Zuigan

"Lo spirito dello Shodo"

Il senso profondo dello shodo non è solo nella forma della scrittura.
No sho (neng shui), eccellente calligrafia - eccellente calligrafo,
indica la capacità di "realizzare pienamente le condizioni" per una buona calligrafia.
Nel Lunyu di Kongfuzi è detta della poesia "far emergere ed esprimere il sentimento del cuore profondo".
Questo determina l'emozione, questo fa emozionare, apprezzare o disprezzare attraverso il proprio cuore.
E' detto dell'educazione "avere una base di corretto atteggiamento".
Questo significa attraverso lo studio costruire se stessi.
E' detto della musica "schiacciare gli istinti sensuali e purificare il cuore". Per questo studiando la musica si perfeziona la propria personalità.
Comprendere la poesia, approfondire lo studio, coltivare il gusto musicale, questo è il segreto dello "scrivere bene".
Raccolto dentro di sè questo sentimento poetico, diventa un canto interiore e allora, naturalmente, spontaneamente, il pennello esprime la risonanza dello spirito, l'agire diventa nobile, la qualità alta.
Il pennello si muove "mu shin", supera le forme ed esprime il centro delle immagini assolute, la forma spirituale.
Così si può arrivare al limite ultimo del mu-i della natura.

C'è una profonda affinità tra la musica, intesa come arte della composizione e lo Shodo, affinità che risiede nello spazio dedicato all'"ascolto interiore".
L'ambiente in cui viviamo è saturo di rumore, non si sentono più "i mille suoni della foresta", i suoni della natura, così le persone hanno dimentocato la capacità di ascoltare i "suoni" intorno, con quiete interiore.
Molto efficace e molto simile all'atto di creare musica, lo Shodo aiuta a ritrovare ciò che abbiamo perduto.
Il calligrafo, come il compositore, è come un avventuriero che cerca attraverso se stesso.
Coloro che non hanno la qualità, che sono superficiali, cercano solo esteriormente, seguono le mode, le "novità" e alla fine spariscono dalla storia.
QUeste novità sono nuove solo in superficie, tolta la superficie non c'è nulla di nuovo.
Meglio non seguire le mode.
Meglio seguire la propria sincerità.
Il vero Shodo supera il tempo e le mode.
Come la musica di Bach o Mozart che è di 200 anni fa e ancora fa vibrare il nostro cuore.
Come una calligrafia di Wang Xizhi che ancora oggi ci fa emozionare.
Questo ci fa sentire che è una cosa "vera".

Koyama Tenshu

"The spirit of Shodo"
The deep sense of Shodo is not only in the form of writing.
No sho (neng shui), calligraphy excellent - excellent calligrapher,
Is the ability to "fulfil the conditions" for a good calligraphy.
In Lunyu of Kongfuzi poetry is called "to emerge and express deep feelings of the heart."
This determines the emotion, this is emotions, love or despise through our heart.
And education is said "to have a basis of correct attitude."
This means to build ourself through study.
And about music is said "to crush the sensual instincts and purify their hearts." That's why studing music one perfects his personality.
Understanding poetry, deepen the study, cultivate the taste in music, this is the secret of " well writing".
Yield itself within this poetic feeling, it becomes a song interior and then, of course, naturally, the brush is in resonance with spirit, the act becomes noble, quality high.
The brush moves "mu shin" (with mind/heart "blank"), overcomes forms and expresses the absolute center of the images, their spiritual form.
So you can get to the last limit of mu-i of nature.

There is a deep affinity between music as art of composition and Shodo, affinity residing in the space devoted to ' "inner listening."
The environment in which we live is saturated with noise, we no longer feel "the thousand sounds of the forest, sounds of nature, so people forgot the ability to listen to the" sound "around, with inner calm.
Very effective and very similar to the act of create music, the Shodo helps to regain what we lost.
The calligrapher, as the composer, is an adventurer who seeks through himself.
Those who do not have the quality, which are superficial, seeking only outwardly, following fashions, the "newness" , at least they disappear from history.
These new features are only on the surface, removed the surface there is nothing new.
Better not to follow fashions.
Better follow one's own sincerity.
The real Shodo exceeds the time and the fashions.
As the music of Bach or Mozart that icomes from 200 years ago and still makes our hearts vibrate.
As a calligraphy of Wang Xizhi that still makes us move.
This makes us feel that is something "true".

"Wabi sabi".

Wabi-sabi is more than just a concept; it is a philosophical model, spiritual, aesthetic ideal. But it is, above all, an inner experience of changing our way to look at the world, to live the moment, to inhabit nature.

It is the search for harmony even in things seemingly more modest, in simple rites (see, for example, the Japanese Tea Ceremony, Chado..that's only apparently simple!). It 's a way of thinking that involves all aspects of life and that brings the beauty, elegance and simplicity in the daily experience. It comes from Japan, but it is a universal concept, valuable and attractive, which can enrich and complete the Western culture, able to return wisdom and balance to our way/art of living.

An ancient philosophy.
Born from the reinterpretation of the Japanese philosophy, the Wabi-Sabi not too different from Feng-Shui, when applied to interior decoration, helps to bring harmony, balance and health in the sphere of one's own home. But what differs the Wabi-Sabi substantially from Feng Shui? We could say, with an inevitable (in this context) simplification of the two philosophies, that Feng Shui orders the movement of energy through appropriate placement of furniture and furnishings, as well as through the use of color. The Wabi-Sabi researchs harmony in the spiritual richness of beauty, in search of easy naturalness of each object and then in simplicity.
Deeply influenced by Zen Buddhism, the ancient discipline imported from China in the XIII century, it is proposed to merge the concept of "wabi" - in which we define everything that is alive, fresh and simple - with the concept of "sabi", objects whose beauty lasts over time. What you get is a definition of beauty very uncommon in our culture and our history, emphasizing what is unpredictable, imperfect and incomplete.

Briefly, the wabi-sabi is the "aesthetic recognition of the transience of life" in the reversal of the tragedy of eternal beauty that passes by.

Wabi 侘 indicates what is unique and short-living, Sabi 寂 refers to the object that has a lived. In summary, it could be said that for Japanese people this philosophy regards what has uniqueness and, at the same time, a story. In concrete it is the charm that comes from things that are imperfect because related to time; it's a praise of those defects that accompany us as any other manifestation of nature.

This is an aesthetic model that captures the beauty in things simple and imperfect, and then in stark contrast with modern times, where rules "the beauty of perfection". This discipline teaches to love and accept things for what they are, to see the beauty in their imperfection: a broken glass, a dish made with raw materials (clay, paper bamboo, natural materials…), any other object made by human hands .

Wabi-sabi: for a new ideal of beauty.

The Western idea of beauty is still shaped by the greek ideal of perfection of proportion and shapes, as well as from a sort of romantic longing to possess it personally .
I think it is a help to personal growth, to interpret the beauty along different rules, so that we can learn to appreciate all that we experience, and participating fully, without attempting perfection like maniacs.

The basic assumption is that:

* All things are temporary
* All things are imperfect
* All things are incomplete

Wabi-sabi is the beauty of things imperfect, temporary and incomplete.
It is the beauty of things modest and humble.
It is the beauty of things unconventional.

Only recognizing the "non-finished" (= INFINITO) of all things, it will be possible to see their true appearance, their intrinsic character of Eternity-Infinity.

Because of all that far expressed, our artistic productions, aim to keep alive these qualities of authenticity, spontaneity and truth, through various strategies ranging from deliberate incompleteness of the work, its apparent simplicity of design / composition, the use of materials recycled at times, the media deliberately aged, in order to ensure to certainly unique objects and by decidedly refined compositional criteria, the taste of natural simplicity characteristic of this particular way of feeling and understanding art and life .

Zui Gan