D A N C I N G
L E T T E R S
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D A N C I N G
L E T T E R S
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Table of Contents
1. Japanese Caligraphy 2. The Way of Writing 3. Shodo 4. Gyosho 5. Sosho 6. Kaisho 7. The Tools 8. Performance Caligraphy 9. The Words Unspoken
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J A PA N E S E C A L I G R A P H Y
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Japanese Caligraphy
Japanese calligraphy (shodĹ?) also called shĹŤji, is the fine art of writing practiced in Japan throughout the ages. The Japanese unique syllabaries, the distinctive Japanese writing system developed and calligraphers lead to styles intrinsic to Japan.
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J A PA N E S E C A L I G R A P H Y
Kanji
Kana
Kanji are complex characters. There are more than
Syllabic Japanese scripts, a part of the Japanese writing
10,000 of them, each with a specific meaning. There
system contrasted with the logographic Chinese char-
are symbols for words or ideas, they are used alongside
acters known in Japan as kanji. There are three kana
the Japanese syllabic scripts hiragana and katakana.
scripts: modern cursive hiragana; modern angular
The Japanese term kanji for the Chinese characters
katakana; and the old syllabic use of kanji known as
literally means “Han characters”. It is written with the
man’yōgana that was ancestral to both.
same characters in Traditional Chinese to refer to the character writing system, hanzi.
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HAPPINESS
PIET Y
STRENGTH
The Chinese roots of Japanese calligraphy go back to the twenty-eighth century BC, to a time when pictographs were inscribed on bone for religious purposes. Calligraphy in the Chinese tradition was thus introduced to Japan about AD 600 Known as the karayĹ? tradition, it has been practiced up to today, rejuvenated continuously through contact with Chinese culture.
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J A PA N E S E C A L I G R A P H Y
Performance caligraphy in action
Caligraphy It is the design and execution of lettering with a broad tip instrument, brush, or other writing instruments. A contemporary calligraphic practice can be defined as “the art of giving form to signs in an expressive, harmonious, and skillful manner�
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Concepts are often represented in an abstract way through caligraphy. Some characters even look like the subject that they represent.
Modern Application Modern calligraphy ranges from functional inscriptions
Calligraphy continues to flourish in the forms of
and designs to fine-art pieces where the letters may or
wedding invitations and event invitations, font design
may not be readable. Classical calligraphy differs from
and typography, original hand-lettered logo design,
typography and non-classical hand-lettering, though a
religious art, announcements, graphic design and com-
calligrapher may practice both.
missioned calligraphic art, cut stone inscriptions, and memorial documents.
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T H E WA Y O F W R I T I N G
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The Way of Writing
Japanese calligraphy is the art of writing by hand to create letters or symbols using a brush dipped
in ink. It’s a beautiful art form as well as a means of communication. The ability to do calligraphy is a skill passed from one generation to the next, and it requires a lot of training.
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The careful illustration of characters is done so on thin fragile pieces of paper called Hanshi.
Symbols The symbols or characters created in calligraphy are known as kana and kanji. They are drawn with a series of vertical, horizontal, and angled brushstrokes, and each symbol or character is unique.
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T H E WA Y O F W R I T I N G
Stroke Integrity The challenge of remembering and understanding
In the writing of Kanji, emotion plays a large part in
the intricate movements and patters of each kanji can
its formation. The integrity, swift movement of the
take time to master. To create each character, one must
brush, and steady hand, all play a part in the emotional
make sure that the length, height, and very specific
expression brought about by the illustrator.
direction of each stroke is correct. With so many, you can understand why it’s a complicated art to master.
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In shodo, the emphasis is on the beauty and balance of the writing. Flowing brush strokes are important, just as they are in painting.
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T H E WA Y O F W R I T I N G
Tokyo
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Wang Xizhi For a long time, the most esteemed calligrapher in Japan had been Wang Xizhi, a Chinese calligrapher from the 4th century, but after the invention of Hiragana and Katakana, the Japanese unique syllabaries, the distinctive Japanese writing system developed and calligraphers produced styles intrinsic to Japan. The term shodō (“way of writing”) is of Chinese origin as it is widely used to describe the art of Chinese calligraphy during the medieval Tang dynasty.
While most may believe that kanji and typographic characters hold origins in Japan, they were actually adopted writing styles from the Chinese.
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T H E WA Y O F W R I T I N G
SOSHO
GYOSHO
SHODO
The three trees of caligraphy all surround shodo. Shodo stands as the central pillar connecting all illustrative variants. By learning from one tree, a student can learn from another, and each compliments the other. A cycle of illustrative learning.
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KAISHO
Cursive Script:Dream
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SHODO
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Shodo
Calligraphy (shodō: “the way of writing”) is the art of writing beautifully. Most children in Japan learn calligraphy in elementary school, and it is also a popular hobby among adults. An interesting aspect of Japanese writing that carries over to calligraphy is the importance that is placed on the order in which the strokes of characters are drawn.
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Dancing Letters In the simplest understanding, the calligraphy is an art to write beautifully. The paring of simple and graceful is embodied in calligraphical works as one of main principles of Japanese aesthetics wabi sabi.
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Shodo
A style intensely studied.
There is nothing casual in Japanese calligraphy. The
The calligraphy is unique fine arts of the East. It has
beginning, the direction, the form and the ending of
come to Japan from China approximately in the V
lines, the balance between elements are important for
century A.D., and within centuries the skill of
each line and point, and even the empty space testifies
Chinese calligraphers was studied and improved by
about many things. The hieroglyphs are harmonious,
Japanese masters of calligraphy. The Japanese
proportional, balanced.
calligraphers have created some new styles of hieroglyphs writing, having greater expressiveness and emotionality:Kaisho, Gyosho, and Sosho. In the basis of Japan’s calligraphical styles is concept that the written text should give aesthetic pleasure. The visual perception of the text does not concede to perception of pictures and plays the important role in
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understanding of sense.
Origins of Style
Seal Script (Tensho) Zhou Dynasty (1046-256 BCE) Qin Dynasty (221- 206 BCE) Nara period (646-794)
Clerical Script (Reisho) Han Dynasty (206 BCE- 220 CE) Edo Period (1603-1868)
Regular script (kaisho) Sui Dynasty (581-618) Tang Dynasty (618-907) Heian Period (794-1185) Kamakura (1192-1333)
Semi-cursive (gyosho) Heian Period (794-1185)
Cursive (sosho) Origins in the Han Dynasty (206 BCE- 220 CE) Heian Period (794-1185) 23
Philosophy In Japan, shodĹ? is practiced by people of all ages and occupations, from primary school students to the elderly. As a long lived Japanese tradition deeply integrated in the everyday lives of the people, Shodo offers a unique window in Japan’s profound culture and long lasting philosophies.
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THE TOOLS
Then and Now The art of shodo originated in China and came to Japan in the sixth or seventh century, along with methods for making brushes, ink, and paper. In those days, calligraphy was an essential part of the education of members of the ruling noble families. But as time went by, the art spread among the common people as well. Nowadays calligraphy is not just an art form to be admired; people use it to write New Year’s cards, and in other situations in their daily lives.
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Detail Caligrapy isn’t just an action, but a type of ritual. The process takes time, and every step must be taken with care. The attention to detail will show up the artists work. 28
Buddhism After Buddhism was introduced to Japan, shodō began to grow in popularity. During this period in Japan, Chinese characters were widely used to copy Buddhist sutras, and as a result, the earliest discoverd works of shodō are all related to Buddhism.
Deviation It was not until the Heian Period (794 - 1185) that shodō finally began to deviate from Chinese calligraphy, a separation inspired by masters such as Ono-no-Michikaze (894 - 966) and Buddhist monk Kukai (774 - 835).
Interpretation The spread of Zen Buddhism during the Kamakura Period (1185 to 1333) gave birth to a new form of calligraphy known as bokuseki, which featured a liberal form, loose rules, and an unrestrained style. It looks very abstract and represents a more emotional calligraphy style.
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GYOSHO
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Gyosho
A semi-cursive script slightly more fluid than
kaisho, but not fluid to the point of near-illegibility as is the case with the very free and flowing sosho
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Masakatsu Agatsu In Gyosho
By Nadja Van Ghelue
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GYOSHO
Structure and Stroke This script style is a slightly more cursive version of kaisho script. This script was practiced at the same time as the reisho script. There are three different levels of “cursiveness� called seigyo, gyo, and gyoso. The style of gyosho utilizes a softer and more rounded technique, staying away from sharp corners and angles. In gyosho the strokes are allowed to run into one another, and characters appear less angular and more round and fluid
This is because when writing in gyosho style the brush leaves the paper less often than in kaisho. The mind is already thinking about the next n stroke, and this gives gyosho its distinctive look.
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Familiarity The average person in China or Japan can read characters written in gyosho style with relative ease, but foreigners or people who are learning Japanese may have difficulties understanding exactly what they’re seeing.
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GYOSHO
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Self Expression There is an emphasis on self expression in the formation of kanji. An illustrator can express themselves through the way they choose to illustrate the word.
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KAISHO
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Kaisho
The first style a beginner learns when starting to
practise the art of calligraphy is kaisho, also referred to as the “formal”, or “square” type.
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Much like painting, a caligrapher or artist must take the time to produce sample strokes from the ink to ensure that the formation of the characters form well.
Learning in order It is of utmost importance that a student always begins by learning kaisho, since this script is the most basic style and is required to get a proper ‘feeling’ before advancing to the other styles.
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KAISHO
A Different Script In spite of being the standard script, historically kaisho did not actually appear before the others, but was a later standardization. Gyosho, and especially sosho, are distinguished by abbreviating or amalgamating many of the kaisho strokes. Therefore gyosho and sosho are the styles most commonly used by Japanese when writing casually by hand.
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“Good Spirit”
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Kaisho When writing kaisho, the the brush is lifted from the page for each stroke. All the strokes are written distinctly, and the characters appear basically as if they would have been printed by a word processor. Students of Kiasho learn how to apply the basics (which go by names such as ‘the vertical stroke’, ‘the horizontal stroke’, ‘dot’, ‘spatula’, ‘claw’ etc.).
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Kaisho gives the students a feel for correct placement and balance (between white and black, left and right, up and down etc.).
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SOSHO
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Sosho
Sosho is the most cursive script of them all, and it is frequently impossible to read characters written in sosho style without having nearly mastered the style yourself. This is also because a character written by one master might look completely different when written by another master.
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Fluidity is key in sosho. Think of it as the cursive perteining to one’s signature. Instictual, precise.
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SOSHO
Happiness and Fortune
The Cursive Script The Cursive Script (sosho) has its origins in the Han
This technique can be easily recognized by many strokes
Dynasty. It was used by scribes as a cursive version
ending with a sweep to the upper right in a break-
of reisho primarily for taking notes. Early examples
ing-wave type form. As the Han Dynasty came to an
of sosho include inscriptions on bamboo and other
end, another version of sosho was developed, but this
wooden strips.
version was written slowly as opposed to the faster sosho that was popular until then.
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Mysterious Origins The exact date when sosho was introduced is unclear. Several texts from Japan shared many sosho-like techniques with Chinese texts during this time but it was not until Kukai, a famous Japanese buddhist monk and scholar traveled to China during the early Heian Period and brought back copies of texts that he made written in the sosho style.
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THE TOOLS
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The Tools
The tools of the trade and how one treats them
is just as important as the understanding of each movement of the brush when it comes to caligraphy.
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Technique A caligrapher’s kit.
An artist follows different techniques and uses tools to make a perfect calligraphy. A master intends to bring his best work of art by using a bamboo brush, white paper, ink, ink-stone, and paperweight.
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THE TOOLS
Equipment The real beauty of calligraphy depends on three things: shape and position of the characters down, force of the brushstrokes, and the stages of the ink. Seven tools must be needed to create calligraphy, they are: Shitajiki (Black soft mat), Bunchin (peparweight), Hanshi (white thin paper), Fude (bursh), Mizusashi (water dropper), Suzuri (ink-stone), and Sumi (ink).
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Kolinsky Weasel Hair Brush
Fude (brush) is the most important calligraphy tool.
Suzuri or the inkstone is the object where artist rubs
Two types of brushes are used, the hosofude (slender
his/her sumi ink block to create ink. Please take care
brush) and the futofude (thick brush). Brushes are
not to rub it excessively or with too much pressure.
crafted from bamboo and usually used fur of wolf, badger, horse and squirrel.
Hanashi is a white piece of paper that an artist uses to write the characters. Fude, Sumi, Suzuri and Hanashi
Sumi (ink) is one of the tools of four treasure of
are all recognized as the four quintessential treasures
Japanese calligraphy. This is an essential tool which
of Japanese calligraphy tools.
you must need to draw syllabaries. This ink is made from charcoal. 49
THE TOOLS
Vintage Amehata Suzuri large ink stone chacha
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It’s a process You can’t create calligraphy when it moves. To make your Hanashi (paper) stable Bunchin is used. It is a paperweight which keeps the paper stable. Mizusashi: It is a water dropper which an artist needs for mixing up the ink with few drops of water. Inkan: Inkan is a seal which is used to attribute an art work of calligraphy. In Japan, calligraphers usually sign their calligraphy with an Inkan.
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Bunchin Metal stick to weight down the paper during the writing process.
Hanshi Special, yet fragile and thin calligraphy paper.
Shitajaki Soft mat. It provides a comfortable, soft surface for writing.
Suzuri Heavy black container used for the ink.
Sumi Solid black material that must be rubbed in water in the suzuri to produce the black ink which is then used for writing. Instead, “instant ink� in bottles is also available.
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Brush Type It is a common question to those who are really interested in this Japanese art and want to learn it step by step. Initially, to make Japanese calligraphy two things should be in your mind: 1) Script style, 2) Use of Kanji or Japanese phrases you want to write in your calligraphy. You have to choose a place and set up your mat. Now place your white paper on the mat. Then, you place the paperweight on it so that it does not move and stay stable.
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The brush type one chooses can dictate the fluiditiy and integrity of the paint stroke.
The Seven Styles 1. Sai-hitsu Brush — Fine 2. Kolinsky Weasel Sable-Hair Brush — Small 3. Kolinsky Weasel Hair Brush — Medium 4. Ken-mofude — Medium Calligraphy Brush 5. Kolinsky Weasel Hair Brush — Thick 6. Ken-mofude — Thick Calligraphy Brush 7. Ueken-mofude — Thick Calligraphy Brush
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THE TOOLS
The Steps Step 1: Firstly, a calligrapher pours some water in the inkstone. Step 2: Secondly, they grab the sumi (ink) and rub it gently on the inkstone. Step 3: Thirdly, they take one of the desire brushes to start with and dip in the inkstone. Step 4: Fourthly, one must clear their mind and then paint a character onto the white paper.
Sai-hitsu Brush: A fine brush ideal for writing small characters on reduced surfaces such as letters and evelopes. They produce thin and neat lines.
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Ueken-mofude — Thick Calligraphy Brush
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THE TOOLS
The Eight Strokes Japanese characters are composed of numerous different kinds of strokes, but there are eight basic strokes that the novice begins learning. They are the eight strokes that comprise the character for “eternal,” or ei. These eight strokes go in eight different directions and are therefore known as the “’eternal’ character eight directions,” or eijihappo.
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Soku
Roku Taku Saku Taku Do
Ryaku
Teki
The eight “directions” (or strokes) form the character for “eternal.”
Chinese English
Japanese
1.
soku dot
ten
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roku
horizontal stroke
yokoga
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do
vertical stroke
tatega
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teki
upflick from horizontal/vertical stroke
hane
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saku
rightward upflick
migihane
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ryaku leftward downstroke
hidaribarai
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taku
leftward downflick
hidarihane
8.
taku
rightward downstroke
tmigibarai
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Flowing letterforms are what make Japanese based caligraphy so interesting. They have ways off expressing large and complex concepts in such a minimalist way.
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PERFORMANCE CALIGRAPHY
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Performance Caligraphy
Many calligraphy exhibitions are held throughout the year in Japan that surly attract calligraphy lovers from all over the world. They gather in one place to experience masters of the craft who can bring to life the beauty of Japanese calligraphy.
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Caligraphy performer at competition
Horizontal Strokes are written first.
The artist carefully chooses and balanced the size of characters.
There are three basic styles of Japanese calligraphy, they are: Kaisho, Gyousho, Sousho, Tensho, and
The piece’s straight lines should be appeared clear
Reisho.
and bold.
The script must be white in color and its size and
The art work appears to exhibit rhythm.
shape should be square. The script is mainly written from left to right and All characters must be able to be written from only eight strokes.
top to bottom. 65
PERFORMANCE CALIGRAPHY
Caligraphy club of Seiho High School
Shodo Performance A variety of different brushes are used in performance
Performance calligraphy was conceived by Kenji
calligraphy, some almost 130 cm long. It is performed
Kiyohara, an adviser to the calligraphy club of SeihĹ?
on large canvases, sometimes as much as ten meters
High School in Buzen, Fukuoka Prefecture. The club
long and five meters wide.In the vast majority of cases
first demonstrated the new style of calligraphy in 1993
it is performed by women, and performers usually
at a hotel function celebrating their national title victo-
wear traditional Japanese hakama.
ry at the International High School ShodĹ? Exhibition.
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This performer makes use of a larger, mop like brush to create work across a larger canvas.
In Japan there is a national tournament dedicated to performance calligraphy, called the Shodō Performance Kōshien. It was proposed by Kazutaka Hattori, then a calligraphy club advisor at Mishima High School, in Shikokuchūō, Ehime Prefecture The tournament was first held in Shikokuchūō in 2008, with three high schools participating and an audience of 300 people. The fourth Shodō Performance Kōshien in July 2011 saw fifteen schools participate, and an audience of 3,500 people.
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PERFORMANCE CALIGRAPHY
After completeing a work, artist will place the caligraphy on the wall to observe its fulness or make adjustments.
Rise in popularity Recently, calligraphy performances have become a
According to the Asahi Shimbun newspaper, perfor-
popular method among young calligraphers to reach
mance calligraphy has been criticized as “not calligraphy”.
an audience, rather than exhibiting works after they
The newspaper quotes an unnamed expert as saying, “In
are complete. The performance idea has gained the
calligraphy there is a tradition of writing in public, so it
calligraphic art new fans. Calligraphy expresses a
is not rare to create calligraphy in front of people. How-
person’s personality and gives a good insight into that
ever, in the present performances the influence of things
person’s way of life. It touches the heart and manages
outside calligraphy is too strong.” On the other hand, the
to clear the mind.
newspaper also says that many experts are of the opinion that the experience of performing can help calligraphy students in their more traditional work.
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National Tournament In Japan there is a national tournament dedicated to performance calligraphy, called the Shodō Performance Kōshien. It was proposed by Kazutaka Hattori, then a calligraphy club advisor at Mishima High School, in Shikokuchūō, Ehime Prefecture. The tournament was first held in Shikokuchūō in 2008, with three high schools in toal, participating and an audience of 300 people. The fourth Shodō Performance Kōshien in July 2011 saw fifteen schools participate, and an audience of 3,500 people.
Performing caligraphy on a larger scale canvas is extremely challenging. The artist’s entire body becomes the instrument.
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PERFORMANCE CALIGRAPHY
Simple. Beautiful. A primary component of caligraphy is simplicity. It’s the minimalism in its structure that draws the eye towards its curves, visual language, and story.
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THE WORDS UNSPOKEN
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The Words Unspoken
Japanese calligraphy is like images without form, music without sound.
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For smaller or formal implimentation of caligraphy, specialized pens can be used.
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THE WORDS UNSPOKEN
Poetry in Motion Japanese caligraphy takes on a life of its own through the expression of the individual taking part in its creation. Much like typography, life is breathed into the character via the artist. The distinction in between the individual styles lends to a variety of caligraphic expressions, each unique in ther own right. It is in this distinction that history holds weight. The years of practice, dicipline, and work put into these characters hold respect in a powerful way.
Semi-cursive script: “color�
Early Japanese calligraphy was originated from Chinese calligraphy. Many of its principles and techniques are very similar, and it recognizes the same basic writing styles, but the character came to take on the properties of their interpreters.
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It’s in this interpretation where caligraphy finds a unique
Semi-cursive scrupt Kanji
typographical voice. Each stroke is measured in its strength, style, and writing dicipline. The artist plays a direct role in how the sign is formed, and how it is seen.
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THE WORDS UNSPOKEN
Aizu Yaichi (1881-1956) Calligraphy is a very popular pastime in Japan, and there is a huge network of national and local shodo organizations covering Japan. Some particularly famous Japanese calligraphers include Ono no Michikaze (894-966), Konoe Nobutada (1565-1614), Onoe Saishu (1876-1957), Ingen Ryuki (1592-1673), and Aizu Yaichi (1881-1956).
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Aizu Yaichi | Yaichi Ki-Kikuuuto
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More than a Brush Calligraphy is considered an art form tied to Zen thought and Buddhism. To perform Calligraphy harmoniously and balanced, one must reach a “no mind state� (Mushin). This is a state in which the individual is freed from hesitation and doubt, allowing the writer to create a beautiful character using little effort, yet with fluidity and spiritual grace. Everything from the lines, space and points matter.
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A Piece of the Past Japanese Caligraphy’s history is long and far reaching. It’s roots serve as the foundation of cultural education, and a connection to the past. The philosophies, dicipline, and ways of life that surround caligraphy should be treasure
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Japanese Caligraphy Art Exhibit (Singapore)
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ABOUT THE BOOK Japanese Caligraphy, specifically the presentation of the painstakingly created Kanji, is a writing style fueled by dicipline and personal expression. The attention to detail in every brush stroke, and the materials required to create these characters hold weight and respect to them. This book seeks to stylistically present the illstrations of these uniqe characters, their function, and history.
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