Shodo - Calligraphy
Sei Kosho Shorei Kai
Kanji are pictorial ideographs representing ideas of the Japanese (and Chinese) mind. This system of written language differs from the largely phonetically written languages in the rest of the world. These kanji are largely what is brushed in our Kosho Shorei study of calligraphy. The study includes the discipline of proper stroke orders, proper formation of strokes and spatial relationships between strokes just for starters. These things develop proper alignment, centering, focus, variation between In and Yo, visualization of technique, breathing, proper weight distribution and weight-shifting, angling, and subtle finesse. All of these skills are necessary in our martial and other studies, and are enhanced through our study of Shodo.
In addition, due to the pictorial nature of kanji, there are other benefits. Students must learn to be visually skilled, to develop imaginative insights into their work. Each kanji is an entire philosophy to the Japanese. A one-kanji work can be hung on the wall and pondered forever. When a Kosho Ryu student studies and understands kanji, he must become a visionary. He must be able to see sentences within the picture for one word. A picture truly is worth a thousand words. The student learns to go beyond what is taught. To study. To seek. Kempo, the philosophy of study, and the art of the brush are one and the same.
The philosophy of the mon is our basis for all that is taught in Kosho Shorei Ryu. Language and cultural studies are no different. The study and practice of the Sho Chiku Bai (Pine, Bamboo, Plum seal) is the root of the art. Language and culture are viewed as being very important.
Great Grandmaster James Mitose, the 21st descendant of the founder of Kosho Ryu, spoke of the importance of cultural studies. Although Mitose Sensei adopted American ways when he moved to Hawaii from Japan, he felt that his Hawaiian students were unable to bridge the cultural gap as he did. Their misunderstandings of his culture and language as students of his Japanese art created long-term misinformation still being unwittingly passed on even today. If one is to study Kosho Ryu, he must study the cultural and lingual context from whence it came to grasp its essence. An essential part of the study of Kosho Ryu is to study the Japanese culture and language. Similarly, in the study of Kosho Ryu healing arts, one must look past their Japanese roots to their predecessors in China, and before that India. In so doing, one finds the wisdom in similarities.
"Even with the aspects of language and culture removed", Mitose Sensei said, "words are a difficult form of communication". One statement can be interpreted in as many ways as the number of people hearing it. This is why much of Kempo must be felt to be understood. Also, this is the reason for symbols and hand-postures. Where words constrain our concepts, symbols allow multi-interpretable lessons, each student hearing what they are ready to hear. The study of language and culture is important nonetheless, as it gives us a view into the spirit of our forefathers in Kempo.
In addition, due to the pictorial nature of kanji, there are other benefits. Students must learn to be visually skilled, to develop imaginative insights into their work. Each kanji is an entire philosophy to the Japanese. A one-kanji work can be hung on the wall and pondered forever. When a Kosho Ryu student studies and understands kanji, he must become a visionary. He must be able to see sentences within the picture for one word. A picture truly is worth a thousand words. The student learns to go beyond what is taught. To study. To seek. Kempo, the philosophy of study, and the art of the brush are one and the same.
The philosophy of the mon is our basis for all that is taught in Kosho Shorei Ryu. Language and cultural studies are no different. The study and practice of the Sho Chiku Bai (Pine, Bamboo, Plum seal) is the root of the art. Language and culture are viewed as being very important.
Great Grandmaster James Mitose, the 21st descendant of the founder of Kosho Ryu, spoke of the importance of cultural studies. Although Mitose Sensei adopted American ways when he moved to Hawaii from Japan, he felt that his Hawaiian students were unable to bridge the cultural gap as he did. Their misunderstandings of his culture and language as students of his Japanese art created long-term misinformation still being unwittingly passed on even today. If one is to study Kosho Ryu, he must study the cultural and lingual context from whence it came to grasp its essence. An essential part of the study of Kosho Ryu is to study the Japanese culture and language. Similarly, in the study of Kosho Ryu healing arts, one must look past their Japanese roots to their predecessors in China, and before that India. In so doing, one finds the wisdom in similarities.
"Even with the aspects of language and culture removed", Mitose Sensei said, "words are a difficult form of communication". One statement can be interpreted in as many ways as the number of people hearing it. This is why much of Kempo must be felt to be understood. Also, this is the reason for symbols and hand-postures. Where words constrain our concepts, symbols allow multi-interpretable lessons, each student hearing what they are ready to hear. The study of language and culture is important nonetheless, as it gives us a view into the spirit of our forefathers in Kempo.