Overview: Japanese Calligraphy 

Japanese calligraphy is a form of artistic writing of the Japanese language. For many years, the most esteemed calligrapher in Japan had been Wang Xizhi, a Chinese calligrapher in the 4th century; however, after the invention of Hiragana and Katakana, the Japanese unique syllabaries, a distinctive Japanese writing system developed, and calligraphers produced styles intrinsic to Japan. 

Calligraphy in the Kamakura Period

Background: Culture and Politics in the Kamakura Period 

The ascension of Minamoto Yoritomo to the title of Shogun, following the Hōgen and Heiji rebellions and the victory of the Minamoto clan over the Taira, marked the beginning of the Kamakura period (1185–1333 CE). The era is sometimes referred to as "the age of the warriors," and a broad transition from court influences to a leading role of the military establishment pervaded the culture. It was also, however, a time when exchanges with China of the Song dynasty continued and the religion of Buddhism greatly flourished. 

Zen Calligraphy

Japanese calligraphy of the Kamakura Period both influenced and was influenced by Zen thought. With the rise of the Rinzai school of Zen Buddhism, a less technical style of calligraphy appeared, representative of Zen attitudes. This was exemplified in the works of Musō Soseki, who wrote in a refined sosho style, or Shūhō Myōcho (better known as Daito Kokushi), the founder of Daitoku-ji in Kyoto. In terms of wayō (和様) style of calligraphy, the works of Fujiwara no Shunzei and Fujiwara no Teika are considered outstanding examples of the late Heian and early Kamakura Periods. Zen monks such as Shunjo studied in China, and the copybooks that he brought with him are considered to be highly influential for the karayō tradition of calligraphy of the time, expressing a clear kaisho style. Other monks were also influential during this era, including Rankei Doryū, who founded the Kenchō-ji temple in Kamakura, where many of his works have been preserved. 

Zen calligraphy of the Kamakura period

Calligraphy by Musō Soseki (1275–1351, Japanese zen master, poet, and calligrapher. The characters "別" ("no spiritual meaning") are written in a flowing, connected soshō style.

Technique

In accordance with this school of Buddhist thought, for any particular piece of paper, the calligrapher has but one chance to create with the brush. The brush strokes cannot be corrected, and even a lack of confidence will show up in the work. The calligrapher therefore must concentrate and be fluid in execution. The brush was believed to write a statement about the calligrapher at a certain moment in time.

Through Zen, Japanese calligraphy absorbed a distinct Japanese aesthetic often symbolized by the ensō, or circle of enlightenment. Zen calligraphy is practiced by Buddhist monks and most shodō practitioners. To write Zen calligraphy with mastery, one must clear one's mind and let the letters flow out of themselves, rather than practice and make a tremendous effort. This state of mind was known as the mushin (無 "no mind state") by the Japanese philosopher Nishida Kitaro. It is based on the principles of Zen Buddhism, which stresses a connection to the spiritual rather than the physical. Before Japanese tea ceremonies (which are connected to Zen Buddhism), one is to look at a work of shodō to clear one's mind; this is considered an essential step in the preparation for a tea ceremony.

Ensō

Ensō (c. 2000) by Kanjuro Shibata XX. Some artists draw ensō with an opening in the circle, while others close the circle.