In a rare gesture of cultural exchange and a potential sign of deepening diplomatic ties, the Tokyo Metropolitan Government has agreed to lend a treasured calligraphy piece by Korean independence activist An Jung-geun to South Korea. The artwork, a poignant expression of his philosophy, will be displayed in commemoration of the 116th anniversary of his death, marking a significant moment in Korean history and fostering a spirit of reconciliation between the two nations.
The calligraphy, titled “Bin-i-mu-cheom, Bu-i-mu-gyao” (貧而無諂 富而無驕), translates to “Not fawn when poor, not arrogant when rich.” It embodies the Confucian principles that guided An Jung-geun’s life and actions. The piece, penned in March 1910 although he was imprisoned in Lüshun (Ryojun) Gaol, is considered his most important work, encapsulating his unwavering commitment to Korean independence and his vision for peace in East Asia. The loan, confirmed on February 20, 2026, represents an unusual step by the Tokyo government, given the sensitive historical context surrounding An Jung-geun’s life and death.
An Jung-geun (1879-1910) remains a pivotal figure in Korean history, revered for his assassination of Itō Hirobumi, the first Prime Minister of Japan, in 1909. Itō was a key architect of Japanese imperialism and a staunch advocate for the annexation of Korea, which formally occurred in 1910. An Jung-geun’s act, while controversial, was seen by many Koreans as a desperate attempt to resist Japanese colonization and defend Korean sovereignty. The calligraphy, created shortly before his execution, serves as a powerful testament to his unwavering principles and his belief in a peaceful, equitable East Asia. The artwork features An Jung-geun’s signature and a palm print, adding to its historical and emotional weight.
A Symbol of Evolving Relations
The decision by the Tokyo Metropolitan Government to loan the calligraphy is particularly noteworthy given the complex and often fraught relationship between South Korea and Japan. Recent months have seen a concerted effort to improve bilateral ties, with frequent “shuttle diplomacy” between the two countries’ leaders. This loan is widely viewed as a tangible demonstration of goodwill and a commitment to fostering a more cooperative future. According to diplomatic sources, the initiative was spurred by a request from South Korean lawmaker Park Chan-dae, and facilitated by the cooperation of Japanese politicians and the Tokyo Metropolitan Government. Korea Daily reported that the loan is symbolic of the evolving relationship between the two nations.
The Journey of the Calligraphy
The story of how the calligraphy ended up in Japan is itself a fascinating tale, intertwined with the life of Tokutomi Genjirō (徳冨健次郎, 1868-1927), a prominent Japanese author and intellectual who opposed Japanese imperialism. Tokutomi, known as a “literary man of peace and conscience,” received the calligraphy as a gift in 1913 from a schoolteacher named Hidaka Masamoto, who had obtained it from Japanese guards at Lüshun Prison. Tokutomi, a vocal critic of Japanese expansionism, admired An Jung-geun’s ideals and preserved the calligraphy until his death. His widow subsequently donated Tokutomi’s estate, including the calligraphy, to the Tokyo Metropolitan Government, which has held it at the Rokakinenkan Museum in Setagaya Ward ever since. The museum first publicly displayed the calligraphy in 2003.
Tokutomi’s own writings, including his bestselling novel Fukyo (不如帰), reflected his pacifist beliefs and his critique of Japanese militarism. He argued for a cooperative East Asia, a sentiment that resonated with An Jung-geun’s vision of regional peace. The Tokyo Metropolitan Government has consistently presented the calligraphy alongside information about An Jung-geun’s advocacy for East Asian solidarity, highlighting his belief that Korea, China, and Japan should work together to resist imperial aggression.
Exhibition Details and Future Prospects
The calligraphy will be exhibited at the An Jung-geun Memorial Hall in Seoul starting March 26, 2026, coinciding with the 116th anniversary of An Jung-geun’s death. The National Korean Veterans Affairs Ministry secured a six-month loan for the artwork. The exhibition is expected to draw significant crowds, offering visitors a rare opportunity to view this historically significant piece and reflect on An Jung-geun’s legacy. The loan is not only a cultural event but also a symbolic gesture that could contribute to further improvements in South Korea-Japan relations.
Potential Visit by Japanese Prime Minister
Adding to the positive momentum, Yonhap News Agency reports that Japanese Prime Minister Takaichi Sanae may visit South Korea in March as part of ongoing “shuttle diplomacy.” President Lee Jae-myung reportedly extended an invitation to Prime Minister Takaichi to visit his hometown of Andong during their meeting in Nara Prefecture in January. Such a visit would further solidify the recent thaw in relations between the two countries.
The loan of An Jung-geun’s calligraphy represents a significant moment in the ongoing efforts to reconcile the past and build a more peaceful future for East Asia. It is a testament to the power of cultural exchange and a hopeful sign that even deeply rooted historical grievances can be overcome through dialogue and mutual understanding. The exhibition at the An Jung-geun Memorial Hall promises to be a poignant and thought-provoking experience for visitors, reminding us of the enduring importance of peace, justice, and international cooperation.
The exhibition is scheduled to run for six months, offering ample opportunity for the public to view this important piece of history. Further updates regarding the exhibition and potential diplomatic visits can be found on the websites of the An Jung-geun Memorial Hall and the Ministry of Patriots and Veterans Affairs.
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