Modern Art

© Koji Kakinuma

To me, calligraphy is "art of the brush." Therefore, among the "Four Tools of the Study" (brushes, ink stones, ink, paper), I would select "brush" with no hesitation if it was demanded of me that I choose one. We could furthermore say that the brush is to calligraphers as the sword is to samurai; it is their very soul.

"The true joy of calligraphy is to be found in Rinsho," stated the late Ukyo Teshima, considered one of the three greatest calligraphers of the Showa era (1926-1989). Rinsho is the practice of precisely reproducing the classic calligraphy texts. It is the practice for calligraphers to imbue basic and fundamental techniques into their body and soul just as inhaling their breath.

© Wes Shim, Princeton University

By copying the text, we first learn the shape of the characters, the strokes and the brush techniques and proceed to learn bodily movement and breathing. It is ultimately to approach and understand the state of mind and life force of the classic calligraphers; it is a process in which we absorb the classic calligraphy into ourselves and make it our own by expending an extraordinary amount of time and tenacity.

This practice is not unlike Zen. It is only through true Rinsho practice that the calligrapher is able to "exhale" his unique and original calligraphy. In its absence, one could only write characters as symbols for communication; it would not relect the calligrapher's own personal spirit and unique artistic meaning; it would not deserve to be called "Sho".

Within classic calligraphy abound wonderful and limitless artistic techniques and expressions. I practice Rinsho on average five hours daily; in practicing Rinsho I aspire to be able to express everything I find in the classic calligraphy; that aspiration is none other than the pursuit for artistic expression. With the relentless work on Rinsho comes constant improvement of skills and aesthetic insights. And so, accordingly, that which I demand of my calligraphy partner-my brush-changes from day to day.

© Douglas Benedict

Calligraphy brushes are made with a wide variety of animal hair, including wolf, rabbit, goat, deer, duck, pig and horse. Up to the present, I have used almost 1,000 brushes, of various sizes and prices ranging from a few dollars to tens of thousands of dollars for a custom-made brush. I recall my father, also a calligraphy artist, saying to me, "The reason I purchase yet another brush is to create something better than my previous works. When a calligrapher has stopped buying brushes, it is a sign that his artistic spirit has died."

As slight a variance as one millimeter in tip length or brush thickness can be a decisive and crucial difference for me. That is why each time I meet with my brush makers, I pepper them with requests, such as, "Are there any better brushes than my favorite brushes now? If not, can you make me one?" The life of a calligrapher is an endless journey for a better brush, one might say.

Eighty percent of Japanese calligraphy brushes are made in the small town of Kumano in Hiroshima. My brush partners are no exceptions; they are from Kumano. My brushes have gone through numerous minute adjustments to satisfy the finicky demands of the owner. Each night I chat with my brushes, crafted by the master brush maker in Kumano. "Where should I go next and how? Wherever I go, I want you to come with me."