Brush Meditation: A Japanese Way to Mind & Body Harmony

Rating:
Summary: Meditation in motion
Review: For any person that practices shodo (meaning 'way of calligraphy' ), sumi-e or any form of art that requires full concentration, I highly recommend to read this book. I practice sumi-e and shodo and I have books that cover the techniques in detail, but none of them goes beyond and get to the heart and true reason of this art, which is to achieve a state of mind and body harmony that led us to a form of spiritual realization.

The book talks 'briefly' about the history of calligraphy, the Japanese aesthetics and principles (wabi and sabi), it's relation to the Zen philosophy, and it includes a chapter on how to make the first moves with the brush by practicing 'the enso' (a zen character).

However, the main theme of this book is the meditative aspects of shodo. How to get a perfect posture to practice, how to use the mind with full concentration, how to 'educate' our body, all this to become one with the brush and transcend in a spiritual way.

I do not know if this is the best book that deals with this aspect of shodo (I haven't seen more), but is a very good one, I can assure that.

Rating:
Summary: Meditation in motion
Review: For any person that practices shodo (meaning `way of calligraphy' ), sumi-e or any form of art that requires full concentration, I highly recommend to read this book. I practice sumi-e and shodo and I have books that cover the techniques in detail, but none of them goes beyond and get to the heart and true reason of this art, which is to achieve a state of mind and body harmony that led us to a form of spiritual realization.

The book talks `briefly' about the history of calligraphy, the Japanese aesthetics and principles (wabi and sabi), it's relation to the Zen philosophy, and it includes a chapter on how to make the first moves with the brush by practicing `the enso' (a zen character).

However, the main theme of this book is the meditative aspects of shodo. How to get a perfect posture to practice, how to use the mind with full concentration, how to `educate' our body, all this to become one with the brush and transcend in a spiritual way.

I do not know if this is the best book that deals with this aspect of shodo (I haven't seen more), but is a very good one, I can assure that.

Rating:
Summary: Shodo as it should be.
Review: I recently finished reading the book, Brush Meditation: A Japanese Way to Mind and Body Harmony, by H. E. Davey. The book is excellent. I am novice (hardly even that, actually) when it comes to Shodo (having only recently begun studying Shodo), but your book provides a very smooth introduction, and does a great job of getting across the relationship between it and the other Japanese cultural arts (chado [tea ceremony], budo [martial Ways], kado [flower arrangement], etc).

It is written in a very positive way and contains many beautiful pieces of artwork. I very much enjoyed the "four experiments toward a positive mind," these are great examples of introspection. Though I am far from an expert in budo, I have spent many years training and researching this topic, yet several of the explanations, provided for terms such as fudoshin, hara, and ki shed new light on these concepts, beyond just their relationship to Shodo.

Chapters three and four provide a very gentle introduction to the physical techniques while also providing an overview of the relationship between good posture and the proper state of mind. The importance of the coordination of mind, body, and spirit is presented in a way that should be easy for someone that is new to the Japanese cultural arts to grasp and understand.

I am again impressed with Davey sensei's ability to communicate a complex subject in an interesting and informative way that maintains the readers interest, while still capturing the subtleties of the topic.

From a beginner's perspective, this is an excellent reference, and I highly recommend it.

Rating:
Summary: Shodo as it should be.
Review: I recently finished reading the book, Brush Meditation: A Japanese Way to Mind and Body Harmony, by H. E. Davey. The book is excellent. I am novice (hardly even that, actually) when it comes to Shodo (having only recently begun studying Shodo), but your book provides a very smooth introduction, and does a great job of getting across the relationship between it and the other Japanese cultural arts (chado [tea ceremony], budo [martial Ways], kado [flower arrangement], etc).

It is written in a very positive way and contains many beautiful pieces of artwork. I very much enjoyed the "four experiments toward a positive mind," these are great examples of introspection. Though I am far from an expert in budo, I have spent many years training and researching this topic, yet several of the explanations, provided for terms such as fudoshin, hara, and ki shed new light on these concepts, beyond just their relationship to Shodo.

Chapters three and four provide a very gentle introduction to the physical techniques while also providing an overview of the relationship between good posture and the proper state of mind. The importance of the coordination of mind, body, and spirit is presented in a way that should be easy for someone that is new to the Japanese cultural arts to grasp and understand.

I am again impressed with Davey sensei's ability to communicate a complex subject in an interesting and informative way that maintains the readers interest, while still capturing the subtleties of the topic.

From a beginner's perspective, this is an excellent reference, and I highly recommend it.

Rating:
Summary: Useful for Both Japanese Calligraphy and Meditation
Review: I've been interested in Japanese painting and also brush writing for quite a few years. At the same time, I've also been fascinated by the idea of art as meditation. While I've read quite a few books that vaguely discuss how Japanese calligraphy is supposed to be "moving meditation," H. E. Davey's book is the first one I've read that clearly explains exactly how this takes place and how to start to use the brush in meditation.

Brush Meditation: A Japanese Way to Mind & Body Harmony not only deals with using Japanese calligraphy as a device with which to meditate, it does so in a manner that even people with no understanding of Japanese will be able to get something out of trying the exercises discussed. It seems to me, that you could apply the ideas in this book to most forms of art, and even in school, business, or family life, to arrive at a true understanding of calmness and personal harmony.

It's a useful book. I only wish it were longer. I hope the author comes out with a second, perhaps intermediate level, volume soon.

Rating:
Summary: An Exceptional Book!
Review: Shodo ideally represents one of the greatest levels of harmonybetween thought and action: it both serves as a mechanism fordepicting this unity and supplies a path for cultivating it." H. E. Davey

This brief excerpted quote is a great summary of the focus of H. E. Davey's new book. In it, he not only describes how working with black ink, brush, and white paper reflects the level of personal integration and harmony, but how to use this medium to integrate and harmonize the self. His insights into these processes are rich and clearly expressed, and beautifully illustrated: readers can carry away both inspiring examples of quality shodo (Japanese calligraphy), and exercises with which to begin their own progress on this Way.

After a short preface and introductory linguistic orientation, the work unfolds in four chapters. The first, "The Language of Shodo," might be considered the roots: it traces the historical basis of Japanese writing and calligraphy, then explains several fundamental aesthetic principles and spiritual concepts--such as wabi, sabi, shibumi, shibui, ki, and hara--that underlie this and other traditional Japanese arts. Chapter 2, "Mind & Body Connection," is the central stem or trunk that grows from these roots and is the support or core from which the later material grows. In it are included specific "experiments" to help relax, focus, and connect our mental and physical abilities, critical for artistic expression via a brush with black ink on white paper.

Branching from this trunk is "Uniting Mind, Body & Brush" (Chapter 3) in which a further series of "experiments" walk us through preparations for actually putting ink on paper, including correct posture and manipulation of the artistic tools. The final chapter solidifies our understanding of how critical is a unity of mind, body, and medium in brush work, as we learn for ourselves that as a medium, black ink brushed on white paper is a valuable and incomparable insight into our very being. In this medium there is no going back, no alterations, no corrections: your character and artistry are starkly revealed with each stroke. From selecting the items to be used, to grinding your own ink, to instruction in the shape and flow of basic strokes, this chapter helps cultivate the reader's own blossoming in this meditative art. Sources for necessary materials and suggestions on finding a qualified instructor, glossary, index, and brief afterword round out the text.

The illustrations accompanying the text are certainly among its greatest attractions, and at the same time substantiate the advice Mr. Davey has to share with us: as an award-winning calligrapher, he can clearly "walk his talk." His illustrations are beautiful and inspirational, full of vibrant life and clarity. Their quality, as much as his compelling language, encourages us into a deeper unity of self as accomplished through regular study and practice of this traditional Japanese art. While I have some reservations about the direct correlation between an artist's character and the painted strokes on a page, it seems clear that challenging oneself along the "Way of Calligraphy" has many and deep benefits for artistic expression and the cultivation of self. Anyone interested in such pursuits should do him/herself a favor and read this book.

About the Reviewer: Dr. Stephen Fabian is the author of "Clearing Away Clouds: Nine Lessons for Life from the Martial Arts" (Weatherhill).

Rating:
Summary: A Splendid Glimpse into the Art of Japanese Calligraphy
Review: Strike with the katana, the Japanese long sword. Arrange a blossom in that brief interval after it's been cut, before it withers. Whisk a bowl of tea into a perfect froth. Seemingly disparate activities, yet each demands a similar sense of irrevocable action; absolute commitment; total coordination of mind and body. Once begun, none can be retracted. The consequences of each are obvious: a blunder is, if anything, more manifest than a flawless execution. In perhaps no other Japanese form of creative impulse is this concept of ichi-go, ichi-e--"one encounter, one chance"--more dramatic or obvious than when the calligrapher first touches an ink-wet brush to the dry expanse of white paper before him. Shodo, the Way of the Brush, exemplifies the spirit of Japanese art. In its potential for artistic expression contained within the rigid demands of form lies the challenge and the infinite reward of all the classical Ways of Japan.

From the budo (martial arts) to kado (or ikebana) to chado, the discipline of the tea ceremony, the range of these traditional Japanese Ways introduced to the West in the past half century has been extensive. Shodo, for the most part, remains an exception. The elegant art of the Japanese brush has, in large degree, been overlooked by Westerners in pursuit of the various Ways. Instruction outside Japan is limited. There are a few books on the subject; nearly all focussed on technical aspects of the art or else scholarly in direction, devoted to tracing the development of brush writing from its origins in China to its importation and evolution in Japan.

In pleasant contrast, H.E. Davey's new book, Brush Meditations: A Japanese Way to Mind & Body Harmony takes a unique approach in introducing shodo to the general public outside Japan. Quoting calligrapher Kobara Ranseki, who notes that "Every time I teach, I explain that art is balance," the author adopts a similar strategy in presenting shodo: a balanced one. The philosophical underpinnings of the craft are juxtaposed with practical advice on how to sit when practicing calligraphy, how to grasp the brush, what to look for in the shape and proper structure of the written character. Chapters are nicely balanced, with a history of ecriture in China and Japan, followed by an exploration of the mind-body connections pursued by the student of calligraphy. Then comes a chapter on the correct attitudes and habits of the calligrapher, and finally one featuring instructions for calligraphic compositions and projects. The result is a well-organized, comprehensive introduction to the Way of the brush, with a number of points to recommend it.

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 over-emphasis on this sect of exoteric Buddhism in Western literature on all the Japanese Do has far eclipsed other equally important influences on them. 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 calligrapher 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. 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. 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.

Rating:
Summary: AN INTRODUCTION TO JAPANESE CALLIGRAPHY AND MY BOOK
Review: Within our lifetimes, we are witnessing the meeting of East and West; the fact that both Asian and Western cultures have a variety of good points as well as bad points is fairly obvious. What is perhaps not as evident is my supposition that through a positive, non-biased process of Eastern and Western cultural exchange, a new, more balanced, more enlightened global culture may result. Moreover, while I explore calligraphic painting (shodo) as well as other Japanese cultural arts in Brush Meditation-A Japanese Way to Mind & Body Harmony, and although I made an attempt to examine the meditative aspects of shodo and various Japanese arts, one of the main reasons I wrote this book is to let other Westerners know that it is possible, and meaningful, for non-Japanese to participate in traditional Japanese art forms.

At their deepest levels, the martial arts (budo), tea ceremony (chado), flower arrangement (kado), calligraphy (shodo), and other Japanese arts, are the same. Despite their obvious physical differences, these arts share a common set of aesthetics; and more importantly, they require the acquisition of identical positive character traits if you are to become successful in their performance. Note that many of these arts end in the word "do." Do means "the way," and it indicates that a given activity has transcended its utilitarian function, that this action has, furthermore, been elevated to the level of art, and that its proponents are teaching it as a way of life. In sum and substance then, a do form is an art which allows you to grasp the ultimate nature of the whole of life by examining yourself in great detail through a singular aspect of life. In other words, to grasp the universal through the particular.

Many artistic principles and important mental states are universal for the various Japanese ways. One of the most significant and basic principles that these arts share is the concept of mind and body coordination. While few of us are required to use a brush in daily life, most people are interested in realizing their full potential and enhancing their mental state as well as physical health. Since integrating the mind and body allows us to accomplish these aims, the relationship between the mind and body, along with how to achieve a state of mind-body harmony, is one of the main themes of Brush Meditation.

In the case of painting, some adherents may speak of a "unity of mind and brush," and make statements which indicate that "if the mind is correct, the brush is correct." In Japanese swordsmanship, it is not uncommon to speak of a unity of mind, body, and sword. Likewise, in Zen meditation, students are encouraged to arrive at a state of mind and body coordination, a state of "self-harmony." All of these assertions point to the necessity of integrating the mind and body in action. Mental and physical harmony is also vital for realizing your full potential in daily living, and it remains one of the central elements needed for mastery of any of the classical Japanese ways.

Yet, perhaps surprisingly, although I serve as Director of the Sennin Foundation Center for Japanese Cultural Arts, I'm not teaching and pursuing the above-mentioned art forms, due to an overwhelming interest in Japanese culture. While I certainly am, of course, interested in Japan, my main intention in studying these arts is to examine the nature of the self, the universe, and life as a whole. This point is vital, as the miscellaneous "do" all indicate a "way" that transcends boundaries and limitations. It is in the end not a "Japanese way," but rather a human way, and ultimately, the Way of the Universe.

In Brush Meditation, shodo, or Japanese brush writing, is used as a representative example of how the various do forms help us to discover principles that relate universally to all aspects of living, and which can enhance our lives. Brush Meditation starts off with a brief history of calligraphy and painting in Asia and explains why these arts hold relevance for the West. Following this is an explanation of mind-body unification in shodo and painting, as well as the actual techniques of controlling the brush. The aesthetics and principles, which are universal for Japanese cultural arts, will also be explored, along with their importance for cultivating calmness and concentration. Of course, a few introductory lessons in brush meditation, calligraphy, and painting are included. Sources for shodo and painting supplies are also detailed in the appendix.

In conclusion, I am not a master of any of the above topics. Still, I have had unique opportunities to study, in both the U.S. and Japan, Japanese arts that remain inaccessible to many people in the West. It is my wish to share with interested others a bit of what I have been able to absorb about these art forms. Even more, this book amounts to an act of personal study, self-examination, and analysis that I hope will also be relevant to other people interested in art, meditation, and/or Japanese culture.