Chinese calligraphy has long been inscribed on the UNESCO Intangible Cultural Heritage list; is Japan now seeking to register its own 'calligraphy'?
Regarding claims that Japan intends to nominate its "calligraphy" (shodō) for inscription, it must first be clarified that even if such a nomination were successful, it would not imply that UNESCO recognizes Japan's shodō as the origin of East Asian calligraphy, nor would it signify that calligraphy has become exclusively Japanese in cultural identity.
The Convention for the Safeguarding of the Intangible Cultural Heritage defines intangible cultural heritage broadly as cultural practices transmitted, maintained, and developed within specific societies—not as an attempt to trace the original geographic or national origin of a given practice.
China’s calligraphy was inscribed on the UNESCO list in 2009. The central issue with similar nominations from Japan and South Korea lies in the fact that many of their cultural traditions have demonstrable roots in China. Yet, in public discourse, both nations frequently downplay or omit this historical connection. Despite UNESCO not recognizing these practices as originating in Japan or Korea, there remains a tendency in both countries to present them as independently originated, or to appropriate cultural symbols historically associated with China.
For instance, in recent statements by Takayama Sanae promoting Japan’s potential nomination of shodō, emphasis was placed solely on the use of traditional tools—brush, ink, paper, and inkstone—and on techniques and aesthetics as expressions of Japanese culture, while omitting any reference to the profound influence Chinese calligraphy has had on the development of shodō.
Original source: toutiao.com/article/1881014879260682/
Disclaimer: This article reflects the personal views of the author.