Origin and Development of Japanese Calligraphy - Coursework Example

Japanese Calligraphy Japanese calligraphy refers to a form of artistic writing of the Japanese language. For a long period, the most respected calligrapher in the history Japan has been Wang Xizhi (Godin, 2008). Wang was a Chinese calligrapher in the 4th century, but following the invention of Katakana and Hiragana, the Japanese exceptional syllabaries expanded, and calligraphers created styles intrinsic to Japan. Japanese calligraphy shares its origins with Chinese calligraphy and a lot of its principles and techniques are similar (Godin, 2008). Japanese calligraphy is most often written with ink on mulberry paper sheet. It recognizes the same essential writing styles as of Chinese calligraphy. This paper will talk about the history of Japanese calligraphy and the people that helped to shape the calligraphy over the centuries starting from the Chinese era. It will also talk about of the different styles and techniques of writing the Japanese calligraphy. The Chinese origins of Japanese calligraphy date back to the 28th century B.C. This was a period when drawings were inscribed on bones for spiritual matters (Godin, 2008). When these inscriptions developed into instruments of management for the state, the need for a standardized script was felt and Li Si, the ruler in the Chinese empire of Qin, standardized a script and its method of being written. Li Si authorized a form of script derived from squares of uniform size into which all fonts could be written in eight strokes. He also developed rules of writing where parallel strokes are written first. The characters were also written starting from top to bottom then left to right. The lines were initially angular because the symbols were written with sharp instruments (Godin, 2008). Also, in a lot of ways, Li Si's accomplishments were made obsolete by the emergence of ink and brush. The ink-wet brush forms a line relatively different from a sharp-pointed stylus (Godin, 2008). It creates variations in curves of lines and thickness. The calligraphy has retained the block form of Li Si, as well as his eight strokes. However, a writer is free to form characters that highlight aesthetically form and balance. The only opposition is that the way a symbol was inscribed gave significance of style. Calligraphy in the Chinese custom was fully established in Japan about 600 A.D. Referred to as the Karayō custom, it has been practiced up to date and revived continuously through interactions with the Chinese culture. The earliest existing calligraphic wording in Japan is the writing on the halo of the Yakushi Nyorai sculpture in the Hōryū-ji place of worship. This Chinese text was written in Shakeitai style, famous in the Chinese Six Dynasties time (Godin, 2008). Japanese calligraphy began with importing the Chinese writing techniques, namely kanji, which in Japanese languages means “characters of Han China” (Godin, 2008). This was back early in the 5th century. However, Chinese characters had appeared in Japan on a couple of items imported from China as early as the 1st century. At that time, the Chinese calligraphy or writing system was fully developed and matured. There were about 50 000 kanji in circulation, five key techniques of calligraphy as well as numerous sub-styles. Given that Japanese grammar and linguistics are quite distinct from Chinese, the need of fitting a writing method to an entirely fresh language raised a serious, practical factor. However, this led to a unique calligraphy style that is solely applied in Japan, such as Kana (Godin, 2008). During the Asuka (538 – 710) A.D., and Nara (710-794 A.D.) times, copying Buddhist sutras was already an extremely popular custom, which significantly contributed to escalating the fascination and appreciation of the Chinese calligraphy. At that period, Japanese calligraphy was particularly prejudiced by writing styles established in the Chinese Jin (265 - 420 A.D.) and Tang (618 – 907 A.D.) dynasties. This trend was referred to as Karayou lit, Tang technique, which refers to Chinese technique (Godin, 2008). One of the great devotees of Buddhist traditions was the Japanese prince Shotoku Taishi (574–622). He supported the Buddhist philosophies along with building a number of significant temples (Godin, 2008). He was the one who reinforced the fame of Shakyou, hand copying of sutras, which further brought about the expansion of calligraphy in Japan. At this time, Japanese calligraphy was still severely prejudiced by Chinese experts such as Wang Xizhi (303–361). A vast number of calligraphies were founded on his techniques, all the way until the Heian era (794 - 1185 A.D.) The 10th century was a period of significant transformation in Japanese calligraphy. It is when Ono No Michikaze (894–966), who is also recognized as Ono no Toufuu, launched a fresh technique and the initial Japanese style in calligraphy referred to as Inkstone lit. This style, however, was initially brought into being by the well-known Buddhist monk, as well as outstanding calligrapher, Kukai (774- 835). He gained the sanctified Buddhist name “the renowned Buddhist educator” (Koubou Daishi) (Godin, 2008). At this time, it became satisfactory for Japanese calligraphy and literature finally to move away from Chinese aesthetics. The Hōryū-ji Temple also housed bibliographic annotations on the Lotus Sutra. The Hokke Gisho was inscribed in the early 7th century and is the oldest Japanese text (Godin, 2008). It was inscribed in cursive script. This illustrates that calligraphy in the Asuka era was already advanced to a high degree. The earliest hand written sutra in Japan is the Kongō Jōdaranikyō. It was written by the high priest Hōrin in 686 A.D. Their styles were almost alike from the calligraphy of Ouyang Xun. "Stone in Nasu County" and "Broken Stone in Uji Bridge" are also distinctive examples of this period. Both writings were prejudiced by the Northern Wei strong style. In the 7th century, the Tang reign launched hegemony in China. Their second ruler Taizong respected Wang Xizhi's calligraphic inscriptions and this esteem predisposed Japanese calligraphers. All of the innovative texts inscribed by Wang Xizhi have been mislaid (Godin, 2008). Hence, copies like Gakki-Ron inscribed by the Empress Komyo are essential sources for Wang Xizhi's technique. However, Wang's influence can hardly be overstated, especially for the wayō technique exceptional to Japan. Even these days, there is something regarding Japanese calligraphy that maintains the unchanged essence of Wang Xizhi's technique. Emperor Kammu changed the capital of Japan first to Nagaoka-Kyō, and then to Heian-Kyō, Kyoto. This was in 784 and 794 A.D., respectively (Godin, 2008). The initial capital was Heijō-Kyō in Nara. This symbolized the start of the Heian period known as Japan's "golden age". Chinese authority in calligraphy was not changed in the early stages. For instance, under the Emperor Saga's supremacy, the aristocracy, royals and even court ladies learned calligraphy by replicating Chinese poetry texts in creative techniques (Godin, 2008). Wang Xizhi's influences remained central, which are revealed in calligraphies inscribed by Saichō and Kūkai. Some other Chinese calligraphers, for instance Yan Zhenqing and Ouyang Xun, were also vastly respected. Their most distinguished followers were Emperor Tachibana no Hayanari and Saga respectively. At the same time, a technique of calligraphy distinctive to Japan materialized. The kana syllabary was developed to cope with aspects of pronunciation that could not be inscribed with the adapted Chinese symbols. Japanese calligraphers still fitted the essential characters, referred to as kanji, into the squares created centuries ago (Godin, 2008). Soukou Shujitsu is thought to be the first text or calligraphy that reveals a technique distinctive to Japanese calligraphy. A Tanka poem was composed in 749 A.D. in Japanese calligraphy. The poem showed some distinctions from Chinese calligraphy. The Cry for noble Saichō, a poem composed by Emperor Saga on the time of Saichō's death, was one of the examples of calligraphies written in the Japanese unique style. Michikaze was an archetype for the Shōren-in school. It later turned into the Oie method of calligraphy. The Oie style was later adapted in official documents and was the prevailing technique trained in the terakoya schools of that time. Michikaze is one of the most recognized calligraphers of the Japanese history. He was so gifted, that he was welcomed to work at the imperial residences at the age of 27 (Godin, 2008). Michikaze was an industrious calligrapher, and his techniques were powerful yet easy for the soul to understand. The other two of the sanseki, significantly contributed to expanding further what Michikaze established. A great example of a work that does not only display Michikaze’s artistic capacity and potential, but also how multitalented his technique was is the Gyokusen Jou, an inkstone writing with poetries that were composed in the Tang dynasty (618 – 907). It was also an excellent work of art for inkstone, full of unexpected rhythm, wide variety of line strength, extremes in proportional scaling and deliberate brush traces abruptly rushing through the paper. The calligraphy also portrayed the transformation of the emotional states of Michikaze (Godin, 2008). Inkstone was rooted in inkstone (cursive kana), as well as Kana (calligraphy script), which come from inkstone. It was a result of practicing aesthetic inhabitants to Japan, by people of the upper class (Godin, 2008). Inkstone was the answer for grammatical disparities between Japanese and Chinese languages which this fresh writing style had to encounter. Hence, inkstone was adapted in postfixes, grammatical fillings and particles among others. It was also nothing else than the kanji technique being used for phonetic reasons. Around the 12th century, there were about 1000 kanji used as inkstone (Godin, 2008). Inkstone was mostly replicated in cursive writing and also in Sousho (Godin, 2008). Simplified inkstone gave rise to recent hiragana, which is employed in a distinctive Japanese calligraphy script known as Kana. The ascension of Minamoto to the title of Shogun, after the Heiji and Hōgen revolts, and the conquest of the Minamoto tribe over the Taira, symbolized the start of the Kamakura period (Godin, 2008). The era was from 1185 to 1333 A.D (Godin, 2008). The Minamoto reign was projected to restore peace and tranquility in the state, but this was not the case. The era was, at times, referred to as "the time of the warriors" (Godin, 2008). A wide transition from court authorities to a leading role of the military organization permeated the culture. It was also a period when contacts with China of the Song dynasty were persistent, and Buddhism significantly thrived. Zen monks like Shunjo were educated in China, and the writings they brought with them were considered to be highly significant for the Karayō custom of that time. They expressed a clear kaisho technique. However, this was not the only example. In fact, a series of Chinese monks were established during that time, persuaded by Regent Hōjō Tokiyori (Godin, 2008). Rankei Doryū established the Kenchō-ji place of worship in Kamakura where a lot of his works were conserved. Nevertheless, with the rise of the Rinzai educational centre of Zen Buddhism a less technical method emerged (Godin, 2008). This was demonstrated in the calligraphy of Musō Soseki who inscribed the calligraphy symbols in a refined sosho manner. The method was also demonstrated in Shūhō Myōcho works better recognized as Daito Kokushi, the originator of Daitoku-ji in Kyoto. In relation to Wayō’s technique, the calligraphies of Fujiwara no Teika along with Fujiwara no Shunzei are regarded as outstanding techniques of the early Kamakura and late Heian (Godin, 2008). Political along with military disorders continued all through the Muromachi era. This was from 1336 to1537 A.D. The period was distinguished by tensions between the civil and imperial authority as well as periods of outright civil war (Godin, 2008). Nevertheless, as Ashikaga Takauji had overthrown Emperor Go-Daigo in Kyoto to set up his own Bakufu there, the combination of residual members of the imperial courtiers, court, samurai, daimyo, and Zen priests brought about vibrant cultural impulses. The calligraphy flourished, but as impressive as those of earlier periods (Godin, 2008). Ikkyū Sōjun was influential in uplifting the admiration of calligraphy to an essential part of the tea ritual in the 15th century (Godin, 2008). Tokugawa Ieyasu centralized power in his Bakufu between 1603 and 1615. This marked the start of the Edo era that came with 250 years of relative stability to Japan. The era lasted to the second half of the 19th century. The age was symbolized by an emphasis on the values and beliefs of the Bushi (Godin, 2008). It was also symbolized by seclusion from international influences with the introduction of Sakoku policy. Calligraphic learning was limited to the study of Karayō techniques through Ming Dynasty China. Native improvements were contributed by the Ōbaku sect of Zen Buddhism and Ingen, as well as the Daishi centre of calligraphy. The Daishi centre focused on teaching the eight rules of character yong that go back to Wang Xizhi, and the 72 types of Hissei (brush energy) adapted by Lady Wei, Wang Xizhi’s teacher. The 1664 republishing of a copybook derived from these values in Kyoto offered an essential theoretical expansion (Godin, 2008). Calligraphers like Hosoi Kotaku, who wrote the Kanga Hyakudan volume five in 1735, further improved the Karayō technique. Exceptionally distinctive for the early Edo era was a creation by Hon'ami Kōetsu (1558–1637). He had paper prepared to order and paint a setting of decorative patterns, floral as well as butterflies elements. This made his calligraphy develop a poetic message. Along with Shōkadō Shōjō (1584–1639) and Konoe Nobutada (1565–1614), the three were considered as one of the best calligraphers in the Wayō technique at the time. This also created a unique Japanese calligraphy relatively different from China’s technique (Godin, 2008). Around 1736, Tokugawa began calming Japan's segregation rule and Chinese cultural imports went up, in particular through the harbor of Nagasaki. Catalogues of imported books showed a broad admiration of Chinese calligraphers amid the Japanese literati who practiced the Karayō technique. Traditionalists studied Wen Zhengming and Wang Xizhi, whereas reformists replicated their work based on the Soshō technique of calligraphy (Godin, 2008). They copied works from people like Mi Fu, Huai Su and Zhang Xu. In relation to Wayō, Konoe Iehiro contributed a lot of fancy kana works (Godin, 2008). Wayō’s style, on the other hand, was not as dynamically practiced as Karayō at that period. However, some examples have been conserved by scholars of Kokugaku National studies, painters as well as poets such as Yosa Buson, Kaga no Chiyo and Sakai Hoitsu. These days, the Japanese language, has three writing techniques. They are the kanji, hiragana and katakana (Godin, 2008). Both hiragana and katakana are syllabaries, not alphabets, as they carry no semantic significance. Hiragana is derived from simplified cursive examples of kanji or simplified Sousho. It is also derived from katakana on kanji compounds in their typical form. Hiragana has substituted difficult Inkstone with much fewer and simpler forms. However, both writing techniques are still used mutually in the highly creative arts of Japanese calligraphy, referred to as Kana (Godin, 2008). In the Kamakura period (1185–1333), the technique of writing calligraphies was further prejudiced by the beliefs of Buddhism, and mainly Zen Buddhism (Godin, 2008). The initial school of Zen Buddhism in Japan was Rinsai. It was established on the 12th century, and it still runs till today all through Japan and its numerous subdivisions. Its influence over the Japanese culture and the military was outstanding. It also takes credit for influencing calligraphy all over Japan. Zen calligraphy referred to as bokuseki lit, traces of ink, is quite liberal in form and it follows exceptionally lose rules, if any at all (Godin, 2008). Zen monks are not skilled calligraphers or artists, at least not all of them. Therefore, their writing is uncontrolled. Zen calligraphy is inscribed by use of the whole body, while standing, through engaging a void mind, pure emotion and visualizing the subject matter of the given calligraphy. Zen Sho is exceptionally theoretical, and it is also quite difficult for the traditional calligraphers entirely to appreciate the art owing to its divergence from strict rules. However, it is exceedingly spiritual and captivating (Godin, 2008). Contemporary calligraphy of the 20th century, which borrows substantially from western theoretical schools of painting, is quite connected in its general concept and appearance to Bokuseki. One of the distinctions is that Bokuseki is derived from Karayoushodou (Chinese calligraphy styles), whereas avant-garde Sho borrows deeply from Inkstone aesthetics. In the Edo era (1603-1868), both schools Karayoushodou and Inkstone coexisted fairly harmoniously, except, in the early 17th century, Japan got into a long period of cultural separation. Throughout those years, a new style derived from Inkstone was established (Godin, 2008). It was referred to as Oie Ryuu lit or in other words a noble family technique. It was also known as the samurai family style and was practiced in the well-known Terakoya School. The school offered education to children who were brought up in middle class families. Writing and reading was the main, even though not the only, subjects taught in the school (Godin, 2008). Students studied through imitating their teachers’ writing and inscriptions that were presented to them on Tehon, a copy book (Godin, 2008). This technique is still followed in Japan until today. In the Edo era, unusual styles of written calligraphies came to life. They were referred to as Edo Moji lit. These were characters from the Edo era (Godin, 2008). They were principally used for designing names of sumo wrestlers and storing banners. These days, calligraphers deem them to be more of a craft than art, having slightly or nothing similar to the customary way of writing Chinese characters (Godin, 2008). Calligraphers deem them as being closer to western calligraphy than the Japanese culture. The ending of the Edo era also put an end to the separation of Japan. Hence, calligraphers honored Karayou techniques once again (Godin, 2008). Studying basics, for instance Gyousho, Sousho and Kaisho, but also other ancient and influential techniques such as Tensho, Koukotsubun or even Reisho become quite accepted in professional calligraphic circles. These days, with immediate information access, cultural exchange has gone to a totally new level (Godin, 2008). Far Eastern calligraphy is deeply influenced by modern theoretical paintings, and vice versa (Godin, 2008). As a result, a style referred to as Bokushou, image of ink, was founded in Japan. The technique is a crossover between calligraphy, modern abstract art and Sumi-e. It is also known as Avant-Gard writing or calligraphy. The forefather of Bokushou, image of ink, was the majestic calligrapher Hidai Ternai. Further, artists with calligraphic origins contributed to the pop technique, which violated the customary way of writing calligraphy. With that, emblems as well as other artistic compositions, derived from logographic concepts and somewhat connected to Chinese symbols, were given a whole makeover (Godin, 2008). Many old-fashioned calligraphers see it as a hazardous practice. They reason that it may perhaps lead to relaxing regulations of the Sho and, hence, weakening its essential attractiveness. This corresponds to how simplifying Chinese characters affect the writing techniques derived from kanji (Godin, 2008). Still, since this pop technique is deeply anchored in Far Eastern aesthetics, it is still captivating even for the most inflexible calligrapher. However, one should be vigilant with current approaches as the boundary between Sho and the casual maze of lines may be rather hard to draw, particularly for the layman. One of the recent techniques of writing calligraphy is the Shodō method. This method is solely applied in Japan (Godin, 2008). Japan can take pride of the method since it has not being replicated by the western culture. This method is totally different from the western of way calligraphy. Shodō is written on a Japanese paper referred to as Washi. It is written using animal hair brush referred to as Fude or bamboo. The symbols inscribed in Shodō are often Chinese forms or archaic. Modern simplifications or variations of characters are hardly ever used. It uses ink referred to as Sumi. Japanese calligraphers obtain this ink from charcoal (Godin, 2008). They come in sticks which have are wiped with water on an inkstone till the precise consistency is attained. Cheap and pre-mixed bottled inks can be purchased in art shops. However, these are used mainly for practice since stick inks are measured as higher quality. In addition, organic inks are more prone to leaking over time (Godin, 2008). This cannot be used in hanging writings. Knowing how to rub the ink is a fundamental part of calligraphy study (Godin, 2008). Conventionally, Japanese calligraphy was inscribed only in black ink, but contemporary calligraphers at times use other colors (Godin, 2008). Calligraphy educators use a bright red ink with which they inscribe characters for learners and correct their learners’ work. A basic Shodō kit comprises of a ceramic stone or inkstone. A less expensive inkstone is made of plastic (Godin, 2008). A basic Shodō kit also comprises of a portion of black felt (shitajiki), a collection of brushes, paper sticks and weights as well as a bottled ink. The Shitajiki is often printed with registration inscriptions in white regularly with six squares on one side and four on the other (Godin, 2008). The squares are used to make sure that correct placements and sizes of characters are inscribed in the paper. Such written Shitajiki is used only by learners. Extremely long Shitajiki are also accessible. These are employed when writing on an extraordinary long paper. These days, people frequently do Shodō while seated on a chair at a desk or table. Larger elements may be inscribed while standing. In this case, the sheet is put on the floor, but a few calligraphers utilize an easel. A paperweight is put on top of all, but the largest pages to avoid slipping (Godin, 2008). The brush is grasped in the right arm between the thumb and the index as well as the middle fingers (Godin, 2008). Shodō requires a lot of years of devoted practice. Accurate stroke order, correct rhythm and balance of characters are also essential in calligraphy. Experienced handling of the brush creates a pleasant balance of characters on the sheet, thin and thick lines, as well as heavy and light inking. Japanese calligraphies are signed with the artist's name, and seal, stamp or chop in red ink (Godin, 2008). In conclusion, calligraphy in Japan is a basic school subject. In high schools and universities, calligraphy is one of the options of art subjects. It is also a trendy movement in high schools, mainly with the start of performance calligraphy. A few universities, for instance Tokyo Gakugei University, Fukuoka University of Education and University of Tsukuba, have unique departments of calligraphic studies. They stress on teacher-training programs/curricula in calligraphy. Japanese calligraphy has also captivated several Western artists through the centuries who practiced and studied calligraphy in line of their art. Reference Godin, B. (2008). An introduction to Japanese kanji calligraphy. Clarendon, Vermont: Tuttle Publishing. Read More