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Japanese calligraphy
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is a form of calligraphy, or artistic writing, used for writing the Japanese language called Nihongo. For a long time, the most esteemed calligrapher in Japan had been Wang Xizhi, a Chinese calligrapher in the 4th century but after the invention of Hiragana and Katakana, the Japanese unique syllabaries, the distinctive Japanese writing system developed and calligraphers produced styles intrinsic to Japan.
Chinese roots of the Japanese calligraphy go back to the twenty eighth BCE where pictographs were inscribed on bone for religious purposes.
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Encyclopedia
is a form of calligraphy, or artistic writing, used for writing the Japanese language called Nihongo. For a long time, the most esteemed calligrapher in Japan had been Wang Xizhi, a Chinese calligrapher in the 4th century but after the invention of Hiragana and Katakana, the Japanese unique syllabaries, the distinctive Japanese writing system developed and calligraphers produced styles intrinsic to Japan.
Chinese roots
The Chinese roots of the Japanese calligraphy go back to the twenty eighth BCE where pictographs were inscribed on bone for religious purposes. When this writing developed into an instrument of administration for the state the need for a uniform script was felt and Li Si 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 also devised rules of composition where horizontal line are written first starting from left to right, top to bottom. Because the symbols were inscribed with sharp instruments the lines were originally angular and in many ways Li Si's achievements were made obsolete by the appearance of brush and ink (see Chinese calligraphy). The ink-wet brush creates a line quite different from a sharp stylus. It affords variation in thickness and curve of line. Calligraphy retained the block form of Li Si and his eight strokes but the writer was free to create characters that emphasised eye-pleasing balance and form. The way a character was written gave a message of style. This form of calligraphy was introduced to Japan about 600 CE.
In the eighth century writing had been popularized and the kana syllabary was devised to deal with elements of pronunciation that could not be written in borrowed Chinese characters. Japanese calligraphers still fitted the basic characters, called kanji, into the squares laid out centuries before but they too made the lines more elegant and artistic.
Connection to Zen Buddhism
Japanese calligraphy was influenced by, and influenced, Zen thought. For any particular 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 will show up in the work. The calligrapher must concentrated and be fluid in execution. The brush writes a statement about the calligraher at a moment in time (see Hitsuzendo or the Zen way of the brush). Through Zen, Japanese calligraphy absorbed a distinct Japanese aesthetic often symbolised by the enso or circle of enlightenment.
Zen calligraphy is practiced by Buddhist monks and most shodo practitioners. To write Zen calligraphy with mastery, one must clear one's mind and let the letters flow out of themselves, not practice and make a tremendous effort. This state of mind was called the "mu-shin", or "no mind state", by the Japanese philosopher Nishida Kitaro. It is based on the principles on Zen Buddhism, which stresses a connection to the spiritual rather than the physical.
Before Japanese tea ceremonies (which are connected to Zen Buddhism), one must look at a work of shodo to clear one's mind. It is essential to have a clear mind in tea ceremonies.
Before the Nara period
The oldest existing calligraphic text in Japan is the inscription on the halo of the Bhaisajyaguru statue in Horyu-ji Temple. This Chinese text was written in Shakeitai style, famed in Six Dynasties. There are also bibliographic notes for the Lotus Sutra in the same temple. This Hokke Gisho is said to have been written by Prince Shotoku in 615, but some scholars criticize this assertion. Hokkegisho was written in Cursive script and is a good example that illustrates the high degree of skill necessary to copy original Chinese texts in the Asuka period.
The oldest hand-copied sutra in Japan is the Kongo Jodaranikyo. Copied by the priest Horin in 686, the calligraphy style shows influence from Ouyang Xun.
Broken Stone in Uji Bridge and Stone in Nasu County are also typical examples from this time. Both inscriptions were influenced by Northern Wei robust style.
In the 7th century, the Tang Dynasty established hegemony in China. Their second Emperor Taizong esteemed Wang Xizhi's calligraphic texts and this popularity influenced Japanese calligraphers. All of the original texts written by Wang Xizhi were lost, and some copies such as Gakkiron written by the Empress Komyo are regarded as important sources to know Wang Xizhi's style.
Soukou Shujitsu is the first text which shows the unique Japanese calligraphic style. This Tanka text was written in 749 and shows some differences from Chinese calligraphy.
Heian period
Emperor Kammu moved the capital from Heijo-kyo in Nara, first to Nagaoka-kyo in 784, and then to Heian-kyo, Kyoto in 794. This marks the beginning of the Heian era. Chinese influences in calligraphy were not changed in the early period. For example, under the Emperor Saga's reign, royalty, the aristocracy and even court ladies studied copying Chinese poetry texts in artistic style.
Wang Xizhi's influences remained dominant, which are shown in calligraphies written by Kukai or Saicho. Some other Chinese calligraphers, such as Ouyang Xun and Yan Zhenqing were also highly evaluated. Most notable admirers for each one were Emperor Saga and Tachibana no Hayanari.
At the same time Japan's unique calligraphic style was emerging. Kukai said to Emperor Saga, “China is a large country and Japan is relatively small, so I suggest writing in a different way.” Cry for noble Saicho , which was written by Emperor Saga for Saicho's death, was one of the examples of such a transformation.
Kamakura and Muromachi period
Edo period
Today
Calligraphy has been adopted as an elementary school subject in the Japanese mandatory education system. In high school, calligraphy is one of the choices among art subjects, with music or painting. Some universities, such as University of Tsukuba, Tokyo Gakugei University and Fukuoka Kyoiku University, have special departments of calligraphic study which emphasize teacher-training programs in calligraphy.
Japanese calligraphy has also fascinated many Western artists through the centuries — mainly calligraphers themselves, but famous artists as well, who studied and practiced calligraphy as a parallel to their own art (see also list of prominent calligraphers).
See also
External links
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