Japanese Calligraphy - Wikipedia

8/10/2019 Japanese Calligraphy - Wikipedia

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Japanese calligraphyFrom Wikipedia, the free encyclopedia

Japanesecalligraphy(shod) is a form of calligraphy, or artistic writing, of the Japanese language.For a long time, themost esteemed calligrapher in Japan had been Wang Xizhi, a Chinese calligrapher inthe 4th century, but after the inventionof Hiragana and Katakana, the Japanese unique syllabaries, thedistinctive Japanese writing system developed and calligraphers produced styles intrinsic to Japan.

Contents

1 Techniques

2 Tools

3 History

3.1 Chinese roots

3.2 Before the Nara period

3.3 Heian Period

3.4 Kamakura and Muromachi period

3.5 Edo period

3.6 Today

4 Connection to Zen Buddhism

5 See also

6 Notes

7 References

8 External links

Techniques

Japanese calligraphy shares its roots with Chinesecalligraphy and many of its principles and techniques arvery similar and recognizes the same basic writing styles:

seal script (tensho) (pinyin:zhunsh)

clerical script (reisho) (pinyin: lsh)

regular script (kaisho) (pinyin: kish)

semi-cursive (gysho) (pinyin:xngsh)

cursive (ssho) (pinyin: cosh).

Tools
http://en.wikipedia.org/wiki/Cursive_script_(East_Asia)http://en.wikipedia.org/wiki/Pinyinhttp://en.wikipedia.org/wiki/Pinyinhttp://en.wikipedia.org/wiki/Pinyinhttp://en.wikipedia.org/wiki/Semi-cursive_scripthttp://en.wikipedia.org/wiki/Pinyinhttp://en.wikipedia.org/wiki/Regular_scripthttp://en.wikipedia.org/wiki/Pinyinhttp://en.wikipedia.org/wiki/Clerical_scripthttp://en.wikipedia.org/wiki/Pinyinhttp://en.wikipedia.org/wiki/Japanese_writing_systemhttp://en.wikipedia.org/wiki/Japanhttp://en.wikipedia.org/wiki/Wang_Xizhihttp://en.wikipedia.org/wiki/Pinyinhttp://en.wikipedia.org/wiki/Chinese_calligraphyhttp://en.wikipedia.org/wiki/Clerical_scripthttp://en.wikipedia.org/wiki/Japanese_languagehttp://en.wikipedia.org/wiki/Japanhttp://en.wikipedia.org/wiki/Calligraphyhttp://en.wikipedia.org/wiki/Cursive_script_(East_Asia)http://en.wikipedia.org/wiki/Seal_scripthttp://en.wikipedia.org/wiki/Japanese_writing_systemhttp://en.wikipedia.org/wiki/Pinyinhttp://en.wikipedia.org/wiki/Pinyinhttp://en.wikipedia.org/wiki/Katakanahttp://en.wikipedia.org/wiki/Regular_scripthttp://en.wikipedia.org/wiki/Pinyinhttp://en.wikipedia.org/wiki/Hiraganahttp://en.wikipedia.org/wiki/Pinyinhttp://en.wikipedia.org/wiki/Wang_Xizhihttp://en.wikipedia.org/wiki/Writinghttp://en.wikipedia.org/wiki/Syllabarieshttp://en.wikipedia.org/wiki/Semi-cursive_script


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A traditional inkstone to grind ink

and water against on.

A typical brush used for calligraphy.

In modern calligraphy, a number of tools are used to make a

composition. See "the four treasures".[1]Traditionally these toolsare:

An inkstick (sumi). The older the inkstick is, the better it

is. The best inksticks are between 50 and 100 years old.

Mulberry paper (washi)

An inkstone (suzuri) to grind the inkstick against, mixed

with water.

A paper weight (bunchin) to hold the paper in place

A cloth (shitajiki) to place under the paper (often

newsprint is used as well) to prevent ink from bleeding

through.

A brush (fud)

A seal.[1]

The art of engraving a seal is called "tenkoku".The student is encouraged to engrave his own seal. The

position of the seal or the seals is based on aesthetic views.

One is not allowed to put a seal on a sutra's calligraphy.

During preparation, water is poured into the inkstone and theinkstick is ground against it, mixing the water with the dried ink to liquefy it. As this is a time-consuming

process, modern-day calligraphy provides liquid ink in a bottle called Bokuju (bokuj) and isfrequently used by beginners. More advanced students are encouraged to grind their own ink. The

traditional and best position for calligraphy (as for ink painting) is on the ground.

The brushes come in various shapes and sizes, and are usually made using animal hair for the bristles.Typical animal hair may come from goats, sheep, horse-hair, etc. The handle may be made from wood,

bamboo, plastic or other materials.[2]

History

Chinese roots

The Chinese roots of Japanese calligraphy go back to the twenty-eighth century B.C., to a time whenpictographs were inscribed on bone for religious purposes. When this writing developed into an instrumenof administration for the state, the need for a uniform script was felt and Li Si, prime minister in theChinese dynasty of Qin, standardized a script and its way of being written. He sanctioned a form of script

based on squares of uniform size into which all characters could be written from eight strokes. He alsodevised rules of composition where horizontal strokes are written first and characters are composed startinfrom top to bottom, left to right. Because the symbols were inscribed with sharp instruments, the lines weroriginally angular and in many ways Li Si's achievements were made obsolete by the appearance of brushand ink (see Chinese calligraphy). The ink-wet brush creates a line quite different from a sharp stylus. It
http://en.wikipedia.org/wiki/Qin_(state)http://en.wikipedia.org/wiki/Chinese_characterhttp://en.wikipedia.org/wiki/File:Japanese_Calligraphy_Inkstone.jpghttp://en.wikipedia.org/wiki/File:Japanese_Calligraphy_Brush.jpghttp://en.wikipedia.org/wiki/Chinese_calligraphyhttp://en.wikipedia.org/wiki/Washihttp://en.wikipedia.org/wiki/Inkstickhttp://en.wikipedia.org/wiki/Oracle_boneshttp://en.wikipedia.org/wiki/Li_Sihttp://en.wikipedia.org/wiki/Pictographshttp://en.wikipedia.org/wiki/Small_Seal_Script


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Inscription on the halo of the statueof the Medicine Buddha, Hry-ji

Temple

Written in the 7th centuryGakki-ron, written by the Empress

Komyo in 744. She copied this text

from Chinese calligrapher Wang

Xizhi's and today this is regarded as

one of the most important copies of

Wang Xizhi's calligraphy. (see also:

File:Gakkiron 2.jpg)

affords variation in thickness and curve of line. Calligraphy retained the block form of Li Si and his eightstrokes but the writer was free to create characters that emphasized aesthetically pleasing balance and formThe way a character was written gave a message of style.

Calligraphy in the Chinese tradition was thus introduced to Japan about 600 A.D. Known as the karay()tradition, it has been practiced up to today, rejuvenated continuously through contact with Chinese

culture.[3]

The oldest existing calligraphic text in Japan is the inscription on the halo of the Medicine Buddha statue ithe Hry-ji Temple. This Chinese text was written in Shakeitai() style, prominent in the Chinese Six Dynasties period.

Before the Nara period

The Hry-ji Temple alsoholds bibliographic notes onthe Lotus Sutra: theHokkeGisho() waswritten early in the 7thcentury and is considered theoldest Japanese text. It iswritten in Cursive script andillustrates that calligraphy inthe Asuka period wasalready refined to a highdegree.

The oldest hand-copied sutra

in Japan is the KongJdaraniky. Copied by the

priest Hrin in 686 A.D., thecalligraphy style showsinfluences from the work ofOuyang Xun.

"Broken Stone in Uji Bridge" (ujibashi danpi) (mid-7century) and Stone in Nasu County"Stone in Nasu County" (nasu kokuz hi) are also typical examples from this time. Both

inscriptions were influenced by the Northern Wei robust style.

In the 7th century, the Tang Dynasty established hegemony in China. Their second Emperor Taizongesteemed Wang Xizhi's calligraphic texts and this popularity influenced Japanese calligraphers. All of theoriginal texts written by Wang Xizhi have been lost, and copies such as Gakki-ron()written by theEmpress Komyo are highly regarded as important sources for Wang Xizhi's style. However Wang'sinfluence can barely be overstated, in particular for the way()style unique to Japan: "Even today,

there is something about Japanese calligraphy that retains the unchanged flavour of Wang Xizhi's style".[4

Heian Period
http://en.wikipedia.org/wiki/Sangy%C5%8D_Gisho#Hokke_Gishohttp://en.wikipedia.org/wiki/File:Inscription_on_the_halo_of_the_statue_of_Bhaisajyaguru.jpghttp://en.wikipedia.org/wiki/Bhaisajyaguruhttp://en.wikipedia.org/wiki/Tang_Dynastyhttp://en.wikipedia.org/wiki/Wang_Xizhihttp://en.wikipedia.org/wiki/Wang_Xizhihttp://en.wikipedia.org/wiki/Emperor_Taizong_of_Tanghttp://en.wikipedia.org/wiki/Chinese_languagehttp://en.wikipedia.org/wiki/Broken_Stone_in_Uji_Bridgehttp://en.wikipedia.org/wiki/Lotus_Sutrahttp://en.wikipedia.org/wiki/H%C5%8Dry%C5%AB-jihttp://en.wikipedia.org/wiki/Empress_Komyohttp://en.wikipedia.org/wiki/Northern_Weihttp://en.wikipedia.org/wiki/Empress_Komyohttp://en.wikipedia.org/wiki/Six_Dynastieshttp://en.wikipedia.org/wiki/Asuka_periodhttp://en.wikipedia.org/wiki/Chinese_calligrapherhttp://en.wikipedia.org/wiki/File:Gakkiron_2.jpghttp://en.wikipedia.org/wiki/Kong%C5%8D_J%C5%8Ddaraniky%C5%8Dhttp://en.wikipedia.org/wiki/File:Gakkiron_1.jpghttp://en.wikipedia.org/wiki/Ouyang_Xunhttp://en.wikipedia.org/wiki/Wang_Xizhihttp://en.wikipedia.org/wiki/Cursive_script_(East_Asia)http://en.wikipedia.org/wiki/H%C5%8Dry%C5%AB-jihttp://en.wikipedia.org/w/index.php?title=Bhaisayaguru&action=edit&redlink=1http://en.wikipedia.org/wiki/H%C5%8Dry%C5%AB-ji


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Cry for noble Saich(),

which was written by Emperor Saga

for Saich's death. Saga was a schola

of the Chinese classics. He was also

renowned as a skillful calligrapher.

A manuscript in Fujiwara no Teika's

hand of "Superior Poems of our

Time", showing his calligraphic style

Emperor Kammu moved the capital from Heij-ky in Nara, first toNagaoka-ky in 784, and then to Heian-ky, Kyoto in 794. Thismarks the beginning of the Heian era, Japan's "golden age". Chineseinfluences in calligraphy were not changed in the early period. Forexample, under the Emperor Saga's reign, royalty, the aristocracyand even court ladies studied calligraphy by copying Chinese poetrytexts in artistic style.

Wang Xizhi's influences remained dominant, which are shown incalligraphies written by Kkai or Saich. Some other Chinesecalligraphers, such as Ouyang Xun and Yan Zhenqing were alsohighly valued. Their most notable admirers were Emperor Saga andTachibana no Hayanari respectively.

At the same time, a style of calligraphy unique to Japan emerged.Writing had been popularized, and the kanasyllabary was devisedto deal with elements of pronunciation that could not be written withthe borrowed Chinese characters. Japanese calligraphers still fitted

the basic characters, called kanji(), into the squares laid outcenturies before. Soukou Shujitsuis considered the first text to showa style unique to Japanese calligraphy. This Tanka ()poem waswritten in 749 A.D., and shows some differences from Chinesecalligraphy. Ono no Michikaze (894-966 A.D.), one of the so-called

anseki(, "Three Brush Traces"), along with Fujiwara noSukemasa and Fujiwara no Yukinari, is considered the founder ofthe authentically Japanese way()style, or way-shod(). This development resonated withthe court: Kkai said to Emperor Saga, "China is a large country and Japan is relatively small, so I suggestwriting in a different way." The "Cry for noble Saich" (koku Saich shounin), a poem writte

by Emperor Saga on the occasion of Saich's death, was one of the examples of such a transformation. Onno Michikaze served as an archetype for the Shren-inschool, which later became the Oiestyle ofcalligraphy. The Oiestyle was later used for official documents in the Edo period and was the prevailingstyle taught in the terakoya()schools of that time.

Kamakura and Muromachi period

The ascension of Minamoto Yoritomo to the title of Shogun,following the Hgen and Heiji rebellions, and the victory of theMinamoto clan over the Taira, marked the beginning of the

Kamakura period (11851333 A.D.), but not quite yet to a return topeace and tranquility. The era is sometimes called "the age of thewarriors" and a broad transition from court influences to a leadingrole of the military establishment pervaded the culture. It is also,however, a time when exchanges with China of the Song dynastycontinued and Buddhism greatly flourished. Zen monks such asShunjo studied in China and the copybooks that he brought with himare considered highly influential for the karay()tradition of

the time, expressing a clear kaisho style.[5]But this was not the onlyexample, indeed a succession of Chinese monks was naturalized at that time, encouraged by regent Hj
http://en.wikipedia.org/wiki/Song_dynastyhttp://en.wikipedia.org/wiki/Heian-ky%C5%8Dhttp://en.wikipedia.org/wiki/Fujiwara_no_Teikahttp://en.wikipedia.org/wiki/Ono_no_Michikazehttp://en.wikipedia.org/wiki/Emperor_Kammuhttp://en.wikipedia.org/wiki/Chinese_poetryhttp://en.wikipedia.org/wiki/Kanjihttp://en.wikipedia.org/wiki/Regular_scripthttp://en.wikipedia.org/wiki/Saich%C5%8Dhttp://en.wikipedia.org/wiki/Ouyang_Xunhttp://en.wikipedia.org/wiki/Nagaoka-ky%C5%8Dhttp://en.wikipedia.org/wiki/Tachibana_no_Hayanarihttp://en.wikipedia.org/wiki/Saich%C5%8Dhttp://en.wikipedia.org/wiki/Emperor_Sagahttp://en.wikipedia.org/wiki/Taira_clanhttp://en.wikipedia.org/wiki/Minamoto_Yoritomohttp://en.wikipedia.org/wiki/Chinese_languagehttp://en.wikipedia.org/wiki/Saich%C5%8Dhttp://en.wikipedia.org/wiki/Emperor_Sagahttp://en.wikipedia.org/wiki/Heian_erahttp://en.wikipedia.org/wiki/Buddhismhttp://en.wikipedia.org/wiki/Edo_periodhttp://en.wikipedia.org/wiki/Kanahttp://en.wikipedia.org/wiki/Minamoto_clanhttp://en.wikipedia.org/wiki/Shogunhttp://en.wikipedia.org/wiki/Emperor_Sagahttp://en.wikipedia.org/wiki/Capital_of_Japanhttp://en.wikipedia.org/wiki/Fujiwara_no_Sukemasahttp://en.wikipedia.org/wiki/Sansekihttp://en.wikipedia.org/wiki/Yan_Zhenqinghttp://en.wikipedia.org/wiki/File:Koku_Saitcho_shounin.jpghttp://en.wikipedia.org/wiki/Fujiwara_no_Yukinarihttp://en.wikipedia.org/wiki/K%C5%ABkaihttp://en.wikipedia.org/wiki/Nara,_Narahttp://en.wikipedia.org/wiki/K%C5%ABkaihttp://en.wikipedia.org/wiki/Calligraphyhttp://en.wikipedia.org/wiki/Waka_(poetry)http://en.wikipedia.org/wiki/Ono_no_Michikazehttp://en.wikipedia.org/wiki/Kamakura_periodhttp://en.wikipedia.org/wiki/H%C5%8Dgen_Rebellionhttp://en.wikipedia.org/wiki/Heiji_Rebellionhttp://en.wikipedia.org/wiki/H%C5%8Dj%C5%8D_Tokiyorihttp://en.wikipedia.org/wiki/Heij%C5%8D-ky%C5%8Dhttp://en.wikipedia.org/wiki/Emperor_Sagahttp://en.wikipedia.org/wiki/File:Teika-calligraphy.gif


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A fragment from the "100 Poets

anthology" calligraphy by Hon'ami

Ketsu.

Tokiyori. Rankei Dory founded the Kench-ji temple in Kamakura and many of his works have beenpreserved. However, with the rise of the Rinzai school of Zen Buddhism a less technical style appeared,representative of Zen attitudes and exemplified in the works of Mus Soseki who wrote in a refined soshostyle, or Shh Mycho (12821337 better known as Daito Kokushi), the founder of Daitoku-ji in Kyoto,who had not traveled to China to study. In terms of way()style, the works of Fujiwara no Shunzei

and Fujiwara no Teika are considered outstanding examples of the late Heian and early Kamakura.[6]

Political and military unrest continued throughout the Muromachi period (1336-1537 A.D.), characterizedby tensions between imperial and civil authority and periods of outright civil war. However, as AshikagaTakauji had ousted Emperor Go-Daigo from Kyoto to establish his own bakufuthere, the intermingling ofresidual members of the imperial court, courtiers, daimyo, samurai, and Zen priests resulted in vibrantcultural impulses. The arts prospered, but are not considered as refined as that of earlier times. Of note isthe role of Ikky Sjun, a successor of Shh Mycho at Daitoku-ji Ikky was instrumental in elevating

the appreciation of calligraphy to an integral part of the tea ceremony in the 15th century.[7]

Edo period

Tokugawa Ieyasu centralized power in his shogunate between 1603and 1615. This marked the beginning of the Edo period, whichbrought 250 years of relative stability to Japan, lasting until thesecond half of the 19th century. The period was marked by anemphasis on the values of the bushi()and seclusion fromoverseas influences with the Sakoku(lit. locked country, orchained country) policy. Calligraphic studies were essentiallylimited to the study of karay()style works, via Ming DynastyChina. Indigenous developments were contributed by Ingen and thebaku sect of Zen buddhism, and the Daishi school of calligraphy.

The latter focused on the study of the "eight principles of thecharacteryong" (eiji happ), which go back to Wang Xizhi, and the and 72 types of hissei(lit."brush energy") expounded by Wang Xizhi's teacher, the Lady Wei. The 1664 reprint of a copybook based

on these principles in Kyoto contributed an important theoretical development.[8]Calligraphers such asHosoi Kotaku, who authored the five-volumeKanga Hyakudanin 1735, further advanced the karay()style. Very characteristic for the early Edo period was an innovation by Hon'ami Ketsu (15581637)who had paper made to order and painted a backdrop of decorative patterns, butterflies or floral elementsthat his calligraphy established a poetic correspondence with. Together with Konoe Nobutada (15651614and Shkad Shj (15841639) - the threeKan'ei Sanpitsu()- he is considered one of thegreatest calligraphers in the way()style at the time, creating examples of "a uniquely Japanese

calligraphy".[9]

Around 1736 Yoshimune began relaxing Japan's isolation policy and Chinese cultural imports increased, inparticular via the port of Nagasaki. Catalogues of imported copybooks testify to a broad appreciation ofChinese calligraphers among the Japanese literati who pursued the karaystyle: "traditionalists" studiedWang Xizhi and Wen Zhengming, while "reformists" modeled their work on the sosh style ofcalligraphers such as Zhang Xu, Huai Su and Mi Fu. In terms of way, Konoe Iehiro contributed many fin

kana works but generally speaking, waystyle was not as vigorously practised as karayat that time.[10]

Nevertheless some examples have been preserved by scholars of kokugaku(National studies), or poeand painters such as Kaga no Chiyo, Yosa Buson or Sakai Hoitsu.
http://en.wikipedia.org/wiki/Konoe_Iehirohttp://en.wikipedia.org/wiki/Tokugawa_Yoshimunehttp://en.wikipedia.org/wiki/Kyotohttp://en.wikipedia.org/wiki/Zenhttp://en.wikipedia.org/wiki/Tokugawa_Ieyasuhttp://en.wikipedia.org/wiki/Fujiwara_no_Teikahttp://en.wikipedia.org/wiki/%C5%8Cbakuhttp://en.wikipedia.org/wiki/Kamakura_periodhttp://en.wikipedia.org/wiki/Japanese_tea_ceremonyhttp://en.wikipedia.org/wiki/Kench%C5%8D-jihttp://en.wikipedia.org/wiki/Ming_Dynastyhttp://en.wikipedia.org/wiki/Kokugakuhttp://en.wikipedia.org/wiki/Eight_Principles_of_Yonghttp://en.wikipedia.org/wiki/Wen_Zhengminghttp://en.wikipedia.org/wiki/Edo_periodhttp://en.wikipedia.org/wiki/Daimyohttp://en.wikipedia.org/wiki/Bushid%C5%8Dhttp://en.wikipedia.org/wiki/Fukuda_Chiyo-nihttp://en.wikipedia.org/wiki/Wang_Xizhihttp://en.wikipedia.org/wiki/Daitoku-jihttp://en.wikipedia.org/wiki/Daitoku-jihttp://en.wikipedia.org/wiki/Ashikaga_Takaujihttp://en.wikipedia.org/wiki/Rinzai_schoolhttp://en.wikipedia.org/wiki/Ingenhttp://en.wikipedia.org/wiki/Emperor_Go-Daigohttp://en.wikipedia.org/wiki/Nagasakihttp://en.wikipedia.org/wiki/Zen_Buddhismhttp://en.wikipedia.org/wiki/Sh%C5%8Dkad%C5%8D_Sh%C5%8Dj%C5%8Dhttp://en.wikipedia.org/wiki/Wei_Shuohttp://en.wikipedia.org/wiki/Kyotohttp://en.wikipedia.org/wiki/Konoe_Nobutadahttp://en.wikipedia.org/wiki/Sakai_Hoitsuhttp://en.wikipedia.org/wiki/File:Honami_K%C5%8Detsu_100_Poets_Anthology_section.jpghttp://en.wikipedia.org/wiki/Muromachi_periodhttp://en.wikipedia.org/wiki/Sanpitsuhttp://en.wikipedia.org/wiki/Kamakura,_Kanagawahttp://en.wikipedia.org/wiki/Huai_Suhttp://en.wikipedia.org/wiki/Heian_erahttp://en.wikipedia.org/wiki/Samuraihttp://en.wikipedia.org/wiki/Mi_Fuhttp://en.wikipedia.org/wiki/Wang_Xizhihttp://en.wikipedia.org/wiki/Fujiwara_no_Shunzeihttp://en.wikipedia.org/wiki/Yosa_Busonhttp://en.wikipedia.org/wiki/Zhang_Xu_(calligrapher)http://en.wikipedia.org/wiki/Honami_K%C5%8Detsuhttp://en.wikipedia.org/wiki/Shogunhttp://en.wikipedia.org/wiki/Sakokuhttp://en.wikipedia.org/wiki/Ikky%C5%ABhttp://en.wikipedia.org/wiki/Honami_K%C5%8Detsuhttp://en.wikipedia.org/wiki/H%C5%8Dj%C5%8D_Tokiyorihttp://en.wikipedia.org/wiki/Mus%C5%8D_Sosekihttp://en.wikipedia.org/wiki/Wang_Xizhi


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Calligraphy by

Mus Soseki

(12751351,

Japanese zen

master, poet,

and calligrapher

The characters""

("no spiritual

meaning") are

written in a

flowing,

connectedsosh

style.

Today

Calligraphy is an elementary school subject in the Japanese mandatory education system. In high school,calligraphy is one of the choices among art subjects, along with music or painting. It is also a popular high

school club activity, particularly with the advent of performance calligraphy.[11]Some universities, such aUniversity of Tsukuba, Tokyo Gakugei University and Fukuoka University of Education, have specialdepartments of calligraphic study that emphasize teacher-training programs in calligraphy.

Japanese calligraphy has also fascinated many Western artists through the centuries mainly calligrapherthemselves, but famous artists as well, who studied and practiced calligraphy as a parallel to their own art(see also list of prominent calligraphers).

Connection to Zen Buddhism

Japanese calligraphy was influenced by, and influenced, Zen thought. For anyparticular piece of paper, the calligrapher has but one chance to create with the brush.The brush strokes cannot be corrected, and even a lack of confidence shows up in the

work. The calligrapher must concentrate and be fluid in execution. The brush writes astatement about the calligrapher at a moment in time (see Hitsuzendo, the Zen way ofthe brush). Through Zen, Japanese calligraphy absorbed a distinct Japanese aestheticoften symbolised by the ens or circle of enlightenment.

Zen calligraphy is practiced by Buddhist monks and mostshodpractitioners. To writeZen calligraphy with mastery, one must clear one's mind and let the letters flow out ofthemselves, not practice and make a tremendous effort. This state of mind was calledthe mushin("no mind state") by the Japanese philosopher Nishida Kitaro. It is

based on the principles of Zen Buddhism, which stresses a connection to the spiritual

rather than the physical.[12]

Before Japanese tea ceremonies (which are connected to Zen Buddhism), one is to lookat a work ofshodto clear one's mind. This is considered an essential step in the

preparation for a tea ceremony.[12]
http://en.wikipedia.org/wiki/Buddhismhttp://en.wikipedia.org/wiki/Fukuoka_University_of_Educationhttp://en.wikipedia.org/wiki/Nishida_Kitarohttp://en.wikipedia.org/wiki/Elementary_schoolhttp://en.wikipedia.org/wiki/List_of_prominent_calligraphershttp://en.wikipedia.org/wiki/Ens%C5%8Dhttp://en.wikipedia.org/wiki/Japanese_aestheticshttp://en.wikipedia.org/wiki/Tokyo_Gakugei_Universityhttp://en.wikipedia.org/wiki/Mushinhttp://en.wikipedia.org/wiki/Zen_Buddhismhttp://en.wikipedia.org/wiki/Hitsuzendohttp://en.wikipedia.org/wiki/File:Muso_Soseki_3.jpghttp://en.wikipedia.org/wiki/Mus%C5%8D_Sosekihttp://en.wikipedia.org/wiki/Performance_calligraphyhttp://en.wikipedia.org/wiki/Zenhttp://en.wikipedia.org/wiki/Mandatory_educationhttp://en.wikipedia.org/wiki/University_of_Tsukubahttp://en.wikipedia.org/wiki/Japanese_tea_ceremony


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Wikimedia Commons hasmedia related to Japanesecalligraphy.

See also

List of prominent calligraphers

List of National Treasures of Japan (writings)

Sumi-e (Japanese ink painting) is related in method.

Notes

1. ^ abYuuko Suzuki, Introduction to japanese calligraphy, Search Press, 2005

2. ^"About.com: Japanese Calligraphy Brushes" (http://japanese.about.com/od/calligraphy/a/082298.htm).

Retrieved 7 January 2013.

3. ^Nakata 1973, p. 145 ff.

4. ^Nakata 1973, p. 170

5. ^Nakata 1973, p. 153

6. ^Nakata 1973, p. 166

7. ^Nakata 1973, p. 156

8. ^Nakata 1973, p. 157

9. ^Nakata 1973, p.168

10. ^Nakata 1973, p.169

11. ^Inagaki, Naoto (January 29, 2012). "Performance calligraphy touches on essence of art form"

(http://ajw.asahi.com/article/globe/feature/calligraphy/AJ201201290029). Asahi Shimbun. Retrieved May 1, 201

12. ^ abSolana Yuko Halada. "Shodo History" (http://www.zenshodo.com/history.htm).Japanese Calligraphy in

Zen Spirit.

References

Nakata, Yujiro (1973). The Art of Japanese Calligraphy. New York/Tokyo: Weatherhill/Heibonsha.

ISBN 0-8348-1013-1.

History of Japanese calligraphy(), Hachiro ONOUE (), 1934

Yuuko Suzuki,Introduction to japanese calligraphy, Search Press, 2005.

External links

Shodo Journal Research Institute (http://www.shodo-

journal.com/)

Japanese Calligraphy in Zen Spirit

(http://www.zenshodo.com/)

Brush Calligraphy Galleries (http://www.skyren-art.com/ja.html)

Japanese Calligraphy galleries and more (hungarian language) (http://japan.kalligrafiaklub.hu/)
http://en.wikipedia.org/wiki/List_of_National_Treasures_of_Japan_(writings)http://japanese.about.com/od/calligraphy/a/082298.htmhttp://www.skyren-art.com/ja.htmlhttp://en.wikipedia.org/wiki/Sumi-ehttp://ajw.asahi.com/article/globe/feature/calligraphy/AJ201201290029http://www.zenshodo.com/http://en.wikipedia.org/wiki/List_of_prominent_calligraphershttp://www.zenshodo.com/history.htmhttp://en.wikipedia.org/wiki/Special:BookSources/0-8348-1013-1http://en.wikipedia.org/wiki/International_Standard_Book_Numberhttp://japan.kalligrafiaklub.hu/http://commons.wikimedia.org/wiki/Category:Japanese_calligraphyhttp://www.shodo-journal.com/


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The History of Japanese Calligraphy (http://www.beyondcalligraphy.com/japanese_calligraphy.htm

In English, at BeyondCalligraphy.com

Bridge of dreams: the Mary Griggs Burke collection of Japanese art

(http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/153737), a

catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which

contains material on Japanese calligraphy

Retrieved from "http://en.wikipedia.org/w/index.php?title=Japanese_calligraphy&oldid=640496470"

Categories: D East Asian calligraphy Japanese culture Japanese crafts Calligraphy

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Japanese Calligraphy - Wikipedia

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