In the Asian martial arts, especially Chinese and Japanese-type, is the direct link between the skills with the brush (calligraphy) and the sword of great importance. In the well-known Chinese film "Hero " this connection is shown vividly. The two protagonists and swordsman "Broken Sword (Tony Leung) and Flying Snow (Maggie Cheung) operates in the country Zhao calligraphy. There are nine of ten different characters for the word "sword", and also, if a "nameless" Broken Sword draws a twentieth.
In his book "Sword and Brush - The Spirit of the Martial Arts" describes interact Dave Lowry very knowledgeable as these two paths / arts.
"way of the brush - way of the sword: one designed to be a harmonious combination of pen and paper, the other as a conflict-laden gathering of weapons, the result of such a meeting in both cases is inevitable, and not be influenced for the.. calligraphers such as the warrior is reduced to a single reality in its clarity and unique encounters. "
This moment of absolute clarity, Ideal for all traditional Japanese arts of archery (Kyudo) to the flower arrangements (ikebana), is the focus of this book, explores the Dave Lowry, the common basic principles of calligraphy and martial arts.
shows forty-two of his calligraphy and Dave Lowry also many essays on how to reflect the strategic principles of the sword path in the path of the brush.
Each calligraphy represents a term from martial arts, for example Dô the way, or Wa, the harmony. The accompanying text explains the constants and changes in the meaning content of the concept of the time when the characters of the Japanese feudal era to the present. It is clear that calligraphy and martial arts - apparently different areas - from a common mental attitude be taken.
Some teachers, such as Sasaki Genso Roshi place great importance on the training of the sword always combine it with the brush. Sasaki Genso Roshi studied Eastern religion and Western philosophy in Tokyo. In 1966 he became a student of Zen master Omori absorbed and began his training in calligraphy (Hitsuzendô) and sword fighting (Hojo). Omori Roshi in 1983 confirmed him as his successor. In 1984, Sasaki Roshi in the dojo 'Ryu-Un-Zendo' in Tokyo. Since 1992 he teaches at the Asahi Culture Center (Tokyo). Since 1990, he comes regularly for Sesshin to Europe. See also: (鹿岛 神 传) 直 心 影 流 - (Kashima Shinden) Jikishinkage Ryu
From the long, passed on from master to master Rinzai tradition Sasaki Genso Roshi has developed its own method. It includes zazen, Hojo (Zen path with the sword), Hitsuzendô (Zen path with a brush) and koan training.
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| Hitsuzendô with the "big" brush |
- The image must be filled with spirit and atmosphere.
- The brush and ink industry are in will be perfect. That is, the intellectual and the emotional brushwork ink distribution on the paper are essential assessment criteria.
- natural objects are naturally present (neither naturalistic nor exactly abstract, insubstantial is omitted.
- observe the rules of composition. That leads to the dragon (invisible lines of composition) eighth, the yin-yang principle is preserved and open parts of the image and close correctly, etc.
- Economical color and correct distribution of the image.
- studying the old masters, copy their brushwork understand and internalize.
These six rules it applies to dominate. Furthermore, later six other features which an image had to stand up and six qualitative demands placed on the painter.
The quality characteristics of the image are:
- to secure the powerful brush strokes are visible in the massive strokes.
- In the clear simplicity of the artist's talent visible.
- Despite the delicacy and skill of the painter have the power to execute to be visible. compliance
- With all original, even to the point of eccentricity, then the Basic Law of things (natural).
- Despite scarcity of ink to be created colors.
- On the flatness of the paint layer depth and space to emerge.
The six qualitative aspects of the painter are:
- If you are not exempt from all ordinary habits, there is no hope to receive education or culture.
- Who has given the simplicity of the mind should not paint.
- who loves the luxury should not paint.
- who pays homage to the general taste, should not paint.
- to lower Who, dirty mind is capable of painting should not.
- Who paints for money should not paint.
The artists of ancient times, both in China and in Japan painted as a hobby and pleasure, but never for money. They gave away their images.
who painted for money prostitution business!
The connection between calligraphy and swordsmanship is due to the characteristic style of movement. A master can reference to the "technique" conclusions on the habitual deficits recognize the sword movements and processes. Likewise, however, be influenced by calligraphic exercises to the deficits and these can be corrected. This is also true in the other direction. Especially in Hitsuzendô where work is done with the "big" brush, this relationship is readily apparent. The training of the Do-way is always a holistic approach. Movement and behavior have anything to do with thinking and the nature of perception. Thus, the Malregeln, Qulaitätsmerkmale and quality demands in all respects to the sword fight, the sword arts and the swordsman and sword artists are mapped.
The "Guttenberg" (Source):
brush and sword - From the spirit of martial arts, Dave Lowry, ISBN-10: 3937745149, ISBN-13: 978-3937745145
Gerstacker - creative course "Introduction to Asian ink painting"
Ryu-Un-Zendo
The Far Eastern ink painting: a complete theoretical and practical introduction to the techniques of traditional Chinese painting, Wang Jia Nan, Cai Xiaoli, Dawn Young, ISBN-10: 3926651539, ISBN-13: 978 - 3926651532
Chinese calligraphy with ink and brush. Klaus-Dieter Hartig, ISBN-10: 3426668297, ISBN-13: 978-3426668290
The Art of Chinese Calligraphy, Jean Long, ISBN-10: 0486417395, ISBN-13: 978-0486417394
Eri Takase Studios
Eri Takase " Learn Calligraphy "
Frankfurter Allgemeine Zeitung: Weapons of Power: The Chinese epic film "Hero"
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