Chapter 1433 Visit
Jingjiatang Library is a small and quiet place. It consists of an old building with brown bricks in an old Western style and a new building with a modern style and glass curtain wall. , formed around a small square with a garden.
The trees in front of the building and behind the building are lush. In addition to the large green plants built in the shape of balls according to the Western style, there are also several large pine trees built in the style of bonsai, which are very beautiful.
In many historical places in the island country, there are such big trees around the houses. The construction method of the big trees is designed according to the bonsai format of Fujian, China. It is like enlarging the domestic bonsai flower pots countless times. Standing in the ground here, every time Zhou Zhi saw such a big tree, he couldn't help but wonder if he could have a few in Demian Hall or Suihuaxuan.
The plaque with the three characters Jingjiatang is probably a few years old. Zhou Zhi admired the words: "This should have been written by a Chinese calligrapher."
"Oh? Why?" Matsui Zuo, who had already arrived from Tokyo, asked.
“This is the writing method of Shigu Dazhuan,” Zhou Zhi said: “The penmanship is very sophisticated, and it is different from the pursuit direction of the calligraphers of the island country.”
“I didn’t expect that Zhou Sang also had some influence on our country’s calligraphers. Research?" Goro Sakamoto asked.
“I’m not particularly well-researched, but I know that starting from the Tang Dynasty, the hobby of calligraphers in the island country is advocating the two Jin Dynasties, and Tang Cao.”
“The stone drum seal script is from the Song and Ming Dynasties. Only in the beginning did people fall in love with writing, but during this period the island country had developed its own style of writing, which was divorced from the traditional Chinese laws, and there was no way to trace the writing of pre-Qin Dynasty."
"Where does the word Jingjia come from?" Sakamoto Goro felt that these three words were full of ancient meaning and looked quite eye-catching, but he couldn't tell what was good about them.
However, judging from my understanding of the calligraphy of the island country, what Zhou Zhi said is quite different from the development of the monk Kukai to the present.
“The term Jingjia comes from the word ‘笾豆 Jingjia’ in The Book of Songs·Daya·Jizui, which means Jingtong Jingjia. Jingjia means clean and beautiful.”
"Jidou is a ritual vessel used to worship ancestors. This poem describes "The offerings prepared for the ancestors are neatly and neatly displayed."
"So in later texts, in addition to the original text, they often use the matching format of 'Di Zhuo Jing Jia' or 'Jing Jia Zhi Jian'. to use.”
"Zhou Sang's Chinese studies are admirable." An old man from the island country, wearing a white shirt and a thin black suit, with a gentle manner, led his assistant out of the museum: "He is the most welcome guest in our Jingjia Hall."< br>
“The meaning of Jingjiatang is indeed as Zhou Sang said, it comes from " "The Book of Songs: Taiga" was originally the title of the founder of our library, modern industrialist Yanosuke Iwasaki. "
Many of the art collections in the island country are associated with big chaebols, big entrepreneurs, and established aristocrats. Regardless of the relationship, Yanosuke Iwasaki is the second generation president of the Mitsubishi Zaibatsu.
"Hello, Mr. Ono," Zhou Zhi said with a smile: "If there is any place in the island country that I want to visit most, it has to be Jingjiatang."
"There is good news for me. Tell Zhou Sang, "Xiao Lao. The leader was none other than Ono Tetsuo, the manager of Jingjiatang of this generation, and he said happily: "The obsidian lamp hidden by the Tokugawa family has been re-identified based on Zhou Sang's discovery and is now called the 'Northern Eyes Daimyo'. ”
Although no matter how the name is changed, it will not actually threaten Jingjiatang’s status as the “No. 1 Zhaobian Tianmu Zhan” collection in the world. However, this incident is definitely a sensational event for collectors who build kilns.
"So there are a total of six celestial eye lamps in the island country, and now there is one less one, and one northern celestial eye lamp is added?" Zhou Zhi said with a smile. "Yes," Ono Tetsuo said with a smile: "It is said that the Beitian Muzhan comes from Cizhou Kiln? We also have a lot of Cizhou Kiln porcelain in the museum. After Zhou Sang and Ma Sang finished visiting the collection, they also wanted to go to the old museum and take a look at it. They would not hesitate to give you some advice. .”
"Mr. Ono is so polite." Zhou Zhi said modestly: "It is a great blessing to be able to appreciate our country's Song and Yuan treasures."
Ono waved his hand, and the assistant came up and asked Everyone entered the museum and started explaining.
There are two pavilions in Jingjiatang. After the introduction of his assistant, Zhou Zhi learned that the old pavilion was built in 1924 and was designed and built by Kotaro Sakurai, the first architect in the island country to receive the Royal British Architectural Qualification Certification. No wonder Zhou Zhi felt a strong "foreign flavor" when he looked at it. It turned out to be the style of British suburban houses at that time.
Now the old building has become a warehouse for ancient books, a private meeting room and a management office. The exhibition hall is replaced by a new building that was just completed the year before last.
Although it is not a large place, it contains seven national treasures and 84 important cultural properties. In terms of collection level, it is the largest private collection in the island country. In terms of ancient Chinese art collections In other words, it is a very important place in the world.
In addition to the ones mentioned before, Zhou Zhi also saw through the display window the "Wind and Rain Landscape" by the Chinese painter from the Southern Song Dynasty, the "Hand-tickled Baonagatachi" from the Kamakura period of the island country, and the painter Masaru Hashimoto. Bang's "Dragon and Tiger Screen", Tawaraya Sotatsu's "Genji Monogatari Sekiya Screen", "Genji Monogatari Mio Painting Screen", and porcelain of the same period as the screen, the color-painted Yoshino Mountain teapot made by Nonomura Nisei .
This teapot would actually be called a pitcher if it were in China. Apart from being not very practical, it is entirely based on thoughtful aesthetics.
It has a small mouth and a big belly, and is very round. There are four small ears with strings on the shoulders. It is unglazed on the top and bottom. If it were not for the very beautiful glaze painting in the middle, it would be an ordinary small jar.
However, the black glaze on the belly of the jar is painted as a sky, and the bottom is piled with blue glaze and brown-yellow glaze to form a hillside. The hillside is covered with five-petal flowers in red, white and gray that have been slightly abstracted. Small flowers, each small flower has a yellow or gray edge to separate it from the background. , this unique design style that is simple as a whole but full of details reflects the ultimate pursuit of the philosophy of "shape" in island art, and is completely inconsistent with the way that Chinese porcelain always has applicability. For the beauty of shape, it is completely The principle of "use" has been abandoned.
But it is indeed very beautiful, and unlike Goryeo porcelain which has always been under the strong influence of Chinese porcelain, this jar has escaped the influence of China and has its own completely independent style.
In later generations, the so-called "island craftsman spirit" has basically become a joke, but the "pre-Meiji craftsman spirit" reflected in these artifacts does have its merits.
Listening to the explanation and viewing along the way, Zhou Zhi discovered that the Chinese porcelain here was not collected by the second generation Iwasaki Yanosuke, but by another person named Iwasaki Koyata.
Just as I was about to ask, my assistant introduced that Iwasaki Yanosuke's collection was mainly to rescue the traditional cultural relics of the island country that were destroyed during the fall of the curtain. It covered a wide range of areas, including painting, sculpture, calligraphy, lacquer art, tea utensils, swords, etc. category.
The third generation of Iwasaki Koyata, who inherited his father's business, began to reach out to China, focusing on ceramics and rare ancient books.
In 1940, Jingjiatang was officially established as an independent legal entity. Koyata Iwasaki donated his and his father's two generations of collections, library buildings and land.
During World War II, the Allied forces deliberately avoided Kyoto during bombings, allowing many cultural relics here to be preserved.
In 1977, Jingjiatang began to display its collections to the public. It was not until 1992 that the new museum, the Jingjiatang Library Art Museum, was officially opened. The first floor above ground was the exhibition hall, and the ground floor was the academic hall, responsible for external display and academic discussions.
(End of this chapter)