As we moved into Spring at our monthly shodō groups, we worked on a classic character and practiced its strokes and styles. We brushed 永 ei, meaning eternal, which has been written for centuries for its balance of eight strokes central to learning calligraphy, known as 永字八法 （えいじはっぽう eiji happō), the Eight Principles of Eternal. The character is visually made up of two streams merging together, continuously flowing, and this is where the meaning of eternal originates from ✨

As we had just a single character, we had more time to look at examples from calligraphers and brush and compare 永 ei in three styles, the kaisho regular, gyōsho semi cursive as well as sōsho fully cursive ‘grass’ style.

Here is a humorous Spring themed haiku by Edo period poet Kobayashi Issa, that Blair shared with participants:

The spring breeze.

Being pulled by a cow

To the Zenkoji temple.

It was an amiable group at KSD in Glasgow with a pleasant atmosphere of peaceful concentration whilst participants worked away on their stroke practice and brushed eternal in the inspiring styles of the masters. This time we brushed on shikishi calligraphy boards as well as hanshi calligraphy paper, noticing the difference in the feel and ink spread of both. Many thanks to everyone for taking part and we look forward to catch up with you again next time.

Inspired by Edo period Zen monk Hakuin Zenji’s writing and natural imagery, at our monthly shodō calligraphy online group and relaxed in person meeting at KSD Glasgow we wrote 風清 kaze kiyoshi, pure wind, following the words 月白, (bright) white moon.

The white moon of Hakuin in varied shodō styles

It was a nice atmosphere at the group, being relaxed and also lively at times, and everyone did well to get a feel for the characters, and enjoy the calligraphy techniques, even with kaze which has a range of strokes 🌬️

The phrase is from Hakuin Egaku’s 槐安国語 Kaiankokugo 1749. 月白風清‘White moon, pure wind’ which expresses an open and accepting attitude that doesn’t hold grudges. The experience of seeing the bright moon or feeling the cool breeze on your skin, and being refreshed, can pull us back into momentary awareness which can, if we’re open to it, remind us that we don’t need to be swayed by emotions, cravings and aversions. At our online group we brushed the four kanji characters together, and looked at examples by 20th century calligraphers.

We brushed in both the kaisho regular as well as sōsho cursive ‘grass’ style. As we worked, it was blustery outside. Here is a short, windy haiku by Matsuo Basho for this season:

wintry wind –

passing a man

with a swollen face

Thanks to everyone for taking part!

At our recent shodō groups in person and online we brushed the striking kanji characters Tsuki shiro 月白 (つきしろ)🌙, meaning bright white moon, from a commentary by Zen master Hakuin Zenji written in 1749.

This is part of a longer phrase ‘white moon pure wind’ which has been brushed by Zen calligraphers. The spirit of ‘white moon pure wind’ is not holding grudges, accepting and enjoying things as they are.

We brushed the two kanji characters in both the kaisho standard script and the sōsho fully cursive style, with contrasting thickness of strokes in each kanji. At the classes we tried to capture the shape of the moon as we wrote it, inspired by the old shell and bone as well as tensho (seal) scripts.

This time the relationship between the kaisho and sōsho styles was as clear as the white moon we were brushing, and the participants enjoyed the loose and relaxed feel of brushing in the sōsho style.

At Zen Brush online class we had some extra time to explore more contemporary calligraphic styles and for Blair to talk through different ways of working with the materials.

Here is a short, relaxing moon haiku by Matsuo Basho that befits the mood of the classes:

From time to time
The clouds give rest
To the moon-beholders.

It was great to see everyone really focussed on brushing, thanks for joining!

Towards the end of Autumn at shodō calligraphy we brushed the nature inspired and seasonal Aki no sora 秋の空 (あきのそら), meaning Autumn sky 🍂

We practiced the two kanji characters with the Japanese kana の in between, writing them in two vertical columns for the kaisho and one vertical line with the characters together for the sōsho fully cursive style.

The participants enjoyed brushing the sōsho in a single column and with a demonstration and guidance by Blair were able to find the 中心 chūshin vertical centre line and balance as well as feeling of space on the paper ✨

Here is a short haiku poem for us heading into the winter season, by Shiki:

面白や　かさなりあふて　雪の傘
Omoshiro ya
Kasanari oute
Yuki no kasa

It’s interesting –
Lying upon each other,
Umbrellas in the snow

Thanks to everyone for taking part!

As golden leaves fell in the Woodlands area of Glasgow, our first afternoon Shodō group at KSD was likewise inspired by the ochre earth and expansive heavens, brushing from the magnificent Thousand Character Classic Senjimon 千字文. The afternoon was enjoyable, immersive and educational, split into two parts with a lovely group of curious participants and a friendly atmosphere.

The first part included an introduction to Shodō and the text, and the three styles we worked from, learning about the history of Japanese and Chinese calligraphy in the process. Blair introduced the famed calligraphers 王羲之 Ogishi, 懐素 Kaiso and 松本 芳翠 Matsumoto Hōsui Sensei, also looking at physical examples of Japanese shodō works.

After getting the feel for how to hold the fude brush, posture, and the traditional materials, we then spent some time on practicing individual kaisho strokes. We mainly concentrated on working from classic stylistic examples of the kaisho standard script (with 4 characters), gyōsho semi cursive (6 characters) and sōsho fully cursive (6 characters) styles, from Blair’s otehon examples and worksheets, with the techniques and methods he has been trained in over the years in Japan.

Participants learned how to handle ōfude and kofude brushes and find harmony between thickness of ink, types of calligraphy paper, and also understand how to position and size characters effectively with a suitable amount of space for the rakkan signature and stamp area.

At the break we had time for hōjicha Japanese tea and daifuku sweets, and some dark chocolate kept us energised too!

As well as working from the classic styles held in high esteem by Japanese calligraphy schools, we spent some time exploring a meditative approach, and brushed some enso Zen circles, immersing ourselves in the sensory aspect of the practice. Towards the end we enjoyed some free time brushing on shikishi gold edged calligraphy boards, which rounded off the afternoon nicely.

For more about the Senjimon classic, see our previous posts, and visit this link for a translation.

http://www.camcc.org/_media/reading-group/qianziwen-en.pdf

Inspired by the examples of calligrapher Chiei

Mysterious universe calligraphy at Zen Heart Brush

Moving into autumn we had a theme of empathy with the heartful Zen phrase dōji 同事 (どうじ), which has a meaning of thinking about others, and their heart. As a common Japanese word it simply means ‘the same’ ✨

In the kaisho style the two characters are noticeably different in their overall shapes and thicknesses of strokes, yet combine very naturally in the sōsho ‘grass’ style. So there was quite a contrast between the styles this month.

We had time to practice these varied strokes and enjoy embracing the joining strokes in the cursive style, which participants delighted in the flowing, connected feeling of brushing. We also looked briefly at the semi cursive style. It was a relaxed group with some Japanese hōjicha (roasted brown tea) and tasty mochi rice cakes to keep us energised 🫖🍡

It was difficult to find a poem that followed our theme! Here is a poem by Issa about an encounter and a small act of compassion:

A Radish Worker
With the radish he 
Pulls out, a radish-worker
Shows the road to me.

Issa

Thanks to everyone for taking part, and to those for sharing some pictures here of their calligraphy practice and a fascinating ukiyo-e artwork of Edo period calligraphy practice.

After the summer break our Saturday morning class in Glasgow and our online Monday evening group met to relaxingly ease back into shodo calligraphy practice. Brushing the single character for dew or open air, Tsuyu 露, which in Zen writings has also had a meaning of impermanence and natural change ✨

Beginning with some tips on holding the fude and practicing some of the main strokes in this kanji, we then copied the kaisho standard style and the flowing sōsho style. We also had some time to look at the semi cursive style and the flow of the stroke order.

In all these styles the character is basically made up of three parts, which were dynamic to brush in balance. Our challenge was to convey the sense of the heavy rain cloud in the top part of the kanji! We had some inspiration from some Zen fully cursive calligraphy for this 🌧️

The dew and openness themed poem below by master Dōgen includes the word tsuyu and captures the impermanence and spontaneity of life, which participants enjoyed brushing 🙂

Mujō – Impermanence

To what shall
I liken the world?
Moonlight, reflected
In dewdrops,
Shaken from a crane’s bill

(translated by Heine)

Thanks to everyone for taking part again, and to those for sharing some pictures here of their calligraphy practice.