507:) The semi-cursive script (gyosho) means exactly what it says; this script style is a slightly more cursive version of kaisho script. This script was practiced at the same time as the reisho script. There are three different levels of "cursiveness" called seigyo, gyo, and gyoso. The style of gyosho utilizes a softer and more rounded technique, staying away from sharp corners and angles. In Japan many works were made using the gyosho technique during the early Heian period. Later in the Heian period, once Japan began to separate itself from China a Japanese version called wayo began to emerge. The Japanese version of gyosho became widely popular and became the basis of many schools of calligraphy. This was a result of gyosho meshing very well with both kanji and hiragana and writing with this technique was both natural and fluid.
527:). The cursive script (sosho) has its origins in the Han dynasty. It was used by scribes as a cursive version of reisho for taking notes. Early examples of sosho include inscriptions on bamboo and other wooden strips. This technique can be easily recognized by many strokes ending with a sweep to the upper right in a breaking-wave type form. As the Han dynasty came to an end, another version of sosho was developed, but this version was written slowly as opposed to the faster sosho that was popular until then. The exact date when sosho was introduced is unclear. Several texts from Japan shared many sosho-like techniques with Chinese texts during this time but it was not until
792:
1486:
1303:
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395:(221–206 BC) of China. After this time period, tensho style fell out of popularity in favor of reisho. However, tensho was still used for titles of published works or inscriptions. The clear and bold style of tensho made it work well for titles and this tradition of using tensho only for titles is still around today. By the time Chinese characters and calligraphy migrated over to Japan, tensho was already only used for titles and as a result, was never commonly used in Japan. In 57 AD, the Chinese emperor
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25:
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842:). The ink-wet brush creates a line quite different from a sharp stylus. It affords variation in thickness and curve of line. Calligraphy retained the block form of Li Si and his eight strokes, but the writer was free to create characters that emphasized aesthetically pleasing balance and form. The way a character was written gave a message of style.
435:(206 BC – 220 AD) and the term reisho had many significant meanings but is now only known as one of the five styles of Chinese and Japanese calligraphy. Because of its bold style, the reisho technique is now reserved for large text applications such as plaques, signboards, titles of works, etc. This was its main purpose in Japan as well until the
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1348:(AD 1185–1333), but not quite yet to a return to peace and tranquility. The era is sometimes called "the age of the warriors" and a broad transition from court influences to a leading role of the military establishment pervaded the culture. It is also, however, a time when exchanges with China of the
1717:
In contemporary Japan, shodo is a popular class for elementary school and junior high school students. Many parents believe that having their children focus and sit still while practicing calligraphy will be beneficial. In high school, calligraphy is one of the choices among art subjects, along with
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could be written from eight strokes. He also devised rules of composition where horizontal strokes are written first and characters are composed starting from top to bottom, left to right. Because the symbols were inscribed with sharp instruments, the lines were originally angular; and in many ways,
540:
459:) The regular script or block script (kaisho) is fairly similar in function to that of Roman block capitals. While Japanese kaisho varies slightly from Chinese kaisho, it is primarily based on Chinese kaisho script in both form and function. The Japanese kaisho style was heavily influenced by the
1768:
thought. For any particular piece of paper, the calligrapher has but one chance to create with the brush. The brush strokes cannot be corrected, and even a lack of confidence shows up in the work. The calligrapher must concentrate and be fluid in execution. The brush writes a statement about the
471:(794–1185) and as time progressed there was a movement in Japan to become more culturally independent and a version of kaisho developed that became uniquely Japanese and included a little bit of the gyosho style. As its influence spread, the primary use of the kaisho technique was to copy the
757:
During preparation, water is poured into the inkstone and the inkstick is ground against it, mixing the water with the dried ink to liquefy it. As this is a time-consuming process, modern-day beginners frequently use bottled liquid ink called
751:. The art of engraving a seal is called "tenkoku" 篆刻. The student is encouraged to engrave his own seal. The position of the seal or seals is based on aesthetic preferences. One is not allowed to put a seal on calligraphy of a sutra.
777:
The brushes come in various shapes and sizes, and are usually made using animal hair bristles. Typical animal hair may come from goats, sheep, or horses. The handle may be made from wood, bamboo, plastic or other materials.
431:) The clerical script or scribe's script (reisho) is a very bold and commanding style of Chinese calligraphy; each of the strokes are greatly exaggerated at the beginning and end. It was most commonly used during the
539:
1792:
practitioners. To write Zen calligraphy with mastery, one must clear one's mind and let the letters flow out of themselves, not practice and make a tremendous effort. This state of mind was called the
774:. More advanced students are encouraged to grind their own ink. Paper is usually placed on a desk, while a large piece of paper may be placed on the floor or even on the ground (for a performance).
1602:(1558–1637) who had paper made to order and painted a backdrop of decorative patterns, butterflies or floral elements that his calligraphy established a poetic correspondence with. Together with
1160:
syllabary was devised to deal with elements of pronunciation that could not be written with the borrowed
Chinese characters. Japanese calligraphers still fitted the basic characters, called
411:. Each panel is divided into two columns and each column has eight characters. The screen speaks to a ruler and recommends that he use the counsel of wise ministers in order to rule justly.
1585:. The 1664 reprint of a copybook based on these principles in Kyoto contributed an important theoretical development. Calligraphers such as Hosoi Kotaku, who authored the five-volume
1510:, which brought 250 years of relative stability to Japan, lasting until the second half of the 19th century. The period was marked by seclusion from overseas influences with the
403:. While this seal was not made in Japan, it is believed to be the first instance of tensho in Japan. The first work in Japan that actually utilized tensho was during the
531:, a famous Japanese Buddhist monk and scholar traveled to China during the early Heian period and brought back copies of texts that he made written in the sosho style.
1029:'s calligraphic texts and this popularity influenced Japanese calligraphers. All of the original texts written by Wang Xizhi have been lost, and copies such as
408:
2171:
1979:
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greatly flourished. Zen monks such as Shunjo studied in China and the copybooks that he brought with him are considered highly influential for the
821:
for religious purposes. When this writing developed into an instrument of administration for the state, the need for a uniform script was felt and
1849:
1465:
resulted in vibrant cultural impulses. The arts prospered, but are not considered as refined as that of earlier times. Of note is the role of
1750:(1275–1351, Japanese zen master, poet, and calligrapher. The characters "別無工夫" ("no spiritual meaning") are written in a flowing, connected
2328:, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Japanese calligraphy
1042:
are highly regarded as important sources for Wang Xizhi's style. However Wang's influence can barely be overstated, in particular for the
1642:. Catalogues of imported copybooks testify to a broad appreciation of Chinese calligraphers among the Japanese literati who pursued the
644:.The hardened mixture of vegetable or pine soot and glue in the shape of a stick. The best inksticks are between 50 and 100 years old.
2030:
89:
61:
1241:, "China is a large country and Japan is relatively small, so I suggest writing in a different way." The "Cry for noble Saichō"
1433:(AD 1336–1537), characterized by tensions between imperial and civil authority and periods of outright civil war. However, as
1369:. But this was not the only example, indeed a succession of Chinese monks were naturalized at that time, encouraged by regent
467:(618–907). Early examples of this style in Japan are mostly various statue and temple inscriptions. This was during the early
42:
68:
2325:
1051:
style unique to Japan: "Even today, there is something about
Japanese calligraphy that retains the unchanged flavour of
1116:, Japan's "golden age". Chinese influences in calligraphy were not changed in the early period. For example, under the
2005:
75:
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108:
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57:
1955:
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who wrote in a refined sosho style, or Shūhō Myōcho (1282–1337; better known as Daito
Kokushi), the founder of
46:
2310:
1638:
began relaxing Japan's isolation policy and
Chinese cultural imports increased, in particular via the port of
2341:
1307:
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and its way of being written. He sanctioned a form of script based on squares of uniform size into which all
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1176:
366:. Many of its principles and techniques are very similar, and it recognizes the same basic writing styles:
1734:, have special departments of calligraphic study that emphasize teacher-training programs in calligraphy.
913:'s and today this is regarded as one of the most important copies of Wang Xizhi's calligraphy. (see also:
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At the same time, a style of calligraphy unique to Japan emerged. Writing had been popularized, and the
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967:
945:
510:
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The term shodō (書道, "way of writing") is of
Chinese origin and is widely used to describe the art of
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1727:
1718:
music or painting. It is also a popular high school club activity, particularly with the advent of
1547:
1546:
sect of Zen buddhism, and the Daishi school of calligraphy. The latter focused on the study of the
487:
monks who used a technique based on Zen insight and is different from the classic kaisho technique.
1179:, AD 749) is considered the first text to show a style unique to Japanese calligraphy; it shows a
944:
was written early in the 7th century and is considered the oldest
Japanese text. It is written in
82:
1834:
to clear one's mind. This is considered an essential step in the preparation for a tea ceremony.
1719:
1607:
1485:
1473:; Ikkyū was instrumental in elevating the appreciation of calligraphy to an integral part of the
1389:
a less technical style appeared, representative of Zen attitudes and exemplified in the works of
1022:
331:
35:
959:. Copied by the priest Hōrin in AD 686, the calligraphy style shows influences from the work of
732:
to place under the paper (often newsprint is used as well) to prevent ink from bleeding through.
2063:(apprx. 2838–2698 BC) said to have used knot characters. This is not backed by scientific data.
396:
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2319:
1827:
1794:
1723:
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tradition, it has been practiced up to today, rejuvenated continuously through contact with
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Calligraphy in the
Chinese tradition was thus introduced to Japan about AD 600 Known as the
1506:
centralized power in his shogunate between 1603 and 1615. This marked the beginning of the
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1120:'s reign, royalty, the aristocracy and even court ladies studied calligraphy by copying
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1973:
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Wang Xizhi's influences remained dominant, which are shown in calligraphies written by
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The
Chinese roots of Japanese calligraphy go back to the 13th century BC, to the late
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1961:
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The oldest existing calligraphic text in Japan is the inscription on the halo of the
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830:
327:
2281:
1654:, while "reformists" modeled their work on the sōsho style of calligraphers such as
1302:
1773:, the Zen way of the brush). Through Zen, Japanese calligraphy absorbed a distinct
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are also typical examples from this time. Both inscriptions were influenced by the
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Li Si's achievements were made obsolete by the appearance of brush and ink (see
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there, the intermingling of residual members of the imperial court, courtiers,
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1097:
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A page of calligraphy of a work called the
Sarashina nikki (a travel diary by
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presented a golden seal to a king of a small region near what is now known as
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1965:
1929:
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at that time. Nevertheless, some examples have been preserved by scholars of
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Japanese syllabaries resulted in intrinsically
Japanese calligraphy styles.
2009:
1820:
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1631:
style at the time, creating examples of "a uniquely Japanese calligraphy".
1535:
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1238:
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1374:
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1860:
1823:, which stresses a connection to the spiritual rather than the physical.
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style. Very characteristic for the early Edo period was an innovation by
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and many of his works have been preserved. However, with the rise of the
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1101:
1063:
1052:
1026:
960:
910:
436:
2209:
1995:
Yuuko Suzuki, Introduction to japanese calligraphy, Search Press, 2005
1525:
policy. Calligraphic studies were essentially limited to the study of
2060:
1866:
1419:
1113:
603:
274:
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1453:
1447:
1324:
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24:
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1945:
1830:(which are connected to Zen Buddhism), one is to look at a work of
1785:
1684:
1655:
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1613:
1582:
1353:
624:
576:
A number of tools are used to create a work of modern calligraphy.
343:
339:
2326:
Bridge of dreams: the Mary Griggs Burke collection of Japanese art
2297:
1622: – he is considered one of the greatest calligraphers in the
1543:
1466:
1234:
1128:
1843:
1498:
1458:
1198:
1778:
1742:
1854:
1659:
1512:
520:
500:
452:
424:
380:
2059:. Claims of "28th century b.c." refer to the mythical Emperor
141:
1663:
1539:
1442:
1398:
1162:
895:
822:
647:
548:
528:
387:). The seal script (tensho) was commonly used throughout the
2308:
Japanese Calligraphy galleries and more (hungarian language)
1265:'s death, was one of the examples of such a transformation.
439:(1603–1868) when it was regarded as a calligraphic art form.
1156:
1948:
Traces of the brush : the art of Japanese calligraphy
1489:
A fragment from the "100 Poets anthology"; calligraphy by
1215:, is considered the founder of the authentically Japanese
1171:, into the squares laid out centuries before. A fragment,
1143:
were also highly valued. Their most notable admirers were
1765:
1674:
contributed many fine kana works but generally speaking,
1462:
484:
2172:"Performance calligraphy touches on essence of art form"
1764:
Japanese calligraphy was influenced by, and influenced,
1429:
Political and military unrest continued throughout the
1192:, thus deviated from contemporary Chinese calligraphy.
580:
The four most basic tools were collectively called the
1401:, who had not traveled to China to study. In terms of
564:
A traditional inkstone to grind ink and water against.
1021:
established hegemony in China. Their second Emperor
1281:style was later used for official documents in the
49:. Unsourced material may be challenged and removed.
2228:
1846:– Modern stationery to write calligraphic scripts.
475:. There was a second wave of influence during the
362:. Early Japanese calligraphy was originated from
2333:
1418:are considered outstanding examples of the late
1297:
1112:, Kyoto in 794. This marks the beginning of the
687:to grind the inkstick against, mixed with water.
1806:
1562:
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979:
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723:
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678:
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2199:
2169:
1919:
1850:List of National Treasures of Japan (writings)
1800:
1690:
1626:
1617:
1593:
1556:
1538:. Indigenous developments were contributed by
1529:
1518:
1405:
1360:
1289:
1244:
1228:
1219:
1202:
1183:
1166:
1077:for Saichō's death. Saga was a scholar of the
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1033:
995:
973:
937:
878:
849:
761:
738:
717:
698:
672:
652:
629:
608:
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407:(646–794) was a six-paneled screen called the
315:
294:
1857:(Japanese ink painting) is related in method.
1737:
1233:. This development resonated with the court:
1081:classics. He was also renowned as a skillful
955:The oldest hand-copied sutra in Japan is the
925:Temple also holds bibliographic notes on the
795:Inscription on the halo of the statue of the
1991:
1989:
1978:: CS1 maint: multiple names: authors list (
1946:Boudonnat, Louise Kushizaki, Harumi (2003).
1135:. Some other Chinese calligraphers, such as
483:(1338–1573) periods, but this was mostly by
2163:
1285:and was the prevailing style taught in the
825:, prime minister in the Chinese dynasty of
1712:
1365:tradition of the time, expressing a clear
547:Japanese calligraphy being written into a
140:
2235:. New York/Tokyo: Weatherhill/Heibonsha.
2031:"About.com: Japanese Calligraphy Brushes"
1986:
1678:style was not as vigorously practised as
890:
109:Learn how and when to remove this message
1741:
1523:, "locked country" or "chained country")
1484:
1301:
1062:
948:and illustrates that calligraphy in the
894:
790:
567:
559:
534:
273:
2195:
2193:
2148:. Les Ateliers de Japon. Archived from
2008:. Les Ateliers de Japon. Archived from
1869:– a manga based on Japanese calligraphy
2334:
2283:Japanese Calligraphy 1950s Documentary
2226:
1769:calligrapher at a moment in time (see
952:was already refined to a high degree.
572:A typical brush used for calligraphy.
2322:In English, at BeyondCalligraphy.com
2269:Introduction to japanese calligraphy
2190:
1941:
1939:
1915:
1913:
1911:
1909:
1907:
1207:, "Three Brush Traces"), along with
47:adding citations to reliable sources
18:
2320:The History of Japanese Calligraphy
2170:Inagaki, Naoto (January 29, 2012).
1819:. It is based on the principles of
1548:"eight principles of the character
1336:rebellions, and the victory of the
1196:(AD 894–966), one of the so-called
13:
2206:Japanese Calligraphy in Zen Spirit
906:in 744. She copied this text from
883:) style, prominent in the Chinese
14:
2363:
2275:
1936:
1904:
1646:style: "traditionalists" studied
1469:, a successor of Shūhō Myōcho at
2293:Shodo Journal Research Institute
1784:Zen calligraphy is practiced by
1697:, or poets and painters such as
786:
391:(1046–256 BC) and the following
23:
2250:History of Japanese calligraphy
2231:The Art of Japanese Calligraphy
2174:. Asahi Shinbun. Archived from
2138:
2129:
2120:
2111:
2102:
2093:
2084:
2006:"Tools of Japanese Calligraphy"
1922:The art of Japanese calligraphy
1732:Fukuoka University of Education
1273:school, which later became the
1269:served as an archetype for the
1058:
34:needs additional citations for
2146:"Kanji History in Japan(2018)"
2075:
2066:
2049:
2023:
1998:
1880:
1589:in 1735, further advanced the
1577:("brush energy") expounded by
1344:, marked the beginning of the
1073:(哭最澄上人), which was written by
326:, or artistic writing, of the
1:
2220:
1722:. Some universities, such as
1610:(1584–1639) – the three
1480:
1308:Sugawara no Takasue no musume
1298:Kamakura and Muromachi period
1815:by the Japanese philosopher
1781:or circle of enlightenment.
463:(581–618) and the following
7:
2303:Brush Calligraphy Galleries
2298:Shodo. Japanese calligraphy
1837:
1807:
1563:
1373:. Rankei Doryū founded the
1314:copied in his later years).
1251:
1002:
980:
768:
745:
724:
705:
679:
659:
636:
615:
593:
582:Four Treasures of the Study
309:
301:
10:
2368:
1757:
1738:Connection to Zen Buddhism
1496:
1277:style of calligraphy. The
1173:Kara-ai no hana no utagire
968:Broken Stone in Uji Bridge
805:Written in the 7th century
781:
711:to hold the paper in place
2260:
2254:
1801:
1691:
1627:
1618:
1594:
1557:
1530:
1519:
1406:
1361:
1290:
1245:
1229:
1220:
1203:
1184:
1167:
1124:texts in artistic style.
1047:
1034:
996:
974:
938:
879:
850:
762:
739:
718:
699:
673:
653:
630:
609:
587:
349:
316:
295:
1873:
1777:often symbolised by the
1728:Tokyo Gakugei University
1017:In the 7th century, the
555:
338:, but the advent of the
334:was originally based on
2352:History of art in Japan
2227:Nakata, Yujiro (1973).
2072:Nakata 1973, p. 145 ff.
1920:Nakata, Yujiro (1973).
1888:"Shodo and Calligraphy"
1828:Japanese tea ceremonies
1720:performance calligraphy
1713:Meiji and modern period
336:Chinese characters only
1863:(Japanese writing box)
1755:
1573:, and the 72 types of
1494:
1315:
1294:schools of that time.
1086:
992:"Stone in Nasu County"
988:(mid-7th century) and
918:
891:Before the Nara period
806:
573:
565:
552:
286:
58:"Japanese calligraphy"
2271:, Search Press, 2005.
1892:Vincent's Calligraphy
1745:
1724:University of Tsukuba
1488:
1477:in the 15th century.
1445:to establish his own
1305:
1149:Tachibana no Hayanari
1066:
898:
794:
692:Other tools include:
571:
563:
546:
277:
2342:Japanese calligraphy
2200:Solana Yuko Halada.
1410:style, the works of
1320:Minamoto no Yoritomo
1257:, a poem written by
1213:Fujiwara no Yukinari
1209:Fujiwara no Sukemasa
1108:in 784, and then to
990:Stone in Nasu County
908:Chinese calligrapher
873:text was written in
358:during the medieval
290:Japanese calligraphy
43:improve this article
2178:on December 3, 2013
2117:Nakata 1973, p. 157
2108:Nakata 1973, p. 156
2099:Nakata 1973, p. 166
2090:Nakata 1973, p. 153
2081:Nakata 1973, p. 170
1695:, National studies)
1569:, which go back to
1412:Fujiwara no Shunzei
1261:on the occasion of
1252:koku Saichō shounin
915:File:Gakkiron 2.jpg
840:Chinese calligraphy
409:Torige Tensho Byobu
364:Chinese calligraphy
356:Chinese calligraphy
2313:2010-06-09 at the
2258:), Hachiro ONOUE (
2135:Nakata 1973, p.169
2126:Nakata 1973, p.168
2037:on 20 January 2013
1775:Japanese aesthetic
1756:
1536:Ming-dynasty China
1495:
1316:
1087:
919:
807:
574:
566:
553:
401:Fukuoka Prefecture
287:
1534:style works, via
1416:Fujiwara no Teika
1318:The ascension of
1312:Fujiwara no Teika
957:Kongō Jōdaranikyō
902:, written by the
829:, standardized a
819:inscribed on bone
544:
328:Japanese language
272:
271:
119:
118:
111:
93:
16:Japanese art form
2359:
2284:
2263:
2262:
2257:
2256:
2246:
2234:
2214:
2213:
2208:. Archived from
2197:
2188:
2187:
2185:
2183:
2167:
2161:
2160:
2158:
2157:
2142:
2136:
2133:
2127:
2124:
2118:
2115:
2109:
2106:
2100:
2097:
2091:
2088:
2082:
2079:
2073:
2070:
2064:
2053:
2047:
2046:
2044:
2042:
2033:. Archived from
2027:
2021:
2020:
2018:
2017:
2002:
1996:
1993:
1984:
1983:
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1606:(1565–1614) and
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1581:'s teacher, the
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1439:Emperor Go-Daigo
1435:Ashikaga Takauji
1431:Muromachi period
1409:
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1328:, following the
1322:to the title of
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1267:Ono no Michikaze
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479:(1192–1333) and
332:Written Japanese
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2332:
2331:
2315:Wayback Machine
2282:
2278:
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2202:"Shodo History"
2198:
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2015:
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1971:
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1937:
1924:. Weatherhill.
1918:
1905:
1896:
1894:
1886:
1885:
1881:
1876:
1840:
1811:
1808:"no mind state"
1798:
1788:monks and most
1762:
1746:Calligraphy by
1740:
1715:
1688:
1554:
1516:
1504:Tokugawa Ieyasu
1501:
1483:
1346:Kamakura period
1300:
1242:
1061:
1038:written by the
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993:
984:
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863:Medicine Buddha
856:Chinese culture
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2295:
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2277:
2276:External links
2274:
2273:
2272:
2267:Yuuko Suzuki,
2265:
2247:
2241:
2222:
2219:
2216:
2215:
2212:on 2011-01-02.
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1817:Nishida Kitaro
1739:
1736:
1714:
1711:
1666:. In terms of
1604:Konoe Nobutada
1600:Hon'ami Kōetsu
1587:Kanga Hyakudan
1497:Main article:
1491:Hon'ami Kōetsu
1482:
1479:
1352:continued and
1299:
1296:
1151:respectively.
1122:Chinese poetry
1068:Cry for noble
1060:
1057:
1014:robust style.
1003:nasu kokuzō hi
981:ujibashi danpi
946:Cursive script
892:
889:
865:statue in the
813:, a time when
788:
785:
783:
780:
755:
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752:
733:
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695:A paper weight
690:
689:
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648:Mulberry paper
645:
621:
557:
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533:
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443:regular script
440:
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397:Guangwu of Han
351:
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307:, also called
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2242:0-8348-1013-1
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2207:
2203:
2196:
2194:
2177:
2173:
2166:
2152:on 2020-12-11
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2057:Shang dynasty
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2032:
2026:
2012:on 2021-01-23
2011:
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1950:. Chronicle.
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1652:Wen Zhengming
1649:
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1608:Shōkadō Shōjō
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1383:Rinzai school
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1371:Hōjō Tokiyori
1368:
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1338:Minamoto clan
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1090:Emperor Kanmu
1084:
1080:
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1065:
1056:
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1045:
1041:
1040:Empress Kōmyō
1032:
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909:
905:
904:Empress Kōmyō
901:
897:
888:
886:
885:Six Dynasties
876:
872:
869:Temple. This
868:
864:
859:
857:
848:
843:
841:
836:
832:
828:
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820:
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811:Shang dynasty
802:
798:
793:
787:Chinese roots
779:
775:
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747:
734:
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99:November 2015
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88:
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81:
77:
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70:
67:
63:
60: –
59:
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
2268:
2249:
2230:
2210:the original
2205:
2180:. Retrieved
2176:the original
2165:
2154:. Retrieved
2150:the original
2140:
2131:
2122:
2113:
2104:
2095:
2086:
2077:
2068:
2055:in the late
2051:
2039:. Retrieved
2035:the original
2025:
2014:. Retrieved
2010:the original
2000:
1947:
1921:
1895:. Retrieved
1891:
1882:
1831:
1825:
1821:Zen Buddhism
1793:
1789:
1783:
1763:
1751:
1716:
1707:Sakai Hōitsu
1683:
1679:
1675:
1672:Konoe Iehiro
1667:
1643:
1634:Around 1736
1633:
1623:
1611:
1590:
1586:
1574:
1549:
1526:
1511:
1502:
1475:tea ceremony
1452:
1446:
1428:
1402:
1387:Zen Buddhism
1367:kaisho style
1357:
1350:Song dynasty
1323:
1317:
1286:
1278:
1274:
1270:
1259:Emperor Saga
1239:Emperor Saga
1225:
1216:
1197:
1172:
1161:
1155:
1153:
1145:Emperor Saga
1141:Yan Zhenqing
1126:
1118:Emperor Saga
1088:
1083:calligrapher
1075:Emperor Saga
1067:
1059:Heian period
1053:Wang Xizhi's
1043:
1030:
1019:Tang dynasty
1016:
1012:Northern Wei
989:
965:
954:
950:Asuka period
930:
920:
899:
874:
860:
846:
844:
808:
776:
756:
575:
524:
515:
514:
504:
495:
494:
491:semi-cursive
469:Heian period
465:Tang dynasty
456:
447:
446:
428:
419:
418:
389:Zhou dynasty
384:
375:
374:
360:Tang dynasty
353:
289:
288:
282:
278:
238:
105:
96:
86:
79:
72:
65:
53:
41:Please help
36:verification
33:
1861:Suzuri-bako
1748:Musō Soseki
1467:Ikkyū Sōjun
1463:Zen priests
1437:had ousted
1391:Musō Soseki
1188:poem using
1106:Nagaoka-kyō
1104:, first to
932:Hokke Gisho
927:Lotus Sutra
815:pictographs
669:An inkstone
594:bunbō shihō
473:Lotus Sutra
461:Sui dynasty
433:Han dynasty
405:Nara period
393:Qin dynasty
371:seal script
324:calligraphy
134:Calligraphy
2336:Categories
2221:References
2156:2018-04-02
2016:2018-03-29
1957:2020593424
1897:2016-05-28
1771:Hitsuzendō
1760:Hitsuzendō
1758:See also:
1703:Yosa Buson
1648:Wang Xizhi
1579:Wang Xizhi
1571:Wang Xizhi
1564:eiji happō
1508:Edo period
1481:Edo period
1471:Daitoku-ji
1422:and early
1395:Daitoku-ji
1377:temple in
1283:Edo period
1226:wayō-shodō
1224:style, or
1190:Man'yōgana
1137:Ouyang Xun
1092:moved the
1027:Wang Xizhi
961:Ouyang Xun
911:Wang Xizhi
835:characters
437:Edo period
244:Vietnamese
69:newspapers
2061:Shen Nong
2041:7 January
1974:cite book
1966:249566117
1930:255806098
1867:Barakamon
1636:Yoshimune
1375:Kenchō-ji
1340:over the
1271:Shōren-in
1114:Heian era
1110:Heian-kyō
1098:Heijō-kyō
1031:Gakki-ron
1025:esteemed
900:Gakki-ron
875:Shakyōtai
725:shitajiki
481:Muromachi
263:Mongolian
151:By script
2311:Archived
1838:See also
1786:Buddhist
1685:kokugaku
1656:Zhang Xu
1640:Nagasaki
1614:Sanpitsu
1583:Lady Wei
1542:and the
1424:Kamakura
1379:Kamakura
1354:Buddhism
1287:terakoya
1237:said to
1055:style".
923:Hōryū-ji
887:period.
867:Hōryū-ji
801:Hōryū-ji
625:inkstick
477:Kamakura
385:zhuànshū
344:katakana
340:hiragana
239:Japanese
218:Georgian
201:Cyrillic
126:a series
124:Part of
2288:YouTube
2264:), 1934
1844:Fudepen
1826:Before
1612:Kan'ei
1499:Edomoji
1459:samurai
1454:daimyōs
1199:sanseki
1094:capital
1079:Chinese
1023:Taizong
871:Chinese
782:History
714:A cloth
706:bunchin
511:cursive
505:xíngshū
256:Western
229:Chinese
225:-based
206:Serbian
194:Tibetan
184:Brahmic
177:Persian
172:Turkish
167:Islamic
83:scholar
2239:
2182:May 1,
1964:
1954:
1928:
1855:Sumi-e
1795:mushin
1754:style.
1680:karayō
1660:Huaisu
1644:karayō
1619:(寛永三筆)
1591:karayō
1575:hissei
1527:karayō
1513:Sakoku
1461:, and
1448:bakufu
1358:karayō
1325:shōgun
1263:Saichō
1230:(和様書道)
1133:Saichō
1070:Saichō
929:: the
847:karayō
831:script
803:Temple
769:bokujū
758:Bokuju
735:A seal
680:suzuri
551:, 2021
525:cǎoshū
521:pinyin
501:pinyin
496:gyōsho
457:kǎishū
453:pinyin
448:kaisho
425:pinyin
420:reisho
381:pinyin
376:tensho
350:Styles
234:Korean
189:Indian
162:Arabic
157:Arabic
85:
78:
71:
64:
56:
2255:和様書道史
1874:Notes
1832:shodō
1790:shodō
1752:sōsho
1664:Mi Fu
1544:Ōbaku
1540:Ingen
1443:Kyoto
1441:from
1420:Heian
1399:Kyoto
1342:Taira
1334:Heiji
1330:Hōgen
1310:that
1291:(寺子屋)
1246:哭最澄上人
1235:Kūkai
1181:Tanka
1177:韓藍花歌切
1163:kanji
1129:Kūkai
1096:from
1035:(楽毅論)
997:那須国造碑
975:宇治橋断碑
823:Li Si
817:were
660:washi
604:brush
556:Tools
549:Shuin
529:Kukai
516:sōsho
429:lìshū
310:shūji
302:shodō
283:shodō
279:Kanji
251:Latin
223:Hanzi
90:JSTOR
76:books
2261:尾上八郎
2237:ISBN
2184:2012
2043:2013
1980:link
1962:OCLC
1952:ISBN
1926:OCLC
1779:ensō
1730:and
1676:wayō
1668:wayō
1662:and
1650:and
1628:(和様)
1624:wayō
1595:(唐様)
1558:永字八法
1550:yong
1531:(唐様)
1414:and
1407:(和様)
1403:wayō
1362:(唐様)
1332:and
1221:(和様)
1217:wayō
1211:and
1185:(短歌)
1168:(漢字)
1157:kana
1147:and
1139:and
1102:Nara
1048:(和様)
1044:wayō
939:法華義疏
921:The
851:(唐様)
637:sumi
616:fude
588:文房四宝
513:(草書
493:(行書
445:(楷書
417:(隷書
373:(篆書
342:and
285:(書道)
211:Vyaz
62:news
2286:on
1766:Zen
1705:or
1397:in
1385:of
1279:Oie
1275:Oie
1204:(三跡
1131:or
1100:in
880:写経体
827:Qin
719:下敷き
623:An
519:) (
499:) (
485:Zen
451:) (
423:) (
379:) (
45:by
2347:Dō
2338::
2204:.
2192:^
1988:^
1976:}}
1972:{{
1960:.
1938:^
1906:^
1890:.
1805:,
1802:無心
1726:,
1709:.
1701:,
1692:國學
1670:,
1658:,
1561:,
1520:鎖国
1457:,
1426:.
1249:,
1000:,
978:,
963:.
858:.
799:,
766:,
763:墨汁
746:in
743:,
722:,
703:,
700:文鎮
677:,
657:,
654:和紙
634:,
613:,
602:A
599:.
591:,
523::
503::
455::
427::
383::
330:.
317:習字
299:,
296:書道
128:on
2252:(
2245:.
2186:.
2159:.
2045:.
2019:.
1982:)
1968:.
1932:.
1900:.
1812:)
1799:(
1689:(
1567:)
1555:(
1552:"
1517:(
1493:.
1255:)
1243:(
1175:(
1085:.
1007:)
994:(
985:)
972:(
970:"
966:"
942:)
936:(
917:)
877:(
772:)
760:(
749:)
740:印
737:(
729:)
716:(
709:)
697:(
684:)
674:硯
671:(
664:)
651:(
641:)
631:墨
628:(
619:)
610:筆
607:(
597:)
585:(
320:)
314:(
305:)
293:(
112:)
106:(
101:)
97:(
87:·
80:·
73:·
66:·
39:.
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