Calligraphy enthusiasts get creative in drawing interest to ancient art form

Annual summer exhibitions of Japanese calligraphy usually hold commentary sessions and exhibits open to the public nationwide, but this year has seen another wave of cancellations of events due to the coronavirus pandemic. However, new and creative attempts are being made to promote the traditional art form.

Shodo, or calligraphy, was designated as an Intangible Cultural Property by the government in December.

e Japan Shodo Culture Association, an entity dedicated to preserving the ancient art form, has started a program called “Calligraphy Experience in the City.” In the program, people can trace calligraphic models of the “Heart Sutra” and “Japanese

poem: Iroha” at places such as calligraphy supply stores that participate in the promotional campaign. Ink brushes and paper are provided to participants.

Keido Ishige, the chairman of the association’s board of trustees, who has been designated as a “Person of Cultural Merit,” came up with the idea for the program. He said he was inspired by the proliferation of street piano performances, in which pianos are placed at train stations and airports, and anyone can freely play them.

One place the program is being held at is the International Exchange Building in the National Olympic Memorial Youth Center, in Shibuya Ward, Tokyo. e event runs through Sept. 30.

Visitors to the center have taken brush in hand and created 349 pieces of calligraphy from July 25 through the end of August.

Visitors can send these handwritten copies of the “Heart Sutra” texts to the association, which will then arrange them to be burned in a ceremonial bon re at Kawasaki Daishi, a major Buddhist temple in Kawasaki.

“We’d like to steadily increase opportunities for as many people as possible to experience calligraphy so they become familiar with it,” said Seiu Takaki, vice president of the association and a member of the Japan Art Academy.

Another attempt to promote the art form was an exhibition of calligraphy masterpieces titled “Can’t Read It, but I Like It” held at the Nezu Museum in Minami-Aoyama in Minato Ward, Tokyo, from July to August.

e exhibition tried to turn the inability of being able to read the texts or understand words into an advantage. It highlighted key points for appreciating the pieces, providing such explanations as, “I can’t read it, but the sense of speed is pleasant.” (Sept. 9)

The Yomiuri Shimbun Participants try their hand at tracing texts during a free calligraphy lesson at the National Olympic Memorial Youth Center in Shibuya Ward, Tokyo.