Dave Lowry : Review of Brush Meditation: A Japanese Way
to Mind & Body Harmony
As one reads through the book, another, incidentally, from
Stone Bridge Press which is rapidly gaining a reputation as
a quality purveyor of books about Japan, some observations
occur. Included in the closing chapter are directions for
brushing an enso, for example, the smooth circle of
ink that is a provenance and signature of the Zen
adept. Despite the do-it-yourself enso, Zen's overall
contributions to shodo are given a mercifully short shrift
here. The overemphasis on this sect of exoteric Buddhism
in Western literature on all the Japanese Do ("Ways")
has far eclipsed other equally important influences on them.
Native Shinto sensibilities, Taoist cosmology, the
arcane lore of mikkyo Buddhist teachings: all have
been consistently ignored in the interpretation of Japan's
arts. And so Davey's dismissal of all calligraphy produced
by Zen adepts as being necessarily great or even competent
is refreshing. On the other hand, a great deal is made in
this book of the operation and importance of ki energies
during shodo. This may irritate some readers impatient with
the over-mystification of ki which has become practically a
cottage industry among too many non-Japanese authors bent
on draping Japan's artistic forms in impenetrable mysticism.
In the author's defense, it must be noted that he is a
no-nonsense pragmatist when it comes to ki. He is using
the concept primarily as a way of explaining the control
of energy, the conscious expression of spirit, the flow of
intent from the mind of the shodoka to the brush in his
hand to the flowering of the character on paper.
Davey struggles a bit when he explains the actual mechanics
of making the three basic strokes of brush calligraphy. That
is understandable. The simplest basic of any Do is impossible
to describe through words alone. Ask the chajin (tea
ceremony student), for instance, to try to write directions
for the basics of fukusa-sabaki. These are techniques
which, common to all the Ways, simply cannot be adequately
explained in print, nor mastered unless one is directly under
the tutelage of a teacher. This book introduces the skills
and makes no claims to do more in that regard. As much as
any "how-to" text, instructions for controlling the line
and shape of written characters are clear, detailed, and
sufficient to compel the reader to take out ink, brush, and
paper, and to "give it a try." The book's usefulness and
value, in addition to providing the technical basics of
calligraphy, however, lies in the broader scope of rendering
for the reader the process of undertaking shodo, or any of the
Japanese artistic disciplines. Brush Meditation addresses
a number of concepts that should occupy the calligrapher as
well as anyone with an interest in these Ways. The author
warns, for example, about the pitfalls of boredom, repetition,
and the constant demand of systematic practice, and his
comments on overcoming these are illuminating. His
discussion of the spiritual component that elevates craft
into art is informed and inspiring. He describes wonderfully
the conflict between a natural spontaneity--which is the
goal of anyone following a Do--and the vital adherence to
a set form-which is vital to achieving that goal.
"If your mind is correct, the brush will be correct," the
author reminds. The adage is equally valid contrapuntally.
Beautiful calligraphy emanates from a correctly tuned mind.
This is clearly Davey's motivation and intent for following
in the path of the brush. His view of shodo is as a means
of personal transformation and self-cultivation; his book is
directed at sharing this perspective. Brush Meditation
offers a splendid glimpse into the discipline of Japanese
calligraphy as more than a purely artistic or communicative
medium. It is an enjoyable read, one that educates as it
stimulates the imagination, and is sure to be a welcome,
quickly ink-stained addition to the library of those
with a serious interest in the Ways of traditional Japan.
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