Warm-up Strokes Prior to Brush Practice
Prior to the student practicing the instructed strokes and kanji, the student is advised to perform some (level/amount of) “Warm-up” exercises. Doing so will “re-acclimate” the student with (correctly) using the brush, and will reinforce the instructed methodology's during their practice of Shodo.
Basic guidelines:
The student should sit comfortably (whether at a table, desk or a “Shodo-bench” or where ever they are practicing the the brushing of the instructed techniques.
Their back should remain straight, and the arm's are relaxed.
The brush should be held with the fingertip's and the wrist remaining straight.
The forearm remains parallel to the work surface/paper.
ALL strokes should be performed by motioning the torso, via the waist (the arm should only move minimally, if at all) and never through the wrist.
When the brush touches the paper, it should immediately begin moving.
“Speed” (of brush motion) is determined only by “ink flow” (from the brush), not for attempting to create “effect”. Different brushes hold and release in at different flow rates.
The student should “Exhale” in conjunction with the brushes motion (inhaling when the brush is lifted from the paper).
The Warm-up Practice's Utilized at this school include:
The “Bounce” technique (review)
Correct “Breathing” (Exhale with the stroke, Inhale when the brush is lifted from the paper)
Vertical/Horizontal "End of Stroke"brushing Corner review
Circle (brush control) practice
The “Bounce” Technique
The “name” of this technique can be misleading. The motion is not (literally) a “bounce”, it is a (controlled) raise, and re-setting of the brush. This technique is used for a couple of situations. The most frequent/common use, is when the finishing a stroke (whether vertical or Horizontal) a “Mother-Dot” is set at the end of the stroke (to clean the “outer” edge of the stroke). The next is similar (in results) as the motion is often done when brushing a “corner”(as done in the Carpenter's Square strokes). The last (at least in my own experience) is for aiding in the creation of the (bottom) “corner” (of the “Praying fish”and the “Long Wave” strokes).
To perform this action, the stroke is made, and when the desired position is achieved, the brush (body) is lifted from the paper (leaving the “tip”of the brush in contact with it). This allows any “stray” hairs to realign before the brush is again lowered to the paper. This motion is inclined (though hardly “guaranteed”) to “clean” the outer edges and/or aid in creating a clean “corner”. The motion is easily performed, and (several) students claim to use it for “other” purposes (?) in their brushing of the various “styles” as well. I have no (direct) knowledge of those methods, so I can't confirm/deny any of them (feel free to “experiment” on your own).
Breathing (while brushing Calligraphy)
The “rule” for correct breathing (while brushing calligraphy) are simple, Exhale when the brush is in motion, and Inhale, when the brush is lifted from the paper. Obviously, a slight breath should be taken prior to brushing, but be aware that “Inhaling” while motioning the brush will (often) “mess-up” the stroke being attempted. This becomes more challenging as one becomes more proficient at brushing the character's (kana & kanji), as one is inclined to brush more kanji with each “reload” of the brush.
Vertical/Horizontal Stroke Brushing
This warm-up is intended to acclimate the student to motioning via the “waist” (to produce the brush strokes). The student will first brush a straight line across the top of the page (Left to Right). The stroke is began with the “Mother-Dot” and is continued across the page and is ended/completed with another “Mother-Dot”. This is repeated (Top to Bottom) until the entire page is filled. The student then (beginning on the RIGHT SIDE, in order to acclimate to the Japanese manor of brushing) will set a “Mother-Dot” at the upper-right corner, and pull the brush downward to the bottom of the page. The stroke(s) are alternately “ended”, with (another) “Mother-Dot” and/or a “Tapered Point”.
Variances in stroke thickness can additionally be addressed during this practice. Attention is focused on the brush “Tip” which is maintained along the “upper-edge” (for the horizontal strokes) and the “Left-Side Edge” (for the vertical strokes).
Corner and Connection Review
This exercise begins with the student brushing a horizontal stroke (roughly) a 1/3 the width of the paper. The student then performs a “Bounce” (explained elsewhere), then pulls the brush downward
(towards the bottom of the paper). The student then brushes (another) horizontal line that terminates “within” the vertical stroke (previously brushed. The next stroke begins where the last Horizontal stroke began, and is pulled (directly) downward, the brush is lifted and performs a “Bounce”. The brush is pulled to the right (in the manner used when brushing “ichi”) to the same distance as is (directly) above it. Another “Bounce” is enacted, and the brush is pulled downward. These actions are repeated until two (2) columns of these strokes are completed (see example for clarification).
Numerous aspects to brush use/manipulation can be utilized in this exercise. There can be “width” variations (in either/both horizontal/vertical strokes), “corner” (Carpenter's Square/Reverse Carpenter's Square) review (upper-right, lower-left), “Ichi”. This exercise will remind the student of numerous details when they begin brushing the kanji being practiced.
Circle (brush control) practice
This Exercise is (mainly) used to review the student's ability with utilizing the “waist” to perform their brush motions. The student can choose to begin at the bottom (as shown in this example) or at the top of the paper (it's an irrelevancy). Note that there are no “straight” lines produced in this practice. As soon as the brush comes in contact with the paper, it is motioning in a “curve”. The “circles” can begin in (either) the center (going from smaller to bigger), or on the outer edges initially (going larger, to smaller). The student's focus, should be on their arm NOT moving. All motion should be achieved via the motion of the waist. This is also practice in “upward/downward” brush motion. As the student
motions forward, across and back, they will have to maintain their forearm's distance above the paper.
This will be evidenced through the resultant variances in the produced “strokes”. The “goal” is to maintain a consistent size (of stroke) throughout the individual circles (as well as creating a
“symmetrical” set of circles).
Though “other” rules are regularly followed (when brushing kanji), those will be addressed as the student's instruction proceeds. Initially, the student need only concern themselves with handling and cleaning the Brush (and suzuri) sufficiently, and practicing the stroke's reproduction as shown. Though not (necessarily) “required”, it would be advisable for the student to own a Japanese to English Kanji Dictionary (and learn how to utilize it).
The advantage to familiarization with the instructed strokes (beyond one's ability to brush them), will become evident when using a (or most) “Kanji Dictionary's” (which “I” recommend using “Nelson's Kanji Dictionary”). Most kanji dictionary's are organized by “stroke count” (regardless of which dictionary you use). Being familiar with the strokes (and how they are used in the various kanji) will allow the student to recognize where the strokes are located, and be able to count them.
Prior to beginning the practice of the shown strokes, the student should review (and perform) the “Warm-up” exercises (horizontal and vertical strokes, the “bounce” technique, and the “Circle
exercise”. Doing so will remind the student of the “body-motion's” that they should be utilizing while practicing the brushing of the strokes and kanji.
Tuesday, October 16, 2018
Monday, October 15, 2018
Using the Brush
Using the Brush
There are only a few directives in regards to “how” the brush is utilized when practicing this art.
#1 The brush handle remains vertical throughout the brushing process. Though (obviously) possible to produce certain “effects” by leaning the brush, doing so will create bad habits (and poor results with increased difficulty later) when working on the different “styles” of brushing (“Sosho” in particular).
By leaning the brush, you are changing the area of the brush in contact with the paper. Doing so will also negate one's ability to vary the size of the stroke (by raising and lowering it).
#2 “Breathe” (“exhale”) while the brush is in motion, inhale when the brush is raised from the paper.
This will additionally aid in smoothing out your waist/brush motion (“holding” your breath will cause you to “shake” while moving the brush).
#3 Brush motion is made via the “waist”, NOT the arm. The purpose of the warm-up strokes is to acclimate to this method of using one's body with the brush.
Though “other” rules are regularly followed (when brushing kanji), those will be addressed as the student's instruction proceeds. Initially, the student need only concern themselves with handling and cleaning the Brush (and suzuri) sufficiently, and practicing the strokes as shown. Though not (necessarily) “required”, it would be advisable for the student to own a Japanese to English Kanji
Dictionary (and learn how to utilize it).
The advantage to familiarization with the instructed strokes (beyond one's ability to brush them), will become evident when using a (or most) “Kanji Dictionary's” (which “I” recommend using “Nelson's Kanji Dictionary”). Most kanji dictionary's are organized by “stroke count” (regardless of which dictionary you use). Being familiar with the strokes (and how they are used in the various kanji) will allow the student to recognize where the strokes are located, and be able to count them.
Prior to beginning the practice of the shown strokes, the student should review (and perform) the “Warm-up” exercises (horizontal and vertical strokes, the “bounce” technique, and the “Circle
exercise”. Doing so will remind the student of the “body-motion's” that they should be utilizing while practicing the brushing of the strokes and kanji.
There are only a few directives in regards to “how” the brush is utilized when practicing this art.
#1 The brush handle remains vertical throughout the brushing process. Though (obviously) possible to produce certain “effects” by leaning the brush, doing so will create bad habits (and poor results with increased difficulty later) when working on the different “styles” of brushing (“Sosho” in particular).
By leaning the brush, you are changing the area of the brush in contact with the paper. Doing so will also negate one's ability to vary the size of the stroke (by raising and lowering it).
#2 “Breathe” (“exhale”) while the brush is in motion, inhale when the brush is raised from the paper.
This will additionally aid in smoothing out your waist/brush motion (“holding” your breath will cause you to “shake” while moving the brush).
#3 Brush motion is made via the “waist”, NOT the arm. The purpose of the warm-up strokes is to acclimate to this method of using one's body with the brush.
Though “other” rules are regularly followed (when brushing kanji), those will be addressed as the student's instruction proceeds. Initially, the student need only concern themselves with handling and cleaning the Brush (and suzuri) sufficiently, and practicing the strokes as shown. Though not (necessarily) “required”, it would be advisable for the student to own a Japanese to English Kanji
Dictionary (and learn how to utilize it).
The advantage to familiarization with the instructed strokes (beyond one's ability to brush them), will become evident when using a (or most) “Kanji Dictionary's” (which “I” recommend using “Nelson's Kanji Dictionary”). Most kanji dictionary's are organized by “stroke count” (regardless of which dictionary you use). Being familiar with the strokes (and how they are used in the various kanji) will allow the student to recognize where the strokes are located, and be able to count them.
Prior to beginning the practice of the shown strokes, the student should review (and perform) the “Warm-up” exercises (horizontal and vertical strokes, the “bounce” technique, and the “Circle
exercise”. Doing so will remind the student of the “body-motion's” that they should be utilizing while practicing the brushing of the strokes and kanji.
The Basic Tools Used for the Practice of Brush Calligraphy
The Basic Tools Used for the Practice of Brush Calligraphy
The practice of Brush Calligraphy (Shuji) is a skill that has been practiced by (both) Chinese and Japanese martial artists for several hundred years. Though originally only known and practiced by the
“upper-classes”, it was eventually allowed to be practiced by the “commoner's” of those two countries.
The Japanese adopted the use of the Chinese Kanji (brushed character's), but utilized different sounds and pronunciation's for identifying those character's. The Japanese manner of sentence structure was additionally different (from that of the Chinese), so the ability to “read” those writings (between the two) was difficult (and often limited to the upper-classes, who had received training in foreign languages). Being that the majority of the early martial art “master's” were member's of the upper classes themselves (and that Shuji was one of the Budo skill sets) and almost all had received training in that skill.
Eastern cultures will commonly use analogy's to convey particular thoughts and idea's for subjects that may not be readily obvious to the casual observer. This tendency is particularly evident with the
instruction of a “martial art”, and is seen done within their practice of brush calligraphy as well. The Japanese culture is particularly meticulous (in regards to “detail”) with (almost) everything that they assimilate into their culture. The instruction and practice of Brush Calligraphy is no different.
The practice of Brush Calligraphy is in many ways similar to that of practicing a martial art. Despite
that there are numerous “school's” who teach those skill sets, each has (it's own) emphasis on particular aspects of it's practice.
There are hundreds of brush calligraphy school's, and each has it's own way for learning the required motions (to practice that art). There is no (or very little) “right or wrong” way to practice the art of brush calligraphy (Shuji). There are (numerous) “bad habits” that can/will make that study (progressively) more difficult. The purpose for following a particular methodology, is to avoid the
development of “bad habit's and practices” (that will cause the student greater difficulty in their continued practice). What will be shown at this school, is but one of those methodology's. The
methodology that is taught at this school, is based upon the teachings of the “Japanese school of Calligraphy” (Nihon Shuji).
Whether the student is able to “read” (I.E. “translate”) the character's being brushed (or not) is irrelevant. What is of greater importance, is the student's understanding of how to control the brush (efficiently) and their ability to reproduce the necessary strokes that are used in various combinations
to create the desired kanji (Chinese/Japanese character's).
The student's ability to translate the kanji is a study that is beyond what will be provided in this course.
It is recommended that the student obtain a “Japanese/English” Kanji Dictionary to provide them with
a (simple) way to translate the practiced kanji. This school recommends the “Nelson's Japanese/English Kanji Dictionary” for that purpose. It contains the majority of kanji that the student will encounter and/or use during their practice. Another useful (and convenient) text, is the “Kanji and Kana” book. It contains the essential 1945 character's that are taught to Japanese student's during their primary school education. The provided examples (of the kanji) have been brushed (as opposed to “computer generated” examples of the character's).
Oriental brush calligraphy is (generally) divided into several (different) brushing “styles”. The most
commonly seen (and used) is Kaisho (Block-style). It is the style of brush writing that is considered to be the foundation (style) for writing the kanji. It is also the style of brush writing that this course will initially teach to the student. The second style shown, will be Gyosho (semi-cursive). Though being similar to Kaisho, it is a more relaxed version of the that style. The third style shown, will be the Sosho (fully-cursive) style. This style is a more challenging style to (physically) brush (at least correctly). It should be noted that less than 20% of the (native) Japanese population can ever read (much less correctly brush) this style for writing the kanji. The fourth style of writing is Reisho (Cleric-script), this
is a “squared” version of brushing the kanji. Though being a popular style (for brushing “mantra's”) it is not included within the instruction of this course. The final style addressed, is the Tensho (Seal script) style. This is the oldest of the styles addressed by this course. This style is commonly seen being used on “Seal-Stone's” (normally being carved into, or done in “relief” on those seals).
Though commonly believed to of been created sequentially, only Kaisho and Gyosho have (any) such correlation. Various styles were developed from Tensho (and earlier) styles, including Sosho.
The development of the different styles used to write the kanji is extensive, and this course will not be addressing that subject in (great) detail. This course will only address the 4 styles of Kaisho, Gyosho, Sosho and Tensho.
In addition to learning how to brush the Kanji, the student will be introduced to the Kana (writing system). There are 2 “set's” to the (Japanese) Kana system. Each set, consists of 46 character's. They
amount to 2 (different) ways to write (the same 46) “sounds”. They can be thought of as “alphabets” for writing in Japanese. The Japanese use them to represent (or in place of) kanji, that they don't know the (exact) character for.
The first of these set's, is the Hiragana. These character's are brushed in the Sosho style of brushing the Japanese character's. The Hiragana are used for representing/writing “Japanese” words.
The second set, is the Katakana. These character's are brushed in the Kaisho style of brushing the character's. The Katakana are (mainly) used for writing words that are foreign to Japan.
The first task that the student will address is to learn about the various “tool's” used to practice this art.
The “traditional” tools of this art are known as “The 4 Treasures”. These consist of the Brush (Fude), the Inkwell (Suzuri), the Ink (Sumi) and the Paper (Kami). Numerous additional tools are commonly used as well, but those 4 are the “basics”.
We will address these 4 first, then we will include the additional items (as they will prove to be very beneficial to the student's practice.
Fude (brush)
The brush used for Shuji is commonly one that has hair's that are (approx.) 2½” (6.35cm) in length, the “body” of the brush is (approx.) ½ to 5/8” (1.27-1.58cm) in width. This is slightly larger than a brush that would be used for “everyday” writing. The commonly practiced size (of a character/kanji) will be 3”-10” (7.62-25.4cm) square.
A smaller brush with hairs (approx.) 1¼”(3.175cm) X 3/8” (.952cm) is used for signing the student's work, and for “everyday” writing purposes.
These 2 brushes will work for the majority of the assignments that the brush calligraphy student will have.
When a new brush (of any size) is obtained, it will commonly be “starched” (stiff). The starch must be washed from the brush. This is done by placing the brush under running water, and rinsing it out from the “tip” to (about) ¾ up the head of the brush. The student should NOT wash out all of the starch.
After use, the brush is rinsed clean and the hairs are realigned before the brush is hung to dry (a small loop is commonly molded into the opposite end of the shaft of the brush for this purpose).
Suzuri (Inkwell)
This item is designed to be used when the student “grinds” their own inkstick. The suzuri has a flat surface (to grind the inkstick on) called Riku (Land) and the bokuchi (the inkwell) that holds the
water/ink that the inkstick is ground upon. The inkstick is used to pull a small amount of water up onto the land, and the inkstick is held vertically and motioned forward and back, or in a circle while applying downward pressure on the inkstick. This is repeated until the desired consistency is achieved.
Sumi (Ink)
In many “traditional” calligraphy schools, this is the only type of ink used. It is sold in “sticks” (of
varying quality/color). There are readily available selections of liquid ink that the student can purchase
and utilize. Although the practice of grinding ink can become more “relevant” when one is brushing a desired piece (or for a desired consistency of ink), for the purposes of “learning and practicing how to do so”, Liquid ink will more than suffice.
Kami (paper)
The paper used for Shuji is commonly the type (inaccurately) referred to as “Rice Paper”. This paper is very thin, with a smooth and a rough side (the smooth side is the side to practice on). This paper can be purchased in varying qualities and sizes, but the thinner paper that is (approx.) 9½” X 13¾” (24 X 35cm) known as “Hanshi”, is what is commonly used for Shuji practice. Additional sizes are used for varying purposes and if/when those are required for assignments, the necessary details will be provided.
In a more “practical” sense, the student should additionally have the following items:
Bunchin (Paperweight)
This can be any item that can be used to weigh down the upper-edge of the paper. It prevents the paper from “shifting” while the student brushes on it.
Shitajiki (Felt Under-cloth)
This is a piece of felt that the paper is placed upon. It prevents ink (that soaks through the paper) from getting on the work surface underneath.
Fudemaki (Brush wrap)
This item is used to “roll-up” one's brushes when being transported/stored .
Once the student has acquired the basic items, they will begin to learn how to utilize them. Seeing that the beginning student will be using liquid ink, knowing how to grind an inkstick will not be one's initial concern.
Loading the brush
The hairs of the brush should be placed into the ink to absorb a sufficient amount for brushing. It should be approximately ¾ full of ink. The hairs are straightened by using the edge of the suzuri. This
action will help to remove any excess ink in the brush. Be sure to only pull the brush hairs against the edge (so as to not damage/twist them). All of the hairs should be straight and should form a “point” at the tip.
When the student holds the brush, they should only use the crease of the first joints of the finger's being used. The pad of the thumb will press against the brush providing stability. There are several ways that are commonly used for this grip. The student should experiment, and find which is more comfortable for themselves. Once the student begins brushing, the shaft of the brush should always remain vertical until the brush is lifted from the paper.
The practice of Brush Calligraphy (Shuji) is a skill that has been practiced by (both) Chinese and Japanese martial artists for several hundred years. Though originally only known and practiced by the
“upper-classes”, it was eventually allowed to be practiced by the “commoner's” of those two countries.
The Japanese adopted the use of the Chinese Kanji (brushed character's), but utilized different sounds and pronunciation's for identifying those character's. The Japanese manner of sentence structure was additionally different (from that of the Chinese), so the ability to “read” those writings (between the two) was difficult (and often limited to the upper-classes, who had received training in foreign languages). Being that the majority of the early martial art “master's” were member's of the upper classes themselves (and that Shuji was one of the Budo skill sets) and almost all had received training in that skill.
Eastern cultures will commonly use analogy's to convey particular thoughts and idea's for subjects that may not be readily obvious to the casual observer. This tendency is particularly evident with the
instruction of a “martial art”, and is seen done within their practice of brush calligraphy as well. The Japanese culture is particularly meticulous (in regards to “detail”) with (almost) everything that they assimilate into their culture. The instruction and practice of Brush Calligraphy is no different.
The practice of Brush Calligraphy is in many ways similar to that of practicing a martial art. Despite
that there are numerous “school's” who teach those skill sets, each has (it's own) emphasis on particular aspects of it's practice.
There are hundreds of brush calligraphy school's, and each has it's own way for learning the required motions (to practice that art). There is no (or very little) “right or wrong” way to practice the art of brush calligraphy (Shuji). There are (numerous) “bad habits” that can/will make that study (progressively) more difficult. The purpose for following a particular methodology, is to avoid the
development of “bad habit's and practices” (that will cause the student greater difficulty in their continued practice). What will be shown at this school, is but one of those methodology's. The
methodology that is taught at this school, is based upon the teachings of the “Japanese school of Calligraphy” (Nihon Shuji).
Whether the student is able to “read” (I.E. “translate”) the character's being brushed (or not) is irrelevant. What is of greater importance, is the student's understanding of how to control the brush (efficiently) and their ability to reproduce the necessary strokes that are used in various combinations
to create the desired kanji (Chinese/Japanese character's).
The student's ability to translate the kanji is a study that is beyond what will be provided in this course.
It is recommended that the student obtain a “Japanese/English” Kanji Dictionary to provide them with
a (simple) way to translate the practiced kanji. This school recommends the “Nelson's Japanese/English Kanji Dictionary” for that purpose. It contains the majority of kanji that the student will encounter and/or use during their practice. Another useful (and convenient) text, is the “Kanji and Kana” book. It contains the essential 1945 character's that are taught to Japanese student's during their primary school education. The provided examples (of the kanji) have been brushed (as opposed to “computer generated” examples of the character's).
Oriental brush calligraphy is (generally) divided into several (different) brushing “styles”. The most
commonly seen (and used) is Kaisho (Block-style). It is the style of brush writing that is considered to be the foundation (style) for writing the kanji. It is also the style of brush writing that this course will initially teach to the student. The second style shown, will be Gyosho (semi-cursive). Though being similar to Kaisho, it is a more relaxed version of the that style. The third style shown, will be the Sosho (fully-cursive) style. This style is a more challenging style to (physically) brush (at least correctly). It should be noted that less than 20% of the (native) Japanese population can ever read (much less correctly brush) this style for writing the kanji. The fourth style of writing is Reisho (Cleric-script), this
is a “squared” version of brushing the kanji. Though being a popular style (for brushing “mantra's”) it is not included within the instruction of this course. The final style addressed, is the Tensho (Seal script) style. This is the oldest of the styles addressed by this course. This style is commonly seen being used on “Seal-Stone's” (normally being carved into, or done in “relief” on those seals).
Though commonly believed to of been created sequentially, only Kaisho and Gyosho have (any) such correlation. Various styles were developed from Tensho (and earlier) styles, including Sosho.
The development of the different styles used to write the kanji is extensive, and this course will not be addressing that subject in (great) detail. This course will only address the 4 styles of Kaisho, Gyosho, Sosho and Tensho.
In addition to learning how to brush the Kanji, the student will be introduced to the Kana (writing system). There are 2 “set's” to the (Japanese) Kana system. Each set, consists of 46 character's. They
amount to 2 (different) ways to write (the same 46) “sounds”. They can be thought of as “alphabets” for writing in Japanese. The Japanese use them to represent (or in place of) kanji, that they don't know the (exact) character for.
The first of these set's, is the Hiragana. These character's are brushed in the Sosho style of brushing the Japanese character's. The Hiragana are used for representing/writing “Japanese” words.
The second set, is the Katakana. These character's are brushed in the Kaisho style of brushing the character's. The Katakana are (mainly) used for writing words that are foreign to Japan.
The first task that the student will address is to learn about the various “tool's” used to practice this art.
The “traditional” tools of this art are known as “The 4 Treasures”. These consist of the Brush (Fude), the Inkwell (Suzuri), the Ink (Sumi) and the Paper (Kami). Numerous additional tools are commonly used as well, but those 4 are the “basics”.
We will address these 4 first, then we will include the additional items (as they will prove to be very beneficial to the student's practice.
Fude (brush)
The brush used for Shuji is commonly one that has hair's that are (approx.) 2½” (6.35cm) in length, the “body” of the brush is (approx.) ½ to 5/8” (1.27-1.58cm) in width. This is slightly larger than a brush that would be used for “everyday” writing. The commonly practiced size (of a character/kanji) will be 3”-10” (7.62-25.4cm) square.
A smaller brush with hairs (approx.) 1¼”(3.175cm) X 3/8” (.952cm) is used for signing the student's work, and for “everyday” writing purposes.
These 2 brushes will work for the majority of the assignments that the brush calligraphy student will have.
When a new brush (of any size) is obtained, it will commonly be “starched” (stiff). The starch must be washed from the brush. This is done by placing the brush under running water, and rinsing it out from the “tip” to (about) ¾ up the head of the brush. The student should NOT wash out all of the starch.
After use, the brush is rinsed clean and the hairs are realigned before the brush is hung to dry (a small loop is commonly molded into the opposite end of the shaft of the brush for this purpose).
Suzuri (Inkwell)
This item is designed to be used when the student “grinds” their own inkstick. The suzuri has a flat surface (to grind the inkstick on) called Riku (Land) and the bokuchi (the inkwell) that holds the
water/ink that the inkstick is ground upon. The inkstick is used to pull a small amount of water up onto the land, and the inkstick is held vertically and motioned forward and back, or in a circle while applying downward pressure on the inkstick. This is repeated until the desired consistency is achieved.
Sumi (Ink)
In many “traditional” calligraphy schools, this is the only type of ink used. It is sold in “sticks” (of
varying quality/color). There are readily available selections of liquid ink that the student can purchase
and utilize. Although the practice of grinding ink can become more “relevant” when one is brushing a desired piece (or for a desired consistency of ink), for the purposes of “learning and practicing how to do so”, Liquid ink will more than suffice.
Kami (paper)
The paper used for Shuji is commonly the type (inaccurately) referred to as “Rice Paper”. This paper is very thin, with a smooth and a rough side (the smooth side is the side to practice on). This paper can be purchased in varying qualities and sizes, but the thinner paper that is (approx.) 9½” X 13¾” (24 X 35cm) known as “Hanshi”, is what is commonly used for Shuji practice. Additional sizes are used for varying purposes and if/when those are required for assignments, the necessary details will be provided.
In a more “practical” sense, the student should additionally have the following items:
Bunchin (Paperweight)
This can be any item that can be used to weigh down the upper-edge of the paper. It prevents the paper from “shifting” while the student brushes on it.
Shitajiki (Felt Under-cloth)
This is a piece of felt that the paper is placed upon. It prevents ink (that soaks through the paper) from getting on the work surface underneath.
Fudemaki (Brush wrap)
This item is used to “roll-up” one's brushes when being transported/stored .
Once the student has acquired the basic items, they will begin to learn how to utilize them. Seeing that the beginning student will be using liquid ink, knowing how to grind an inkstick will not be one's initial concern.
Loading the brush
The hairs of the brush should be placed into the ink to absorb a sufficient amount for brushing. It should be approximately ¾ full of ink. The hairs are straightened by using the edge of the suzuri. This
action will help to remove any excess ink in the brush. Be sure to only pull the brush hairs against the edge (so as to not damage/twist them). All of the hairs should be straight and should form a “point” at the tip.
When the student holds the brush, they should only use the crease of the first joints of the finger's being used. The pad of the thumb will press against the brush providing stability. There are several ways that are commonly used for this grip. The student should experiment, and find which is more comfortable for themselves. Once the student begins brushing, the shaft of the brush should always remain vertical until the brush is lifted from the paper.
Oriental Brush Calligraphy Course
Introduction for the Oriental Brush Calligraphy Course
taught at the Ryu Shin Kan/Ken Shu Kai Dojo
Much like what is being shown in the student's instruction for learning Oyata Te, brush calligraphy consists of numerous details that are utilized in it's practice. Though often (incorrectly) stated, brush calligraphy motions cannot be practiced with a pen or a pencil. There are “brush-pens” that have a felt tip that allows for a similar type of practice, but it should be recognized that the use of an (actual) brush, is different.
Unlike the practice of a defensive methodology, Shuji (brush calligraphy) is an individual/solo pursuit. Aside from that distinction, Shuji shares many of the same challenges (for instruction/learning) that the study of a martial art/defensive methodology does. Both consist of basic motions and techniques that effect the results of the students efforts. Both allow for individual variations (that will still adhere to the instructional tenets of the art).
It is often believed (by “new” student's) that the different “styles” are (progressively) learned and have a direct correlation between them (in relation to their order of instruction). This is an inaccurate
assumption. Kaisho (“block style”) is recognized as the “standard” manner/style used for brushing kanji (Chinese character's). It examples the “recognized” standard for brushing the kanji. Tensho (“seal script”) was (one of) the oldest/original forms for brushing the kanji. It is now (mainly) seen in use upon Hanko (seal stones). Gyosho (“semi-cursive”) is the more commonly seen style and is used for everyday writing. Sosho (“fully-cursive”) has more correlation to Tensho, than it does to Kaisho (so no, it did not evolve from Kaisho, Sosho is an older style of writing than Kaisho, it has more in common with Tensho, than Kaisho).
The different styles of brushing the kanji, are taught in relation to their frequency of use (by the average individual). This means that the modern student will (commonly) begin with learning the Kaisho style, followed by learning the Gyosho style. Sosho is the third style taught, and is more commonly (if not only) seen on artistic pieces and/or is being practiced by student's of brush calligraphy. Tensho is the final style that is addressed, and is only seen (in common use) upon Hanko (whether personal or business/organizational seals).
This course is based upon the student learning the necessary techniques (via use of the brush) to create the kanji (in the 4 listed “styles”). That instruction will (mainly) focus on the student brushing the kanji in the Kaisho style of brushing the kanji. The techniques used in brushing the other styles, will consist of various modifications being made to those brushing techniques.
Instruction will begin with learning the creation of the basic strokes and will evolve into their (combined) use when brushing the kanji. That instruction is done in the Kaisho style of brushing. As the student progresses, the use of the Gyosho style is introduced and practiced.
This course focuses on the Japanese use of the kanji, and therefor must address the use of Kana. These are the two (additional) sets of character's that are used by the Japanese. Those sets are known as the Hiragana, and the Katakana. These are 2 sets of 46 phonetic character's (each) that represent specific sounds. They are used to write the “sounds” of the desired kanji, when that kanji is unknown. The Hiragana were created from pieces of kanji that were brushed in Sosho, the Katakana were created from pieces of kanji that were brushed in Kaisho. The Hiragana are used to represent “Japanese” words, and the Katakana are used (mainly) when writing words that are foreign to Japan.
For the student of Japanese brush calligraphy, these two styles can additionally be used to practice their abilities with those two styles (Kaisho & Sosho) of brush writing.
taught at the Ryu Shin Kan/Ken Shu Kai Dojo
Much like what is being shown in the student's instruction for learning Oyata Te, brush calligraphy consists of numerous details that are utilized in it's practice. Though often (incorrectly) stated, brush calligraphy motions cannot be practiced with a pen or a pencil. There are “brush-pens” that have a felt tip that allows for a similar type of practice, but it should be recognized that the use of an (actual) brush, is different.
Unlike the practice of a defensive methodology, Shuji (brush calligraphy) is an individual/solo pursuit. Aside from that distinction, Shuji shares many of the same challenges (for instruction/learning) that the study of a martial art/defensive methodology does. Both consist of basic motions and techniques that effect the results of the students efforts. Both allow for individual variations (that will still adhere to the instructional tenets of the art).
It is often believed (by “new” student's) that the different “styles” are (progressively) learned and have a direct correlation between them (in relation to their order of instruction). This is an inaccurate
assumption. Kaisho (“block style”) is recognized as the “standard” manner/style used for brushing kanji (Chinese character's). It examples the “recognized” standard for brushing the kanji. Tensho (“seal script”) was (one of) the oldest/original forms for brushing the kanji. It is now (mainly) seen in use upon Hanko (seal stones). Gyosho (“semi-cursive”) is the more commonly seen style and is used for everyday writing. Sosho (“fully-cursive”) has more correlation to Tensho, than it does to Kaisho (so no, it did not evolve from Kaisho, Sosho is an older style of writing than Kaisho, it has more in common with Tensho, than Kaisho).
The different styles of brushing the kanji, are taught in relation to their frequency of use (by the average individual). This means that the modern student will (commonly) begin with learning the Kaisho style, followed by learning the Gyosho style. Sosho is the third style taught, and is more commonly (if not only) seen on artistic pieces and/or is being practiced by student's of brush calligraphy. Tensho is the final style that is addressed, and is only seen (in common use) upon Hanko (whether personal or business/organizational seals).
This course is based upon the student learning the necessary techniques (via use of the brush) to create the kanji (in the 4 listed “styles”). That instruction will (mainly) focus on the student brushing the kanji in the Kaisho style of brushing the kanji. The techniques used in brushing the other styles, will consist of various modifications being made to those brushing techniques.
Instruction will begin with learning the creation of the basic strokes and will evolve into their (combined) use when brushing the kanji. That instruction is done in the Kaisho style of brushing. As the student progresses, the use of the Gyosho style is introduced and practiced.
This course focuses on the Japanese use of the kanji, and therefor must address the use of Kana. These are the two (additional) sets of character's that are used by the Japanese. Those sets are known as the Hiragana, and the Katakana. These are 2 sets of 46 phonetic character's (each) that represent specific sounds. They are used to write the “sounds” of the desired kanji, when that kanji is unknown. The Hiragana were created from pieces of kanji that were brushed in Sosho, the Katakana were created from pieces of kanji that were brushed in Kaisho. The Hiragana are used to represent “Japanese” words, and the Katakana are used (mainly) when writing words that are foreign to Japan.
For the student of Japanese brush calligraphy, these two styles can additionally be used to practice their abilities with those two styles (Kaisho & Sosho) of brush writing.
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