飛龍 flying dragon

passion for charracters
 

I love Calligraphy, can't write it, but learnning about it is cool.I like the feather/wool cuz it has the mix of white/black. I confess I am a mandarin student in california and I am trying to write charracters too,but Japanese seen to have an inpact in my life. good job!:vsign:

Hi redsteel. Thanks. "White/black" - I understand you mean kasure (掠れ), i.e. streaks of white in places where ink application was faster, or ink was thicker. It can be achieved with any brush. This technique can be quite tricky as it is rather easy to overdo it, and instead of adding dynamism to work, it weakens the lines and calligraphy loses its power. Wish you good luck with your studies!

I have finally received the seals that I have ordered recently. They are absolutely mind blowing.

I am pasting seal imprints scans (scale is not 1:1) carved by master Shirai Yuuki (白井右鬼).

Master Shirai Yuuki



Top to bottom: 品天之印　（real name seal, "seal of Ponte", as "Ponte" is a first part of my last name. Most popular respective meanings of kanji 品天 are: "goods" and "heaven", however in this case they stand for "refined" and "Deva" (from Buddhist philisophy)）、寂滅為楽　（leisure seal, "free from earthy desires"）、龍涙　（pen name seal, "tears of dragon", i.e. ink of the soul）



Top to bottom:無心　（leisure seal, "free from obstructive thoughts"）　、品天、龍涙



Top to bottom: 心翔筆舞 (leisure seal, (when) heart soars the brush is dancing")), 品天之印, 龍涙



Top to bottom: 童心（leisure seal, "child's mind/heart"), 品天, 龍涙


Below is a scan of a handwritten letter from master Yuuki to my teacher. I thought it might be interesting for you to see how the traditional information exchange looks like. Such letters are very rare in today's Japan.
Even though master Yuuki is a famous seal carver, ink painter and calligrapher, his pen handwriting is a bit messy (as commented by my teacher), abundant in mannerisms and approaches calligraphic rules in rather loose manner. It also shows his uncanny character and perfectly illustrates that even though one can be a great calligrapher and write amazing thing with a brush while at the same time n ot be bothered with pen writing. Master Yuuki is 70 years old and is a pupil of legendary Grand Master Kuwahara Suihou (same as my teacher). Below is a link to his site, so you can see some of his artwork. (look under 作品)

http://www10.ocn.ne.jp/~yuuki/

Scan of the letter:


ここの所印とはすっかり離れてしまいました。これでよ いでしょうか。寸法もだいたいの印にしました。冠帽印 は変形のものにしませんので一回押しです。印矩はつか えません。

そのことを伝えてください。寂滅為楽の四字中(…)寂は� ��サンズイ」を省略したものです。
右鬼生。

Translation (note that direct translation is rather impossible due to specific language used, calligraphic "slang"):

I have separated seal (imprints) one from another. I understand that it is satisfactory. Also, I have managed to maintain (requested) seal sizes. (From) of 冠帽印 (seal pressed at the right side of work, it has many names such as 引首印、etc, and its called "leisure seal") is not deformed so you may press it only once. Please do not use seal (carpenter's) square (印矩).

seal (carpenter's) square, used for seal pressing:


Please pass this information (to me, as the letter was written to my teacher). (Regarding) four characters (of the idiom) 寂滅為楽 i have used the old form of 寂 (in seal script). (As you can see right radical was omitted). (In the character) 滅 I have omitted sanzui (water radical)

Signed
Yuuki

Here is a seal with a address of master's Yuuki studio (scan from the envelope)

諸行無常　　- impermanence of worldly things.

跳龍 prancing dragon (sorry for the quality of the picture being low, but it's due to size of work: 60x150cm)

山　mountain

心糸　- a single floss of mind

超書 - beyond calligraphy

龍 dragon

Wonderful dynamic on the long stroke, especially the "specks of light" effect because of fast movement.

thanks protheus, glad you like it.

龍清祥 - spirit/energy of the dragon

oracle bone script

The thanks should be from me, for sharing these with us.

The bone script has a unique antique feeling to it, I just love it.

my pleasure :)

Oracle bone script was considered to be the cradle of Chinese writing till discovery of Yangshao culture in early 20th century. Today we know that Chinese characters is the oldest writing system on Earth, 1500 years older than Sumerian cuneiform.

Oracle bone goes back to Shang dynasty (1600-1046BC) and it was used mainly for divination purposes, although not exclusively. Its unique form can be attributed to the surface it was incised on - hard bones and turtle plastrons.

That is also why the lines that characters are composed of are thin, with pin-like ending s and canoe shape structure. Also curved lines are often composed of short straight cuts.

Oracle bone was linguistically immature, but thanks to that its raw and pure. Its highly pictographic nature also shows how close to nature and its untamed forces humans once lived.

I am considering specializing in seal script in the future (seal script is further divided into great seal and small seal scripts, where great seal embraces oracle bone script, kinbun (incisions on bronze ware) and great seal sensu stricto). I find it most fascinating.



海闊　　wide sea
(clerical script)

another calligraphy for a tattoo, 正勝吾勝 (true victory is the one over self)
small brush calligraphy on a raw xuan paper (high blur ability)


standard script


semi cursive script


cursive script

same text as 2 posts above, just different character forms

龍清祥 - - spirit/energy of the dragon

oracle bone script

至誠　sincerity, devotion

思無邪 think no evil

those are great, can you tell me what is the differences between chinese calligraphy to japanese, if any?

Thanks jurianbai.

Well, it will be rather impossible to explain in few sentences , but I will try. The difference is huge and on the other hand none. First of all, Chinese calligraphy has few thousand years of history and tradition, when the Japanese one is only 1500 years old (more or less). The moment the Chinese characters begun to flow into Japan all five core scripts were already developped (seal, clerical, cursive, standard, semi-cursive).
So, the moment Japan was learning how to write (around late 5th century C.E.) China was going through cultural golden age (Tang dynasty 618-907th century).

However, since there are major aesthetic and linguistic differences between those two countries, calligraphy in Japan split into two major trends. One is called karayou (kara from Tang (唐), thus Tang China style) and another wayou (from wa (和) meaning Japan, thus Japanese style).

Wayou shodou (i.e. Japanese calligraphy style) includes scripts like kana, and later on avant garde calligraphy, which in return greatly influenced Chinise artist and western abstarct painters.

Shortly speaking, Chinese calligraphy is more rigid, rules-bound and precise. Japanese calligraphy is more abstract, allows for style blending etc. But one cannot say that Chinese calligraphy cannot be insane in its form. Look at works of Zhang Xu from Tang dynasty (also called crazy zhang) and his mad cursive style (kuang cao), or Huai Su.
Modern Chinese artists begin to apprciate modern approach to calligraphy as well, although it is not as popular as here in Japan.

When you watch videos of Chinese calligraphy, especially those teaching how to write in standard style (look up kai shu in youtube) you will realise how precise and mathematically accurate are the strokes. It does not mean that Japanese calligraphers are not studying proper technique. My teacher is an orthodox old classicist and my daily studies begin with rinsho (copying masterpieces). However, the approach is different. We seek vigour, flow, balance, rhythm and other details like brush tip work, etc, to understand given master style.
Writing lines exactly in the same manner is secondary to unimportant.

Also, oppose to how the Chinese studying, in Japan (well at least in my case) students are taught hanging arm technique from the start (the whole arm is suspended in the air) while in China the wrist rests on left hand's palm to steady it on. That is why they focus more on precision of the line.

Hanging arm technique is difficult (some say that calligrapher that writes with suspended arm is couragous) but it gives freedom of movement. One can engage the whole body to express what he or she feels during writing. Bokuseki (Zen sho) is written while standing. Simply because monks write with entire body movement (free energy flow).

Hope this throws a bit of light on the subject.

I am currently building a huge portal with information about calligraphy and I hope to be able to share the link end of this month. There is ton of information there and I am sure you can find it helpful if you would like to read in greater details about styles, history and so on. There will be (calligraphy related) forum as well.

潔白　purity　

i love these calligraphy works big time!

I am glad you enjoy them!

光漂　　rays of light floating on water surface

i look forward very much 4ward to it all. maybe one day published in a book

Funny that you have mentioned that, as my book about calligraphy ("Marvellous Ink")is undergoing its translation into Japanese. I have to consult few things with my teacher before it reaches book shelves, besides he is like a father to me and I would not have gone so far without his guidance, so I want him to read it before anyone elese does. I trust that at the end of 2011 it should be ready for printing. Still...I have to sort out over 300 of illustrations...that is full time job there...

it is wonderful that you have such apecial mentor he obviously enthuses you and you are an enthusiastic student. you deserve to succeed piotr.

Thanks! I could not imagine a better teacher.

Here, I will share a small fragment from the first chapter, where I write a bit about him:

-------------------------------------------------------


Marvellous Ink


Chapter I
Cocooned in Nothingness


(...)


Oriental calligraphy is everything but learning how to draw a perfect character. How many times I have presented a sakuhin (作品, “ready work”) written in any of main styles of calligraphy (later on in regards to those), creating nearly identical copies of thousands of years old koten (古典, manuscripts, classic literature), commonly used by calligraphers to advance their skill, only to be told by my teacher that mane mono (真似物, here: imitation of someone else’s style) is boring, and conveys no energy.
古典から

- “Ehhh…imitation…it is dull and dead to the soul….no energy flow either…” – he used to mutter shaking his head in disapproval.

“Whenever you repeat someone else’s style, you lose a part of yourself. You cheat your heart by pretending other people’s emotions. To become a true master, you need to forget and deny that you ever want to become one, negate an existence of any aim and will to achieve it. Calligraphy has no beginning or end. First step towards greatness is to embrace a rich world of humble nothingness, through opening wide your soul’s gate. Write with the ink of your feelings, and not other’s.”

After years of studying I have finally understood that rinsho (臨書 – lit. “writing from a copy”, copying masterpieces) is comparable to a journey. It enriches our general knowledge of the world, various cultures and phenomena, but also widens our spectrum of view, altering approach to life. The way we comprehend this knowledge depends on our spiritual readiness and experience, which states cannot be copied in any way. One has to reach them throughout diligent studies.


(...)


Once I asked him what criteria he applied while purchasing a hanging scroll or a framed work of another calligrapher. He put his brush on the fudeoki (筆おき, “brush rest”), looked at me and smiled:

“If I buy a work it is only to hang them in toconoma (床の間, an alcove in a Japanese style room) for my students to watch and broaden their vision. Sho is an art that allows you to roam wide seas of imagination. Those seas are boundless, made of many isles and straits, and one does not need to be afraid to follow into foggy and untravelled areas. I cannot tell you what goes along with your personality, i.e. what style of writing you should follow during your journey. I can only help you to build a boat, but you need to learn how to sail it and sense what direction to head off to.”


(...)


We calligraphers are a rare breed cherishing everlasting beauty and magic of this fascinating art in art. We live by scent of ink, sound of brush chasing secret dreams on paper, sharing our pure thoughts richer than anything on Earth with forces of the Cosmos itself.

We are hovering somewhere between dimensions of physical and mental states of being, completely lost in timeless joy of revealing deepest emotions along the path we chose. We surf on irrelevance of time and reality, able to feel what is unexplainable, far beyond the usual, daydreaming with our minds cocooned in a translucent scarf of nothingness.


(...)


© 2010 - 2011 by Piotr Ponte-Sypniewski


Please note that the above fragment (as well as the whole text) is copyrighted, thus any redistribution or reproduction of part or all of the contents in any form without my (author's) written permission is prohibited.


------------------------------------------------

仙人 immortal mountain wizard in Taoizm, a man not bound by earthy desires, a hermit

thanks for your lengthy reply ryuurui, though I will slowly understand it by enjoying the calligraphy. congratulations for your book as well, and it's nice to have a professional in the forum.

When the book comes out for the public, please leave a sign here, maybe I will be able someway to take one.

cheers ;-) As you said, understanding through watching calligraphy is the best way to go.

Sure thing, once it is ready I will be more than happy to announce it.

由季 Japanese female name "Yuki"
I wrote it for one of my friends, Yuki, whose rabbit pet died recently, to cheer her up a bit.

the words spoken by your master really move me spiritually piotr.

they make one think deeply.

if u do ever have his words in nihongo calligraphy i will be eager to see them and show to my friend

your work is well worth waiting for. i salute you and your master with reverance and humility.

I really appreciate it. I should have it in Japanese for you once the translator comes back to me with the first chapter.

福　Good fortune

飛筆　flying brush

Man, words alone can't express the beauty of your pieces..

I'd love to have a tattoo of one of your works. :)

Glad you like them Chess :) . Fee free to send me a PM and we can have a chat about it.


祥　good omen (a pictogram of a goat and an altar, thus a synonim of a ritual performed in hope for a good omen, hence the meaning), also "auspicious"

春雨　gentle spring rain
(written with a bird feather brush, hence the fuzzy line)


I took a picture of a feather brush so you can see how it looks like

I wonder what would be your next project. Nature would be a great subject I suppose, or a calligraphy from a Haiku poem. :D

I've been looking at your work throughout this discussion and I'm seriously impressed. One word - Beautiful.