Zhao Mengfu - Cho Mofu

He was a Chinese government official, calligrapher, and painter in the Yuan dynasty. His pen name was Zi'ang, and his pen name was Songxue Daoren. He was from Wuxing (Huzhou, Zhejiang Province). He was from the Song dynasty's royal family, but was summoned by Kublai Khan (Emperor Shizuo) of the Yuan dynasty, and served five generations of emperors. He was particularly favored by Emperor Renzong, and became the Hanlin Scholar and Ronglu Daifu. After his death, he was given the posthumous name Wenbin. He was also called Zhao Wuxing, Zhao Ronglu, and Zhao Wenmin. He was the foremost scholar of the Yuan Dynasty, excelling in calligraphy, painting, poetry, and prose. He excelled in landscape painting, flowers and birds, bamboo and rocks, and people and horses. He painted blue-green landscapes, advocated and practiced restorationism based on the style of Tang and Northern Song painting, and played a leading role in Yuan landscape painting. He advocated a return to the style of Wang Xizhi in calligraphy, and was exceptional in both the traditional writing style of running and cursive seals, and his style has influenced China, Korea, and Japan ever since. His remains include paintings such as "Autumn Colors of Magpies and Flowers Scroll" (National Palace Museum, Taipei), "Fishing at a River Village" (Cleveland Museum of Art), calligraphy such as "Lanting Collection: Thirteen Postscripts" (Tokyo National Museum), and "With Zhongfeng Ming Edition Scale Sheet" (National Treasure). His collection of writings includes "Shonsetsusai Collection." Furthermore, many members of the family were skilled in painting, and his wife, Kando Sho, was a master of ink and bamboo painting.

[Shinya Hoshiyama]

"Calligraphy Art 7: Zhang Jizhi and Zhao Mengfu" edited by Yujiro Nakata and commented by Gunji Toyama and others (1972, Chuokoron-Shinsha)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

中国、元代の官僚、書家、画家。字(あざな)は子昂(すごう)、号は松雪(しょうせつ)道人。呉興(ごこう)（浙江(せっこう)省湖州）の人。宋(そう)の皇族出身であるが、元のフビライ（世祖）に召され、以後5代の皇帝に仕えた。とくに仁宗(じんそう)の寵遇(ちょうぐう)を得て翰林学士承旨(かんりんがくししょうじ)・栄禄大夫(えいろくたいふ)になる。死後文敏(ぶんびん)と諡(おくりな)された。趙呉興、趙栄禄、趙文敏ともよばれる。書画詩文に傑出した元代随一の文人で、画は山水、花鳥、竹石、人馬すべてに優れ、青緑山水を描いて、唐・北宋画風を範とした復古主義を主張実践し、元代山水画の指導的役割を果たした。書は王羲之(おうぎし)への復帰を主張し、真行草篆(てん)の各書体のいずれにも非凡で、その書風は以後の中国をはじめ、朝鮮、日本にまで影響を与えている。遺品では画に『鵲華(じゃくか)秋色図巻』（台北、国立故宮博物院）、『江村漁楽図』（クリーブランド美術館）、書に『蘭亭帖(らんていじょう)十三跋(ばつ)』（東京国立博物館）、『与中峰明本尺牘(よちゅうほうみょうほんせきとく)』（国宝）など。文集に『松雪斎文集』がある。なお、一族には画(え)をよくする者が多く、妻の管道昇(かんどうしょう)は墨竹の名手であった。

［星山晋也］

『中田勇次郎編、外山軍治他解説『書道芸術 7　張即之　趙孟頫』（1972・中央公論社）』

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