Calligraphy - Hojo

A book made by carving ancient calligraphy into stone or wood, making a rubbing, and then binding it for study or appreciation. In a broader sense, it can also include originals, copies, and rubbings of epitaphs that have been bound into a bound book. A book that contains one type of work is called a single work, such as Wang Xizhi's "Lanting Preface" and "Seventeen Works," and Sun Guoting's "Shupu." A collection of the calligraphy of a single calligrapher is called a special work, such as Yan Zhenqing's "Zhongyitang Work," Su Shi's "Banxiangtang Su Work," and Wang Duo's "Gishanyuan Work." A collection of calligraphy by many people is called a collection of works or a collection of personal works, and they make up the majority of calligraphy books.

According to historical records, the "Shengyuancho" and "Chengqingtangcho" were engraved in the Southern Tang Dynasty during the Five Dynasties and Ten Kingdoms period, but the oldest surviving law book is the "Chunhua Gecho," created by order of Emperor Taizong in the third year of the Chunhua era (992) during the Northern Song Dynasty, and is generally considered to be the ancestor of law books. Many law books were created during the Song Dynasty, including the "Daguancho" and "Gungyutangcho." The Ming Dynasty also saw the active production of calligraphy works, including the "Teiyunguancho," "Yoseisaicho," "Utsukosaicho," "Gikoudocho," and "Kaisetsudocho," while in the Qing Dynasty Emperor Qianlong commissioned the "Sankidocho," as well as the "Qiuhekidocho" and "Rinsoyuancho." At the end of the Qing Dynasty, photoengraving technology was introduced from the West, and the production of calligraphy works gradually fell into disuse. These major calligraphy works can be considered the "new editions of the complete collection of calligraphy" from each era, allowing many people to learn the names of famous calligraphers directly. Although the calligraphy works are reproductions, those that were created by editors with excellent discerning eyes and were engraved precisely are still astonishingly beautiful even today. There are also many masterpieces that can only be found in calligraphy works.

[Shigenori Tsutsui]

“Hocho Daikei Junkakakucho” edited by Masakazu Fukumoto (1980, Nigensha) ▽ “Hocho Dictionary” edited by Yukimura Uno (1984, Yuzankaku Publishing)”

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

古人の書の名跡を石や木に模刻して拓本をとり、学書や鑑賞のために折本(おりほん)に仕立てたもの。広義には真跡本や臨模本、碑誌の拓本を剪装本(せんそうぼん)に仕立てたものをも含めていうことがある。一種類の作品を収めたものを単帖といい、王羲之(おうぎし)の『蘭亭(らんてい)序』『十七帖』、孫過庭(そんかてい)の『書譜』などがある。一書家の書跡を集めたものを専帖といい、顔真卿(がんしんけい)の『忠義堂帖』、蘇軾(そしょく)の『晩香堂蘇帖』、王鐸(おうたく)の『擬山園帖』などがある。多くの人の書跡を集めたものを集帖または彙帖(いじょう)といい、法帖の大部分を占める。

　文献によれば、五代十国の南唐において『昇元帖』『澄清堂帖』などが刻されたとされるが、現存する法帖としては、北宋(ほくそう)の淳化3年（992）太宗の命によってつくられた『淳化閣帖』がもっとも古く、一般に法帖の祖と考えられている。宋代には『大観帖』や『群玉堂帖』など数多くの法帖がつくられた。明(みん)代も法帖の制作が盛んに行われ、『停雲館帖』『餘清斎(よせいさい)帖』『鬱岡斎(うつこうさい)帖』『戯鴻堂(ぎこうどう)帖』『快雪堂帖』などがあり、清(しん)代には乾隆帝が『三希堂帖』をつくらせ、このほか『秋碧堂(しゅうへきどう)帖』『隣蘇園(りんそえん)法帖』などがある。清朝末期に写真製版技術が西洋から伝えられ、法帖の制作はしだいに行われなくなった。これらの主要な法帖は各時代の「新版書道全集」ともいえるもので、これによって多くの人々が名跡を直接に学ぶことができるようになった。法帖は複製本であるが、編者の鑑識眼が優れ、かつ精刻のものは、今日からみても驚くほどみごとなものである。また、法帖でしか伝わらない名品も数多い。

［筒井茂徳］

『福本雅一編『法帖大系〈淳化閣帖〉』（1980・二玄社）』▽『宇野雪村編著『法帖事典』（1984・雄山閣出版）』

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