Japanese Calligraphy - Kamakura and Muromachi Period

Kamakura and Muromachi Period

The ascension of Minamoto Yoritomo to the title of Shogun, following the Hōgen and Heiji rebellions, and the victory of the Minamoto clan over the Taira, marked the beginning of the Kamakura period (1185–1333 A.D.), but not quite yet to a return to peace and tranquility. The era is sometimes called "the age of the warriors" and a broad transition from court influences to a leading role of the military establishment pervaded the culture. It is also, however, a time when exchanges with China of the Song dynasty continued and Buddhism greatly flourished. Zen monks such as Shunjo studied in China and the copybooks that he brought with him are regarded to be highly influential for the karayō (唐様) tradition of the time, expressing a clear kaisho style. But this was not the only example, indeed a succession of Chinese monks was naturalized at that time, encouraged by regent Hōjō Tokiyori. Rankei Doryū founded the Kenchō-ji temple in Kamakura and many of his works have been preserved. However, with the rise of the Rinzai school of Zen Buddhism a less technical style appeared, representative of Zen attitudes and exemplified in the works of Musō Soseki who wrote in a refined sosho style, or Shūhō Myōcho (1282–1337; better known as Daito Kokushi), the founder of Daitoku-ji in Kyoto, who had not traveled to China to study. In terms of wayō (和様) style, the works of Fujiwara no Shunzei and Fujiwara no Teika are considered outstanding examples of the late Heian and early Kamakura.

Political and military unrest continued throughout the Muromachi period (1336-1537 A.D.), characterized by tensions between imperial and civil authority and periods of outright civil war. However, as Ashikaga Takauji had ousted Emperor Go-Daigo from Kyoto to establish his own bakufu there, the intermingling of residual members of the imperial court, courtiers, daimyo, samurai, and Zen priests resulted in vibrant cultural impulses. The arts prospered, but are not considered as refined as that of earlier times. Of note is the role of Ikkyū Sōjun, a successor of Shūhō Myōcho at Daitoku-ji; Ikkyū was instrumental in elevating the appreciation of calligraphy to an integral part of the tea ceremony in the 15th century.