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8. o 0 u 0 I 0 0 r3 EI E r3 mn r3 r3 Ex E3 p EJ E3 EX E rr ES E OE aer tcl mm s EzIE dens EE EJ er ESI TEST r3 un H HHHHHH HHHHHH c c Iz un HHHHH HHHHH B 0 A E T EF GO GGO GOGO GOGO E G Et a o HHHHHHHHHHHH HHHHHHHHHHHHH HHHH15HHHHHHHH HHHHHHHHHHHHHHH u gm u d mu aan 0 e EF EE a e EE E TEIYL I EJ r3 E HHHHHHHHHHHHHH HH HH uU HH HH r3 r3 r3 ca E r3 r3 r3 Iz r3 r3 z3 E a cra EE E r3 um HHHHHHHHHHHHHHHHHHHHHHHHHH HHHHHHHHHHHHHHHHHHHHHHHHHHH 1p Let s Talk about Mundane Affairs Comments about A Collection of Calligraphic Works by Yajima Hogetsu Ishikawa Kyuyo I first came to know Yajima Hogetsu s name through the media of sho magazines sho stands for calligraphy such as Yugetsu Hihyo and Shimyaku
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32. LFELESEJgenEXqEFIEd E EEEWErEEr YEE um L3 r3 EJ EirrE E TG G E Ert E GEMME GG TmT E G OME Er GD A G E tt EXE TIDe ET EE ET EE g EJ LJ rj EJ EJ t3 EJ Yajima Hogetsu with the background as mentioned above is going to publish a collection of his works done in recent years I have taken this opportunity to review his past works While I am not certain how well it could communi cate to people his sho is of a grand scale being of powerful hisshoku and bold composition but yet with well matured and freshly rich lines Often I am impressed with his good hand however on the other hand it is true that I cannot feel fully comfortable with his sho but feel a shade of uneasiness Why is it I wonder The strongest feature in Yajima s sho is in his will to pursue the extreme limits of hisshoku push for ward to the extremes search them and uproot their bases At times on the other hand he writes as if to incise the surface lightly with the tip of the brush and score lines His sho is a mixture of these different hisshoku or sometimes their alternate appearances Only few shodoka calligrapher have a grasp and understanding of the extremes Yajima is outstanding in that respect The uprooting and the incising of light lines using these two
33. RIA e A K Kaa KKE omes R KERUN HROS vane WESSEN EY Oe NN CK AOROSOVE E B Oeo BURRS RKHS Wo iS RKE G sav 4 wH Romm Oz Ve PERH SH SRD NOSE RS oim org vis u Bee Pa Dj 4 ino 31 M 48 ESO2OMNRSAG HTNELIELDE BERauds amp S 9 SUDORE HERES eus vetoosi u 3J 32K o 18 o0 W S amp ilul wi 4p 0 NE Qm 5 HB 1 B8 v Em 3 RI B HREH b m2 omt bg lt SHERDA TAt 1H R 37142 RRE amp ENSVS SERRER TES RAO Qiii fo vshr meno D41 m BENERESSIDSM m qum Ried Ou A C uci Ro cen TIRE Hagi HIGBIo HmIDERKX mietoa BESS REH HMH amp ee sU at E M HBDO ds USH RH KEROS LRK C6 o vipnWevERS lE oE E342 E KIRAR eti use Dvd 2 4 KIHK KSE I CBOUEE elg C0 Ru ium i Us S Im vdd s wI aA Emo S RRENEN AR Ro Epen IE amk mru S d PES A dins LE Enor HEr Rovin hego Bid Oe Ke PHR S id BI Vo uo Ry KO BAR NE RHR RS IT SEG SHS ERRON 15 E AL a DIL p e aF Er IE T F E E a I a LE RIT pP r p mmu TUR MeL D Lh 0s 1 2 1 GENE ILIA rr pipt pam mam e i pie lh Xam ibruany E No 2 Fe 2003 Do 20 HERM 6 207 2004 6DTP i i IU Es D G ig E JE E aoao T je E
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36. extremes as a weapon he struggles with the world Having these extremes is his best feature but at times it becomes his shortcoming Yajima may have the feeling that he is getting to the quintessence of hisshoku by feeling out its size length and depth But he should realize that the depth and true nature of the world or the object is inscrutably intricate and delicate To get to it he must use every possible means of approach He should be aware that the moment he thinks he has it it could slip out of his hand the truth is that elusive Needless to say however whether in sho or any other subject the truth lies somewhere in the intermediate zone Lazy shodoka can write sho belonging to the intermediate zone but do not know the existence of the two extremes Yajima exceeds other mediocre shodoka in the grasp and understanding of the extremes but it seems to me that he is shunning the intermediate zone Why It is my thought he is considering the zone as the shuji area shuji stands for practicing sho thus being content with expressions made through tehon The intermediate zone in his notion it is in everyday tehon and teaching and what s more is pursuing observing and passing on the historically orthodox 103 OCF Toro cdm o awe Sim AASS ua My s
37. in whose publication my group was engaged In those days he was actively involved in Nisshobi Japan Calligraphic Art Institute and Mainichi ten The Mainichi Press sponsored Exhibition Actually I got to meet him through the introduction of Yamaguchi Mitsumasa of Korin do For more than 15 years since then we have been meeting each other at the monthly seminars chaired by him where I have been giving lectures and having various discussions with this cal ligraphy friend He rose in the shodan calligraphy circles early in his career and perhaps because he had foresight into the future of the shodan he with drew in 1979 from Nisshobi and Mainichi ten togeth er with several colleagues It seemed a rather abrupt move to us My impression then was that he might have gone too far In those days I had the notion that having membership with a certain calligraphy organi zation is a matter of little significance but the with drawal was likely an inevitable action to them in order to make their start a worthwhile one The withdrawal meant a departure from his master Ito Suzan and some years later I remember hearing from him about his anguish at that time At present based at Somei sha which publishes a periodical Somei he works on teaching calligraphy too without slighting the calligraphy education he is putting his mind into it Actually he writes important tehon reference models himself and contributes to the magazine Accord
38. ing to his opinion that sho should have the basis in its history he writes tehon using Kyuseikyu Reisen mei 633 A D as a model tehon in his hisshoku with handsomeness as well as fullness hisshoku stands for the touch of writing cre ated by the combined workings of power pressure rhythm speed depth etc which are imparted by the writer at the time of writing Because it is a reliable educational institute I make it a rule to recommend that when any of our students at our school desires to open his or her juku private tutoring school that he or she join the Somei sha school and engage in s io education under its wing Yajima Hogetsu is a shoka calligrapher with a good grasp and appreciation of sho On occasions I get my eyes opened by his words or opinions The Rikucho sho Gyosho Theory Rikucho Period 5th 6th centuries was one such opinion I was told that HHHHHHHHHHHHHH r3 r3 Eh E ni r3 EJ E EJ E ES IE E ES EST dE El EJ E EE t C C n A E i 71 a E E iE3 E3 zt 3 EJ r3 mm Ez 7E us de dc p E EJ c3 3 r3 tI UC LC c LI ra r3 E E L3 L EIEEZrt ur5 m A ooumiummuumzc rmumr uxmmrmrtizaz m i at E m e a E3GEJCEEGggELEgXrLG gr EEIE
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40. nce such as weathered walls surface of rusted iron smudges decalcomania and grain of woods etc through the process of discover selection and conversion of concept by his in depth subconscious concealing his body and superficial consciousness At age 8 started Sho do Calligraphy at age 14 started Photography at age 18 started Tenkoku Seal engraving 1988 Graduated from Kuwasawa Design School Post graduate course majored in Graphic Design 2000 2004 NAU Exhibition Tokyo Metropolitan Art Museum 2001 SJP Exhibition in Saitama The Museum of Modern Art Saitama 2002 SJP International Exhibition in Osaka Osaka Contemporary Art Center etc SWEDEN and JAPAN Art Exchange Program 2004 LOVE EXHIBITION Link Our Valuable Farth Eno 28 Wb LOVE 2004 SJP ARR tonan LOVE DTP ARE tonan 22 http www tonan jp Li 1 1 moli nu iu diti Ou RH RH S M mios 2005
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