Learning

figure 1 the process of studying calligraphy in japan 226x300 226x300 - A Few Words about the Process for Studying Calligraphy in Japan

A Few Words about the Process for Studying Calligraphy in Japan

By Ponte Ryūrui / 19/03/2012 /

All Japan Calligraphy and Literature Association has only 3 dan’s (whereas some other organisations have as many as 9). The fewer dans, the more work and skill it

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figure 1 logic behind the magic brush techniques pIIIb 202x300 202x300 - Logic Behind The Magic - Brush Techniques, Part III (b)

Logic Behind The Magic – Brush Techniques, Part III (b)

By Ponte Ryūrui / 15/03/2012 /

Characteristic of small seal script, note the circular movement of the brush tip at the beginning of each stroke, indicating the application of the “hidden spear”

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figure 1 logic behind the magic brush techniques pIIIa 194x300 194x300 - Logic Behind The Magic - Brush Techniques, Part III (a).

Logic Behind The Magic – Brush Techniques, Part III (a).

By Ponte Ryūrui / 28/02/2012 /

the way in which the brush is controlled by the arm, wrist and finger, allowing the calligrapher to write a desired line.

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figure 1 shifty characters 300x159 300x159 - Shifty Characters

Shifty Characters

By Ponte Ryūrui / 23/02/2012 /

A given character written in each calligraphy script may have (and usually does) different forms and stroke order, though the stroke order is less rigid in

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figure 1 logic behind the magic brush techniques pII b 1 214x300 214x300 - Logic Behind The Magic – Brush Techniques, Part II (b).

Logic Behind The Magic – Brush Techniques, Part II (b).

By Ponte Ryūrui / 16/02/2012 /

単包法 (たんほうほう, tanhō hō), where the ring finger and the small finger are adjacent to the inner side of the palm, and the brush is held with the three remaining

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figure 1 logic behind the magic brush techniques pII a 205x300 205x300 - Logic Behind The Magic – Brush Techniques, Part II (a)

Logic Behind The Magic – Brush Techniques, Part II (a)

By Ponte Ryūrui / 14/02/2012 /

In the pair grip method, the brush axis is held between the thumb, and the index finger merges with the middle finger (first pair), supported from underneath

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figure 1 logic behind the magic brush techniques pI 203x300 203x300 - Logic Behind The Magic – Brush Principles, Part I.

Logic Behind The Magic – Brush Principles, Part I.

By Ponte Ryūrui / 31/01/2012 /

In this series of articles I will focus on the methods of using a calligraphy brush (筆法, ひっぽう, hippō, lit. “principles of the brush”), defining the basic

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figure 1 the sun of vast skies p2 300x281 300x281 - The Sun of Vast Skies - a calligraphy seal. Part II

The Sun of Vast Skies – a calligraphy seal. Part II

By Ponte Ryūrui / 09/01/2012 /

The art of seal pressing is a vital part of both calligraphy and ink-painting. Without knowledge of how and what kind of seal to press, one can never be

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figure 1 the sun of vast skies p1 300x214 300x214 - The Sun of Vast Skies - a calligraphy seal. Part I

The Sun of Vast Skies – a calligraphy seal. Part I

By Ponte Ryūrui / 26/12/2011 /

Seal placement and the quality of the seal impression, so called “seal shadow” (印影, いんえい, in-ei), are crucial and require focus and good sense of

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figure 1 little great calligraphy 300x193 300x193 - Little Great Calligraphy - Part I

Little Great Calligraphy – Part I

By Ponte Ryūrui / 22/12/2011 /

Small calligraphy requires true mastery of the brush to be powerful, for the lines to come alive and heat up the aura with searing flames of passion through

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