#: locale=en
## Tour
### Description
### Title
tour.name = DŌ: THE PATH OF SHOKO KANAZAWA
## Skin
### Dropdown
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DropDown_0561BA16_3AA3_A1D2_41C7_FDA0B6E9EE29_mobile.label = List of panoramic views
### Multiline Text
HTMLText_210E69FB_152F_9C00_419E_A24E24CB316F.html = Paper
Shodō paper is made from long vegetable fibers to resist the moisture from the ink. The plant to be used must be boiled several times, then softened and processed to release its fibers. Later, a glue made from plants such as the tororo aoi (Abelmoschus manihot) is mixed until a thick consistency is obtained. This activity is called suki (漉き). At the end of this process, the mixture is dried and, when cut at the appropriate size, becomes calligraphy paper.
The special characteristics of the paper stand out according to the type of raw materials and their distribution, and it can be used for calligraphy or arts and crafts. The characteristics of the paper also vary according to its thickness and there is a great variety of paper for Shodō.
Paper produced in Japan is called washi (和紙). The kōshū washi (甲州和紙) from the Yamanashi prefecture, the sekishu washi (石州和紙) and washi inshū (因州和紙) from the San’in region, and the shikoku washi (四国和紙) or iyo washi（伊予和紙) from the Ehime prefecture are famous for calligraphy. Plants such as Kōzon (楮), Mitsumata (三椏), and Ganpi (雁皮) are used as raw material. There are specific types of paper for the kanji and kana writings, and there are special treatments to prevent the paper from getting soaked or to have certain patterns.
The most appropriate paper for a calligrapher is selected according to his or her style, and what the intention is at the time.
Paper
Shodō paper is made from long vegetable fibers to resist the moisture from the ink. The plant to be used must be boiled several times, then softened and processed to release its fibers. Later, a glue made from plants such as the tororo aoi (Abelmoschus manihot) is mixed until a thick consistency is obtained. This activity is called suki (漉き). At the end of this process, the mixture is dried and, when cut at the appropriate size, becomes calligraphy paper.
The special characteristics of the paper stand out according to the type of raw materials and their distribution, and it can be used for calligraphy or arts and crafts. The characteristics of the paper also vary according to its thickness and there is a great variety of paper for Shodō.
Paper produced in Japan is called washi (和紙). The kōshū washi (甲州和紙) from the Yamanashi prefecture, the sekishu washi (石州和紙) and washi inshū (因州和紙) from the San’in region, and the shikoku washi (四国和紙) or iyo washi（伊予和紙) from the Ehime prefecture are famous for calligraphy. Plants such as Kōzon (楮), Mitsumata (三椏), and Ganpi (雁皮) are used as raw material. There are specific types of paper for the kanji and kana writings, and there are special treatments to prevent the paper from getting soaked or to have certain patterns.
The most appropriate paper for a calligrapher is selected according to his or her style, and what the intention is at the time.
Suzuri
Suzuri is the recipient where sumi ink is mixed with water. In the past, some versions were made from ceramics, but today they are mainly made of polished stones.
A suzuri has a flatter surface called bokudō (墨道; the way of sumi) or oka (丘; hill), which is used to grind the sumi ink, and a deeper part called bokuchi (墨池; sumi lagoon) or umi (海; sea), where the ink is. The bokudō surface is rough and has very thin indentations called hōbō (鋒鋩) that work as a file to grind the sumi stone.
The price of a suzuri. is defined by the strength and thickness of a hōbō, how beautiful the stone is, and the technique the artisan used to decorate it with engravings. The suzuri that is actually utilized is called jitsuyōken (実用硯; utilitarian suzuri) and the ones that are works of art are called kanshōken (鑑賞硯; suzuri to be appreciated).
In Japan, the suzuri from the Yamanashi prefecture (雨畑硯; amahata suzuri); the Miyagi prefecture (雄勝硯; ogatsu suzuri); and the Yamaguchi prefecture (赤間硯; akama suzuri) are widely known. But the most sought-after ones, which have the highest quality, are the Chinese suzuri, and among them the suzuri tankeiken (端渓硯), kyūshūken (歙州硯), and the chōdeiken (澄泥硯) are the most famous ones. The chōdeiken owns its name not for the place it is produced, but for its characteristic clay color. Additionally, even though they all come from the same region, their quality varies according to when the stone was mined.
The prolonged use of a suzuri makes its roughness to decrease, turning it into a stone with shining flat surface. When this happens, the sumi ink may not be well ground, but the functionality of the stone may be recovered when its surface is polished with a whetstone or file.
The size of the suzuri varies according to the size of the intended letter. Also, the ink and the stone may not be compatible, and a calligrapher usually has several suzuri.
Suzuri
Suzuri is the recipient where sumi ink is mixed with water. In the past, some versions were made from ceramics, but today they are mainly made of polished stones.
A suzuri has a flatter surface called bokudō (墨道; the way of sumi) or oka (丘; hill), which is used to grind the sumi ink, and a deeper part called bokuchi (墨池; sumi lagoon) or umi (海; sea), where the ink is. The bokudō surface is rough and has very thin indentations called hōbō (鋒鋩) that work as a file to grind the sumi stone.
The price of a suzuri. is defined by the strength and thickness of a hōbō, how beautiful the stone is, and the technique the artisan used to decorate it with engravings. The suzuri that is actually utilized is called jitsuyōken (実用硯; utilitarian suzuri) and the ones that are works of art are called kanshōken (鑑賞硯; suzuri to be appreciated).
In Japan, the suzuri from the Yamanashi prefecture (雨畑硯; amahata suzuri); the Miyagi prefecture (雄勝硯; ogatsu suzuri); and the Yamaguchi prefecture (赤間硯; akama suzuri) are widely known. But the most sought-after ones, which have the highest quality, are the Chinese suzuri, and among them the suzuri tankeiken (端渓硯), kyūshūken (歙州硯), and the chōdeiken (澄泥硯) are the most famous ones. The chōdeiken owns its name not for the place it is produced, but for its characteristic clay color. Additionally, even though they all come from the same region, their quality varies according to when the stone was mined.
The prolonged use of a suzuri makes its roughness to decrease, turning it into a stone with shining flat surface. When this happens, the sumi ink may not be well ground, but the functionality of the stone may be recovered when its surface is polished with a whetstone or file.
The size of the suzuri varies according to the size of the intended letter. Also, the ink and the stone may not be compatible, and a calligrapher usually has several suzuri.
Sumi
Sumi is a specific Asian ink.
It has been said that its manufacture originated in China in 220 BC, but it had been used before that as a kind of pigment (mineral ink). According to Nihon Shoki, the most sacred book about Japanese history, this ink arrived in that country through the Korean peninsula in 610AD, brought by Donchō, a monk from the ancient kingdom of Goguryeo.
Until the Yuan dynasty (1271-1368), the Chinese sumi ink had the soot of a Pinus densiflora pine as base material and was called shōenboku (松煙墨). However, as of the Ming dynasty (1368-1644), a larger scale of sumi ink began to be manufactured from vegetable oil soot, then called yuenboku (油煙墨).
Sumi ink is composed of three ingredients: soot, a kind of glue called nikawa, and spices. Soot and water do no mix and, therefore, soot is first mixed with glue. Then, spices are added to neutralize its odor. After that, the ink finally solidifies. The soot in the sumi ink can be mixed with water because of the bonding properties found in the glue.
Nikawa glue is a type of protein composed of collagen-based gelatin. In the past, it was extracted from oxen and deer bones and skin, as well as turtle shells Today it is either made from other animals' protein or chemically synthesized. Because it is made of protein, it is highly perishable and has an odor considered unpleasant. To neutralize this odor, spices such as camphor, sandal, cloves, musk, among others, are added. These scents also have the power of calming the mind. At first glance, the sumi ink is totally black, but depending on the soot, it may be blue, purple, red, or brown.
To effectively use the sumi ink, the sumi stone must be ground in the suzuri, and water must be added to turn it into a liquid state. The Chinese sumi ink, called tōboku (唐墨), should be ground in hard water, whereas the Japanese ink, waboku (和墨), in soft water.
Today, there is a large amount of liquid sumi ink sold in the country. Its quality has improved considerably, but, apparently, the subtlety of deeper hues from the solid ink cannot be reproduced.
The regions of Kyoto and Nara are traditional production centers. The city of Suzuka, in the Mie prefecture, also manufactures sumi ink because of its artisans who learned how to do it in Kyoto and brought the technique back home.
Sumi
Sumi is a specific Asian ink.
It has been said that its manufacture originated in China in 220 BC, but it had been used before that as a kind of pigment (mineral ink). According to Nihon Shoki, the most sacred book about Japanese history, this ink arrived in that country through the Korean peninsula in 610AD, brought by Donchō, a monk from the ancient kingdom of Goguryeo.
Until the Yuan dynasty (1271-1368), the Chinese sumi ink had the soot of a Pinus densiflora pine as base material and was called shōenboku (松煙墨). However, as of the Ming dynasty (1368-1644), a larger scale of sumi ink began to be manufactured from vegetable oil soot, then called yuenboku (油煙墨).
Sumi ink is composed of three ingredients: soot, a kind of glue called nikawa, and spices. Soot and water do no mix and, therefore, soot is first mixed with glue. Then, spices are added to neutralize its odor. After that, the ink finally solidifies. The soot in the sumi ink can be mixed with water because of the bonding properties found in the glue.
Nikawa glue is a type of protein composed of collagen-based gelatin. In the past, it was extracted from oxen and deer bones and skin, as well as turtle shells Today it is either made from other animals' protein or chemically synthesized. Because it is made of protein, it is highly perishable and has an odor considered unpleasant. To neutralize this odor, spices such as camphor, sandal, cloves, musk, among others, are added. These scents also have the power of calming the mind. At first glance, the sumi ink is totally black, but depending on the soot, it may be blue, purple, red, or brown.
To effectively use the sumi ink, the sumi stone must be ground in the suzuri, and water must be added to turn it into a liquid state. The Chinese sumi ink, called tōboku (唐墨), should be ground in hard water, whereas the Japanese ink, waboku (和墨), in soft water.
Today, there is a large amount of liquid sumi ink sold in the country. Its quality has improved considerably, but, apparently, the subtlety of deeper hues from the solid ink cannot be reproduced.
The regions of Kyoto and Nara are traditional production centers. The city of Suzuka, in the Mie prefecture, also manufactures sumi ink because of its artisans who learned how to do it in Kyoto and brought the technique back home.
Brush
Brushes gradually changed their aspect as writing styles evolved.
In China, there have been several brush-like utensils for a long time, but it was only during the First Emperor Qin Shi Huang period (259 BC – 210 BC) that a significant change in shape occurred, because of the uniformization of the Seal Script and the circulation of information written on thin and narrow bamboo or wooden plates. However, its shape was different from that of contemporary brushes: rabbit hair was inserted in the head of the brush, whose handle was made of bamboo or wood. This type of brush is called tohitsu (兎筆). Since rabbit hair is not very flexible, that brush was suitable to write small letters on hard surfaces.
At the beginning of the 3rd century, the tensho writing (Seal Script; 篆書) evolved to reisho writing (Clerical Script; 隷書), and later on, to Kaisho (Regular Script; 楷書), gyōsho (Semi-cursive Script; 行書), and Sōsho (Cursive Script; 草書). The letters began to be written on paper and the brush became more similar to what we know today. At that time, the head of the brush (the part with hair) was shorter than it is today. A representative brush of that time is the jakutōhitsu (雀頭筆).
Between the 5th and the 7th centuries, the Semi-cursive Script (gyōsho) and the Cursive Script (sōsho) advanced, and a brush with soft hair, more appropriate for that type of writing began to be used. Its main material was rat vibrissa, called soshu (鼠鬚).
It has been said that the Buddhist monk Kūkai (774 AD – 835 AD) introduced the brush in Japan, but, actually, it had been in use before that. In the Heian period (late 8th century, early 12th century), the Cursive Script (sōsho) was transformed, giving rise to the syllabary “kana”, and elongated-tip brushes, which made writing easier, appeared. These brushes were called wayōhitsu (和様筆) and were used by aristocrats and monks.
In the modern period, convenience dictated a widespread use of pens and pencils, called kōhitsu (硬筆).
As calligraphy evolved from a utilitarian to an artistic activity, more versatile materials could be used to emphasize the expressive power of creations. Therefore, a wider range of materials was used, such as sheep, horse, weasel, raccoon, or deer hair, among other possibilities.
The handle of the brush is called hikkan (筆管) or fudejiku (筆軸). It is made mainly of bamboo, but there are also wooden versions. Recently, plastic and resin compounds have also been used.
Brushes are produced in several Japanese regions, especially in the Hiroshima, Nara, Toyohashi, Tokyo, Niigata, and Sendai prefectures, albeit the decreasing number of manufacturers.
Brush
Brushes gradually changed their aspect as writing styles evolved.
In China, there have been several brush-like utensils for a long time, but it was only during the First Emperor Qin Shi Huang period (259 BC – 210 BC) that a significant change in shape occurred, because of the uniformization of the Seal Script and the circulation of information written on thin and narrow bamboo or wooden plates. However, its shape was different from that of contemporary brushes: rabbit hair was inserted in the head of the brush, whose handle was made of bamboo or wood. This type of brush is called tohitsu (兎筆). Since rabbit hair is not very flexible, that brush was suitable to write small letters on hard surfaces.
At the beginning of the 3rd century, the tensho writing (Seal Script; 篆書) evolved to reisho writing (Clerical Script; 隷書), and later on, to Kaisho (Regular Script; 楷書), gyōsho (Semi-cursive Script; 行書), and Sōsho (Cursive Script; 草書). The letters began to be written on paper and the brush became more similar to what we know today. At that time, the head of the brush (the part with hair) was shorter than it is today. A representative brush of that time is the jakutōhitsu (雀頭筆).
Between the 5th and the 7th centuries, the Semi-cursive Script (gyōsho) and the Cursive Script (sōsho) advanced, and a brush with soft hair, more appropriate for that type of writing began to be used. Its main material was rat vibrissa, called soshu (鼠鬚).
It has been said that the Buddhist monk Kūkai (774 AD – 835 AD) introduced the brush in Japan, but, actually, it had been in use before that. In the Heian period (late 8th century, early 12th century), the Cursive Script (sōsho) was transformed, giving rise to the syllabary “kana”, and elongated-tip brushes, which made writing easier, appeared. These brushes were called wayōhitsu (和様筆) and were used by aristocrats and monks.
In the modern period, convenience dictated a widespread use of pens and pencils, called kōhitsu (硬筆).
As calligraphy evolved from a utilitarian to an artistic activity, more versatile materials could be used to emphasize the expressive power of creations. Therefore, a wider range of materials was used, such as sheep, horse, weasel, raccoon, or deer hair, among other possibilities.
The handle of the brush is called hikkan (筆管) or fudejiku (筆軸). It is made mainly of bamboo, but there are also wooden versions. Recently, plastic and resin compounds have also been used.
Brushes are produced in several Japanese regions, especially in the Hiroshima, Nara, Toyohashi, Tokyo, Niigata, and Sendai prefectures, albeit the decreasing number of manufacturers.
Path
In 2018, we presented at Japan House São Paulo the first exhibition of the series dedicated to the group of practices that compose the concept of dō – a term that means “way” – which exalts the search for spiritual elevation based on artistic manifestations and other forms of expression. The exhibition DŌ: a caminho da virtude [DŌ: On the Path to Virtue] featured photos and live demonstrations of the Japanese martial arts that are part of budō.
The next show in the series, in 2019, was DŌ: a caminho da serenidade [DŌ: The Path of Serenity], focused on flower arrangements. Finally, in 2021, we are inaugurating DŌ: o caminho de Shoko Kanazawa [DŌ: The Path of Shoko Kanazawa], dedicated to shodō, the art of calligraphy.
All these disciplines ally tradition with contemporaneity, a combination very present in Japanese culture and highly valued in JHSP’s programming, while they also underscore the importance of discipline, rigor, persistence and physical and mental dedication for one’s development.
The combination of sumi ink with the brush used in the writing of ideograms (kanji) is called shodō, “the way (dō) of writing (sho).”
After calligraphy was introduced in Japan around 600 A.D. it became part of the education of elite families and was pervaded by refinement and rituals. It is understood as a way of expressing the individuality of each practitioner while requiring a great deal of creative skills from each artist. All the elements present in a work of shodō are important, including accidental lines, ink splatters and blank areas.
In the current show, the choice of Shoko Kanazawa as one of the leading practitioners of contemporary shodō was made to emphasize the simultaneous power and subtlety of this artist, a person with Down syndrome who relies on shodō as a way of expressing herself and of making her voice heard. Kanazawa puts the movement of her entire body into an intense and detailed corporal performance. Her poetic choices for the messages she aims to convey demonstrate her singular sensibility and optimism.
The artworks selected for the show deal with spirituality, philosophical concepts and universal human themes. Perhaps kotodama, “the power of words,” summarizes the force of shodo at times in which the negligent use of words often empties them, while their aware and correct use is increasingly necessary and powerful.
All the captions associated with the works are reports by Shoko’s mother, Yasuko Kanazawa. They are the personal passages, full of feeling, by someone who shares the passion for art and writing and has a profound knowledge of her only daughter and the path she has taken.
Besides the artworks, there is also a display case with some of the instruments used for the execution of shodo works, along with texts written by Taizan Yanagida, a member of a family that has been dedicated to Japanese calligraphy for generations.
Personal improvement can be a constant search over the entire course of a lifetime. In shodō, it is not enough to only improve one’s technical skills; it is essential to also dedicate oneself to the mental aspect. It is a beautiful and arduous path for self-knowledge and for the creation of a singular and authorial style, which requires the understanding of one’s body and the refinement of sensitivity.
Natasha Barzaghi Geenen
Cultural director and curator of the show
#ShodoNaJHSP
#ShokoKanazawaNaJHSP
Path
In 2018, we presented at Japan House São Paulo the first exhibition of the series dedicated to the group of practices that compose the concept of dō – a term that means “way” – which exalts the search for spiritual elevation based on artistic manifestations and other forms of expression. The exhibition DŌ: a caminho da virtude [DŌ: On the Path to Virtue] featured photos and live demonstrations of the Japanese martial arts that are part of budō.
The next show in the series, in 2019, was DŌ: a caminho da serenidade [DŌ: The Path of Serenity], focused on flower arrangements. Finally, in 2021, we are inaugurating DŌ: o caminho de Shoko Kanazawa [DŌ: The Path of Shoko Kanazawa], dedicated to shodō, the art of calligraphy.
All these disciplines ally tradition with contemporaneity, a combination very present in Japanese culture and highly valued in JHSP’s programming, while they also underscore the importance of discipline, rigor, persistence and physical and mental dedication for one’s development.
The combination of sumi ink with the brush used in the writing of ideograms (kanji) is called shodō, “the way (dō) of writing (sho).”
After calligraphy was introduced in Japan around 600 A.D. it became part of the education of elite families and was pervaded by refinement and rituals. It is understood as a way of expressing the individuality of each practitioner while requiring a great deal of creative skills from each artist. All the elements present in a work of shodō are important, including accidental lines, ink splatters and blank areas.
In the current show, the choice of Shoko Kanazawa as one of the leading practitioners of contemporary shodō was made to emphasize the simultaneous power and subtlety of this artist, a person with Down syndrome who relies on shodō as a way of expressing herself and of making her voice heard. Kanazawa puts the movement of her entire body into an intense and detailed corporal performance. Her poetic choices for the messages she aims to convey demonstrate her singular sensibility and optimism.
The artworks selected for the show deal with spirituality, philosophical concepts and universal human themes. Perhaps kotodama, “the power of words,” summarizes the force of shodo at times in which the negligent use of words often empties them, while their aware and correct use is increasingly necessary and powerful.
All the captions associated with the works are reports by Shoko’s mother, Yasuko Kanazawa. They are the personal passages, full of feeling, by someone who shares the passion for art and writing and has a profound knowledge of her only daughter and the path she has taken.
Besides the artworks, there is also a display case with some of the instruments used for the execution of shodo works, along with texts written by Taizan Yanagida, a member of a family that has been dedicated to Japanese calligraphy for generations.
Personal improvement can be a constant search over the entire course of a lifetime. In shodō, it is not enough to only improve one’s technical skills; it is essential to also dedicate oneself to the mental aspect. It is a beautiful and arduous path for self-knowledge and for the creation of a singular and authorial style, which requires the understanding of one’s body and the refinement of sensitivity.
Natasha Barzaghi Geenen
Cultural director and curator of the show
#ShodoNaJHSP
#ShokoKanazawaNaJHSP
夢幻空華 - むげんくうげ
[夢幻/ mugen/ dream, ilusion - 空華 /kūge/ Flowers in the sky]
Mugenkuuge, 2019
The illusory levitation of the flowers.
“The original meaning of this phrase is believing and becoming attached to some inexistent thing to the point where one begins to see an imaginary flower floating in the sky.
– Today, at the festival, I carried the omikoshi (Shintoist palanquin), but, for being short, I was unable to rest it on my shoulder to transport it. It was fun! – commented Shoko, in a state of joy. If she was unable to carry it because of her height, why was she so happy?
Shoko has a magic for transforming anything at all into a reason for happiness and joy, since the fact that she was not able to carry the omikoshi could have been a reason for sadness and sorrow. In relation to a situation, some people see hell while others see paradise. Life is a series of illusions.”
夢幻空華 - むげんくうげ
[夢幻/ mugen/ dream, ilusion - 空華 /kūge/ Flowers in the sky]
Mugenkuuge, 2019
The illusory levitation of the flowers.
“The original meaning of this phrase is believing and becoming attached to some inexistent thing to the point where one begins to see an imaginary flower floating in the sky.
– Today, at the festival, I carried the omikoshi (Shintoist palanquin), but, for being short, I was unable to rest it on my shoulder to transport it. It was fun! – commented Shoko, in a state of joy. If she was unable to carry it because of her height, why was she so happy?
Shoko has a magic for transforming anything at all into a reason for happiness and joy, since the fact that she was not able to carry the omikoshi could have been a reason for sadness and sorrow. In relation to a situation, some people see hell while others see paradise. Life is a series of illusions.”
感謝 - かんしゃ
[感謝 /kansha/ gratefulness]
Kansha, 2019
Gratefulness.
“Gratefulness is to have a heart that feels gratitude and says “thank you” when receiving a kindness, a gift, and all the things of nature such as air, water and light.
Shoko was selected to make the official poster for the 2020 Tokyo Olympic Games. When she had her birthday, Shoko never imagined becoming someone important nor did she desire to make any wishes, but beginning at age of 20 this important work arose, which can only be the result of divine grace. And everything resulted in success. Since then, she has begun to give thanks for the divine blessings and the only way to do that is to pray with devotion.”
感謝 - かんしゃ
[感謝 /kansha/ gratefulness]
Kansha, 2019
Gratefulness.
“Gratefulness is to have a heart that feels gratitude and says “thank you” when receiving a kindness, a gift, and all the things of nature such as air, water and light.
Shoko was selected to make the official poster for the 2020 Tokyo Olympic Games. When she had her birthday, Shoko never imagined becoming someone important nor did she desire to make any wishes, but beginning at age of 20 this important work arose, which can only be the result of divine grace. And everything resulted in success. Since then, she has begun to give thanks for the divine blessings and the only way to do that is to pray with devotion.”
神 - かみ
[神 /kami/ god]
Kami, 2019
God.
“God is a being that possesses a mysterious force able to control all the things in the universe. Shoko says that when she grows up she wants to be the crescent moon. The moon does not have a light of its own, but shines brightly in the sky thanks to the hot sun that casts its light on many people. Shoko became a crescent moon. If right now someone were to ask me what I would like to be, I would say that I wanted to be the “full moon of August.” I would be a full clear moon, which, together with the Shoko-crescent-moon, would look down on and illuminate – from high above in the faraway sky – the mothers who are expecting children with disabilities.”
神 - かみ
[神 /kami/ god]
Kami, 2019
God.
“God is a being that possesses a mysterious force able to control all the things in the universe. Shoko says that when she grows up she wants to be the crescent moon. The moon does not have a light of its own, but shines brightly in the sky thanks to the hot sun that casts its light on many people. Shoko became a crescent moon. If right now someone were to ask me what I would like to be, I would say that I wanted to be the “full moon of August.” I would be a full clear moon, which, together with the Shoko-crescent-moon, would look down on and illuminate – from high above in the faraway sky – the mothers who are expecting children with disabilities.”
宇宙 - うちゅう
[宇宙 /uchū/ universe]
Uchū, 2019
Universe.
“It is all of the space that exists in the world.
It was born 13.8 billion years ago and measures 46.5 billion light-years from center to edge.
A soul like Shoko’s, which does not belong to the unhallowed world, is one with the sky.
Shoko’s father died suddenly; she is not able to forget him, and every time she sees a bright star, she waves to it and cries.
The stars are not born under the physical laws of the universe, but from the thought of people who are on the earth and are unable to forget their loved ones.
The number of stars in the sky is the same as that of the souls that have not been forgotten.”
宇宙 - うちゅう
[宇宙 /uchū/ universe]
Uchū, 2019
Universe.
“It is all of the space that exists in the world.
It was born 13.8 billion years ago and measures 46.5 billion light-years from center to edge.
A soul like Shoko’s, which does not belong to the unhallowed world, is one with the sky.
Shoko’s father died suddenly; she is not able to forget him, and every time she sees a bright star, she waves to it and cries.
The stars are not born under the physical laws of the universe, but from the thought of people who are on the earth and are unable to forget their loved ones.
The number of stars in the sky is the same as that of the souls that have not been forgotten.”
断捨離 - だんしゃり
[断/dan/ refusal - 捨 /sha/elimination - 離 /ri/ separation]
Dan-Sha-Ri, 2019
“A term created based on concepts from yoga: dan-gyô [refusal or rejection], sha-gyô [elimination or discarding] and ri-gyô [separation]. The idea is one of abandoning, discarding and detachment from unnecessary things.
– It cannot be said that a goal was achieved with great success if, to achieve it, there was a lot of stress, people’s feelings were hurt and it required great effort until the end – because, according to the sacred teachings of yoga practitioners, it is said that the great success is to achieve the goal with pleasure and tranquility.
It is not through force that Shoko produces her work, but only through her sincere desire to offer joy to people. As a calligrapher, she has been boldly producing countless works of admirable excellence. Shoko has transcended the practice of Dan-Sha-Ri and has reached the path toward supreme happiness.”
断捨離 - だんしゃり
[断/dan/ refusal - 捨 /sha/elimination - 離 /ri/ separation]
Dan-Sha-Ri, 2019
“A term created based on concepts from yoga: dan-gyô [refusal or rejection], sha-gyô [elimination or discarding] and ri-gyô [separation]. The idea is one of abandoning, discarding and detachment from unnecessary things.
– It cannot be said that a goal was achieved with great success if, to achieve it, there was a lot of stress, people’s feelings were hurt and it required great effort until the end – because, according to the sacred teachings of yoga practitioners, it is said that the great success is to achieve the goal with pleasure and tranquility.
It is not through force that Shoko produces her work, but only through her sincere desire to offer joy to people. As a calligrapher, she has been boldly producing countless works of admirable excellence. Shoko has transcended the practice of Dan-Sha-Ri and has reached the path toward supreme happiness.”
無限 - むげん
[無/mu / no - 限 /gen/ limit]
Mugen, 2019
Infinity.
∞ is to have no limits of volume or size. And it also applies to immeasurable situations. Shoko gave the coronavirus the nickname “Koro-tarô” (older brother, Super Koro). She looks to the sky and asks:
– Super Koro, escape to far away. Go to Pluto because you will be safe there.
No one knows why she refers to Pluto, but just imagining the coronavirus speeding through the sky-blue firmament toward Pluto is surreal. Shoko does not consider the coronavirus as a villain. For feeling sorry for it, she would not be able to finish it off or to make it disappear. And that is why she talks with it as though it were a friend and asks it to fly off to a place far away.”
無限 - むげん
[無/mu / no - 限 /gen/ limit]
Mugen, 2019
Infinity.
∞ is to have no limits of volume or size. And it also applies to immeasurable situations. Shoko gave the coronavirus the nickname “Koro-tarô” (older brother, Super Koro). She looks to the sky and asks:
– Super Koro, escape to far away. Go to Pluto because you will be safe there.
No one knows why she refers to Pluto, but just imagining the coronavirus speeding through the sky-blue firmament toward Pluto is surreal. Shoko does not consider the coronavirus as a villain. For feeling sorry for it, she would not be able to finish it off or to make it disappear. And that is why she talks with it as though it were a friend and asks it to fly off to a place far away.”
一期一会 - いちごいちえ
[一期 /ichigo/ a time - 一会 /ichie/ na encounter]
Ichigo ichie, 2019
Encounters are unique and singular.
“Encounters are unique and only occur once during life.
In life, every encounter is singular, so it is important to appreciate each one.
Shoko’s reflections about the future extend as far as the next day’s lunch. She is not worried about the future and does not regret the past. She lives now, 100% in the present. Shoko really appreciates each moment as being a unique opportunity in life.”
一期一会 - いちごいちえ
[一期 /ichigo/ a time - 一会 /ichie/ na encounter]
Ichigo ichie, 2019
Encounters are unique and singular.
“Encounters are unique and only occur once during life.
In life, every encounter is singular, so it is important to appreciate each one.
Shoko’s reflections about the future extend as far as the next day’s lunch. She is not worried about the future and does not regret the past. She lives now, 100% in the present. Shoko really appreciates each moment as being a unique opportunity in life.”
空から - そらから
[空 /sora/ sky - から /kara/ of the]
Sora kara, 2019
Of the sky.
“Seen from Earth, the entire universe becomes the sky. What falls from the sky is colossal.
Shoko always prays for her father who is in the sky, asking him to “come to the encounter with her.” In front of the portrait of her deceased father there is a note that says, “If you don’t find me, please give me a call,” along with a cell phone number. I could not help but cry when I read that note.”
空から - そらから
[空 /sora/ sky - から /kara/ of the]
Sora kara, 2019
Of the sky.
“Seen from Earth, the entire universe becomes the sky. What falls from the sky is colossal.
Shoko always prays for her father who is in the sky, asking him to “come to the encounter with her.” In front of the portrait of her deceased father there is a note that says, “If you don’t find me, please give me a call,” along with a cell phone number. I could not help but cry when I read that note.”
Shoko Kanazawa
Born in Tokyo, Japan, in 1985, Shoko Kanazawa began to study calligraphy at the age of five. Her teacher was her mother, Yasuko Kanazawa, a calligrapher who always taught shodō to children and youths, including her daughter.
From early on, Shoko Kanazawa demonstrated great skill for the traditional art of calligraphy, executing the brushstrokes with naturalness, understanding the ways of holding the brushes and making harmonic movements with total involvement and commitment. Over time, her production began to attract attention: her mastery of the more subtle variations of lines, of notions of composition and the positioning of forms, coupled with her skill in the use of the ink, garnered Shoko recognition as one of the most important contemporary Japanese calligraphers.
Her work was developed, initially, in her production of hōnō kigō, a sort of shodō made in temples and shrines with positive messages. This logic of communicating with the public, inspiring peace and good energy has remained as the lemma of her work until today. In 2005, at the age of 20, she held her first solo show, a milestone in her career and an important means of spreading awareness about her work throughout Japan, and later, the international scene. Shoko Kanazawa has held shows in various countries around the world, including the United States, the Czech Republic, Russia and Singapore.
Besides being a respected artist, Kanazawa also uses her voice to raise awareness about initiatives and projects aimed at constructing a more egalitarian society, advocating in the favor of people with disabilities and supporting actions aimed at the reconstruction of regions and lives affected by natural disasters. For having Down syndrome, her autonomy and notable work have inspired many; as recognition for the relevance of her role as a spokesperson for these causes, Shoko was invited to make a speech in 2015 about this theme at United Nations headquarters, in New York, and in 2017, she became the Ambassador of Special Support for Japan’s Ministry of Education, Culture, Sports, Science and Technology.
Shoko Kanazawa
Born in Tokyo, Japan, in 1985, Shoko Kanazawa began to study calligraphy at the age of five. Her teacher was her mother, Yasuko Kanazawa, a calligrapher who always taught shodō to children and youths, including her daughter.
From early on, Shoko Kanazawa demonstrated great skill for the traditional art of calligraphy, executing the brushstrokes with naturalness, understanding the ways of holding the brushes and making harmonic movements with total involvement and commitment. Over time, her production began to attract attention: her mastery of the more subtle variations of lines, of notions of composition and the positioning of forms, coupled with her skill in the use of the ink, garnered Shoko recognition as one of the most important contemporary Japanese calligraphers.
Her work was developed, initially, in her production of hōnō kigō, a sort of shodō made in temples and shrines with positive messages. This logic of communicating with the public, inspiring peace and good energy has remained as the lemma of her work until today. In 2005, at the age of 20, she held her first solo show, a milestone in her career and an important means of spreading awareness about her work throughout Japan, and later, the international scene. Shoko Kanazawa has held shows in various countries around the world, including the United States, the Czech Republic, Russia and Singapore.
Besides being a respected artist, Kanazawa also uses her voice to raise awareness about initiatives and projects aimed at constructing a more egalitarian society, advocating in the favor of people with disabilities and supporting actions aimed at the reconstruction of regions and lives affected by natural disasters. For having Down syndrome, her autonomy and notable work have inspired many; as recognition for the relevance of her role as a spokesperson for these causes, Shoko was invited to make a speech in 2015 about this theme at United Nations headquarters, in New York, and in 2017, she became the Ambassador of Special Support for Japan’s Ministry of Education, Culture, Sports, Science and Technology.
雨洗風磨 - うせんふうま
[雨 /u/ rain - 洗 /sen/ to wash - 風 / fuu /wind - 磨 /ma/ to polish]
Usenfūma, 2019
The rain washes and the wind polishes.
“The rain washes and the wind polishes.
When exposed to the rain and the wind for a long time, the heart is washed and purified. Appreciating misfortune leads to a person’s maturing.
Be not defeated by the rain. Be not defeated by the wind,* Shoko spends her day running about the city, all around, with the aim of helping people in need.
Shoko has her own way of maturing with adversity, allowing herself to be washed by the rain and polished by the wind.”
*Translator’s note. This is the second line of the poem “Ame ni mo makezu” [Be not defeated by the rain] by Kenji Miyazawa (1896–1933).
雨洗風磨 - うせんふうま
[雨 /u/ rain - 洗 /sen/ to wash - 風 / fuu /wind - 磨 /ma/ to polish]
Usenfūma, 2019
The rain washes and the wind polishes.
“The rain washes and the wind polishes.
When exposed to the rain and the wind for a long time, the heart is washed and purified. Appreciating misfortune leads to a person’s maturing.
Be not defeated by the rain. Be not defeated by the wind,* Shoko spends her day running about the city, all around, with the aim of helping people in need.
Shoko has her own way of maturing with adversity, allowing herself to be washed by the rain and polished by the wind.”
*Translator’s note. This is the second line of the poem “Ame ni mo makezu” [Be not defeated by the rain] by Kenji Miyazawa (1896–1933).
光 - ひかり
[光 hikari: light]
Hikari, 2020
The world of light is full of lights.
“Let’s capture the energy of these lights and live in a resplendent way.
How do you deal with your emotions and impulses, living 24 hours alone without any perspective to return to work, and without friends near?
Shoko says she does not feel even a bit lonely. I was worried that she would feel lonely and anxious. But I think that these worries about loneliness and anxiety spring from the imagination of someone like myself, who lives in the secular world. Shoko knows the truth that all of the souls of people are connected and for this reason no one is alone. She lives in peace and in happiness, enveloped in a dazzling light and sheltered in the embrace of something immeasurably large.”
光 - ひかり
[光 hikari: light]
Hikari, 2020
The world of light is full of lights.
“Let’s capture the energy of these lights and live in a resplendent way.
How do you deal with your emotions and impulses, living 24 hours alone without any perspective to return to work, and without friends near?
Shoko says she does not feel even a bit lonely. I was worried that she would feel lonely and anxious. But I think that these worries about loneliness and anxiety spring from the imagination of someone like myself, who lives in the secular world. Shoko knows the truth that all of the souls of people are connected and for this reason no one is alone. She lives in peace and in happiness, enveloped in a dazzling light and sheltered in the embrace of something immeasurably large.”
言霊 -ことだま
[言 /koto/ word - 霊 /lady/ spirit, soul, power]
Kotodama, 2015
The power of words.
“The mysterious and incredible energy of words. When proffered, words emit vibrations. They say that Shoko has very beautiful skin. When applying her makeup, she thanks her skin countless times, “Thank you. I love you!” as though proffering magic words. Shoko must know the fundamental principals of quantum mechanics. There is a concept that evidences the flow of ki vibrational energy emitted by the elementary particles of cells. Shoko sends “ki energy of love” to her outer skin cells. This explains why she has such beautiful skin!”
言霊 -ことだま
[言 /koto/ word - 霊 /lady/ spirit, soul, power]
Kotodama, 2015
The power of words.
“The mysterious and incredible energy of words. When proffered, words emit vibrations. They say that Shoko has very beautiful skin. When applying her makeup, she thanks her skin countless times, “Thank you. I love you!” as though proffering magic words. Shoko must know the fundamental principals of quantum mechanics. There is a concept that evidences the flow of ki vibrational energy emitted by the elementary particles of cells. Shoko sends “ki energy of love” to her outer skin cells. This explains why she has such beautiful skin!”
Is Shodō art?
by Yanagida Taizan
The loneliness of the heights
Is Shodō (the way of writing) an art form or just the act of learning beautiful handwriting? Naturally, we consider it to be an art form. In Japan, activities containing the ideogram 道 (dō: way) have elements of rigor. It is precisely that rigor that makes the "Kadō" (the way of flowers); the "Chadō" (the way of tea); the "Judō" (the gentle way); "Kendō" (the way of the sword); and the "Kendō" (the way of the incense) acquire the status of art.
Another way for a given expression to be considered an art form lies in its ability to move people. In my opinion, this defines art.
Let us focus on Shodō. Is it enough to write the letters correctly? Is it enough to write the letters beautifully? I suppose people may have questions in this regard. For me, that is clearly not enough. There is something deeper embedded in this process. It is not about perfecting calligraphy techniques, but the exercise of looking inward and elevating our spirituality through this handwriting. No concession is allowed. This is Shodō. This is exactly why this way becomes an art form.
Why do people take up Shodō? In the beginning, they may be seeking to improve their own calligraphy. However, during their learning process, they completely succumb to the charms of Shodō. When they realize, they have already developed a deep fascination for it. Maybe this is the “Art of Shodō”. And art must be lonely. It is not something done by creating organized groups. It is a battle against yourself, and you must stand firm with true feelings.
The higher the dimension, the more you feel the loneliness of the heights. You must express the true art of calligraphy by disconnecting yourself from mundane matters, without making any concessions or being arrogant. I continue to seek my own handwriting, without subjecting my art to other people’s opinions. Ideally, this should also be reflected in our ways of living. This is how human beings become art. There is something that shines over those who excel on their way Precisely because this is the loneliness of the heights.
Personality
There is a theory that states that differences in personalities of individuals stem from the existence of a defined form. Calligraphy is precisely that. What is personality? Can writing something in a different way from other people be considered an expression of this so-called “personality”? This statement could not be more incorrect. I dare say that, after having learned and trained form and rules for hundreds and thousands of times, the individual personality will only become evident when everything unnecessary is eliminated and exceeding forms, abolished. After all, form and rules are necessary.
Once I also found myself lost and felt I had advanced towards this learning. I felt my thoughts were in the right direction. For me, personality lies in the search of the Regular Script, called kaisho (楷書). The personality blooms depending on how high and pure this search is. It is just like a child born of her mother. The child reveals her personality as time goes by. However, depending on the process, the personality advances towards a different dimension, and this also changes its fate. This is a question of individual responsibility. The same happens to calligraphy. The writing changes according to your own physical and mental responsibilities. Therefore, it is paramount to possess the primary form and rules. It is by copying the form of excellence and following the rules of the Regular Script (kaisho) that your spirit can learn too.
Calligraphy is an art form that has been made for many centuries. It is not related to a person’s superficial knowledge. The art of Shodō cannot be perceived in a simplified manner. It is cruel and, at times, makes you realize how foolish you are. But true personality rises from this perception. From the pains of childbirth, we can advance towards this perception, this illumination.
Legitimacy
The calligraphy I always refer to was developed during the Chinese Tang dynasty, and I have been learning it for over 60 years. To focus on this period of history was something my predecessors did before me. Some friends judge me and say I only copy my father, though. In my opinion, to maintain a tradition means to protect, in an earnest way, what our ancestors have built.
There is a Japanese concept named “shuhari” (守破離) that describes the learning stages towards mastery. But its logic is based only on results, and I believe it is not correct to create something having this concept in mind.
Given that, what does legitimate calligraphy mean? I believe it is one that embodies the spirituality obtained from the classics. If there is no spirituality, there is no legitimacy. Calligraphy based only on sensitivity is not art nor something legitimate. I follow my path seeking that calligraphy that is perfectly legitimate.
When looking at calligraphy, what is perceived and what is apprehended depends on each person’s sensitivity. The higher the level of sensitivity, the wider a dimension the perception achieves. I have been dedicating myself to Shodō by making this effort. However, I still find myself frequently trying to make sense of what that legitimate calligraphy is.
Shoko Kanazawa’s calligraphy exhibition
I value sensations. When I am walking, I pay attention to the design of buildings and to people’s fashion and behavior. I have an interest in everything that surrounds me and make an effort to identify changes in the aesthetics of our society. They are trivial things, such as noticing an askew letter on a sign. I value the sensation of noticing anything in any given moment.
And then, I came across Shoko. Her sensitivity is special. I felt that the concepts I had held dear until then were turned upside down. Shoko’s sense and sensitivity cannot be taken for granted based on conventional concepts. An ordinary person cannot comprehend this. I met this innocent girl over 10 years ago. Her mother, Ms. Yasuko, recommended me and I had the opportunity to teach Shoko calligraphy. People are born with a sensitivity that can be shaped by their environment, but when I saw the commitment to calligraphy that mother and daughter had, I was absolutely mesmerized.
I have heard she first held a brush at the age of five. There is no need to teach her anything. I want her to continue to value sensitivity…
In calligraphy, sense and sensitivity are fundamental. Where does what we consider to be good or bad come from? Objectively, it is about a difference of sensations and sensitivity, and, more specifically, a matter of taste. There lies the difficulty of calligraphy. Those who write must be alert and learn about their own feelings and daily sensations. With training, these two aspects are properly acquired and calligraphy, for the first time, becomes an art. Without training and improvement, it is not possible to polish the strength of sensations or sensitivity. Through a graceful balance between these two aspects, we are able to move others. What could be said about combining this personal theory of mine with the Kanazawas’ calligraphy?
Shoko’s calligraphy shows technical skills while conveying emotion.
What is emotion? We cannot judge something solely on being good or bad. If a work has the power to move people, this means that sensitivity and sensations were mastered. And if the work has a soul, it will most certainly move people. Is it enough, though, for the calligrapher to write with a pure state of soul? No, this is also not correct. I am referring to the amount of training. That mother and daughter are basically in a level of immunity from jurisdiction in regards with conventions – to which just a little of traditional calligraphy is added.
Is Shodō art?
by Yanagida Taizan
The loneliness of the heights
Is Shodō (the way of writing) an art form or just the act of learning beautiful handwriting? Naturally, we consider it to be an art form. In Japan, activities containing the ideogram 道 (dō: way) have elements of rigor. It is precisely that rigor that makes the "Kadō" (the way of flowers); the "Chadō" (the way of tea); the "Judō" (the gentle way); "Kendō" (the way of the sword); and the "Kendō" (the way of the incense) acquire the status of art.
Another way for a given expression to be considered an art form lies in its ability to move people. In my opinion, this defines art.
Let us focus on Shodō. Is it enough to write the letters correctly? Is it enough to write the letters beautifully? I suppose people may have questions in this regard. For me, that is clearly not enough. There is something deeper embedded in this process. It is not about perfecting calligraphy techniques, but the exercise of looking inward and elevating our spirituality through this handwriting. No concession is allowed. This is Shodō. This is exactly why this way becomes an art form.
Why do people take up Shodō? In the beginning, they may be seeking to improve their own calligraphy. However, during their learning process, they completely succumb to the charms of Shodō. When they realize, they have already developed a deep fascination for it. Maybe this is the “Art of Shodō”. And art must be lonely. It is not something done by creating organized groups. It is a battle against yourself, and you must stand firm with true feelings.
The higher the dimension, the more you feel the loneliness of the heights. You must express the true art of calligraphy by disconnecting yourself from mundane matters, without making any concessions or being arrogant. I continue to seek my own handwriting, without subjecting my art to other people’s opinions. Ideally, this should also be reflected in our ways of living. This is how human beings become art. There is something that shines over those who excel on their way Precisely because this is the loneliness of the heights.
Personality
There is a theory that states that differences in personalities of individuals stem from the existence of a defined form. Calligraphy is precisely that. What is personality? Can writing something in a different way from other people be considered an expression of this so-called “personality”? This statement could not be more incorrect. I dare say that, after having learned and trained form and rules for hundreds and thousands of times, the individual personality will only become evident when everything unnecessary is eliminated and exceeding forms, abolished. After all, form and rules are necessary.
Once I also found myself lost and felt I had advanced towards this learning. I felt my thoughts were in the right direction. For me, personality lies in the search of the Regular Script, called kaisho (楷書). The personality blooms depending on how high and pure this search is. It is just like a child born of her mother. The child reveals her personality as time goes by. However, depending on the process, the personality advances towards a different dimension, and this also changes its fate. This is a question of individual responsibility. The same happens to calligraphy. The writing changes according to your own physical and mental responsibilities. Therefore, it is paramount to possess the primary form and rules. It is by copying the form of excellence and following the rules of the Regular Script (kaisho) that your spirit can learn too.
Calligraphy is an art form that has been made for many centuries. It is not related to a person’s superficial knowledge. The art of Shodō cannot be perceived in a simplified manner. It is cruel and, at times, makes you realize how foolish you are. But true personality rises from this perception. From the pains of childbirth, we can advance towards this perception, this illumination.
Legitimacy
The calligraphy I always refer to was developed during the Chinese Tang dynasty, and I have been learning it for over 60 years. To focus on this period of history was something my predecessors did before me. Some friends judge me and say I only copy my father, though. In my opinion, to maintain a tradition means to protect, in an earnest way, what our ancestors have built.
There is a Japanese concept named “shuhari” (守破離) that describes the learning stages towards mastery. But its logic is based only on results, and I believe it is not correct to create something having this concept in mind.
Given that, what does legitimate calligraphy mean? I believe it is one that embodies the spirituality obtained from the classics. If there is no spirituality, there is no legitimacy. Calligraphy based only on sensitivity is not art nor something legitimate. I follow my path seeking that calligraphy that is perfectly legitimate.
When looking at calligraphy, what is perceived and what is apprehended depends on each person’s sensitivity. The higher the level of sensitivity, the wider a dimension the perception achieves. I have been dedicating myself to Shodō by making this effort. However, I still find myself frequently trying to make sense of what that legitimate calligraphy is.
Shoko Kanazawa’s calligraphy exhibition
I value sensations. When I am walking, I pay attention to the design of buildings and to people’s fashion and behavior. I have an interest in everything that surrounds me and make an effort to identify changes in the aesthetics of our society. They are trivial things, such as noticing an askew letter on a sign. I value the sensation of noticing anything in any given moment.
And then, I came across Shoko. Her sensitivity is special. I felt that the concepts I had held dear until then were turned upside down. Shoko’s sense and sensitivity cannot be taken for granted based on conventional concepts. An ordinary person cannot comprehend this. I met this innocent girl over 10 years ago. Her mother, Ms. Yasuko, recommended me and I had the opportunity to teach Shoko calligraphy. People are born with a sensitivity that can be shaped by their environment, but when I saw the commitment to calligraphy that mother and daughter had, I was absolutely mesmerized.
I have heard she first held a brush at the age of five. There is no need to teach her anything. I want her to continue to value sensitivity…
In calligraphy, sense and sensitivity are fundamental. Where does what we consider to be good or bad come from? Objectively, it is about a difference of sensations and sensitivity, and, more specifically, a matter of taste. There lies the difficulty of calligraphy. Those who write must be alert and learn about their own feelings and daily sensations. With training, these two aspects are properly acquired and calligraphy, for the first time, becomes an art. Without training and improvement, it is not possible to polish the strength of sensations or sensitivity. Through a graceful balance between these two aspects, we are able to move others. What could be said about combining this personal theory of mine with the Kanazawas’ calligraphy?
Shoko’s calligraphy shows technical skills while conveying emotion.
What is emotion? We cannot judge something solely on being good or bad. If a work has the power to move people, this means that sensitivity and sensations were mastered. And if the work has a soul, it will most certainly move people. Is it enough, though, for the calligrapher to write with a pure state of soul? No, this is also not correct. I am referring to the amount of training. That mother and daughter are basically in a level of immunity from jurisdiction in regards with conventions – to which just a little of traditional calligraphy is added.
The five writing styles of ideograms (kanji)
Today, there are five writing styles of Chinese characters (kanji): tensho (Seal Script; 篆書), reisho (Clerical Script; 隷書), kaisho (Regular Script; 楷書), gyōsho (Semi-cursive Script; 行書), and sōsho (Cursive Script; 草書).
The particularities of each style are described below.
Seal Script (Small Seal Script)
The Seal Script is the oldest Chinese ideogram (kanji). It was concluded based on ancient inscriptions dating from the Shang and Zhou periods and was unified and systematized during Emperor Qin Shi Huang’s ruling. The main basic principles from this writing style value elongated vertical traces balanced with horizontal traces; the symmetry between the left and right halves from a central imaginary line; and round lines where the horizontal and vertical traces meet. The method used is called zōhō (蔵鋒), in which the tip of the brush is not apparent at the beginning of a trace. The letters are geometrical and orderly arranged, and pleasant looking; making this style a “calligraphy to be displayed”.
Clerical Script
The Seal Script was made to be shown, whereas the Clerical Script (reisho; 隷書) is stylistically opposite to that and was created to be functional, for those moments that demanded fast writing. Its common points with the Seal Script are the horizontal traces and the zōhō (蔵鋒) method. However, the structure of each ideogram is flatter, with plainer and balanced shapes, which makes it easier to copy texts. Its initial form was called “Proto-clerical Script” and became known as the “Qin Clerical Script” in the late period of that dynasty, with low-ranked officials using this style.
Later, this ancient version evolved by including horizontal traces and a design with curves. The places where the brush is off the paper horizontally showed waves called hataku (波磔), thus getting the trace to finish in a triangular shape. The inclusion of these characteristics created a Clerical Script full of personality that reached its maturity in the late Han period as being the standardized writing system present until today and called Neo-clerical Script.
草書
Cursive Script
The Cursive Script（sōsho; 章草), a simplified and streamlined style, was created to quickly write Proto-clerical Script texts. Brush traces became refined, thus creating a type of writing with artistic elegance, and was soon established as a complete type of writing. The Cursive Script gave rise not only to the abbreviation of letters but also allowed faster writing by connecting one letter to the other, a form called “ren’mentai” (連綿体). It evolved to be a writing style appreciated by its beautiful traces that flow to connect the characters. This Cursive Script arrived in Japan, created the base of the “kana” (かな) syllabary, and became the art of calligraphy that symbolized the Japanese aristocratic culture.
行書
Semi-cursive Script
The Semi-cursive Script (gyōsho; 行書) was created to be a fast way of writing that connects and abbreviates traces of the Regular Script (kaisho; 楷書). As a result of this fast writing, the traces became more curved, and new conventions that would define how to connect and abbreviate characters were created. Those characteristics provided the Semi-cursive Script a unique gracefulness and made it an independent style.
楷書
Regular Script
The Regular Script (kaisho; 楷書) evolved gradually from the Neo-clerical Script. It abolished the zōhō (蔵鋒) convention of hiding where the trace began by making it evident. The horizontal traces started to move upwards and to the right to adjust to a natural body movement. This writing emerges as a definite style of the aesthetical composition of space, according to the kankakekko (間架結構) approach that values a structural balance among traces. It is worth mentioning that the Regular Script is considered the elegant calligraphy par excellence. It is the style that reached its maturity after the longest transition in the history of calligraphy and became the way of writing with the greatest depth in an artistic sense.
The five writing styles of ideograms (kanji)
Today, there are five writing styles of Chinese characters (kanji): tensho (Seal Script; 篆書), reisho (Clerical Script; 隷書), kaisho (Regular Script; 楷書), gyōsho (Semi-cursive Script; 行書), and sōsho (Cursive Script; 草書).
The particularities of each style are described below.
Seal Script (Small Seal Script)
The Seal Script is the oldest Chinese ideogram (kanji). It was concluded based on ancient inscriptions dating from the Shang and Zhou periods and was unified and systematized during Emperor Qin Shi Huang’s ruling. The main basic principles from this writing style value elongated vertical traces balanced with horizontal traces; the symmetry between the left and right halves from a central imaginary line; and round lines where the horizontal and vertical traces meet. The method used is called zōhō (蔵鋒), in which the tip of the brush is not apparent at the beginning of a trace. The letters are geometrical and orderly arranged, and pleasant looking; making this style a “calligraphy to be displayed”.
Clerical Script
The Seal Script was made to be shown, whereas the Clerical Script (reisho; 隷書) is stylistically opposite to that and was created to be functional, for those moments that demanded fast writing. Its common points with the Seal Script are the horizontal traces and the zōhō (蔵鋒) method. However, the structure of each ideogram is flatter, with plainer and balanced shapes, which makes it easier to copy texts. Its initial form was called “Proto-clerical Script” and became known as the “Qin Clerical Script” in the late period of that dynasty, with low-ranked officials using this style.
Later, this ancient version evolved by including horizontal traces and a design with curves. The places where the brush is off the paper horizontally showed waves called hataku (波磔), thus getting the trace to finish in a triangular shape. The inclusion of these characteristics created a Clerical Script full of personality that reached its maturity in the late Han period as being the standardized writing system present until today and called Neo-clerical Script.
草書
Cursive Script
The Cursive Script（sōsho; 章草), a simplified and streamlined style, was created to quickly write Proto-clerical Script texts. Brush traces became refined, thus creating a type of writing with artistic elegance, and was soon established as a complete type of writing. The Cursive Script gave rise not only to the abbreviation of letters but also allowed faster writing by connecting one letter to the other, a form called “ren’mentai” (連綿体). It evolved to be a writing style appreciated by its beautiful traces that flow to connect the characters. This Cursive Script arrived in Japan, created the base of the “kana” (かな) syllabary, and became the art of calligraphy that symbolized the Japanese aristocratic culture.
行書
Semi-cursive Script
The Semi-cursive Script (gyōsho; 行書) was created to be a fast way of writing that connects and abbreviates traces of the Regular Script (kaisho; 楷書). As a result of this fast writing, the traces became more curved, and new conventions that would define how to connect and abbreviate characters were created. Those characteristics provided the Semi-cursive Script a unique gracefulness and made it an independent style.
楷書
Regular Script
The Regular Script (kaisho; 楷書) evolved gradually from the Neo-clerical Script. It abolished the zōhō (蔵鋒) convention of hiding where the trace began by making it evident. The horizontal traces started to move upwards and to the right to adjust to a natural body movement. This writing emerges as a definite style of the aesthetical composition of space, according to the kankakekko (間架結構) approach that values a structural balance among traces. It is worth mentioning that the Regular Script is considered the elegant calligraphy par excellence. It is the style that reached its maturity after the longest transition in the history of calligraphy and became the way of writing with the greatest depth in an artistic sense.
Paper
Shodō paper is made from long vegetable fibers to resist the moisture from the ink. The plant to be used must be boiled several times, then softened and processed to release its fibers. Later, a glue made from plants such as the tororo aoi (Abelmoschus manihot) is mixed until a thick consistency is obtained. This activity is called suki (漉き). At the end of this process, the mixture is dried and, when cut at the appropriate size, becomes calligraphy paper.
The special characteristics of the paper stand out according to the type of raw materials and their distribution, and it can be used for calligraphy or arts and crafts. The characteristics of the paper also vary according to its thickness and there is a great variety of paper for Shodō.
Paper produced in Japan is called washi (和紙). The kōshū washi (甲州和紙) from the Yamanashi prefecture, the sekishu washi (石州和紙) and washi inshū (因州和紙) from the San’in region, and the shikoku washi (四国和紙) or iyo washi（伊予和紙) from the Ehime prefecture are famous for calligraphy. Plants such as Kōzon (楮), Mitsumata (三椏), and Ganpi (雁皮) are used as raw material. There are specific types of paper for the kanji and kana writings, and there are special treatments to prevent the paper from getting soaked or to have certain patterns.
Because of its resistance, washi has special uses, such as money bills and certificates. It is also used in paper windows (shōji), luxury packaging, and arts and crafts.
The senshi (宣紙) from the Anhui prefecture is a high quality and famous Chinese Shodō. Its composition remains secret, but apparently contains rice straw and seitan husk. The paper is classified as tansen (単宣), menren (綿連), gyokuhan (玉版), or kyōsen (夾宣), according to its distribution and thickness.
The most appropriate paper for a calligrapher is selected according to his or her style, and what the intention is at the time.
Paper
Shodō paper is made from long vegetable fibers to resist the moisture from the ink. The plant to be used must be boiled several times, then softened and processed to release its fibers. Later, a glue made from plants such as the tororo aoi (Abelmoschus manihot) is mixed until a thick consistency is obtained. This activity is called suki (漉き). At the end of this process, the mixture is dried and, when cut at the appropriate size, becomes calligraphy paper.
The special characteristics of the paper stand out according to the type of raw materials and their distribution, and it can be used for calligraphy or arts and crafts. The characteristics of the paper also vary according to its thickness and there is a great variety of paper for Shodō.
Paper produced in Japan is called washi (和紙). The kōshū washi (甲州和紙) from the Yamanashi prefecture, the sekishu washi (石州和紙) and washi inshū (因州和紙) from the San’in region, and the shikoku washi (四国和紙) or iyo washi（伊予和紙) from the Ehime prefecture are famous for calligraphy. Plants such as Kōzon (楮), Mitsumata (三椏), and Ganpi (雁皮) are used as raw material. There are specific types of paper for the kanji and kana writings, and there are special treatments to prevent the paper from getting soaked or to have certain patterns.
Because of its resistance, washi has special uses, such as money bills and certificates. It is also used in paper windows (shōji), luxury packaging, and arts and crafts.
The senshi (宣紙) from the Anhui prefecture is a high quality and famous Chinese Shodō. Its composition remains secret, but apparently contains rice straw and seitan husk. The paper is classified as tansen (単宣), menren (綿連), gyokuhan (玉版), or kyōsen (夾宣), according to its distribution and thickness.
The most appropriate paper for a calligrapher is selected according to his or her style, and what the intention is at the time.
Credits
Curator
Natasha Barzaghi Geenen
Assistant Curator
Carolina De Angelis
Producer
Daniela Avelar | Pinã Cultura
Assistant Producer
Adriana Rodrigues
Exhibition Layout Design
Estúdio Gru | Jeanine Menezes
Exhibition Layout Design Assistant
Lia Untem
Lighting Design
Fernanda Carvalho
Lighting Design Team
Luana Alves e Emilia Ramos
Scenography
Elástica SP Cenografia
Technical Production
Hugo Lefort
Conservation
Lívia Lira e Marília Fernandes
Assembly Coordinator
Rafael Filipi
Art Handlers
Projeta
Lighting
Santa Luz
Key Visuals
Zol Design
Key Visuals Printing
Watervision
Fine Art Transport
Waiver Logistics
Institutional Video
Fuerza Films
Institutional Pictures
Marina Melchers
Text Translation and Revision
Cláudio Cruz, Lica Hashimoto, John Norman, Komorebi Translations, Pablo Yuda
Accessibility Consultants
Arteinclusão
Accessibility Totem
Arthur Souza | ArtSim, Efeito Visual, Iguale, Tissa Kimoto | Pandoala Estudio, Ver com Palavras
Credits
Curator
Natasha Barzaghi Geenen
Assistant Curator
Carolina De Angelis
Producer
Daniela Avelar | Pinã Cultura
Assistant Producer
Adriana Rodrigues
Exhibition Layout Design
Estúdio Gru | Jeanine Menezes
Exhibition Layout Design Assistant
Lia Untem
Lighting Design
Fernanda Carvalho
Lighting Design Team
Luana Alves e Emilia Ramos
Scenography
Elástica SP Cenografia
Technical Production
Hugo Lefort
Conservation
Lívia Lira e Marília Fernandes
Assembly Coordinator
Rafael Filipi
Art Handlers
Projeta
Lighting
Santa Luz
Key Visuals
Zol Design
Key Visuals Printing
Watervision
Fine Art Transport
Waiver Logistics
Institutional Video
Fuerza Films
Institutional Pictures
Marina Melchers
Text Translation and Revision
Cláudio Cruz, Lica Hashimoto, John Norman, Komorebi Translations, Pablo Yuda
Accessibility Consultants
Arteinclusão
Accessibility Totem
Arthur Souza | ArtSim, Efeito Visual, Iguale, Tissa Kimoto | Pandoala Estudio, Ver com Palavras
ACCESSIBLE JHSP
On this totem you will find digital, tactile and sensory resources related to the exhibitions in force in this space. The QRCode available on this totem gives access to a platform with resources in Brazilian Sign Language, Audio Description and Text.
With this proposal, we aim to promote a closer relationship among all our audiences, instigating them to seek through different forms of perception and interpretation: one of the various themes of Japanese culture presented here at Japan House São Paulo.
The Accessible JHSP, the institution's accessibility program, aims to create equitable opportunities for everyone to make a complete and special immersion in the universe of Japan presented here.
ACCESSIBLE JHSP
On this totem you will find digital, tactile and sensory resources related to the exhibitions in force in this space. The QRCode available on this totem gives access to a platform with resources in Brazilian Sign Language, Audio Description and Text.
With this proposal, we aim to promote a closer relationship among all our audiences, instigating them to seek through different forms of perception and interpretation: one of the various themes of Japanese culture presented here at Japan House São Paulo.
The Accessible JHSP, the institution's accessibility program, aims to create equitable opportunities for everyone to make a complete and special immersion in the universe of Japan presented here.