ー IN 1945, NANKOKU HIDAI WROTE THE FIRST ABSTRACT WORK IN THE HISTORY OF CALLIGRAPHY . HIS ART OF LINE IMPACTED ON THE WORLD. HIS WORKS WERE COLLECTED BY SUCH PUBLIC MUSEUM AS MOMA. THIS SITE INTRODUCES THE WHOLE ACTIVITY OF NANKOKU. ー
First record of Nankoku’s Works by himself
Throughout his life, Nankoku Hidai developed his creative endeavors based on clear evidence and self-reflection. To that end, he methodically recorded the countless experimental challenges he undertook.
At the same time, he collected as many evaluations and criticisms of his works as he could find. In order to verify the originality of his own art, he engaged in repeated dialogue with calligraphers and critics who had different opinions, consciously trying to refine and further sharpen his own art.Nankoku compiled these documents (documents, materials, records, etc.) while revising them many times from time to time. This report introduces the outline of the documents left by Nankoku, which provide a glimpse into the trends of avant-garde art of his time, as well as the trajectory of his artistic activities.
I. Works
1. Records of works exhibited at various exhibitions
This records photographs of works exhibited, from "Variation on Den(Lightning ), Shinsen Work No. 1" in 1946, to his work exhibited at the “Expo Museum” in 1970, and their sizes, materials (ink, paper, supports, etc.), exhibition history, and possetions. Includes entries of exhibitions and collections not only in Japan but also in Europe and the United States. Some works are handwritten without photographs, as they are held overseas.
●1987: Revised record of works
Based on the above record of works, this record has been supplemented with photographs of works exhibited from 1970 until 1987, when he fell ill.
２．Records of research, experiments, and trials for the production of the work to be exhibited
●The record books begin with "Variations on Den, Shinsen Work No. 1" presented in 1946, and have records of his trial and error experiments, arranged in roughly chronological order. They are the carefully compiled records of experiments spanning 18 volumes up until his first trip to the United States in 1959.
This is an experimental record of research into winding and curved lines on ancient Chinese "wooden tablets" and other such objects, in order to study people’s direct handwritten lines rather than rubbings, such as "67-3" (solo exhibition 1967, Okura Gallery), which was presented in 1967, and new line expressions.
３．Sketch files related to works presented
4. Envelopes containing works and sketches
●Examples and Rinsyo from the old middle school and Tokyo Technological College period (some with Tenrai's correction by vermilion)
●Examples and basic strokes presented in "Shosei" (1939-1944)
II. Materials
1. Copies, excerpts, notes, etc. relating to calligraphy art and calligraphy history
A copy of part of Maeda Mokuhou's Shokan (Shogakukai) from 1902 (Meiji 35) / A copy of part of the Hoshokai (1915 Taisho 4) / A list of literatures of Chinese calligraphy / Notes exchanged with Fushimi Chukei to correct errors in Grilli's History of Chinese Calligraphy and Painting / Notes on the chronology of Nankoku's calligraphy career, etc.
２．Newspaper and magazine articles about Nankoku's activities and works exhibited
File of newspaper and magazine articles about Nankoku (exhibition works and activities) (Japan)
"Zoukei Shinpo" (since 1954), "Shogei Shimbun" (1955), "Asahi Gallery" (1975), "Mainichi Shimbun: Calligraphy and People" (1961), "Asahi Shimbun", "Kappa no Kuni" (1961), "Tokyo Times" (1963-1964), "Shodan Tenbo" (1956), "Kokusai Geijutsu Shimbun" (1983), "Shin Bijutsu Shimbun" (1991), "Akita Sakigake" (1971), etc.
A letter of acknowledgement from Ad Reinhardt (November 20, 1963)・Reinhardt's obituary (August 30, 1967)・The Japan Times (December 4, 1961)・Yomiuri Japan News (June 28, 1958)・The Japan Times Weekly (December 16, 1961)・San Francisco Sunday Chronicle (October 2, 1960)・New York Times (January 31, 1965)・The Japan Times (October 4, 1987)
Experiments record book (a booklet with images that come to mind)
３．Scrapbooks related to Nankoku's calligraphy
① 1951-1962
"Bokubi No. 10" (1951), "Modern Japanese Calligraphy and Ink Art" European touring exhibition works・Domestic exhibition (National Museum of Modern Art, 1955) exhibition catalogue. ・"Hidai Nankoku Ink Recent Works" (Yoseido Gallery, February 1956)
This scrapbook contains original materials such as the catalogue of Nankoku's first solo exhibition, records of his first trip to the US in November 1959, catalogues of solo exhibitions in the US, articles introducing his works in newspapers and magazines, and reactions to them, his activities after returning to Japan, and records of the "Contemporary Japanese Ink Painting Exhibition" which toured the US in 1962.
② 1963-1974
At the end of September 1963, he traveled to the US for the second time. From lectures at universities near New York and posters for his solo exhibition at Mi Chou Gallery, to articles introducing his work in newspapers and magazines, and articles written by the mass media in Japan after his return, records of his third visit to the US in November 1964, lectures and demonstrations at universities across the US, lectures in Holland, England, Germany and Italy, and especially the reactions to his solo exhibition at Mi Chou Gallery (January 1965).
The scrapbook containing records of the worldwide reactions to Nankoku's "Line Art" and a critique of the 1973 exhibition "This is Bokusho: Avant-Garde Calligraphy Quest."
4. Letters, photographs, videos, etc.
① Letters
② Photographs
③Videos
5. Physical materials
●Nankoku's violin ● Practical work from his time at Tokyo Technological College ● Printing font samples from the Yokohama Seihan Research Institute ● Mysterious ink, brush, and seal.
６．Nankoku's friendships
Nankoku had friends at the Shogakuin (Ueda Sokyu, Kaneko Outei, Kuwahara Suiho, Teshima Ukei, Osawa Gakyu, Ishida Seiko, etc.), but they were senior-junior relationships, and among them, the ones he remained close to were Okabe Sofu and Ishida Seiko, who he kept in close contact with until later in life. In particular, he was a great fellow of Okabe Sofu, with whom he exchanged calligraphy theories.
As an academic researcher of Chinese calligraphy and history, he received many contributions from Fushimi Chukei in his research exchanges. Furthermore, Fushimi Chukei, as a seal engraver, was responsible for Nankoku's signature seals.
When he went to America, he wrote an English book on calligraphy art together with Elise Grilli, a Japanese culture expert at The Japan Times. Elise Grilli also guided Nankoku around and introduced him during his stay in America.
During his first visit to the US, he met composer Ichiyanagi Toshi (and Ono Yoko), who became his lifelong friend. He also had connections with Takemitsu Toru, a composer.
When he was going to the US, Anne and Dick O'Hanlon, a married couple, who had visited Japan in 1959 and taken a calligraphy class from Nankoku, introduced him to the Shafer School of Design in San Francisco.
She provided Nankoku with assistance and advice during his stay in San Francisco, and took great care of him. Nankoku always visited the O'Hanlons when he traveled to the United States. Nankoku hosted a banquet to welcome the couple when they visited Japan. Nankoku also had a similar relationship with Mrs. Irmtraud Schaarschmidt-Richter, a German scholar of Japanese culture.
Among the American artists with whom he had particularly close ties was the San Francisco painter Fred Reichman, who visited Nankoku's home when he visited Japan.
During his third visit to the United States in 1964, he opened a calligraphy class for New York artists, and later had close contact with Raymond Parker and Ulfert Wilke, who were his students, at Wilke's home in Hawaii.
Since the 1970s, calligrapher Uno Sesson has frequently visited Nankoku's house, staying up late talking about calligraphy and rubbings. As an artist, he had an exchange with Saito Yoshishige after attending an exhibition of rubbings. He also had frequent exchanges with art critic Haryu Ichiro, who contributed to” Hidai Nankoku Sakuhinsyu” Nankoku's "Self-Selected Works Collection."
