The author looks at the special nature of the calligraphic line and space. Based both on her study of the art under the master calligrapher Seika Kawabe and her own research, she presents both a theoretical and practical approach.

The Bokujinkai—or ‘People of the Ink’—was a group formed in Kyoto in 1952 by five calligraphers: Morita Shiryū, Inoue Yūichi, Eguchi Sōgen, Nakamura Bokushi, and Sekiya Yoshimichi. The avant-garde movement they launched aspired to raise calligraphy to the same level of international prominence as abstract painting. To this end, the Bokujinkai collaborated with artists from European Art Informel and American Abstract Expressionism, sharing exhibition spaces with them in New York, Paris, Tokyo, and beyond. The first English-language book to focus on the postwar history of Japanese calligraphy, Bokujinkai: Japanese Calligraphy and the Postwar Avant-Garde explains how the Bokujinkai rerouted the trajectory of global abstract art and attuned foreign audiences to calligraphic visualities and narratives.

The book is an academic work addressed to beginners in the study of the Japanese language, literature and art, as well as to those fascinated by Japanese culture or by the secrets of Japanese calligraphy in particular. The book combines, in an exciting and unique way, a theoretical analysis with the practice of calligraphy. In short, the book highlights the ‘process of becoming’ on the path of Japanese calligraphy, harmoniously reuniting the perspective of an external, distant, abstract view, with a subjective, practical, internal one. Because the author studied this art under the guidance of Japanese masters, the book also contains the author’s Japanese calligraphy works. Today, in the digital age, this book on Japanese calligraphy emphasizes the creative synergy of handwriting, through which the calm swiftness of the brush movement in a moment of concentration, attention and freedom, reveals a contemplative mental act. The book is, eventually, an inner journey on the path of Japanese calligraphy, as it combines the practice and theory of calligraphic art, rediscovering handwriting through the reveries of the calligraphy brush in the contemporary digital age: writing by painting and painting by writing.

This is a step-by-step guide to creating Etegami, a Japanese postcard art that combines simple hand-painted images with handwritten words on washi postcards. The book is divided into 22 brief chapters that lead the reader through the origins, the materials, the process, and the possibilities of the art of Etegami. It includes links to online suppliers of etegami materials and tools. Please take note of the dimensions and be warned that it is a very SMALL book (60 pages), but it is packed to the gills with content.

From the simple representative shapes used to record transactions of goods and services in ancient Mesopotamia, to the sophisticated typographical resources available to the twenty–first–century users of desktop computers, the story of writing is the story of human civilization itself. Calligraphy expert Ewan Clayton traces the history of an invention which—ever since our ancestors made the transition from a nomadic to an agrarian way of life in the eighth century BC—has been the method of codification and dissemination of ideas in every field of human endeavour, and a motor of cultural, scientific and political progress. He explores the social and cultural impact of, among other stages, the invention of the alphabet; the replacement of the papyrus scroll with the codex in the late Roman period; the perfecting of printing using moveable type in the fifteenth century and the ensuing spread of literacy; the industrialization of printing during the Industrial Revolution; the impact of artistic Modernism on the written word in the early twentieth century—and of the digital switchover at the century's close. The Golden Thread also raises issues of urgent interest for a society living in an era of unprecedented change to the tools and technologies of written communication. Chief among these is the fundamental question: "What does it mean to be literate in the early twenty–first century?" The book belongs on the bookshelves of anyone who is inquisitive not just about the centrality of writing in the history of humanity, but also about its future; it is sure to appeal to lovers of language, books and cultural history.

This book offers a philosophical exploration of lines in art and culture, and traces their history from Antiquity onwards. Lines can be physical phenomena, cognitive responses to observed processes, or both at the same time. Based on this assumption, the book describes the “philosophy of lines” in art, architecture, and science. The book compares Western and Eastern traditions. It examines lines in the works of Paul Klee, Wassily Kandinsky, and Henri Michaux, as well as in Chinese and Japanese art and calligraphy. Lines are not merely a matter of aesthetics but also reflect the psychological states of entire cultures. In the nineteenth century, non-Euclidean geometry sparked the phenomenon of the “self-negating line,” which influenced modern art; it also prepared the ground for virtual reality. Straight lines, distorted lines, blurred lines, hot and cold lines, dynamic lines, lines of force, virtual lines, and on and on, lines narrate the development of human civilization.

The Way of the Brush: Painting Techniques of China and Japan examines the technique, style, traditions, and methods of Chinese ink painting and how they were interpreted in Japanese art. Illustrated with over 250 images and packed with instructions, The Way of the Brush covers every aspect of brush painting, from brushstrokes, composition and the painting surface to meaning, perspective and artistic philosophy. Part One is a study of the techniques of Chinese painting and explains the elements, techniques and principles which eventually carried over into Japanese painting. Part Two is devoted to technical challenges and basic problems associated with the art, including the issue of fakes and forgeries of Chinese art in Japan. Also included are three appendices and a full bibliography.

The author provides the ways in which children's knowledge of visual elements of art can be developed through simple but creative activities.

This is a beautiful guide to harmonize the body and mind connection through elegant Japanese calligraphy for fans of Ikigai and Wabi Sabi. SHO 書: to write, writing, calligraphy. DO 道: the path, the way or the Tao, the path of life The ancient Japanese art of calligraphy is more than just a decorative skill; it is a revolutionary approach to mindfulness. This book is a beautiful introduction to Shodo, which shows how the movement of a brush channels energy through the body and mind, uniting both in harmony. What results on the paper is a true depiction of the present moment, a movement towards a more peaceful mindfulness. Shodo expert and professional calligrapher Rie Takeda shares the history, philosophy and craft of Shodo. Decorated throughout with her stunning art, Takeda begins with the basic brushstrokes, and builds up to drawing complete kanji, beautifully nuanced in both appearance and meaning. Introductory sections include practical information on what sort of ink, pens and brushes to use, how to prepare your space, how to sit and breathing exercises. This is alongside spiritual guidance, including the concept of Mushin (an undisturbed mind), Qi energy, and how to discover your unique inner quality. A final troubleshooting section allows you to identify what wobbles and imperfections in your lines can tell you about the various tensions and stresses in your body and mind.

Drawing on a millennia of calligraphy theory and history, Brushed in Light examines how the brushed word appears in films and in film cultures of Korea, Japan, Taiwan, Hong Kong, and PRC cinemas. This includes silent era intertitles, subtitles, title frames, letters, graffiti, end titles, and props. Markus Nornes also looks at the role of calligraphy in film culture at large, from gifts to correspondence to advertising. The book begins with a historical dimension, tracking how calligraphy is initially used in early cinema and how it is continually rearticulated by transforming conventions and the integration of new technologies. These chapters ask how calligraphy creates new meaning in cinema and demonstrate how calligraphy, cinematography, and acting work together in a single film. The last part of the book moves to other regions of theory. Nornes explores the cinematization of the handwritten word and explores how calligraphers understand their own work.