Traces of Zen Buddhism within Japanese Calligraphy – a Cultural Semiotic Perspective

Abstract

Traces of Zen Buddhism Within Japanese Calligraphy – a Cultural Semiotic Perspective. This article showcases the Japanese art of calligraphy –shodō– through its close link to Zen Buddhism. The comparison between shodō and Zen spirituality and philosophy is done within the cultural semiotics framework, showcasing the common ground between the two, rather than the differences, thus revealing the meaning of shodō within the Japanese cultural context. In order to reflect this relationship, the article presents the fundamentals of shodō, its influence and role within the Japanese society, carefully building into the connection between Zen philosophy and the practices of shodō. Ultimately, the theoretical constructs are demonstrated by analyzing 3 calligraphic works created by Rodica Frențiu, pinpointing the similarities between Japanese calligraphy and Zen Buddhism. Rezumat. Urme ale budismului Zen în caligrafia japoneză – o perspectivă a semioticii culturale. Articolul reliefează caligrafia japoneză ca artă – shodō – prin legătura strânsă pe care aceasta o are cu budismul Zen. Comparația dintre shodō și religia-filozofie Zen este realizată prin prisma semioticii culturale, evidențiind elementele comune dintre cele două, mai degrabă decât ceea ce le diferențiază, arătând astfel semnificația caligrafiei în contextul cultural japonez. Pentru a putea reflecta această legătură, articolul prezintă elementele fundamentale shodō, influența acestei arte și rolul ei în societate, ajungând treptat la legătura dintre filozofia Zen și practica shodō. În cele din urmă, cadrul teoretic este demonstrat prin analiza a 3 caligrame create de Rodica Frențiu, subliniind similaritățile dintre caligrafia japoneză și budismul Zen. Cuvinte-cheie: shodō, caligrafie japoneză, Zen, budism, caligrafie, semiotică culturală, studii japoneze, kanji.

Full text

STUDIA UBB PHILOLOGIA, LXV, 1, 2020, p. 73 - 84
(RECOMMENDED CITATION)
DOI:10.24193/subbphilo.2020.1.05
TRACESOFZENBUDDHISMWITHINJAPANESECALLIGRAPHY–
ACULTURALSEMIOTICPERSPECTIVE


IOANA‐CILIANATUDORICĂ*


ABSTRACT.TracesofZenBuddhismWithinJapaneseCalligraphy–a
CulturalSemioticPerspective.This article showcases the Japanese art of
calligraphy –shodō– through its close link to Zen Buddhism. The comparison
between shodō and Zen spirituality and philosophy is done within the cultural
semiotics framework, showcasing the common ground between the two, rather
than the differences, thus revealing the meaning of shodō within the Japanese
cultural context. In order to reflect this relationship, the article presents the
fundamentals of shodō, its influence and role within the Japanese society,
carefully building into the connection between Zen philosophy and the
practices of shodō. Ultimately, the theoretical constructs are demonstrated by
analyzing 3 calligraphic works created by Rodica Frențiu, pinpointing the
similarities between Japanese calligraphy and Zen Buddhism.
Keywords:shodō,Japanesecalligraphy,Zen,Buddhism,calligraphy,cultural
semiotics,Japanesestudies,kanji.
REZUMAT.UrmealebudismuluiZenîncaligrafiajaponeză–operspectivă
asemioticiiculturale.Articolul reliefează caligrafia japoneză ca artă – shodō–
prin legătura strânsă pe care aceasta o are cu budismul Zen. Comparația dintre
shodō și religia-filozofie Zen este realizată prin prisma semioticii culturale,
evidențiind elementele comune dintre cele două, mai degrabă decât ceea ce le
diferențiază, arătând astfel semnificația caligrafiei în contextul cultural japonez.
Pentru a putea reflecta această legătură, articolul prezintă elementele
fundamentaleshodō, influența acestei arte și rolul ei în societate, ajungând
treptat la legătura dintre filozofia Zen și practica shodō.În cele din urmă, cadrul
teoretic este demonstrat prin analiza a 3 caligrame create de Rodica Frențiu,
subliniind similaritățile dintre caligrafia japoneză și budismul Zen.

Cuvinte‐cheie:shodō,caligrafiejaponeză,Zen,budism,caligrafie,semiotică
culturală,studiijaponeze,kanji.
* TUDORICĂIoana‐Ciliana is a PhD student of the Doctoral School of Linguistic and Literary
Studies (coordinator: Prof. univ. dr. habil. Rodica Frențiu), Babeș-Bolyai University, member of
the Sembazuru Centre for Japanese Studies, and copywriter. Presently, her research focuses on
Japanese calligraphy – shodō – and its particularities, analyzed from a cultural semiotic
perspective. E-mail: ciliana.tudorica@lett.ubbcluj.ro

IOANA-CILIANA TUDORICĂ
74
An art form that can express dynamic and profound emotions where
spoken word may fail the speaker, Japanese calligraphy – also known as shodō
– is one of the traditional Japanese arts which have transcended the passing of
time, constantly reinventing itself while keeping its core intact.
The flexibility of calligraphy, which allowed artists to include within
their work aspects of other arts, be it traditional Japanese arts or even elements
of occidental influence, led to shodō remaining constantly relevant throughout
history, gradually gaining popularity and people's interest.
When looking at a calligram, two su bstantial components can be identified:
a linguistic component – the written character, word or sentence – and a visual
component –the artistic form that represents the linguistic component –, thus
combining both visual aspects and scriptural aspects (see Frențiu 2017, 218).
An important element that contributed to calligraphy’s timelessness is,
undoubtedly, the Japanese writing system itself. A complex system that includes
kanji – Chinese characters –, two kanasyllabaries, as well as the Latin alphabet
– rōmaji–, is but one of the reasons why shodōbloomed over the years into a
wonderful expression of the creative mind.
Shodō’s evolution is closely linked to the evolution of writing in Japan,
as both originated in China and have undergone a process of change from the
moment of their borrowing and assimilation to the present day. Chinese-style
calligraphy was first introduced in Japan around 600 CE (see Sato 2013, 12).
Japanese scholars originally used calligraphy to write directly in Chine se, rather
than Japanese (see Suzuki 2016, 6), as Japanese writing itself was not yet
standardized. Quickly after its contact with the Japanese culture, calligraphy has
gained an important social role, becoming a vital element in the education and
the spiritual growth of the higher class (see Simu 2004, 197-198).
Similar to the adaptation process of other arts that originated in foreign
countries, shodō started by recreating the works of the Chinese masters, then
gradually evolved into a Japan-specific style, when introducing kana syllabaries
in the art of writing. Because in the 9
th century the Japanese imperial court
stopped sending ambassadors to China (see Suzuki 2016, 8), the Japanese arts
and crafts stopped recreating Chinese models and instead focused on a style
that would represent the Japanese mentality and spirituality.
With the rapid evolution and popularity gain of the kana syllabaries,
collections of poems showcased the calligraphers’ craftsmanship and artistic
talent, thus supporting the creation of a unique Japanese style. Such an example
is 古今和歌集 (Kokinwakashū), “Collection of Japanese Poems of Ancient and
Modern Times” (see Suzuki 2016, 8), which showcased the new calligraphic
style and its use of kana,specifically hiragana. The use of kana syllabaries in

TRACES OF ZEN BUDDHISM WITHIN JAPANESE CALLIGRAPHY – A CULTURAL SEMIOTIC PERSPECTIVE
75
shodō ultimately lead to an authentic calligraphy style that was distancing itself
from its Chinese roots. Instead of following the technical rules of the Chinese-
style calligraphy, where each character was fit into a square in order to achieve
balance from a visual standpoint, the Japanese style focused on cursivity and on
the connection between each character, filling the empty, white spaces and
focusing on freedom of creation (see Sato 2013, 12).
Ever since the introduction of the Chinese-style calligraphy in Japan,
this art was quickly regarded as an important aspect in the education of noble
and royal families. In learning calligraphy, students would initially practice by
copying the works of Chinese masters and the works of their master, a practice
still present in modern times. Handwriting showed off the writer’s education and
sophistication and was regarded as an important indicator of culture and nobility.
Although women were not taught how to write with Chinese characters, the
development of hiragana, also known as ⼥⼿ (onnade)(see Murase 2002, 17), a
feminine writing style regarded as such because of its cursivity and simplicity
by comparison to kanji, allowed some of the women from the Imperial Court to
write important works that are still vastly appreciated today.
Such an example is GenjiMonogatari, written by the noblewoman
Murasaki Shikibu at the beginning of the 11th century. The novel illustrates
women’s script in writing, as well as their elegant use of words and language.
Within this classic literary work, the reader notices permanent indications of
the important role that poetry had within society in the respective era, namely
Heian period (794-1185). The communication between two lovers could take
the form of an exchange of poems which reflected their feelings. The great
number of poems scattered around the novel proves the important role of
poetry in everyday life. It is not, therefore, surprising that the manner in which
these poems were written, their visual aspect, was, in fact, an important
element to be considered. Delicately chosen words had to be reflected in
handwriting, enhancing the power of a person’s feelings for their lover.
Beautiful handwriting indicated not only the social status of the writer, but also
revealed a part of their personality (see Murase 2002, 11).
While reading GenjiMonogatari, one comes to understand the great
social impact of writing. Within a famous heated argument about the feminine
ideal, writing becomes a way in which a woman can even hide her defects
because not only do such women deliberately use innocent words, but also the
ink with which they have chosen to write is “so faint a man can scarcely read
them” (Shikibu 1992, 28), thus skillfully concealing their imperfections.
Buddhist monks also contributed greatly to the impact and importance
of calligraphy in Japan, as writing and copying sutras and religious texts led to

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a refined, delightful writing style. Buddhist monk and poet Kenkō believed that
writing was an essential skill, as it is “an important instrument that further
helps in the learning process” (Kenkō 2015, 122).
Although calligraphy was originally an art of the noble and rich,
nowadays everyone has access to it, both Japanese people as well as foreigners
interested in the Japanese culture and arts. Shodōand shūjiare presently two of
the most important and efficient ways to learn and practice Japanese writing.
The Japanese school system offers students the possibility to choose a
calligraphy class where students initially learn and practice the stroke order of
a character and the way each component is related to the bigger picture of the
said character or the context in which it is used. If these lessons arouse the
interest and curiosity of the student, they can further pursue their interest by
entering shodō school clubs and participating in contests or 書道パフォーマンス,
calligraphy performances where a group of artists or young people create together
one large-scale calligram on the rhythm of a melody. The body movements, as well
as the brush movements are in sync with the music and the genres used are not
being limited only to traditional music, including also j-rock or j-pop or dance.
Shodō, therefore, incorporates both elements of tradition and modernity,
creating a delicate bridge that connects the past and the present, balancing aspects
from multiple cultural aspects and multiple eras. Co nse que ntl y, it is of no surprise
that shodō has a strong connection to other traditional Japanese arts such as
ikebana, tea ceremony, martial arts, but also with Zen philosophy and spirituality.
Particularly relevant to this study are the common elements that shodō
and Zen philosophy and spirituality share. From a cultural semiotics’ perspective,
“all human activity concerned with the processing, exchange, and storage of
information possesses a certain unity” (Uspenskij et al 1998, 33), thus making
it important to us to show the aspects which endorse the sense of unity between
the objects of our analysis. As a result, our analysis will be conducted from the
standpoint of the common ground between the two, focusing on similarities,
rather than differences. For a better understanding of how Zen influence spread
rapidly to numerous aspects of the Japanese culture, a brief introduction into
its history and beginnings is necessary.
Zen Buddhism has been introduced in Japan in Kamakura (1185-1333)
and Muromachi (1336-573) periods (see Simu 2004, 84) and, similarly to shodō,
it was imported to the Land of the Rising Sun through China. The first Japanese
scholar who went to China and got introduced to Zen Buddhism is Dōshō, who,
upon his return to Japan, proceeded to create a room for Zen meditation in
Gango temple, Nara (see Nukariya 2014, 38). The first Zen school was founded
by Eisai in 1192, however, the one considered to have brought authentic Zen
Buddhism to Japan is Dōgen, also known as Joyo Daishi (see Nukariya 2014, 39-41).

TRACES OF ZEN BUDDHISM WITHIN JAPANESE CALLIGRAPHY – A CULTURAL SEMIOTIC PERSPECTIVE
77
Upon its introduction in the Japanese culture, Zen was well-received,
quickly gaining popularity and integrating within the already-existing social
and cultural values. Zen allowed people to solve spiritual problems in a manner
that was fitting to the mentality of the era, as it corresponded to the samurai
class that was ascending during the Kamakura period (see Simu 2004, 84). The
samurai class and the Zen monks shared similarities such as following strict
rules, having great endurance, leading an austere lifestyle and ultimately not
being well-off from a financial standpoint (see Nukariya 2014, 39-41).
Zen was regarded as a different concept, as it does not praise any deity,
does not meddle with what happens to the soul after death or any other issue
commonly reflected by religion. Zen aims to see the world as it is, to break free
from the ideas and ideals formerly learned and to view the world without any
preconceived notions. This can be achieved through attaining a state of 無⼼
(mushin), a state where one is completely free from mundane problems,
attachments and desires (see Frențiu 2017, 224). The ultimate goal is to reach
illumination or 悟り(satori), which, unlike the vision of other Buddhist schools,
occurs in an instant, when the practitioner might not expect it. The path to
enlightenment is not, therefore, a gradual journey, but rather a shift from all
that means mundane restrictions, to a world of true freedom of mind and spirit
(see Juniper 2003, 22).
In establishing direct contact with the world and with nature, verbal
interpretation and communication do not play an important role, as it would
mean filtering reality through it: “The mind should be a window, rather than a
mirror, so that the world is seen directly and not through the filters of the
intellect.” (Juniper 2003, 26), thus attempting to explain or reflect reality
through words could only offer an abstract image of what it actually is. As a
result, other means of getting to understand reality are needed and Zen brings
forth meditation as a solution, a practice that was able to channel the train of
thought to the true image of the world.
One of the most important Zen practices is 座禅 (zazen), a type of
meditation where the body posture plays a primary role. Zazen is one of the first
similarities between Zen and shodō, as in both Zen meditation and Japanese
calligraphy the position of the body has a great impact on the quality of the final
result. In Zen, the body posture facilitates meditation and clears the mind of
meaningless thoughts, whereas in calligraphy a good body posture allows the
calligrapher to better trace the shape of the characters, having a good outlook
on the piece of paper, as well as on all the other materials used for writing and,
of course, on the written composition itself. When it comes to the body position
in shodō, the back needs to be straight, the shoulders must be balanced, and the
feet anchored to the ground. This allows the body to properly breathe regularly,
the calligrapher’s arm moving easier to form precise brush strokes.

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Breathing is another important sign in both shodō and Zen. The creator
needs to learn how to control their breathing and to concentrate their energy,
気(ki) in the lower part of their abdomen. By internalizing this energy, they are
later able to focus, to pick up the brush and finish a whole work in a matter of
seconds (see Sato 2013, 10). Given the fact that a character or a stroke, depending
on its complexity, needs to be written in one breath, an artist picks up the brush,
breathes in, then writes while exhaling. This breathing technique allows the
practitioner to control the “mental activity of its consciousness” (Deshimaru 2016,
114), thus reaching a state of mind of stillness, of no-thought, also known as mushin.
The mushin state of mind, a state in which a person clears their head of
mundane thoughts and distances themselves from everyday problems and
desires, is needed and encouraged in shodō, as well as in Zen meditation. When
creating a new calligraphic piece, the master clears their mind of unwanted
thoughts and focuses on the word, the sentence, or the poem they are about to
write. It is an opportunity to reflect on the meaning of what they are about to write
and to understand its profound symbolism. The moment in which the mind of
the practitioner snaps out of this state similar to meditation, the hand hesitates,
and the lack of focus will be reflected in the final result. Any hesitation, any
derailed thought will be visible through the written composition, which is why the
mushin state of mind has in shodō an equally important role as in Zen meditation.
Traditionally, the ink, 墨 (sumi), used for calligraphy can be purchased
as an ink stick that the calligrapher will grind on the grinding stone, 硯(suzuri),
adding water depending on how deep the color black should be, ultimately
starting to write. The moments spent grinding are the perfect opportunity for
the artist to empty their mind of noise, of mundane worries and to concentrate
on what they are about to create. It is considered that the ink obtained by
grinding sumi on suzuri is filled with the creator’s vital energy, thus the black
traces of ink on paper contain this concentrated energy, also known as 墨気
(bokki) (see Sato 2013, 10). The bokkiwithin a piece of work is what moves the
viewer and what shows the creator’s spirituality shining through their work. At
times, the bokkimay not be noticed instantly, especially if the eye of the viewer
is not used to looking for the essential aspects in a calligram, or if they are not
receptive to this particular art style. However, if there is bokki in the traces of
black ink on the white paper, it will be observed and felt by the admirer, who
can spiritually connect to the artwork (see Sato 2013, 10).
Further deepening the connection between Zen spiritualism and
Japanese calligraphy, it is important to underline the fact that Zen teachings and
fragments of Zen philosophy have been calligraphed over time, such works being

TRACES OF ZEN BUDDHISM WITHIN JAPANESE CALLIGRAPHY – A CULTURAL SEMIOTIC PERSPECTIVE
79
known as 墨跡 (bokuseki) (see Sato 2013, 12). In other words, shodō has been a
way to visually represent the linguistic meaning of Zen philosophy. Furthermore,
the depictions of 公案 (kōan), Zen Buddhist aphorisms that are meant to instigate
one’s mind in order to achieve illumination, have been calligraphed since the
introduction of Zen in Japan, being named 禅語 (zengo) (see Sato 2013, 12). The
majority of them are calligraphed using mostly Chinese ideograms, rather than
the kana syllabaries, as the kōan often have Chinese roots and have kept the
same form over the course of the years. Without prior knowledge of Zen
Buddhism or shodō writing styles, understanding the meaning of bokuseki and
reaching the bokki can prove to be a great challenge. For this reason, within
most shodō expositions the calligraphic works are followed by a printed
representation of the ideogram, word or line represented by the sho artist.
For a greater understanding of Zen calligraphy and in order to illustrate
the particularities of this type of shoart, we will proceed by analyzing two
calligrams created by the artist Rodica Frențiu.Particularly relevant for our
research is the way in which the linguistic component and the visual component
reflect the similarities previously discussed. The calligraphic works were
chosen on basis of their close link to Zen philosophy, not only through the way
in which the y were created (body posture, ink grinding or b rea thing technique),
but also through their semantic meaning and symbolism.
Fig.1. ⼀期⼀会 (Ichigoichie)

IOANA-CILIANA TUDORICĂ
80
Roughly translated as “One lifetime, one meeting” or “Each meeting is
unique”, the meaning of the zengo composed of four ideograms ⼀期⼀会 (Ichi
goichie) contains the ephemerality of life and the impact that one meeting can
leave within our souls and lives. Each moment should be cherished, as there is
no possibility to replicate it after its passing. The semantic meaning of the zengo
supports people in appreciating the present moment and in seeing the power
of one meeting, which can prove to be a decisive factor for the rest of our lives.
Ichigoichie is oftentimes used in tea ceremony, 茶道 (sadō), and it is
said to represent the very mentality and state of mind that a tea ceremony
participant should have when entering the chashitsu,the tearoom. Historically,
in politically and socially troubled times, the higher class and the class of the
samurai or the warriors found peace of mind in the tea ceremony. Upon
entering the chashitsu, they were able to leave all mundane worries behind and
to focus on the present moment, the meeting with the tea master, with the other
participants and with the tea (see Juniper 2003, 33). The tea ceremony itself
became a way to achieve the mushinstate of mind.
Sadōis a complex experience that brings together one’s senses: sight,
smell, taste, touch and hearing in a multilayered encounter (see Juniper 2003,
37). Particularly significant in attaining a state of peace is, undoubtedly, the
tearoom itself. The tearoom’s simplicity calms the minds of the participants and
encourages them to get in touch with their spirituality. In the 床 (tokonoma), a
space in the Japanese-style room where art objects are displayed, one can often
find a flower arrangement (⽣け花 ikebana) and above it 掛物 (kakemono or
kakejiku), a work of calligraphy which thematically complements the flower
arrangement, the season when the tea ceremony takes place, or the theme of
the ceremony. The guests can find these two objects as an invitation to reflect
and further detach themselves from the everyday problems and establish a
spiritual connection with the tea, as the colors of the flowers and the powerful
black ink contrast with the simplicity of the tearoom (see Juniper 2003, 39-40).
Ichigoichieis oftentimes used as the kakejiku in tea ceremony, as in the
case of such an event, even if the faces of the guests, the master, as well as the
tearoom are the same, the meeting itself is unique and cannot be replicated
even if the same conditions are met at a later date. However, this expression is
extremely flexible and not reserved solely to sadō practices, being used in daily
conversation as a 四字熟語 (yojijukugo) – an idiomatic expression composed of
four kanji ideograms (see Frențiu 2018, 111) –, and as a reminder of the
importance of the present moment.

TRACES OF ZEN BUDDHISM WITHIN JAPANESE CALLIGRAPHY – A CULTURAL SEMIOTIC PERSPECTIVE
81
The complex meaning of this expression and its timeless symbolism is
contained within the traces of black ink in the calligram created by Rodica
Frențiu. Written in the semi-cursive ⾏書 (gyōsho) style, the message remains
clear and easy to read even for the ones who do not have much experience in
reading sho works. What catches the observer’s eye is the fact that the strokes
are delicately connected, as the brush does not completely lift off the paper
between each stroke, creating a graceful final effect. As opposed to the 楷書
(kaisho) writing style, by using gyōsho,the artist gains freedom when visually
expressing the linguistic meaning of the zengo.
The four ideograms are harmoniously balanced, each kanji being
carefully defined and represented. Although the strokes have been simplified in
order to create a cursive image, each ideogram can still be clearly read and
understood, even without any explanation as to how the zengo is read.
The ink is an intense shade of black as to underline the powerful
message, while the lines are distinct and steady. Such a substantial final result
can only be acquired through proper body posture, as the black ink holds no
traces of hesitation or indecision, an indicator of the artist’s focus and
concentration. These elements are proof of the creator’s ki, the power which
was conveyed within the ink that will continue to touch the spirits of the
viewers throughout time.
As seen in Fig.1., the two representations of the ⼀ (ichi) ideogram are
two separate instances of the same word, written in a slightly different manner,
as to avoid redundancy and to convey vitality. Whereas the first ⼀ is strongly
articulated, in the case of the second kanji one can notice a 掠れ (kasure), an
interrupted stroke, where spots of the white paper contrast with the black ink.
This technique conveys dynamism and force, pinpointing to the meaning and
symbolism of the expression – the importance of the one meeting that can only
occur once in a lifetime.
In shodō, the place where a calligram will be exposed is a major factor
in deciding the details about the writing style, as well as the linguistic and the
visual components. The currently analyzed calligram can be found in the
Japanese language classroom of the Faculty of Letters, Babeș-Bolyai Univesity.
The shoartwork serves as a reminder to the students that although they might
have daily language classes, in the same classroom, with the same teachers,
surrounded by the same classmates, each course, each meeting is unique and
can not be recreated. This realization encourages them to try their best and
make the best out of the time spent understanding the particularities of the
Japanese language and culture.

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Traces of Zen philosophy can be, therefore, identified not only within
the linguistic component, as the content of the calligram is a zengo used in tea
ceremony and other Zen-inspired arts and practices, but also within the visual
component which enhances the linguistic meaning, as the brush movement
indicates the artist’s focus and instigates the admirer’s contemplation on the
meaning of the zengo.
Fig.2.1. 夢 (yume), Dream Fig.2.2. 夢 (yume), Dream
[written with the author’s eyes opened] [written with the author’s eyes closed
]
The calligrams we are going to channel our attention towards in the
following paragraphs are two instances of the same word: 夢 (yume), meaning
“dream”.
The concept of “dream” has been regularly used within Buddhist works,
particularly within the Zen philosophy, because the world, the reality we live in
is oftentimes seen as nothing but a dream (see Sato 2013, 42). Similar to a dream,
life is fleeting and predestined to meet its end. In everyday life, dreams occur on a
regular basis; be it dreams during sleep or dreams as goals and aspirations, we, as
humans, are permanently in contact with this word and its meaning. Dreams,
regardless of their feasibility, can be a source of joy and happiness, as they
indi cate an ideal sit uation or our d eepest des ires. Ho wever, just like life, dreams
are extremely fragile and evanescent, as they can shatter in an instant (see
Bunyū 1982, 18). This connection between life and dreams has been a theme
for mediation for many Zen practitioners, numerous masters, monks, poets and
artists who have made the ideogram the center 夢 of their works.

TRACES OF ZEN BUDDHISM WITHIN JAPANESE CALLIGRAPHY – A CULTURAL SEMIOTIC PERSPECTIVE
83
The two calligrams representing “dream” have been written in the cursive
style 草書 (sōsho). A prim ary particularity of this script is the fast m ove men t of the
brush (see Tingyou 2003, 16), as sometimes the kanji’s strokes are simplified,
in order to allow a smoother transition between the component radicals of the
ideogram. This feature is visible in the case of both representations of the word
夢, as the brush movement is visible to the observer and certain components
have been simplified in order to create a smooth result.
In the case of Fig. 2.1, 夢 written with the artist’s eyes opened, although
the harmonious composition reveals ample, fluid brush movements, the
frequency and the intensity of kasure elements creates a vivid image of the
numerous factors that surround us, the tumultuous contact with the world
realised through the act of seeing. The visual component is thus closely linked
not only to the meaning of the word, but also to the Zen philosophy.
However, in the case of Fig. 2.2, 夢 written with the artist’s eyes closed,
the viewer can sense stillness, a subtle peace of mind that flows within the black
ink. The calligram reflects the inner peace of someone who is deeply connected
with their spirituality and inner self, revealing the Zen vision on discovering
reality as it is. It is often said that one is able to see more with their eyes closed
and the calligrapher illustrates this saying through serene brush strokes and
defined movements.
By closing her eyes while writing, the artist evades some of the rules of the
posture while writing, nonetheless this empty space is filled by the symbolism and
the result acquired by the act of obstructing one of the senses while writing. The
act of closing one’s eyes is a symbol of the internalization of feelings. As Zen
philosophy underlines, one cannot see the true world if they are bound by
mundane thoughts. Without any visual distractions, Rodica Frențiu manages to
transfer a great amount of ki into the ink, as although there was no visual contact,
every element of the calligram is perfectly balanced, every stroke gracefully flows
into the next, creating a harmonious result.
Writing the same word in two different manners illustrates the Zen
principles of mushinand underlines the common symbolism behind shodō and Zen
meditation and practices. Both components, the visual one and the linguistic one,
have a strong Zen influence, as traces of its spirituality can be observed upon a
closer look. Although two different instances of the same word, analyzing the
calligrams through the lenses of Zen philosophy and cultural semiotics reveals
subtle, yet clear, differences that may not be visible through other analysis methods.
Taking into consideration all the previously discussed facts, it becomes
clear that one cannot bring forth the theme of shodō while completely ignoring

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84
Zen Buddhism and the ways in which this philosophy and approach to
spirituality have influenced the art of writing. As exemplified through this
article, the link between the two is today as strong as it has been in the past, as
Japanese calligraphy is an art form that transcends the flow of time and
reinvents itself constantly, while maintaining an untouched core. Shodō is
nowadays a bridge between modernity and tradition, anchoring in the present
some of the oldest practices and writing techniques. Sho artists employ Zen
practices when pursuing their art, not only as far as the content of the calligram and
its meaning are concerned, but also through the body posture and movements that
are similar to zazen meditation.
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