A Three-Shaku Sword in the Wind Dust (風塵三尺剣) Calligraphy by Katsu Kaishu

[Iaido dude]

I recently acquired this new kakejiku of a splendid calligraphy work by Katsu Kaishū that inspires my iaido practice. I just managed to finish the translation; the translation of the last 5 characters was not indicated on the accompanying kakejiku-bako. My wife recognized the two verses that Katsu brushed verbatim from historical Chinese poetry. Then it became a simple matter of obtaining that translation. 

 

Katsu Yasuyoshi (勝 安芳; 1823-1899), born Katsu Yoshikuni (勝 義邦), best known by his nickname Katsu Kaishū (勝海舟筆), was a Japanese statesman, naval engineer and military commander during the late Tokugawa shogunate and early Meiji period. An advocate of modernization and westernization, he eventually rose to occupy the position of commissioner (Gunkan-bugyō) in the Tokugawa navy and was a chief negotiator of the bakufu. As a major Tokugawa commander during the Boshin War, he is particularly known for his bloodless surrender of Edo to Imperial forces, which was co-negotiated with his compatriot and fellow calligrapher Yamaoka Tesshu. As a calligrapher, he is particularly recognized for his highly refined cursive script with examples including a pair of 6-panel byobu screens and individual calligraphic works, being well-versed in the Chinese classics, poetry, and the martial arts.

 

In the work below, Katsu brushed two 5-character verses of "Revisiting Zhaoling" by the Tang Dynasty poet Du Fu (杜甫): "A three-shaku sword in the wind dust, a military uniform for the country" (風塵三尺剣, 社稷一戎衣). It expresses praise for the heroic role of the military in the birthing of a prosperous country, which is in keeping with the Japanese Bushido warrior culture. The imagery that Du Fu paints is of a great military leader expertly wielding a powerful sword to whip up "wind dust" (this is a very visual expression) and thereby produce the conditions of land and agriculture (i.e. "country") that founded the Tang Dynasty. There is a very masculine and martial sentiment in these verses. Du Fu's works came to be hugely influential in both Chinese and Japanese literary culture. Of his poetic writing, nearly fifteen hundred poems have been preserved over the ages. He has been called the "Poet-Historian" and the "Poet-Sage" by Chinese critics. A three-shaku (35.8 cm) sword is generally associated with the Odachi or Nodachi, a long and imposing weapon sometimes used on the battlefield (my practice katana are considered long at 2.45-2.5 shaku). They were also used in ceremonies, as symbols of status, or as offerings to deities. In Zhaoling, there is a monument to the exploits of the Tang dynasty military forces. From his childhood, Katsu learned swordsmanship from the famous teacher Otani Nobutomo. He also studied under Shimada Toranosuke, a skilled swordsman who influenced him by emphasizing Zen practice alongside kenjutsu. He studied at Ushijima Kofuku-ji temple in Tokyo. Kaishū held a license from the Jikishinkage-ryu Kenjutsu school.

 

 

 

 

[Toryu2020]

Amazing piece, well done!

[Iaido dude]

This kind of art is undervalued, especially if produced by highly prolific calligraphers such as Katsu and Yamaoka (brushed 1 million works). However, finding an especially powerful example for $150 on Jauce, as in this case, is a bit obscene. It’s not necessary to be able to read the kanji to experience the haki of such a piece. My wife was rendered speechless. 

[Steve Waszak]

Brilliant, Steven, brilliant.  A truly beautiful work.  Congratulations.  

[Iaido dude]

Thanks, Steve. It was very satisfying to walk through the detective work. And Helen enjoyed it as well. So, now I’m allowed to hang it . I am finding that 19th and 20th Zen works are more assessable to me because Chinese characters (hanzi) are often used exclusively. The cursive script of earlier works is challenging because of the intermixing of kanji and hiragana/katagana. And then there is the highly idiosyncratic style of shodo wherein lies both the artistic vitality and the opaqueness (at least to me). The translations I have seen often require a thorough familiarity with Zen “scripture” and the historical roots of Zen in Chan Buddhism. And then complete familiarity with the artist's brushwork style.