Today I attended the first of my Japanese calligraphy classes at WEA, 5.30pm Wednesday afternoons. Our teacher is Michiko Honda and I joined after learning of the class from Kevin. She knows Riley Lee and Ben Dixon - what a small world.It was very interesting to be shown the techniques, both by demonstration of the correct stroke style and order and by Michiko individually guiding our hands and supervising the motion. The onsets and little flick-offs or sweep-away brush motions are extremely critical to the balance and beauty of the characters. Pictured below, for example, is haru, the character for spring, appropriate for the current season commencement. It works around the vertical centre in a symmetrical yet flowing design. The three horizontal beams are of different lengths by design but their thickness, too, can be deliberately and aesthetically un-identical in a non-formatted way, i.e. without rules. For most other details - stroke order, rhythm, beginnings and endings - there is a correct form to learn, practise and follow. The two hour class was actually quite relaxing and enjoyable!
For me, the interesting part is observing through practice, the parallels between calligraphy and shakuhachi playing [that numerous wize sages point out as a connection between shakuhachi, shodo, aikido, chado, sumi-e and other traditional art-forms in Japan]: both take immeasurable time to accomplish the grace and power of the inimmitable masters in the tradition; both have various lineages and styles; extreme composure and patience/awareness to blow/brush timelessly slowly leads to a better feeling; the nuances of tapering off, control, stability of breath or brush-stroke; learning forms; both require mind-body awareness and connection; aesthetics of balance and taste; the Zen quality of utter concentration that excludes external intrusions and mind-chatter achieve envelopment.

