Shodo

Shodo

The literal translation of Shodo is "the way of writing beautifully". It is a common word used to describe japanese calligraphy, and speaks volumes about itself. Calligraphy of the Far East, including Japan, has had a definition on asthetics in a way that never occured anywhere in the West. Going far beyond the purpose of utility, japanese calligraphy is an art form, an expression of spirituality, and a strong tradition in the East. It's technics and forms are run from whispy, thin and abstract to thick and geometric, so much so that certain form can be quite difficult to read.

Materials

The Four Treasures of Calligraphy

The four materials needed in calligraphy are brush, ink, ink, stone, and paper, and are known as The Four Treasures of Calligraphy. The original four are the brush, the ink, the inkstone and paper. A paperweight, or bunchin, can also be common place and help hold the paper still while writing, and a black pad, the shitajiki is also sometimes used to prevent ink from penetrated through the paper onto the table.

The Evolution of Calligraphy

Calligraphy can be traced back to beginning 3500 yrs ago, in China. The first types of calligraphy found were called kokotsu-bun, or "shell-and-bone script". They were simple pictographs, sometimes carved into bones or tortoise shells. Typically the characters would not be uniform in shape or size, but still maintain a clear connection to what they represented. Some of them were simply carvings, while others were incised in bronze vessels, which were called kin-bun, or "bronze script".

This form of calligraphy was gradually reformed, and standardized. Eventually it became a new form of calligraphy in itself, called daiten, or "greater seal script". This form was used during the Ch'in Dynasty in China, from 221 to 206 B.C.E. These characters were further standardized to become shoten, or "lesser seal script". Shoten is today commonly used in seals today. The combination of the two became tensho, or "seal script".

Further still calligraphy evolved to reisho, "scribe's script", which was characterized by strong horizontal lines. Then sosho, "grass script" (or "cursive scritpt"), which was basically reisho written rapidly and fluidly. It was followed by kaisho, "standard script, and gyosho", "running script" (or semi-cursive script).

The word "dream" as done by a processor.



The worde "dream" done in Kaisho. (standard)


The word "dream" done in Gyosho (semi-cursive)



The word "dream" done in Sosho (cursive)

Sho (The Art of Zen Calligraphy)

Sho

Sho is the art of brush calligraphy, which is highly regarded both in the Far East and the West as an art form. It teaches not only technic, but also applies Zen and Buddhist teachings to those who practice it. The term sho refers not only to the calligraphy on the page, but the brush, the hand that painted it and the artist. To properly practice sho the brush must become one and an extention of the body. The artist puts their whole body into what they are doing, and therefore even painting a single verticle line, or mujibo, speaks volumes of a persons character, personnality and spirit.

"A person whose heart is clouded will not be able to draw a line that shines with purity. A person shallow in experience or cultivation cannot draw a line that reveals depth. A person lacking vitality will not draw a line that resonates with energy. Even a single straight line can be a mirror of the spirit." (Terayama page. 7)

Hitsuzendo "The Way of the Zen Brush"

Hitsuzendo is a form of calligraphy which is based on the principles of Zen, and is a form of sho. Those who practice it often meditate or do breathing excercises. It is believed that calligraphy should not be produced by conscious effort, but rather in a state of ma-shin, or "no mind". They must reach a state which is beyond conscious effort, thought and emotion. They believe that if the characters are produced through a conscious effort, that they are ultimately devoid of spirit and lifeless.
When they write, it is in one or few simple movements, with the objective of caputuring an experience into the calligraphy, and giving it life. The calligrapher exhales slowly with each stroke, putting his 'life force' into the brush, uniting it with himself. The practice is suppose to result in a product devoid of will power and impulse.

Edomoji

Edomoji

Edomoji are a group of styles of calligraphy created in Japan during the Edo period, originally intended for posters and other advertising. They are still used today, but are nevertheless not typically taught to calligraphy students. Although the style of writing can be understood by the Chinese, it is a distinctly japanese style of calligraphy, and is therefore even today still used to advertise japanese restaurants and entertainement. There are seven basic forms of Edomoji.

Kanteiryu

Created by Okazaki Yakanroku, it is used to advertise Kabuki.

Yosemoji


Literal meaning "letters to draw in customers".

Kagomoji




Literal meaning "cage letters". It is characterised by its thick, square shape.

Higemoji

Characterised by its whispy look.

Sumomoji


Used to advertise sumo events.

Chochin

Used on hanging paper laterns.

Kakuji


Rectangular in shaped, it is used usually for making seals.

Bibliography

Books

Terayama, Tanchu, Zen Brushwork: Focusing the Mind with Calligraphy and Painting, New York, Kodansha International, 2003

Websites

http://www.japanese-name-translation.com/site/about_japanese_calligraphy.html
http://www.tooter4kids.com/Japan/calligraphy.htm
http://www.sljfaq.org/w/Edomoji
http://en.wikipedia.org/wiki/Edomoji
http://en.wikipedia.org/wiki/Japanese_calligraphy