Japanese calligraphy (, shod), also called shji (), is a form of calligraphy, or artistic writing, of the Japanese language. Written Japanese was originally based on Chinese characters only, but the advent of the hiragana and katakana Japanese syllabaries resulted in intrinsically Japanese calligraphy styles.
The term shod (, "way of writing") is of Chinese origin and is widely used to describe the art of Chinese calligraphy during the medieval Tang dynasty.[1] Early Japanese calligraphy was originated from Chinese calligraphy. Many of its principles and techniques are very similar, and it recognizes the same basic writing styles:
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During preparation, water is poured into the inkstone and the inkstick is ground against it, mixing the water with the dried ink to liquefy it. As this is a time-consuming process, modern-day beginners frequently use bottled liquid ink called Bokuju (, bokuj) . More advanced students are encouraged to grind their own ink. Paper is usually placed on a desk, while a large piece of paper may be placed on the floor or even on the ground (for a performance).
The brushes come in various shapes and sizes, and are usually made using animal hair bristles. Typical animal hair may come from goats, sheep, or horses. The handle may be made from wood, bamboo, plastic or other materials.[6]
The Chinese roots of Japanese calligraphy go back to the 13th century BC,[7] to the late Shang dynasty, a time when 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, prime minister in the Chinese 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 also devised rules of composition where horizontal strokes are written first and characters are composed starting from top to bottom, left to right. 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 emphasized aesthetically pleasing balance and form. The way a character was written gave a message of style.
Calligraphy in the Chinese tradition was thus introduced to Japan about AD 600 Known as the karay () tradition, it has been practiced up to today, rejuvenated continuously through contact with Chinese culture.[8]
The oldest existing calligraphic text in Japan is the inscription on the halo of the Medicine Buddha statue in the Hry-ji Temple. This Chinese text was written in Shakytai () style, prominent in the Chinese Six Dynasties period.
The Hry-ji Temple also holds bibliographic notes on the Lotus Sutra: the Hokke Gisho () was written early in the 7th century and is considered the oldest Japanese text. It is written in Cursive script and illustrates that calligraphy in the Asuka period was already refined to a high degree.
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 have been lost, and copies such as Gakki-ron () written by the Empress Kmy are highly regarded as important sources for Wang Xizhi's style. However Wang's influence 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".[9]
Emperor Kanmu moved the capital from Heij-ky in Nara, first to Nagaoka-ky in 784, and then to Heian-ky, Kyoto in 794. This marks the beginning of the Heian era, Japan's "golden age". 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 calligraphy by copying Chinese poetry texts in artistic style.
Wang Xizhi's influences remained dominant, which are shown in calligraphies written by Kkai or Saich. Some other Chinese calligraphers, such as Ouyang Xun and Yan Zhenqing were also highly valued. Their most notable admirers were Emperor Saga and Tachibana no Hayanari respectively.
In contemporary Japan, shodo is a popular class for elementary school and junior high school students. Many parents believe that having their children focus and sit still while practicing calligraphy will be beneficial.[16] 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.[17] Some universities, such as University of Tsukuba, Tokyo Gakugei University and Fukuoka University of Education, have special departments of calligraphic study that emphasize teacher-training programs in calligraphy.
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 shows up in the work. The calligrapher must concentrate and be fluid in execution. The brush writes a statement about the calligrapher at a moment in time (see Hitsuzend, the Zen way of the brush). Through Zen, Japanese calligraphy absorbed a distinct Japanese aesthetic often symbolised by the ens or circle of enlightenment.
Zen calligraphy is practiced by Buddhist monks and most[citation needed] shod 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 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.[18]
Before Japanese tea ceremonies (which are connected to Zen Buddhism), one is to look at a work of shod to clear one's mind. This is considered an essential step in the preparation for a tea ceremony.[18]
Gilded Brush Stroke Art is a beautifully raised textured art style created by simply swiping your brush and using a non-wipe textured gel. You want to make this textured look with a non-wipe top gel to be able to burnish the top of that gel with a chrome pigment of your choice.
Gilded raised textured art is a beautiful accent on nails and is most notably popularized by nail stylists in Japan. There are endless combinations of possibilities. You can change your nail base color or try different chrome pigments to find the one that best compliments your design. Or you can make those strokes as small or as noticeable as possible.
Step 1 : My nails already have a gel overlay. I did this using the structure overlay technique or a self-leveled gel manicure application. I will teach both techniques in the upcoming Japanese soft gel certification for Kokoist. If you are not interested in Kokoist but you just want to learn how to do it with any potted soft gel system, then you want to check out the free masterclass HERE.
Step 3: Apply a layer of your matte top gel; I am using a velvet matte top coat. This will allow us to apply the accessory gel and create the dainty gold accents. Apply in all ten fingers a cure for 60 seconds.
Step 6: Once you are done applying the chrome powder, use the clean side of your brush to dust off those areas and clean anything loose. This will prevent the next clear gels from becoming contaminated.
Pro Tip: If you get chipping with your chrome powders, you can do this. I am using Mega stick base, a great thin base with excellent adhesion components. I will grab some of this gel on a clean brush and paint over the chrome areas. Again, you are not adding bulk; you are just sealing the chrome, and making sure the free edge is fully coated after that, take the nails to the lamp for a full 30-second cure.
Step 8: Lastly, we will wipe the nails off. Just to ensure we get everything off the nail, after finishing the manicure, I like to wait at least 60 seconds before wiping anything down with alcohol, just to let the top gel cool down and set perfectly.
A couple weeks ago, my eldest daughter and I had the most wonderful evening taking part in a shodo, Japanese calligraphy, masterclass. The class only lasted an hour, but it was an hour of focused mindfulness, almost a meditation, where the process was enjoyed as much, if not more, than the end result, which quite frankly needed more practice!
Shodo is not just an art and skill like it might be in Western calligraphy, but also a philosophy. It has a long and rich history that has been passed down from generation to generation, reflecting the cultural and spiritual values of the Japanese people.
The origins of shodo can be traced back to China, where it was first developed over two thousand years ago. It was introduced to Japan in the 6th century and has since become an integral part of Japanese culture. Shodo is not simply a way of writing beautiful characters, but a means of expressing oneself through the written word.
The philosophy of shodo is deeply rooted in Zen Buddhism. It emphasises the importance of mindfulness and concentration, which are essential qualities in both calligraphy and meditation. In order to create a beautiful piece of calligraphy, the artist must be fully present in the moment, focused on the brush strokes and the characters being written. This meditative quality is what makes shodo not just an art form, but a spiritual practice. 152ee80cbc
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