Paper short abstract:

How did the materiality of exhibition conditions in early 20th century lead to new visual norms and a redefinition of Japanese calligraphy?

Paper long abstract:

Featuring row upon row of perfectly lined up characters, exhibition works in calligraphy can seem strangely uniform. This is due to the fact that the production of these works is planned by organizers down to the smallest detail, leaving little place to personal inspiration.

This characteristic can be traced back to the early 20th century, when selective exhibitions replaced literati meetings as the chief mode of circulation for calligraphy.

After delineating the context of this change, we will study its influence on the way calligraphy works were created and perceived.

Our reflexion is based on a case study of the 8th exhibition of the Taitô shodô-in, which took place in Tôkyô between January 8 and January 18, 1938.

Discussing this exhibition, we will rely on the analysis provided by a contemporary, calligrapher Ôike Seiran, before examining the increased importance of visual norm in later decades.