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Japanese calligraphy - Wikipedia
Japanese calligraphy (書道, shodō) plus called shūji (習字) is a form of calligraphy, or artistic writing, of the Japanese language.For a long time, the most esteemed calligrapher in Japan had been Wang Xizhi, a Chinese calligrapher from the 4th century, but after the invention of Hiragana and Katakana, the Japanese unique syllabaries, the distinctive Japanese writing system developed Japanese calligraphy (書道, shodō) as well as called shūji (習字) is a form of calligraphy, or artistic writing, of the Japanese language. For a long time, the most esteemed calligrapher in Japan had been Wang Xizhi, a Chinese calligrapher from 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. The term shodō (書道, "way of writing") is of Chinese lineage as it 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:
During preparation, water is poured into the inkstone and the inkstick is ground adjoining it, mixing the water when the dried ink to liquefy it. As this is a time-consuming process, modern-day beginners frequently use bottled liquid ink called Bokuju (墨汁, bokujū) . More campaigner students are encouraged to grind their own ink. Paper is usually placed not far off from a desk, while a large piece of paper may be placed nearly the floor or even going on for the auditorium showground (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 period times gone pictographs were inscribed a propos bone for religious purposes. with this writing developed into an instrument of administration for the state, the compulsion for a uniform script was felt and Li Si, prime minister in the Chinese dynasty of Qin, standardized a script and its habit of living thing monster written. He sanctioned a form of script based just about squares of uniform size into which all characters could be written from eight strokes. He along with devised rules of composition where horizontal strokes are written first and characters are composed starting from height to bottom, left to right. Because the symbols were inscribed in the same way as gruff instruments, the lines were originally angular and in many ways, Li Si's achievements were made old archaic by the heavens look of brush and ink (see Chinese calligraphy). The ink-wet brush creates a line quite different from a gruff 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 find not guilty to create characters that emphasized aesthetically pleasing balance and form. The habit a environment was written gave a declaration notice of style.
Calligraphy in the Chinese tradition was correspondingly introduced to Japan nearly AD 600 Known as the karayō (唐様) tradition, it has been skillful stirring to today, rejuvenated all the time through get into later Chinese culture.[8]
The oldest existing calligraphic text in Japan is the inscription in the region of the halo of the Medicine Buddha statue in the Hōryū-ji Temple. This Chinese text was written in Shakyōtai (写経体) style, prominent in the Chinese Six Dynasties period.
The Hōryū-ji Temple also holds bibliographic interpretation nearly the Lotus Sutra: the Hokke Gisho (法華義疏) was written to the fore in the 7th century and is considered the oldest Japanese text. It is written in Cursive script and illustrates that calligraphy in the Asuka era time was already refined to a high degree.
The oldest hand-copied sutra in Japan is the Kongō Jōdaranikyō. Copied by the priest Hōrin in AD 686, the calligraphy style shows influences from the be active of Ouyang Xun.
"Broken Stone in Uji Bridge" (宇治橋断碑, ujibashi danpi) (mid-7th century) and Stone in Nasu County "Stone in Nasu County" (那須国造碑, nasu kokuzō hi) are also typical examples from this time. Both inscriptions were influenced by the Northern Wei robust style.
In the 7th century, the Tang dynasty normal hegemony in China. Their second Emperor Taizong esteemed Wang Xizhi's calligraphic texts and this popularity influenced Japanese calligraphers. All of the indigenous native texts written by Wang Xizhi have been lost, and copies such as Gakki-ron (楽毅論) written by the Empress Kōmyō are severely regarded as important sources for Wang Xizhi's style. However Wang's disturb can barely be overstated, in particular for the wayō (和様) style unique to Japan: "Even today, there is something very nearly Japanese calligraphy that retains the unchanged flavour of Wang Xizhi's style".[9]
Emperor Kanmu moved the capital from Heijō-kyō in Nara, first to Nagaoka-kyō in 784, and subsequently next to Heian-kyō, Kyoto in 794. This marks the beginning of the Heian era, Japan's "golden age". Chinese influences in calligraphy were not untouched in the beforehand period. For example, sedated 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 Kūkai or Saichō. Some bonus Chinese calligraphers, such as Ouyang Xun and Yan Zhenqing were moreover then highly valued. Their most notable admirers were Emperor Saga and Tachibana no Hayanari respectively.
At the same time, a style of calligraphy unique to Japan emerged. Writing had been popularized, and the kana syllabary was devised to deal with elements of pronunciation that could not be written later the borrowed Chinese characters. Japanese calligraphers yet nevertheless fitted the basic characters, called kanji (漢字), into the squares laid out centuries before. A fragment, Kara-ai no hana no utagire (韓藍花歌切, AD 749) is considered the first text to affect a style unique to Japanese calligraphy; it shows a Tanka (短歌) poem using Man'yōgana, suitably deviated from contemporary Chinese calligraphy. Ono no Michikaze (AD 894-966), one of the so-called sanseki (三跡, "Three Brush Traces"), along similar to Fujiwara no Sukemasa and Fujiwara no Yukinari, is considered the founder of the authentically Japanese wayō (和様) style, or wayō-shodō (和様書道). This move on resonated later than the court: Kūkai said to Emperor Saga, "China is a large country and Japan is relatively small, so I suggest writing in a rotate way." The "Cry for noble Saichō" (哭最澄上人, koku Saichō shounin), a poem written by Emperor Saga on the subject of with reference to the occasion of Saichō's death, was one of the examples of such a transformation. Ono no Michikaze served as an archetype for the Shōren-in school, which future became the Oie style of calligraphy. The Oie style was far ahead used for qualified documents in the Edo mature and was the prevailing style taught in the terakoya (寺子屋) schools of that time.
The ascension of Minamoto no Yoritomo to the title of shōgun, following the Hōgen and Heiji rebellions, and the victory of the Minamoto clan beyond the Taira, marked the introduction of the Kamakura grow old (AD 1185–1333), but not quite yet to a return to goodwill and tranquility. The era is sometimes called "the age of the warriors" and a broad transition from court influences to a leading role of the military commencement pervaded the culture. It is also, however, a get older bearing in mind exchanges taking into consideration China of the spread dynasty continued and Buddhism greatly flourished. Zen monks such as Shunjo studied in China and the copybooks that he brought following him are considered terribly influential for the karayō (唐様) tradition of the time, expressing a sure kaisho style.[10] But this was not the forlorn example, indeed a taking office of Chinese monks were naturalized at that time, encouraged by regent Hōjō Tokiyori. Rankei Doryū founded the Kenchō-ji temple in Kamakura and many of his works have been preserved. However, as soon as the rise of the Rinzai scholastic of Zen Buddhism a less technical style appeared, representative of Zen attitudes and exemplified in the works of Musō Soseki who wrote in a refined sosho style, or Shūhō Myōcho (1282–1337; better known as Daito Kokushi), the founder of Daitoku-ji in Kyoto, who had not traveled to China to study. In terms of wayō (和様) style, the works of Fujiwara no Shunzei and Fujiwara no Teika are considered outstanding examples of the late Heian and into the future Kamakura.[11]
Political and military unrest continued throughout the Muromachi epoch (AD 1336–1537), characterized by tensions amid imperial and civil authority and periods of outright civil war. However, as Ashikaga Takauji had ousted Emperor Go-Daigo from Kyoto to support his own bakufu there, the intermingling of residual members of the imperial court, courtiers, daimyōs, samurai, and Zen priests resulted in active cultural impulses. The arts prospered, but are not considered as refined as that of earlier times. Of note is the role of Ikkyū Sōjun, a successor of Shūhō Myōcho at Daitoku-ji; Ikkyū was instrumental in elevating the admission of calligraphy to an integral portion allocation of the tea ceremony in the 15th century.[12]
Tokugawa Ieyasu centralized facility in his shogunate together with 1603 and 1615. This marked the initiation of the Edo period, which brought 250 years of relative stability to Japan, lasting until the second half of the 19th century. The grow old was marked by seclusion from overseas influences similar to the Sakoku (鎖国, "locked country" or "chained country") policy. Calligraphic studies were essentially limited to the examination investigation of karayō (唐様) style works, via Ming-dynasty China. Indigenous developments were contributed by Ingen and the Ōbaku sect of Zen buddhism, and the Daishi intellectual of calligraphy. The latter focused re the psychiatry of the "eight principles of the setting yong" (永字八法, eiji happō), which go assist to Wang Xizhi[citation needed], and the 72 types of hissei ("brush energy") expounded by Wang Xizhi's teacher, the Lady Wei. The 1664 reprint of a copybook based almost these principles in Kyoto contributed an important hypothetical development.[13] Calligraphers such as Hosoi Kotaku, who authored the five-volume Kanga Hyakudan in 1735, further liberal the karayō (唐様) style. agreed characteristic for the forward Edo times was an increase by Hon'ami Kōetsu (1558–1637) who had paper made to order and painted a backdrop of decorative patterns, butterflies or floral elements that his calligraphy expected a poetic correspondence with. Together subsequently Konoe Nobutada (1565–1614) and Shōkadō Shōjō (1584–1639) – the three Kan'ei Sanpitsu (寛永三筆) – he is considered one of the greatest calligraphers in the wayō (和様) style at the time, creating examples of "a uniquely Japanese calligraphy".[14]
Around 1736 Yoshimune began relaxing Japan's estrangement policy and Chinese cultural imports increased, in particular via the port of Nagasaki. Catalogues of imported copybooks testify to a broad response of Chinese calligraphers accompanied by the Japanese literati who pursued the karayō style: "traditionalists" studied Wang Xizhi and Wen Zhengming, while "reformists" modeled their feat nearly the sōsho style of calligraphers such as Zhang Xu, Huaisu and Mi Fu. In terms of wayō, Konoe Iehiro contributed many fine kana works but generally speaking, wayō style was not as vigorously practised as karayō at that time.[15] Nevertheless, some examples have been preserved by scholars of kokugaku (國學, National studies), or poets and painters such as Kaga no Chiyo, Yosa Buson or Sakai Hōitsu.
In contemporary Japan, shodo is a popular class for elementary theoretical and junior high scholastic students. Many parents believe that having their children focus and sit still while functioning calligraphy will be beneficial.[16] In high school, calligraphy is one of the choices in the course of art subjects, along in imitation of music or painting. It is along with a popular high bookish club activity, particularly once the advent of law calligraphy.[17] Some universities, such as University of Tsukuba, Tokyo Gakugei academe university circles and Fukuoka academic world of Education, have special departments of calligraphic testing 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 fortuitous to create later the brush. The brush strokes cannot be corrected, and even a deficiency of confidence shows occurring in the work. The calligrapher must concentrate and be fluid in execution. The brush writes a statement just about the calligrapher at a moment in become old (see Hitsuzendō, the Zen pretentiousness of the brush). Through Zen, Japanese calligraphy absorbed a distinct Japanese aesthetic often symbolised by the ensō or circle of enlightenment.
Zen calligraphy is skilled by Buddhist monks and most[citation needed]shodō practitioners. To write Zen calligraphy taking into consideration mastery, one must sure one's mind and let the letters flow out of themselves, not practice and make a tremendous effort. This permit of mind was called the mushin (無心, "no mind state") by the Japanese philosopher Nishida Kitaro. It is based something like the principles of Zen Buddhism, which stresses a relationship attachment to the spiritual rather than the physical.[18]
Before Japanese tea ceremonies (which are partnered to Zen Buddhism), one is to expose at a work of shodō to determined distinct one's mind. This is considered an essential step in the preparation for a tea ceremony.[18]
Culture of Japan - Wikipedia
The History of Japanese Calligraphy In English, at BeyondCalligraphy.com; Japan outfit – additional York City North America's single major producer of high-quality content almost Japan for an English-speaking audience. Agency for Cultural Affairs; normal Culture – The Imperial Household Agency "Working subsequently the Japanese," BBC
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