Shodo – Japanese calligraphy

Japanese calligraphy (書道, shodō) also called shūji (習字) is a form of calligraphy, or artistic writing, of the Japanese language. For a long time, the most esteemed calligrapher in Japan had been Wang Xizhi, a Chinese calligrapher from the 4th century, but after the invention of Hiragana and Katakana, the Japanese unique syllabaries, the distinctive Japanese writing system developed and calligraphers produced styles intrinsic to Japan. The term shodō (書道, “way of writing”) is of Chinese origin as it is widely used to describe the art of Chinese calligraphy during the medieval Tang dynasty.

Early Japanese calligraphy was originated from Chinese calligraphy. Many of its principles and techniques are very similar, and it recognizes the same basic writing styles:

• seal script (篆書 tensho) (pinyin: zhuànshū). The Seal Script (tensho) was commonly used throughout the Zhou Dynasty (1046-256 BC) and the following Qin Dynasty (221- 206 BC) of China. After this time period, tens style fell out of popularity in favor of reishi. 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, Guang Wu presented a golden seal to a king of a small region near what is now known as Fukuoka Prefecture. 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 Nara period (646-794) was a six-paneled screen called the Torige Tensho Byobu. 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.^[2]
• clerical script (隷書 reisho) (pinyin: lìshū) 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 Han Dynasty (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 Edo Period (1603-1868) when it was regarded as a calligraphic art form.^[2][3]
• regular script (楷書 kaisho) (pinyin: kǎishū) 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 Sui Dynasty (581-618) and the following Tang Dynasty (618-907). Early examples of this style in Japan are mostly various statue and temple inscriptions. This was during the early Heian Period (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 Lotus Sutra. There was a second wave of influence during the Kamakura (1192-1333) and Muromachi (1338-1573) periods, but this was mostly by Zen monks who used a technique based on Zen insight and is different from the classic kaisho technique.^[2]
• semi-cursive (行書 gyōsho) (pinyin: xíngshū) 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.^[2][3]
• cursive (草書 sōsho) (pinyin: cǎoshū). 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 Kukai, 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.^[2]