Ono no Imoko and the Origins of Japanese Calligraphy – A Diplomat Who Shaped a Nation’s Script

When we think of Japanese Calligraphy, names like Kūkai, Fujiwara no Yukinari, or Ono no Tōfū often come to mind—towering figures in the artistic and spiritual evolution of brushwork. But to truly understand the origins of Japanese Calligraphy, we must look not to monks or calligraphers, but to an unlikely source: a diplomat named Ono no Imoko.

A Cultural Messenger in the Asuka Period

Ono no Imoko was a statesman and envoy during Japan’s Asuka Period (late 6th to early 7th century), serving under Empress Suiko and Prince Shōtoku. He is most famously known for his role as an envoy to the Sui Dynasty of China, acting as the bridge between Japan and the broader Asian continent at a time of increasing international diplomacy.

His legacy, however, goes far beyond politics.

The Bold Letter that Shocked an Emperor

One of the most iconic moments in early Japanese diplomacy is the letter Imoko delivered to Emperor Yang of Sui. The message began:

“From the Son of Heaven in the land where the sun rises,

to the Son of Heaven in the land where the sun sets.”

This phrasing stunned the Chinese emperor. Japan had referred to itself as an equal, not a subordinate. More importantly, the message was written in Chinese characters—a bold statement of cultural ambition.

This wasn’t just a political letter. It was Japan’s first assertion of identity through written language, and thus a foundational moment in the history of Japanese Calligraphy.

Bringing Calligraphic Culture Home

Ono no Imoko and his delegation returned from China not only with political knowledge, but with exposure to sophisticated writing systems, brush techniques, and formal Chinese calligraphy styles. At the time, Japan had no native writing system. The introduction of kanji marked a revolutionary cultural shift.

In this way, Imoko didn’t just represent Japan—he imported the script and technique that would evolve into a national art form. Writing in kanji became a symbol of power, intellect, and religious authority, especially in court and Buddhist contexts.

Imoko’s contributions positioned him as a key figure in transmitting writing culture to Japan—a legacy often overshadowed by the monks and poets who followed.

A Legacy Written in Ink

What makes this story even more remarkable is that Ono no Imoko's lineage continued to shape Japanese calligraphy. His descendant, Ono no Tōfū, became one of the most revered calligraphers of the Heian period, known for his graceful and distinctly Japanese style, which helped define wayō-shodō—the native Japanese calligraphic tradition.

Tōfū’s refinement of kanji into something uniquely Japanese would not have been possible without the early groundwork laid by Imoko, who planted the seeds of calligraphy during Japan’s earliest brush with written language.

Conclusion: Diplomacy, Identity, and the Art of Writing

When tracing the roots of Japanese Calligraphy, we often focus on brushstroke mastery or artistic evolution. But its true beginnings are rooted in cultural diplomacy. Ono no Imoko’s historic letter did more than open a dialogue with China—it set Japan on a path toward linguistic and artistic self-definition.

His story reminds us that every kanji character we see today is not just a symbol—it carries with it the weight of history, identity, and intention. Japanese Calligraphy has always been more than ink on paper. From its very first strokes, it has been an act of cultural declaration.

Coming up in Column #9: “The Kana Revolution – When Japan Created Its Own Writing System.” Stay tuned.

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