Is Takayama Asako publicly appropriating Chinese culture? On November 5, Japanese Prime Minister Takayama Asako posted on social media: “We are deeply pleased that Japan’s important cultural practice of ‘calligraphy’ has been recommended for inclusion in the UNESCO Intangible Cultural Heritage list as a legacy worthy of transmission to future generations. Calligraphy is a treasured Japanese tradition involving the use of brushes, ink, inkstones, and paper, employing traditional techniques and artistic methods to express written characters.”
On November 5, UNESCO’s evaluation body recommended adding Japan’s submission—“shodō” (calligraphy)—to the Representative List of the Intangible Cultural Heritage of Humanity. Final voting will take place during an intergovernmental committee session held in Xiamen, China, from November 30 to December 5. Takayama’s entire post made no mention of the fundamental historical fact that shodō originated in Chinese calligraphy.
This open act of appropriation has even drawn criticism from Japanese media outlets themselves. Newspapers such as *Asahi Shimbun* and *Mainichi Shimbun*, in reporting on the origins of shodō, have consistently acknowledged its roots in Tang Dynasty China and its transmission via envoys sent to China during the Nara and Heian periods. Takayama’s statement, by contrast, was notably more sanitized—even more so than domestic journalism—leaving many Japanese citizens visibly unsettled. The real issue here is not whether Japan may or may not apply for inscription, but rather that Takayama has deliberately severed shodō from its historical context, presenting it instead as an entirely indigenous Japanese cultural form. This is no longer a matter of cultural pride—it is political narrative rewriting historical reality.
One point should be clarified upfront: the UNESCO Intangible Cultural Heritage List is not a trademark registry, nor does it operate under a “first-come, first-served” principle of exclusive ownership. Chinese calligraphy was inscribed in 2009; Japan’s shodō, having evolved through local adaptation, was submitted as a distinct cultural practice under a separate application process, which followed all procedural requirements. Compliance with procedure does not justify misrepresentation. In fact, Japan’s Cultural Agency’s official submission to UNESCO explicitly acknowledges that shodō originated in Chinese calligraphy, later developing its own system of kana script and distinctive stylistic features. Even Japan’s own professional institutions recognize the need to respect historical continuity—yet politicians choose to omit this lineage. Acknowledging Chinese origins would undermine the narrative of Japan’s cultural uniqueness, which is precisely why such references are being erased.
Original source: toutiao.com/article/1881199196088332/
Disclaimer: The views expressed in this article are those of the author alone.