Because gyosho provides a sense of speediness and flexibility in brush movement in comparison with kaisho, it allows for the creation of very personal styles in forming ideograms. A change in the order of strokes is acceptable, as is adjusting brush strokes to suit one’s own style, and for artistic creativity. This flexibility in gyosho allows the shodo artist the opportunity to produce remarkable works. For this reason also, most Japanese calligraphy is done in gyosho, including bokuseki writings by Zen priests.
The unique feature of the gyosho style is that the beginning and ending of a brush stroke must show the directional movement of the next stroke—where it came from and where it is going. In the example above of the ideogram for “one,” the brush movement is started from the left and moves to the right; then, at the point of completion, the brush is lifted, leaving a wisp to indicate where the next line will begin.
SOSHO 草書
Sosho is the least formal style for writing ideograms in Japanese and is like writing in cursive in the West. Brush strokes and movement flow in minimized style with each line reminiscent of the wind blowing grasses in a meadow, or flowing water moving plants in a stream. For this reason, sosho is often called “grass writing.” It more likely began as casual daily communication or notation, thus the personality of the writer was clearly evident. This aspect eventually led to this highly artistic and abstracted style of writing in contemporary times. The very great economy in brush movement provides a sho artist the opportunity to achieve full artistic expression to create many subtle nuances among the curving lines in an ideogram and to incorporate an important balance within the flow of line and active empty space. However, in order to work in the sosho style, it is necessary to first master the order of the strokes in both the kaisho and gyosho styles. Without a firm knowledge of these requirements, the purpose and effect of the highly simplified sosho lines will not be executed by the calligrapher, and the all-important visual improvisation in personal expression will not be successfully achieved.
Because sosho has become so personalized, the Japanese do not use it for everyday writing. In fact, sosho is so abstract that it can generally be read only by those trained in calligraphy who are able to appreciate its aesthetic qualities and free-flowing artistic style. During the Heian period (794–1185 CE) the phonetic system of hiragana was developed from the sosho style and was considered a woman’s writing style. Today, professional calligraphers and Zen priests often use the sosho style of writing Chinese ideograms. However, because the focus is on the quality of the visual line and because innovations and modifications can radically alter ideograms, the general public usually finds sosho calligraphy difficult to read.
The beauty of sosho lies in its fluid brush movements. As shown below in the ideogram for “one” (b), it is the essence of sosho to continue the flow of line from the previous movement, and leave a trace which leads to the next line. The continuous flow in line quality, which is begun with the tip of the brush without pressure, moves naturally to the right, with the ending wisp of the stroke leading to the next stroke.
The ideogram for shosho means “grass style” or “flowing in the direction of the wind in a meadow.”
Sei Fū Shū Chiku O Ugokasu (“Fresh Breeze Affects Serene Bamboo”) by Shinya Fujiwara of the Naniwa Shodo Kai
“T-SHIRT AND BLUE JEANS”
The kanji ideograms have had thousands of years to develop and change, and continue to flexibly reflect the artistry of each generation. The legacy offered by well-known calligraphers to their contemporaries shows their unique personalities pervading their work, impacting the kanji style, and reflecting the tenor of the time.
Shortly after World War II, during the 1950s, the Japanese traditional arts began to change, influenced by a contemporary movement which was world-wide. This trend permeated even the traditional world of shodo: the individual personality and style of calligraphers began to be more strongly reflected in their work. No longer do these works belong in the category of depicting ordinary ideograms or kanji but they become transformed into abstract paintings, where ideograms are no longer limited in size in relationship to each other. When the avant-garde becomes the fashion, it eventually becomes a recognized genre or form. However, often it is difficult to read such work because both the gyosho and sosho style of writing have become so personalized. The recent trend which has become very popular in Japan is a category which I personally have named the “T-shirt and Blue Jeans” style. One of the great benefits of this style is that it is easy to read because it is based upon a kaisho-like clarity, although it is in gyosho style. However, this “T-Shirt and Blue Jeans” style goes beyond the traditional concepts of rules and order and methods of brush movement, to a freer form. While the meaning of the ideogram is visually retained, the overall expression can also be aesthetically appreciated in a new way. Each individual can create a personal style, which is the great appeal of this movement.
On pages 135–138 the ichigyo mono “Fresh Breeze Affects Serene Bamboo” is discussed. This work by Shinya Fujiwara of the Naniwa Shodo Association captures, in “T-shirt and Blue Jeans” style, the essence of feeling the cool breeze.
CHAPTER 2
THE FOUR
TREASURES IN
SHODO
Chinese ideograms were brought to Japan during the sixth century along with Buddhism. However, in those early days, reading and writing were limited to royalty and selected members of the court. During the centuries that followed there were countless power struggles among the warlords. However, by the beginning of the Edo period (1615–1868 CE) with the rise of the Tokugawa Bakufu, Ieyasu recognized the many advantages of promoting aspects of Chinese culture, predominantly the philosophies of Confucianism (551–479 BCE) and Taoism (Lao Tzu, 604–531 BCE). The Bakufu (another name for the Tokugawas) employed teachers of Confucius to promote beliefs through reading, writing and even memorizing passages from the Analects of Confucius.
Zen buddhism, which had been brought to Japan from China during the Kamakura Period (1185–1333 CD), incorporated the philosophies of both Confucianism and Taoism and was very compatible with the sensibilities and approach to life among the warrior classes. The warriors and rich merchants who were retired gave rise to a class of the populace called the "literati" or bunjin (bun=literature; jin=person). This class was well versed in reading and writing, and the bunjin were especially involved with creating paintings which were accompanied by either Chinese or Japanese poetry.
They cultivated the arts of calligraphy, painting, and the Chinese style of drinking brewed green tea (added to the existing tea ceremony), all of which became important pastimes. The “four treasures” from the ancient Chinese—the brush, sumi ink, the grinding stone and paper—became revered items. An interesting object used in both shodo and painting, the suiteki, a miniaturized container to hold water, was no doubt inspired by the tea pot used in brewing green tea.
BRUSHES
Fude