PIGMENT TOKYO really is a place that impresses as soon as you set feet inside: the building is spacious, with a comfy atmosphere that makes you feel like you’re at home. This gorgeous art supply is located on Tennozu Isle, small island in Tokyo Bay that hosts plenty of art shows and performances. The store features around 200 antique ink sticks, 50 kinds of animal glues and around 4,500 colors of different pigments: with this, you are sure to find a color that you will like! But what makes it different is the workshops that are regularly organized. Held by art school professors or painting tool manufacturers, you can discover Japanese painting techniques, carving signature stamps or oil even painting. For me, it would be Japanese calligraphy, also known as Shodo.
An Introduction to Japanese Calligraphy
Despite that it is one of the most famous Japanese traditional arts, it was the first that I was trying Shodo, or Japanese calligraphy. Our teacher, Kasetsu, was born in Kyoto and started calligraphy more than 20 years ago. The workshop held at PIGMENT TOKYO lasted for about four hours, a time needed to get a real introduction to this art’s meaning. We were about 10 participants.
It all started with a short explanation of the history of that art. Japanese calligraphy began by importing the Chinese writing system, named kanji, in the early 5th century. It was then mainly influenced by Chinese masters and new writing styles. However, from the 10th century, one of the first Japanese style of calligraphy, WayoShodo, appeared.
It was a response to the increasing need to express Japanese aesthetics via calligraphy. Other the centuries, Japanese calligraphy continued to evolve under the influence of Chinese classics, but also the Zen Buddhism in the 12th century.
Before trying, know the tools
After this introduction, about two dozens of brushes were presented in front of us. They all had different shapes and use various elements: wild boar, goat’s hair... and we had to pick one. I chose a brush with hairs made with from horse tail.
Then, comes the ink. I decided to opt for a reddish and bluish black ink. To get the actual ink, it is necessary to pour some water on the ink stone, and then grind the ink stick in a circular motion while keeping it upright. When the ink has a thick and deep black color, it is ready. As it was the first time I was trying this process, I couldn’t get it right straight away: too thick and the writing will not be fluid, too thin and the ink will flow down from the brush too fast.
Shodo: The Quest for the Perfect Line
The next step of this initiation to Japanese calligraphy was to apprehend the different tools and techniques by drawing several lines. While doing that, we had to ask ourselves: Which one do I like? What kind of shape? Why?
The hairs were particularly long and thick, which made it quite difficult to manipulate at first. However, I really liked the lines I could draw with it: far from being solid, they had a lot of small holes in each brushstroke, which was appealing to me. I actually find beauty in imperfection, and that expressed it quite nicely: indeed my lines were far from perfect, but that’s why I liked them! The other workshop’s participants also found their own “style”: one used a very small brush that helped him draw very small straight lines while keeping good control on his movements, and he stuck with it until the end.
To go further, our teacher told us to try new ways of drawing: while the brush should be used vertically, lying it down slightly greatly change the shape of the line: it gives a thick, soft tone to it. The speed is also an important point, as it help expresses the writer’s feeling at that specific moment.
After drawing about two dozen lines, I decided to try another brush, this time smaller and that seemed to be easier to handle. Even if I liked the horse-tail, I felt that this one would help me when would come the time to actually draw a shape.
Getting the Shape Right
When we all felt confident enough, we moved to the topic of the day: flowers. We were presented several stylized kanji representing flowers and had to choose one that we liked.
Mine was spiral-shaped. It took several tries to learn how to draw it, as a good amount of ink was needed but also more fluidity in the gesture. To achieve this, it was important to open the lower part of the arm, so I could move more freely. Like for the lines, our teacher then asked us to try different approaches: change the speed, the pressure on the brush or simply the position of the drawing on the paper. Then, to ask ourselves the question again: what does it mean to us?
For me, when I was looking at my drawing, I was imagining a small flower under strong winds that would come from the right side of the paper. However, the spiral in itself was a representing of flower’s short life: a path that would lead ultimately to death, with the small stroke on the right representing rebirth.
The exchange we had with other participants was particularly interesting, as it clearly showed that each had its own sensitivity when it comes to Japanese calligraphy. Overall, a unique experience that is clearly worth the try, so why not try Japanese calligraphy on your next trip to Tokyo?
Sumi-e workshop fee: 8,000 yen per person
Open Hours: 11:30AM – 7:00PM
Closed on Mondays & Thursdays
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