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Much of the history and culture of east Asia is expressed in the Chinese writing system, consisting of thousands of characters that can each be written in one of five very different calligraphic styles. The possibilities for execution and interpretation of those characters in art and literature are almost endless. Shodo has long been considered the master art of Asia and all educated, cultured people have studied it. It formed a foundation for their education and influenced the course of their lives and careers.

Ibata-sensei has a collection of very large brushes. The one on the far right, below, contains the tails of 15 horses and is 6 feet long.

There are several basic differences between western art and Asian calligraphy. Western artists use short bristle brushes. Calligraphers use long bristle brushes that hold a lot of ink, enabling more fluidly so any one character can be completed without interruption, with just one dip of the brush.

Whereas western artists paint on upright easels, Calligraphers paint flat on the floor. Western-trained artists paint in stages, correcting and adjusting as they go. Calligraphers finish a work in one moment in time. If it is successful, the work is signed and kept. If not, it is discarded and the process is repeated over and over until the desired result is achieved. Calligraphers are inspired by Zen to express what is present in the moment. Any distraction in the mind of the artist shows up in the work.

World-renowned photographer, Hiroshi Sugimoto’s installation at Naoshima consists of a shinto shrine connected to an underground room by a glass staircase.   Sugimoto is probably Japan’s best known photographer.  The style of shrine building chosen is a very simple one, more similar to the style of Ise Grand Shrine than of later, Chinese-influenced architectural styles.

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After viewing the portion of the glass staircase that lies below the shrine, the viewer emerges from the sub-terannean chamber through a long corridor that perfecty frames the horizon.

The ocean horizon is one of Sugimoto’s favorite images.  An installation at Naoshima’s Benesse House showcases a dozen or so photographs of ocean horizons around the world.

Forty years ago, when  21-year old Fulbright scholarship recipient Yoshiyasu Suzuka was asked with whom he would like to study photography,  the young art student said that he didn’t know who to ask for.  “Ok, then,” said the American advisor.  “We will assign you to Mr. Adams.”  Mr. Adams turned out to be Ansel Adams.  Now, 40 years later,  Suzuka-san teaches at Kyoto University of Art and Design and a major photographer in Japan, working in several areas including pinhole photograhy.  He also uses a unique process to print some of his pinhole work on handmade washi paper.  The above image is from a series of hands photographed on Shikoku Island’s 1200-year old Buddhist pilgrimage route.

Read More and See More Images of Shizuhara Dreaming

Almost completely unknown in the west until about 15 years ago, Japanese artists specializing in one-of-a-kind bamboo baskets have since gained a considerable international following.   I had long heard about one such artist, Yonezawa Jiro-san, and was finally able to meet him the other day, in the city of Oita.  After 17 years living in Portland,  contemporary bamboo artitst Yonezawa-san has returned to live in his native northern Kyushu.  His work was most recently part of New Bamboo: Contemporary Japanese Masters, an extraordinary exhibition at the Japan Society, New York, as well as a one-man show at the Portland Japanese Garden entitled Dream Weaver: The Bamboo Art of Yonezawa Jiro last November.  Always the innovator, Yonezawa-san does not stay with one concept for too long before itching to create something extremely different.  The three styles in the photos below clearly show great breadth in his work.

Says our mutual friend, bamboo artist and author Nancy Moore Bess of Yonezawa-san, “I thinks he sets a high, high standard for himself.  It is his combination of the traditional (that thin diagonal twill weaving is extremely difficult!!) with innovative forms and materials that keeps me coming back to his work again and again. I don’t think a major basketry collection would be considered complete if it didn’t contain at least one of his pieces.”

Last year, my friend,  Japanese sword expert Paul Martin, took me to a private weekly gathering of sword experts in Tokyo where a few dozen people moved from table to table, examined swords that were up to 800-years old and then competed in identifing their origins and even the artists who created them.  British-born Paul is living his dreams in Tokyo, researching swords, practicing Kendo and translating and writing sword-related books.  Recently, he has produced the following video, which he shares with us, below.  Visit Paul’s website at www.thejapanesesword.com