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At the time, calligraphy was an integral part of Japanese society. In order for a writer to produce a high-quality calligraphy script, a set of precise tools was needed. The most important of these tools was the inkstone, which was required to hold and transfer ink onto a writer's brush. [2]
Japanese calligraphy (書道, shodō), also called shūji (習字), is a form of calligraphy, or artistic writing, of the Japanese language. Written Japanese was originally based on Chinese characters only , but the advent of the hiragana and katakana Japanese syllabaries resulted in intrinsically Japanese calligraphy styles.
These modifications set the foundation of Japanese-style calligraphy (Wayō 和様, as opposed to Chinese-style calligraphy or Karayō 唐様), which was later refined by other two masters, Fujiwara no Sukemasa and Fujiwara no Yukinari. Wayō was accredited and practiced, as a pure Japanese art form, until the mid-19th century.
Bokuseki is a type of Japanese calligraphy practiced by Zen monks or lay practitioners of Zen meditation. [95] [96] Characterised by freely written bold characters, the style often ignores criteria and classical standards for calligraphy. [97] [98] The brush is moved continuously across the paper creating richly variated lines. [99]
Bokujinkai (墨人会, “People of the Ink,” est. 1952) is a Japanese calligraphy collective, research group, and exhibition society. It was founded by the calligraphers Shiryū Morita, Yūichi Inoue, Sōgen Eguchi, Yoshimichi Sekiya, and Bokushi Nakamura.
By touching a calligraphy brush to the cotton, one could ink the bristles with reduced risk of dripping or spilling ink. By enclosing the cotton in a little box (sumi tsubo), a writing set was made convenient and portable. The first yatate were long boxes, with the ink compartment in the axis of the pen. The "smoking pipe" shape was designed to ...