The Art of Japanese Calligraphy: Shodō

Would you like to know more about Japanese calligraphy? You have come to the right place! Writing in any language can become an art. However, in no country is it taken as seriously as in Japan.

Known as Shodō, Japanese calligraphy is one of the most popular traditional arts from the Japanese country, practiced by thousands of Japanese of all ages.

Shodo begins to be practiced in childhood, being a compulsory subject in all schools in Japan. Young people interested in continuing to perfect this art have the possibility of continuing in a private school to become true professionals.

Japanese calligraphy has a great cultural component within Japan, but also outside its borders. With origin in Buddhist-Zen religion, offers multiple physical and mental benefits for those who practice it.

Would you like to learn Japanese calligraphy? You're thinking about do a Shodō course from home? Find out everything you need to know about traditional Japanese writing, what materials you need, and the different styles of calligraphy that exist.

What is Shodō?

Translated from Japanese as 'path of writing', Shodō is an art of Buddhist-Zen origin that helps those who practice it to find the path of self-knowledge.

Japanese calligraphy is based on the simplicity and beauty, making some ink strokes on the paper that must follow specific guidelines.

This was introduced from China in the 6th century, through the copying and transcription of Chinese texts by the first japanese buddhist monks.

During the Heian period in Japan, Chinese characters changed to become the kanji-style script used in the country today.

Still, the art of writing developed much more in Japan, where artists specialized in mastering a few certain techniques and styles.

This ancient art goes far beyond the writing of characters on paper. Calligraphers express their emotions and passions with strokes that cannot be corrected when they have been captured on paper.

They give their full attention to the task they are doing, clearing the mind of any other thoughts, while meditating much more deeply with the flow of the ink.

Main styles of Japanese calligraphy

Since its inception, the old guidelines that were established at the time to develop Japanese writing they continue to be maintained.

However, there are various main calligraphy styles, which vary in some details to achieve a different end result.

Depending on the chosen calligraphy style, the same kanji can have very varied shapes, although the meaning is the same.

Kaisho

The kaisho style or regular script is the most correct form of Japanese writing. Is a calligraphy with a more square style, respecting the shape and spaces of each of the strokes in each word.

This is the first phase that students go through of this art from Japan. Once the representation of the kanji with ink and brush on paper has been mastered, it is possible to continue towards the rest of the more artistic styles.

Gyosho

The gyosho style, or 'movement writing', is somewhat less formal, and has a semi-cursive style which makes the kanji not look so square.

The stroke has greater fluidity, although the lines must follow the same direction to be able to do a correct writing.

Students gradually learn to make longer strokes, following a certain rhythm when writing. The brush lifts less, but the reading is easily readable, with a stylish look.

Sōsho

The sosho on the other hand is a much more complicated style to read, since it is a calligraphy in which the characters are united in a single stroke.

It is known as 'writing in the grass'as it is described as the movement of the wind blowing through grass in nature.

This abstract style is very difficult to master, since it has a great artistic component and requires a lot of practice. Not all people are trained to be able to master it, so that they can write an easily readable text.

Other styles of Japanese calligraphy

In addition to these more basic Japanese calligraphy styles, there are many others that have become obsolete or are used to a lesser extent.

Some of the best known are Tensho and Reischo, with its own peculiarities when using them.

Tensho

The tensho style is used for the hanko stamp creation, with which the calligraphies are usually signed once they are finished. Each artist has his own stamp, although a specialized person is in charge of the manufacture of these.

For stamps the calligraphy style is much less refined. Ancient-looking characters are used, with thick and simple lines to make it easier to get onto the paper by dipping the stamp in ink.

Unlike the black ink used by artists to make Japanese calligraphy, finished works are stamped with red ink made with mercury sulfide.

This detail is of great importance since the red color contrasts with the black of the ink and the white of the paper, reaching visual perfection.

Reisho

The reisho style was widely used in the Edo period, and is becoming increasingly obsolete. This in turn It is divided into two sub-styles, the Korei and the Hanrei, characterized by thick, rough and very simple lines, in the purest style of ancient Japanese calligraphy.

Today they can be seen in some traditional shop signs and signs. Unfortunately, it is falling into oblivion, and fewer and fewer artists are using it.

Sometimes they can be found several of these styles mixed in the same work. As the artist sees it, during your meditation you practice whatever technique you need to clear and open your mind.

Material to practice Shodō

In addition to the very particular typeface that Japanese calligraphy represents, there are many other peculiarities that make it so peculiar.

One of them is the type of materials that are required, unknown outside of Japan, although many have Chinese origin.

In any workshop, every artist has 4 items that are absolutely essential, and other accessories that may vary.

The main ones are known as the 'four treasures of the study', and they are the following, take note!

Calligraphy paper

Japanese calligraphy paper can be made from rice fiber or mulberry leaves, known as washi paper.

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The pulp of the mulberry leaf is more resistant, so it is usually used for important works or for large sheets.

Brush

Known in Japanese as fude, is a type of brush formed by a bamboo handle and natural animal hair bristles.

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There are different sizes, thinner or thicker, but usually they all have a rounded shape. Measurements S and L are valid to begin with.

ink

The ink, or sumi, You can come in stick or liquid format.

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Used always black, traditionally made with pine soot compacted with a natural glue of animal origin.

Inkwell

The inkwell o suzuri is the last element of great importance in the Shodō, since in it ink is deposited to wet the brush.

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It has shape of small tray made with volcanic stone, whose base is rough to file the ink stick sumi and mix it with water.

Other calligraphy materials

In addition to these materials, there are other accessories used by both experts and students of traditional Japanese calligraphy:

Bamboo mat

Call fudegakiIt is a mat very similar to the one used in the kitchen to roll up maki.

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It serves to store brushes, rolling it up to close like a case.

Jug

This little jug, or mizusashi, it is always on hand with a little water to mix with ink.

Cloth

Placed just below the paper he always puts on a cloth called shitajiki.

Act as a tablecloth to avoid staining the table if ink seeps through the paper.

Paperweight

Called bunchin, the function of the paperweight is to keep the blade in place while practicing writing.

Has elongated stone shape, and is used on the top of the paper to hold it properly.

Brush rest

Next to the inkwell is usually placed a fudeoki or rest brush that prevents stains on the table.

Japanese stamp

Finally, each author usually has his own rakkan shirushi or personal seal, with which they sign their work when they finish using red ink.

How to practice Shodō correctly?

To correctly learn how to practice Shodō, we recommend that you do some Japanese calligraphy course.

Carrying out this technique is very difficult to explain, since it requires following many guidelines. The Japanese are experts because from a very young age they teach some basic notions at school.

In general, in order to do Japanese calligraphy, the position of the body must be taken into account, with the stretched back and keeping a little space between it and the backrest of the chair.

The arm that holds the brush never rests on the table. This must always be high to be able to handle the brush freely, keeping the elbow at wrist height or above this.

In some types of meditation, the artists remain seated on their knees on the tatami, or directly stands if it is a large sheet of paper.

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