tankei maruyama on modern japanese calligraphy
TRANSCRIPT
On Contemporary Visual Culturep a p e r s
p a N O p T I K O N
december 2009
Tankei Maruyama: Modern Japanese Calligraphy
Contributors
J.r. Osborn, ph.D.Department of Visual Communicationamerican University in Dubai
Marcelo Guimarães Lima, ph.D.Department of Visual Communicationamerican University in Dubai
Interview with Tankei Maruyama: Modern Japanese Calligraphy Marcelo Guimarães Lima & J.r. Osbornenglish Translation: T. Kato
Artist and calligrapher Tankei Maruyama visited the American University in Dubai on two occasions in 2009. In May she conducted a workshop on Japanese calligraphy at the Visual Communication Program. She returned in November for a second workshop preceding an exhibition of her calligraphy works at the Rotunda Gallery, AUD.
The following interview is intended as a short introduction to the artist and her art. She discusses here briefly issues related to her creative and professional path, including the education of the artist, the practice of calligraphy and the present day conditions of the art of calligraphy in Japan.
Panoptikon: Where are you from? Tell us about your personal background. How did your early experiences, the place you come from, and the context you grew up in influence your career choices?
Tankei Maruyama: I come from Tokyo, Japan. I started practicing calligraphy at the age of three (3) rather naturally under the family surroundings where my father appreciated Japanese calligraphy. During the Japaneseâs rapid economic growth era of the 1960âs, it was rather common for children to learn one of various cultural activities and sports exercises such as Calligraphy, Kendo (Japanese fencing), Judo, Piano and Abacus. In this background, I continued Calligraphy and have continued my practice without a pause. My present state is a result of these continuous efforts and volition. My studying of Calligraphy was a chance coincidence. It may have been my destiny.
P: What is your professional and artistic training?
TM: I studied Japanese Language & Literature at Nihon University as well as Calligraphic Arts. I also studied various Japanese cultural practices such as the tea ceremony, flower arrangement, and ceramics alongside my continuous daily calligraphy exercise.
Interview with Tankei Maruyama / panoptikon December 2009
P: What were your early artistic influences?
TM: I studied under the guidance of renowned calligrapher Kakei Fujita, whom I acknowledge as my paragon and spiritual mentor. It was a great acquaintance.
P: Who constitutes the public (general and/or specialized) that you intend to reach with your work? Who do you produce your work for? Who are the clients for your work?
TM: I produce my work, in many cases, by request from art galleries such as galleries in Ginza, Tokyo, galleries in department stores and/or galleries owned by a corporation. I am always conscious of a character of the place (a city) where my exhibitions are held. For example, I have a color image of red in Hong Kong, neutral tints in Paris, dignified & elegant color in Japan, golden colors in Dubai, green in Germany, etc. The natural features and the cultural climate of the country, city and region are the first clue for me to start the creation of my work. I always hope that my work brings brightness and happiness to the room or house it decorates. I also have the experience that my hands and body moves freely without any subconscious images. It is a sort of incidental encounter how my work meets with a future owner.
P: How can you explain or introduce non-specialists to the types of work you produce?
TM: Explanation is a secondary issue. In the same way as the case of fashion (clothes), music, sculpture and picture, what is more crucial is whether or not you like it, how it makes you feel and whether the work speaks to you. However, in principle, Japanese calligraphy has only the two colors of black and white and the creation will be made in a moment. Therefore, what I need to explain as an introduction is that a calligrapher has to diligently train daily for an art of flash. Both physical and mental discipline is essential.
P: What are the main tools and materials of Japanese calligraphy? What equipment do you use?
TM: The main tools and materials are ink (Sumi), paper, brush and inkstone. The important point is that it takes many accomplished craftsmen a lot of time to properly make these tools and materials. I would like to stress the importance of appreciating this fact and the selection of properly made tools and materials. I use the best brushes, inks and properly aged papers to create calligraphy works with the quintessence of art.
Interview with Tankei Maruyama / panoptikon December 2009
P: How do you create your pieces? What are the stages of your work?
TM: What I see as essential is âInnocenceâ. âThinking nothingâ is the most important. As to the stages of work, I summarize them as follows; 1) decide on a sentence or a writing or a character 2) decide on a style of expression 3) decide on a size and select the tools and materials accordingly
P: What makes a calligraphic work strong for you?
TM: Practically speaking, I use all the necessary materials required for the desired image since the depth of calligraphy is incalculable. But essentially speaking, the fascination of the calligraphy arises due to its unsparing and endless process of learning. It is a disciplinary challenge. The calligrapher simply rubs an ink stick on an inkstone calmly and peacefully. (It may take an hour or more to make the ink for writing a few words). During this process, the calligrapher becomes free from this world and enters into the world where sometimes you may not even hear any sounds.
Then, the calligrapher dips a brush into the ink and starts facing to a paper. If you are not yet ready with a firm discipline, you will be beaten by the strength of white paper. It is a mysterious experience. Everybody wants to write well and neatly. But you will not be able to write well with this anticipation. When you are in a state of ânothingâ, then you are able to create a strong work. This is why many are enthralled with the magic of calligraphy.
P: What artistic principles or rules do you apply in your work?
TM: Neither art nor calligraphy requires a rule and /or limited radius. My intention is rather to break through by searching for freedom. However, it is not easy to cross a line which is the invisible.
P: How important are considerations of style in your work? Do you have a favorite style? Are there any established styles or forms that you use?
TM: I like a dynamic form and have been trying to create something dynamic with which I feel a contentment. But I am still a far distance from this goal.
Interview with Tankei Maruyama / panoptikon December 2009
P: What are in your mind the difficulties or challenges specific to the practice of Japanese calligraphy and how your work seeks to address them?
TM: Anyone can write calligraphy. My workshop at the American University in Dubai proved this fact. All the students produced beautiful calligraphy. Some of their works are even good enough for sending to an exhibition. However, there are a lot of difficulties in realizing the true difficulty of writing onto a paper which is bottomless and therefore partly invisible. The calligrapher simply has to continue with practice to attain a higher perception and spiritual enlightenment. Firstly, the calligrapher must understand his/her self and must face faithfully with his/her incompetence. This is the first point. It can be compared with ascetic practices.
P: Please comment on the relation between content and form in written language.
TM: Letâs take an example of Japanese calligraphy which is an idiomatic phrase composed with four characters. The meaning of this phrase is to devote oneself with all oneâs energies. Then, the calligrapher naturally ponders on his/her own life by questioning whether he/she devotes him/her self with all energies daily. This is only one examples of the relation between content and form. The characters have a meaning. Therefore, the calligrapher has to understand the meaning, and digest the contents by facing oneself and interpreting them into a form.
P: How do language and visual forms relate, mix, interact, struggle, collaborate, cross-fertilize or contest each other in calligraphic art?
TM: The answer would be more or less the same as the answer to query no. 12. If ten different people produce calligraphy, each different character reflects the personality of the person, what he/she thinks at the moment including oneâs perplexity. The work is the mirror of oneself. Therefore, it is a long journey for a search of oneself and the target is an understanding of life through this struggle.
Interview with Tankei Maruyama / panoptikon December 2009
P: What is the relation between your work and historical tradition? How your artistic ideas relate, or not, to traditional or dominant standards in your field?
TM: I have learned many and am still learning from traditional classical calligraphies. It may be compared with a case of âdessinâ (drawing, sketch) in the field of paining. My destination may lie through my continuous endeavor to pursue the appropriate calligraphies which derive from my individuality, my personality and my own life. I believe that all calligraphers are trying this in their own way and all know the process has no end.
P: How would you describe your work in relation to the following terms? Please list both similarities and differences. Also, feel free to substitute other terms if you feel they are more suitable for describing your practice.
a. The Visual Arts (Painting, printmaking, sculpture) b. Graphic Design c. Typography and Type Design
TM: The various art forms described in this list have their own method and approach. However, I think that their real nature is the same. Therefore, an analysis of similarities and differences is for me the secondary issue.
P: Are there any individuals, experiences, or pieces of art that have had a significant influence upon your work?
TM: The renowned calligrapher Kakei Fujita was my mentor and paragon. He was a great artist who admitted no compromise in his work throughout his entire professional life. I also gained guiding principles in life through acquaintance with the following great men: Mr. Yasushi Inoue (novelist), Mr. Kazuo Yamamoto (juvenile literary man), Mr. Kazumasa Nakagawa (painter), Mr. Suguru Igarashi (butterfly scholar/ doctor & company executive) and Mr. Tokuya Eriguchi (especially talented executive officer/ manager who people recognizes as one in thirty thousand). They all had their own faith and each achieved the world in their own field.
P: How has the practice of Japanese calligraphy changed over the past 50 years? The past 200 years?
TM: What is noticeable over the past ten years is an increased tendency for calligraphers to write plain and legible characters based on a spoken language. It is easy to read and understand. This movement had been developed since it began 70 years ago mainly by the calligrapher Mr. Syunkei Iijima.
P: How is calligraphy organized as a professional and artistic field in Japan today? What kinds of institutions support it?
TM: There are many calligrapher organizations as professional bodies and/ or artists groups. They are all free and have the role of encouraging and promoting calligraphy, especially by bringing up the next generation.
P: How do you see the future of this art form?
TM: Calligraphy will undoubtedly continue. Though it is now a computer age, calligraphy has revived and now has a sort of boom in Japan. More people are discovering and recognizing a delight/pleasure in writings with a calligraphic form. Firstly, letâs keep our back straight up, rub and make an ink on an ink stone, take up a brush, grasp the meaning of characters, face with the paper and enter into a world where no deception exists. Letâs face ourselves.
Interview with Tankei Maruyama / panoptikon December 2009
Interview with Tankei Maruyama / panoptikon December 2009
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Interview with Tankei Maruyama / panoptikon December 2009
paNOpTIKON papers serIes
paNOpTIKON â On Contemporary Visual Culture
ISSN 1996-0344
www.panoptikon.net
http://www.panoptikon.net
Editor: Marcelo Guimarães Lima
Print design by L.G. Castañeda
This work is licensed under a Creative Commons Attribution
Noncommercial-No Derivative Works 3.0 License