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7. EARTHS 15 1979 A 5 E e vo Let s Talk about Mundane Affairs Comments about A Collection of Calligraphic Works by Yajima Hogetsu Ishikawa Kyuyo I first came to keow Yajima Hogetsu s name through the media of sho magazises sho stands for calligraphy such as Yugetus Hibyo and Shimyaky ped 1n those in whose publication my group wa days be was actively involved in Nissbobi Japan Calligraphic Art Iastitute and Mainichi tes T hi Pr spoesored Exhibition Acteally got him through the imtroductioe of Yamaguchi of Konan dio For more than 15 years since been meeting cach other at the monthly inars chaired b I have been giving lectures and having v INwmdin with thes cal ligraphy friend He rose in the shodan calligraphy circles early in his career and perhaps because be had foresight into the future of the shodan he with drew in 1979 from Nisshobi and Mainichi ten topeth i ion then was that he might emed a rather abnapt er with several colle move to
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21. tonan Ht YN hZ tonan BE WIN DTP H JU 6 19 JP www tonan 18 http KANAGAWA s N E f OO HAL PEN 2 5E Ol fa OKUMA Hajime RPA A 1960 8 14 18 OKUMA Hajime creates works using materials found by chance 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 7enkoku Seal engraving 1988 Graduated from Kuwasawa Design School Post graduate course majored in Graphic Design 2000 2004 NAU Exhibition Tokyo Metropolitan Art E
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28. is shanning the ietermediatre Why h is my thought he is considering the zone as the sf area soni stands for practicing sho thus being coetent with expressions made The intermediate zone in his notion teaching and what s e is pursuing observing aed passing on the historically orthodox 103 aam PAA CAN WE TOV d Ed 3 e M S ws veris ds ns verts eye Po UNT rtv HEN DNE Z EP REUS pa Tok eg j r 2 5 5 L9 d MYTE _ AAEN ET R lt mmis 1988 20 AS tonan 6 http www tonan jp Lv g lt E AERTS m R m R t b F2XXUSRXZGQM RSA fe 1990 1995 XB amp E tonan AS XB amp EE tonan xE IRTIR AWRA SO 2001 2004 XB amp E tonan AW tonan CD ROM L M ERIE Tg Macin
29. us My imp have gose too far 1n those days bad tbe sotion that mbersh amp p with a certain calligraphy organ s a matter of little significance but the with action to them in onde ly an inewn a worthwhile one The withdrawal e from his m Ito Suzan and aer remember hearing from hem about At present ba j at Someisha which publishes a periodical Sor v works on teaching calligraphy too without slightimg the calligraphy education he is putting Ais mind into 3t Actually he writes important rehon reference em himself and contributes t the magazine Acc g to his opinion that she should have the basis in its history he writes tehon usiag Kyuscikyu Ret mei 633 A D as a mode tehon in his amp xu with handsomeness as well as fullness hisshe uds for the touch of writag cre ated by the combined workings of power pressure ed hy the rhythm speed depth etc which aec impa WT Y writing Because it is a reliable e time educational institute make it rule to recommend that whea any of oor spadents at school desires to open his or ber jk private tutori school that be oin the Somci sha school and engage in sh education under its wing Yajima Hogetsu is a mota callig good get my rapher with a asp and a On occasions yes opene Rikucho sho Gyosho Theory Rikuch 6th ceeturies was onc such opin
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39. h hs but feel a shade of uncasisess Why is i The strongest feature ia Y ajima s treme limits of hissh push fo extremes search tbe and eproot their on the other hand he writes as e surface lighthy with tbe tip of the brush and different eara score lines His sho is a mixture of the hisshoku oc sometimes their alternate a Only few shodoka calligrapher have a grasp and understanding of the extremes Y ajima is outstaeding ght limes using these two extremes as a weapon he in that respect The uprooting and the incising of s with the work Having these extremes is his best feature but at times it becomes his shortcoming Yajima may bave the feeling that he is getting to the quintessence of Msshok by feeling owt its size length and But be should realize that the depth and true mature he we the object is imserutably intricate and delicate To get to it he must use every possible means of approach He should be aware that 1 of his the moasent be thanks he has it it coe hand the truth is that elusive N however whether im sho or any othe IO say subject the lruWh Hes somewhere in the intermediate z0 amp e Lazy shoxfoka can write sho belonging to the intermediate zone but do not kmow the existence of the two extremes Yajima exceeds other mediocre shodoka in ihe grasp and understanding of tbe extremes but it seems to me that he
40. ion was told that s words or opinions The iod Sth OCF A n 9 Nint zi L T 53505255 MIELEN E TEL Nit sut L FL h AHTS HALDENS du MINT A y WIE MINCE NI x HARE XA RoWNteiAS hz ORI T Zi Spit PiWi a Hogetss with ihe background as mentioned is going to publish a collection of his works 4 years have taken this opportunity w review his past works While am not certain how well it coukd communi cate 1o people his sho is of a grand scale beiag powerful hixshoku and bold composition but yet with well matured and freshly rich limes Often I am t other impressed with his good hand however on t hand s true that cannot feel fully comfortable wit
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