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Guest Articles

figure_2_sumi-e_from_the_perspective_of_a_traditional_academically-trained_european_artist

Sumi-e slikarstvo iz perspektive tradicionalno-akademski školovanog europskog umjetnika

By Alfred Krupa / 11/06/2013 / 0 Comments

Ono što najviše poštujem unutar sumi-e slikarstva je njegova priroda kontrasta, opozicije, vizualno-morfološke tenzije koja teče tijekom njegove primjene.

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figure_11_shodo_is_not_about_your_accomplishments_with_a_brush_ichi

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-1v

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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figure_6_sumi-e_from_the_perspective_of_a_traditional_academically-trained_european_artist

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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f3_the-beauty-of-inefficiency-a-story-about-traditional-hiragana

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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Figure_2_calligraphy_exhibition_to_raise_funds_for_four_independent_chinese_schools

Calligraphy exhibition to raise funds for four independent Chinese schools

By Beyond Calligraphy / 02/02/2013 / 0 Comments

The Lion-Parkson Foundation organised a Chinese New Year Calligraphy Exhibition-cum-charity sale recently to raise funds to help needy students in Chinese schools.

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Figure_10-huang_yao_unique_chinese_calligraphy

Huang Yao ’s unique Chinese calligraphy – Chuyun Shu (or Rising Cloud Writing) – Part 2

By Huang Yao / 02/02/2013 / 0 Comments

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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Figure_7-huang_yao_unique_chinese_calligraphy

Huang Yao ’s unique Chinese calligraphy – Chuyun Shu (or Rising Cloud Writing) – Part 1

By Huang Yao / 28/01/2013 / 0 Comments

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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