(b AD 894; d 966). Japanese government official and calligrapher. He is known, along with Fujiwara no Sari (see FUJIWARA (ii), (1)) and Fujiwara no Kozei (see FUJIWARA (ii), (2)), as one of the Sanseki (‘three brush traces’; Three Masters) who Japanized the calligraphy that had been learnt from the Chinese during the previous centuries. Michikaze initiated this process by creating the Wayo (Japanese) style of calligraphy, which the other two masters refined. Co-existing with other styles, Wayo was highly respected and continually practised until the mid-19th century. Although Michikaze did not advance to high government office, he provided an especially active and distinguished calligraphic service for three emperors, Daigo (reg AD 897–930), Shuzaku (reg AD 930–46) and Murakami (reg AD 946–67), and his skills permitted him, at the early age of 27, to serve in the Seiryoden, the residential quarters of the imperial court. Emperor Daigo was so impressed with his calligraphy that in AD 927 he gave the Buddhist monk Kanken two volumes of Michikaze’s work to take with him on a voyage to China, and urged him to commend Michikaze’s calligraphic achievements to the Chinese. While his calligraphy followed the style of the legendary 4th-century Chinese calligrapher Wang Xizhi (see WANG (i), (1)), he also added his own refinements, a romantic twist and a softer feel with more freedom of movement than was common under the strictures of Chinese calligraphy (see fig.). Unfortunately, no examples of his kana (Japanese phonetic script) calligraphy are extant. A number of extant kanji (Chinese script) works are believed to be by Michikaze, but only a few are positively attributed. Even the well-known Byobu dodai (draft for inscription on a folding screen; c. 928; now mounted as a handscroll; Tokyo, Imp. Household Col.), executed in semi-cursive script (gyosho) and ascribed with conviction to Michikaze, does not bear his signature. This piece consisted of ten poems by Michikaze’s contemporary Oe no Asatsuna, which were later transferred to a screen in the imperial palace. By the time Michikaze died he had lost much of his sight. Among his last works are 11 letters, in one of which he deplores the evanescence of life.

• Ono no Michikaze
  • Fujiwara (ii): (4) Fujiwara no Tadamichi
  • Japan, §VII, 1(iii)(b): Calligraphy: Heian period
  • groups and movements
    • Japan, §VII, 2(ii)(b): Calligraphy: Early courtly styles, Middle Heian period
    • Japan, §VII, 2(iii)(a): Calligraphy of the Shoren’in school: Prince Son’en
  • works
    • Fujiwara (ii): (3) Fujiwara no Sadanobu
    • Japan, §VI, 3(iii)(c): Early Yamatoe screen, door and wall painting
    • Japan, §VII, 2(iii)(a): Calligraphy of the Shoren’in school: Prince Son’en