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Artists

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Tending the Spirit: An Interview with Master Ransui Yakata of the International Chinese Calligraphy and Ink Painting Society (ICCPS)

By Steven Anderson / 11/10/2013 / 3 Comments

There are branches of the International Chinese Calligraphy and Ink Painting Society (ICCPS) in eight major cities around the world. I was fortunate enough to be invited to enter the studio of ICCPS founder Master Ransui Yakata, who is the recipient of numerous awards at public exhibitions, including in ink painting (sumi-e). Master Ransui Yakata…

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What Wikipedia Can’t Tell You About Urban Calligraphy

By Rona Conti / 17/07/2013 / 0 Comments

Then there is Urban Calligraphy. His own words about what that means are illuminating but none more so than seeing the work itself. Responding to what is, finding the

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ことば・感動を書に

By Sakiko Yanagisawa / 08/07/2013 / 0 Comments

小さな体からはとても想像できないような、何メールもある大きな作品を発表し続けている書家、浅田聖子。
学校の体育館の端から端まで紙を広げ、手も脚も墨だらけになりながら全身で筆を操っていく制作風景は血気盛んで、見るものを魅了します。

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次世代の若き 篆刻 家にインタビュー!part2

By Sakiko Yanagisawa / 01/06/2013 / 0 Comments

前回、展覧会の作品をピックアップしてレポートいたしましたが、今回は 篆刻 家にスポットをあててご紹介します。

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Shodo is not about your Accomplishments with a Brush

By Steve Weiss / 21/05/2013 / 0 Comments

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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The Story of a 4th Generation Japanese Scroll Mounter

By Niko Kitsakis / 13/05/2013 / 0 Comments

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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figure_2_how_the_young_are_keeping_the_fine_art_of_seal_engraving_alive_p1

次世代の若き 篆刻 家にインタビュー!part1

By Sakiko Yanagisawa / 02/05/2013 / 0 Comments

前回、展覧会の作品をピックアップしてレポートいたしましたが、今回は2人の 篆刻 家にスポットをあててご紹介します。

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Sumi-e from the Perspective of a Traditional Academically-trained European Artist

By Alfred Krupa / 24/04/2013 / 3 Comments

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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The Beauty of Inefficiency: A story about Traditional Hiragana

By Kaoru Akagawa / 22/03/2013 / 2 Comments

My grandmother is one of the last generations to use the old Hiragana in daily life. By contrast, my Father, who was born in

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Ascension, acrylic ink on paper, 32 inches H x 15 inches W, 2010

A Sunday Drive with Saburo Hasegawa, an Asian American Pioneer of Abstract Calligraphy

By Mel Strawn / 21/02/2013 / 0 Comments

I had promised to print a lithograph for Saburo and had told him – “anytime, the stone is prepared”. I had my own press and several lithographic stones on which

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