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.