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      shōjō shōkadō

      Freehand copy of a transcription of “The Song of Everlasting Sorrow” by Bai Juyi

      • Creation date1614
      • Dimensions35.0 x 785.0 cm

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      Explore shōjō shōkadō's Edo-period art: monochromatic ink paintings, calligraphy, & tea ceremony mastery. Discover his Buddhist-inspired works & legacy.
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      Giclée / Art Print

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      Total Price

      $ 63

      reproduction

      Freehand copy of a transcription of “The Song of Everlasting Sorrow” by Bai Juyi

      Giclée / Art Print

      Reproduction Size

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      Total Price

      $ 63

      This handscroll of calligraphy, over seven meters in length, is a remarkably faithful copy of an early seventeenth-century transcription of “The Song of Everlasting Sorrow,” one of the most revered poems in East Asian literary history, composed by the renowned Tang-dynasty poet Bai Juyi (Bo Juyi, 618–907) in 806. Over 800 years later, it was transcribed by Shōkadō Shōjō, one of the most revered calligraphers of the Momoyama period, and then dedicated by him in the colophon to prominent courtier-calligrapher Konoe Nobuhiro 近衛信尋 (1599–1649). In this way, the original calligraphic composition encapsulated a sweeping history of cultural transmission from China to Japan, and served as a time capsule revealing the florescence of calligraphy and poetry during the early seventeenth century in Kyoto. This remarkable copy, which was done freehand (no doubt with some initial tracing) is hard at first glance to distinguish from the original (now preserved in Tokyo National Museum), and must have been done by an expert calligrapher with access to the original. Some scholars have speculated that the courtier, tea master and esteemed calligrapher Konoe Iehiro (1667–1736)—who was famous for his expert copies calligraphic exemplars of the previous generations—might have created this copy in the early eighteenth century, but further research is required.The monk-calligrapher Shōkadō Shōjō is counted—along with Hon’ami Kōetsu and Konoe Nobutada—as one of the “Three [Great] brushes of the Kan’ei period,” in this case referring to the early seventeenth century. Shōjō 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 monks at the Rinzai temple Daitokuji, so his brush writing style imbibed a more dynamic, brusquer manner under that influence. He was also active in tea ceremony circles in Kyoto of the day, keeping in mind that tea gatherings were often the occasions that scrolls and calligraphy albums were shared among connoisseurs. In 1627, he became the head monk of a small temple called Takimoto-bō, and a decade later retired to a small hut in the temple precincts that he called the Shōkadō 松花堂, or the Pine Flower Hall, which also became the art name by which he is best known.

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      Artist Biography

      early life and spiritual pursuits

      shōjō shōkadō, a prominent figure in japan's edo period, was born in 1584 in the yamato province. his life took a significant turn when he entered the hachiman shrine on otoko-yama (yawata) near kyoto, where he received his buddhist name, shōjō. this marked the beginning of his spiritual journey as a buddhist monk.

      artistic pursuits and mastery

      shōjō's artistic talents extended to painting, calligraphy, and mastery of the tea ceremony. he is notably recognized as one of the 'three brushes of the kan'ei period' (寛永三筆, kan'ei sanpitsu), a testament to his exceptional skill in the art world.

      artistic style and influences

      shōjō's painting style was characterized by the use of monochromatic ink, influenced by the works of mu-ch’i fa-ch’ang and yin-t’o-lo, a 13th-century chinese monk-artist. his adherence to traditional japanese painting styles, such as yamato-e, further solidified his reputation as a versatile artist.

      notable works and legacy

      though specific paintings by shōjō are not widely documented, his influence on the development of japanese art is undeniable. as part of the kanō school style art movement, his work contributed to the evolution of a distinctly japanese aesthetic.

      conclusion

      shōjō shōkadō's legacy, though shrouded in mystery, remains an integral part of japan's rich cultural heritage. his contributions to the world of art and spirituality continue to inspire artists and scholars alike. important dates: - born: 1584, yamato province, japan - died: 1639 museum collections: though specific works by shōjō are not listed here, explore his profile on ArtsDot for more information on his artistic contributions.
      shōjō shōkadō

      shōjō shōkadō

      1584 - 1639 , Japan

      Quick Facts

      • Artistic Movement Or Style: Dutch Golden Age painting
      • Artists Or Movements Influenced By This Artist: ['Later artists in Leiden']
      • Artists Who Influenced This Artist:
        • Jacques de Gheyn II
        • Cornelius van der Voort
      • Date Of Birth: 1584
      • Date Of Death: 1657
      • Full Name: David Bailly
      • Nationality: Dutch
      • Notable Artworks:
        • Boy with a Basket of Fruit
        • The Musicians
        • Self-portraits
      • Place Of Birth: Leiden, Netherlands
      Shōjō Shōkadō: The Full Collection
      Explore artworks organized by themes, styles, and characteristics.