birth rate is declining year by year. Since the survey subjects of the "Calligraphy Population" survey are Japanese citizens aged 15 to 79, there will inevitably be a decline. Third, the "Shu Dao Population" survey has been partly in the form of online questionnaires since 2010, so it will also have an impact on the survey results.