My introduction into shodo is perhaps somewhat different than many others. My journey began back in the late 1960s as a student of budō (武道). After studying
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Hideyuki Kamon makes Kakejiku – the hanging scrolls you see in japanese tea rooms, temples or traditional guest houses. He is what is called a “Hyōgushi”, a scroll mounter.
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What I respect the most within sumi-e is its nature of contrast, of opposition, the visual – morphological tension that flows during application.
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Huang Yao’s early Chuyun Shu had a naïve childlike look, but with practice his writing became more “mature” in the early 1950s as in Figure.4, and finally in the late 1970s
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Simon Silaidis is a designer, in the past year he developed a newly found passion for urban calligraphy. Simon’s style is a mix of Western, Asian and Arabian calligraphy
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Huang Yao’s father taught his young six year old son calligraphy and painting, according to the tradition of literati families.
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The exhibition was held with the hope of nurturing a younger generation of calligraphers in the tradition of Wang Xizhi (王羲之) and Kukai (空海).
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I experienced a massive left hemisphere brain-stem stroke four days after my 36th birthday. In an instant, I was paralyzed.
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Master Usuki participates actively mainly in Kansai area, and also is an administration officer of Yomiuri Calligraphy Exibhition (読売書法展理事), 日展入選, councilor
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Up until now there has been little to help the Western public to understand Chinese calligraphy, beyond appreciating it as an abstract art form.
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