Showing posts with label artists. Show all posts
Showing posts with label artists. Show all posts

Apr 11, 2014

Pottery Tour of Japan

Japan Pottery/Craft Tour

 with

 Seattle Potter Rob Fornell

The tour will depart the US June 27th, 2014 and will return approximately two weeks later on July 9th
2014 for a total of 13 days and 12 nights with the entry port in Japan, yet to be determined, being either Narita Int’l Airport, or Haneda Airport in Tokyo.

All participants need to furnish their own roundtrip airfare and one week rail pass with all tour members REQUIRED to have a one week Japan Rail Pass voucher in hand at time of departure. The pass is unavailable in Japan.

While participants are free to choose their own travel agent when booking flights, highly recommended is Suzuki-san at Sankei Travel in Seattle.

Please notify by email Rob Fornell your interest in the tour to receive updated information as it becomes available. A deadline for commitment and payment of funds will be set for Spring 2014 and as the tour has a minimum enrollment quota, should that number not be reached, I reserve the right to cancel the tour at which any and all monies paid as deposit shall be refunded in full. Finally, in order to ensure the best possible experience for travelers, the maximum number of people is 8.

Jan 25, 2014

Out of the fire

Last night we had a very special workshop with potter Richard Brandt  firing black raku style teabowls. Richard is a long time Portland ceramic artist who also has studied chado.  He understands the form and functionality of the teabowl because he has used them in the tea ceremony.  His generous offer to hold a workshop for the students of Issoan Tea School was exhilarating and inspiring.

We began the evening choosing teabowls that Richard had already formed.  To make it fair, ecah student chose a number and we got to choose from in the order of our drawn number.



 Next the glaze was applied

While the glaze was drying, Richard gave a lecture and slide show of the history of Raku style bowls.  He emphasized the Raku is not a process, but a family name.  He also covered the differences in Japanese style rakuware  and American style rakuware where heavy metals are used to achieve iridescent colors.

The teabowls were then placed in the kiln and fired to more than 1800 degreees.

By looking at the bowls in the kiln, Richard could tell when it was time to pull them out. At the proper time, the kiln was opened and the teabowls were sitting there glowing white and orange.

It was quite dramatic as he pulled each teabowl from the kiln while it was still glowing hot and plunged it into a bucket of water.


 The teabowls heated the water to boiling temperatures but then were set on the bricks to cool further.  You can see the steam coming from the bowls as they are cooling.

And there is nothing like that first taste of tea in a brand new teabowl.

Then the bowls were carefully wrapped in presentation boxes and presented to students.  I will be naming each bowl an will calligraphy the name on the boxes for each student.

Jan 15, 2014

Inayoshi Osamu, Japanese Potter coming to Portland

Thanks to the Oregon Potters Association, Inayoshi Osamu, Japanese Potter. will be presenting a demo workshop at The Oregon College of Art and Craft.Fee structure for Inayoshi Osamu workshop (demo)Download the Inayoshi flyer
 
2 days
non OPA members $75, OPA $60, students $35, OCAC students no charge

1 day
non OPA $40,. OPA $35, students $20, OCAC students no charge

Seating is limited. Cash or check payments may be made directly at the workshop. To reserve your seat in the workshop, please make checks payable to The Oregon Potter’s Association and mail to:

Joe Davis Instructor of Art, Ceramics
Mt. Hood Community College
26000 SE Stark St.., Room VA30D
Gresham, OR 97030

The workshop will take place in the ceramics lab at
The Oregon College of Art and Craft
8245 SW Barnes Rd, Portland, Oregon 97225
(503) 297-5544

Please see the .pdf for more images of Inayoshi’s work and process, and also for text and links from Hank Murrow, long-time potter in Eugene.

For more information, please contact Joe Davis (503) 491-7149 Joe.Davis@mhcc.edu

Oct 10, 2013

Soujuan Kimono Visits Portland

Naoki Nomura san from Soujuan Kimono Visited Portland at the End of September.  Every year he designs art kimono based on various themes.  This year the kimono were based on Basho's Journey.  Here are a few of the beautiful kimono he showed in Portland.





Nomura san also had kimono, obi, zori and other accessories for dressing in kimono for sale.





And I got a personal kimono dressing lesson from the always beautiful and very accomplished Kageyama san.


A special thank you to Keiko Wright who traveled with them and provided translation.
Thank you Nomura san and Kageyama san




May 21, 2012

Reviving the art of Nishiki

Nishiki is Japanese brocade fabric.  According to my sources and notes:  The patterns for this brocade are woven from various colored weft floats traveling over a limited distance.  In the Han dynasty (206 BC - 220 AD), in China, they produced a warp-faced nishiki where colored warps skipping over a number of adjacent wefts formed a pattern. During the Tang dynasty (618- 907) weft faced nishiki was introduced from Western Asia, and is what is woven in Japan.  The nishiki of meibutsu gire (famous fabrics), many are used in tea, are mainly from the Ming dynasty (1368-1622) and later, and they all have a thick woven texture, as opposed to the soft, satiny feel of donsu fabric. Below are some examples of meibutsu gire nishiki:

Bishamon Nishiki

Arisugawa Nishiki

Kamon Nishiki
*Fabric photos courtesy of  Kitamura Tokusai Fukusaten Co., Ltd., Kyoto, Japan.via the now closed website Tea Hyakka..

The intricate weaving and technology used to manufacture this luxurious cloth is being revived in Kyoto by one of Japan’s most important contemporary interpreters of Nishiki, textile designer, Koho Tatsumura. In addition to applying this high level of traditional technology to his own original design work, he is actively involved in carrying forward the work of his late grandfather, Koha Tatsumura, founder of the Tatsumura Company, renowned kimono weavers since the late 1800s.

There is more information and fabulous photos of his contemporary work: Koho Tatsumura: Nishiki Weaving for the 21st Century


Mar 7, 2012

Telling Stories

One of the pleasures of attending a tea gathering are the stories told at the gathering.   Putting together how the meaning of the scroll and the choices of the utensils along with the poetic names of the sweets and chashaku make for an interesting time. 

Some of my students are beginnning to study the kazari mono where the scroll, the teabowl, the chashaku or other utensil is featured in the temae.  In class we practice telling the stories of the utensils.  Just because you purchased the bowl cheap on eBay does not make a good story for the tea gathering.  Neither does I liked this bowl, but I know nothing about it.  There should be something about it. Be thoughtful about what utensils you are using for your tea gatherings.

If you do purchase a utensil and you don't know anything about it,  use it in a chakai.  Maybe it was not the featured utensil, but you can begin to build a history for it.   "This chawan was used in a going away chakai at the Issoan Tea Room last January when my sempai was leaving for Japan. Because it was un-named, he called it Bunri, or separation."

Perhaps you know something about the artist, his history or your relationship with him.  Perhaps it was given to you by someone the both of you know.   Perhaps you have featured something else by this particular artist in another chakai

That is why I am judicious in acquiring tea utensils.  It seems if I wait,  tea utensils come to me, and always there seems to be an interesting story about how it came to me.  

Please, no more eBay yaki stories.

Feb 6, 2012

Michael Kenna in Hokkaido

I took the photo above rather in tribute to Michael Kenna. He is one of my favorite photographers.  He first came to my attention about 15 years ago, and I have been following his career ever since.  He works exclusively in Black and White film.  His photos are a meditation just to look at and remind me strongly of black and white sumie paintings.

I actually got to meet him in Seattle and he signed my first edition of his book, Japan. It came in a beautiful black silk slipcase with an embossed kanji for Nihon on the outside.  Inside the book cover is rising sun red with a simple white JAPAN on the outside.  As part of the exhibition, you were given a clipboard and paper and encouraged to write haiku as you went around the gallery to view the photos.


He has done much more work since then, in France, San Francisco, England and all of them very much in the same style.  I have several of his calendars that I turn over and over again.  You can see more if his work here.  And if you are so moved to purchase and support this artist, his publisher is Naraeli Press where you can purchase a calendar for this year.

He has returned over and over again to Japan, especially in winter and has published other books based on the Japanese landscape, most recently Hokkaiko.   Also here is an interview with Michael Kenna talking about filming in Hokkaido in the winter.  Enjoy





Jan 15, 2012

The Artist's Touch, The Craftsman's Hand

Today I went to the Portland Art Museum's Exhibition of Woodblock Prints from their collection, The Artist's Touch, The Craftsman's Hand.   It was a spectacular review of the history of woodblocks from the late seventeenth century to the present day.  The museum owns more than 2,500 works and is showcasing a selection of some 250 of the most historically important and visually compelling Japanese prints in the collection. I must say it is a fabulous exhibition, but hurry in to see it as it only lasts until January 22.

Before or after your visit, I recommend my friend Tomoe's, Behind the Museum Cafe, on Southwest 10th.  I had the matcha set which includes a Japanese Tea sweet and bowl of matcha, whisked by Tomoe.  She also serves sandwiches, onigiri (Japanese rice ball), pastries, and other types of Japanese green tea and, if you must, coffee. There you can also see ceramic artist Motoko Hori's works and antiques from Ryokusuido Antique shop.

What a wonder way to relax after the intensity of Hatsugama.

Dec 16, 2011

Month of Teacher's Running

December is a busy time for teacher and it is nicknamed the month of teacher's running.  That is the truth for me this year.  Not only am I preparing for the holidays, hatsugama and tea lessons, but am also sewing and making bags for the SweetPersimmon store.  More about that later.

Hatsugama invitations should be in the mail soon.  Please mark your calendars for Saturday January 14th.

Don't forget this coming Sunday the 18th is Kagetsu study at 1:30 at Mieko sensei's house.   New introduction and tray style classes are forming for January.  Please let me know if you have friends who may be interested.  I'll post and send emails soon.

In the meantime, some of my students are looking at acquiring a kama. It is a big commitment to purchase one, but when you see the work that goes into making one, it is well worth the price. Each Kama is one of a kind since they break the mold after casting. It normally takes 3 months to go through the process and compltete a kama. If you take care of your kama, it will last a lifetime.  We are fortunate to have on loan from Tim-sensei in Seattle a beautiful Ro kama made by the famous Keitan Takahashi. This kama was made in the early 1960s before he was named a living national treasure in Japan. He passed away in 1999.   

The process for making a kama:

 Step 1 : Making a sketch of the body
 Step 2 : Making designs on the Washi paper
 Step 3 : Making mold by sands
 Step 4 : Making designs on the mold
 Step 5 : Cast iron into the mold
 Step 6 : Polish the surface of the Kama

Below are videos showing the work that goes into making a kama and some of the beautiful work by Keitan Takahashi.  Please enjoy.

 

 

Apr 11, 2011

It's harder than it looks

I have a group of new students and some of them have told me that doing tea looks so simple that anyone can do it.  That is until we start whisking matcha, or walking in the tea room.

When we begin training in something like tea, it seems like we start with the boring stuff when what we really want to do is to make tea.   I started training and it was five months before I made tea.  I started with cleaning tatami mats, preparation work and learning to be good guest before I made tea in the tea room for anyone.

Someone said to me that people fall in love with the idea of Rikyu's tea, but when they begin tea training they are disappointed to have to follow the rules and do boring stuff like clean tatami. They just want to make beautiful tea.   It is like going to a concert to hear Yoyo Ma play cello, but when they want to learn the cello, they are disappointed to have to do boring things like learning bowing techniques, tuning your instrument and playing scales when they just want to play Bach's sonata.

My husband is a wood worker and he does the most incredible work.  However, when he makes a Japanese joint in two pieces of wood, it just looks like two pieces of wood come together.   But what is hidden is the complicated carving and fitting that goes on inside the joint so that the two pieces of wood lock together without nails or screws or glue. It is simple, beautiful and will last a lifetime or more.

It seems like many things in life we don't see what is going on inside or behind the scenes.  We see successful athletes and marvel at their incredible talent, but don't see the hours and hours and hours of practice in the gym or on the field.  We see successful businessmen, but don't see the sacrifices to social and family life.   We see artists and craftsmen, masters of their art, but we don't see the years of training, struggle and financial sacrifice.

It's like we expect to be exceptional at something without putting in the time, practice, training and sacrifice. Most people don't want to put in 25 years of tea practice, or spend weekends and nights for years getting a business started. Most people don’t pull consistent all-nighters to nail some key projects, putting them in place for a big promotion.

But if you want to do something badly enough, you will do what ever it takes to make your dreams reality. You need passion to get you through the the tough times and difficult choices you need to make. They do say that nothing worthwhile comes easily and especially nothing worthwhile will come your way without you driving yourself..   Every day is a choice with how you spend your time, how do you choose?

Aug 17, 2010

I am back

I apologize for not posting the last couple of weeks.  It has been a crazy summer.  The intensive is complete, the craft show was a success, and now my son is a married man. What a beautiful wedding and fun reception.

In the meantime, here are a few events coming up this weekend:


Chanoyu Presentation at the Portland Japanese Garden
1 pm and 2 pm at Kashintei, the tea house
FREE with Garden admission



3rd Annual
C.H.A .  Art Show & Sale
Sat. & Sun., August 21 and 22, Noon to 6pm


This Show represents a collection of artisans who study Chado ~The Way of Tea
~a way of beauty
~a way of life.


Together, with a few Guest Artists, we offer our work in the spirit of peace & hospitality.
Ellen Ankenbrock ~ Richard Brandt
Patrick Gracewood ~Rebecca Owens
Duchess Patrick ~jan Waldmann ~ Margie Yap


Address: 8855 SW 36th Ave., Portland, Oregon, 97215
http://maps.google.com/maps?hl=en&tab=wl
(The street view is old. The peach trees in the lawn are in Barstow for an extended vacation.)


***Look for the Giant Japanese Banner***


Directions: I-5 South, Exit Multnomah Blvd. Turn Left (South ) on 35th Ave.
Continue straight, do not fork to left.
This becomes SW Spring Garden Ct. which winds to the right and ends at Dolph Ct.
Turn left on Dolph Ct.
Turn right, almost immediately, onto 36th Ave.
8855 will be on your right. Park on street.


(Checks and Cash Only. Thx!)

Jun 15, 2010

Noh Drama Seattle

WING LUKE ASIAN MUSEUM TATEUCHI STORY THEATER
PERFORMING ARTS SERIES PRESENTS NOH DRAMA GROUP
CHUUDEN YUUGAKUKAI OF NAGOYA, JAPAN.

Witness the cultural legacy of traditional Noh Drama, and experience the
Japanese aesthetic of “yuugen:” profundity, subtlety, and mystery.

In a first-time visit to Seattle, Chuuden Yuugakukai of Nagoya, Japan will give a special demonstration of the centuries-old Japanese traditional art form of Noh Drama at the Wing Luke Museum of the Asian Pacific American Experience on Saturday, June 19th.

Based in Nagoya, this group has been perfrming regionally in central Japan's Aichi and Gifu Prefectures for 30 years. Chuuden Yuugakukai is part of the Kanze School of Noh drama, which has a lineage dating back to the 14th Century. With patronage from the Ashikaga clan of samurai warlords; the school flourished under the founder, Kan'ami, and his son, Zeami, to become one of the largest and most prestigious schools of Noh. It continues today to be known for its emphasis on graceful movements and beautiful costumes.

In this first-time appearance in Seattle, 10 members of the group will perform vignettes from classic Noh theater; including Chikubushima, Semimaru, Hagoromo, and Funa Benkei. Traditional flute and hand drums will accompany the singing. A special bonus will be a mask carving demonstration, and the display of a collection of hand-carved wooden masks used by actors in the NohTheater.

This will also be a FREE ADMISSION DAY at the Museum. See the excellent standing exhibit of Asian Pacific American History, current special exhibits “Cultural Transcendence” and “A Refugee’s Journey of Hope and Survival,” as well as the wonderful architecture and ambience of this Seattle jewel.

DATE: Saturday, June 19, 2010.
TIME: Mask Carving Demonstration begins around 11:00am.
Noh Performance begins at 1:00pm, performance length approximately 1 hour.
LOCATION: Wing Luke Museum of the Asian Pacific American Experience
719 S. King Street, Seattle, WA 98104.
ADMISSION: FREE!

FOR MORE INFORMATION: Contact the Wing Luke Museum at 206-623-5124, www.wingluke.org, or Tatsuo Tomeoka; Charaku Fine Japanese Tea / WaSabiDou Antiques & Folk Crafts 206-660-4189, info@charaku-tea.com

May 2, 2010

Poetry and Tea

I have added a link to my good friend Maggie Chula's blog.  She is an internationally published haiku poet and has just posted an excellent essay comparing renga and chaji. 

Citing many famous tea masters and their poetry, Maggie deftly weaves the two disciplines of Chado and Renga together in their principles and aesthetics.   In fact, many tea masters were accomplished poets.

Please go check it out and welcome her on her blog with your comments. 

Mar 15, 2010

Dream Window

For the introduction to chado class, we viewed a video the other night called, "Dream Window, Reflections on the Japanese Garden . If you haven't had a chance to see this, please do so.  It shows a number of famous gardens with commentary by various artists, a composer, stage designer, ikebana master, poet, zen monk about how the Japanese garden has influenced each of their respective arts. It is beautifully filmed and thought provoking. 

And what discussion of Japanese gardens would be complete without talking about the tea garden and Japanese tea ceremony?   In this video, they show  part of a chakai, and one of the guests was one of my sensei when I studied in Japan, Ebina-sensei.   Sadly, she passed away more than 7 years ago, but I still have many of the notes from her teaching and lectures.  She introduced me to Japanese poetry and literature.  She was always elegant and very caring of us.

In the last lecture, Ebina-sensei said to us:

Fundamentally, who you are when you are doing tea is your true self.  Through this, you may begin to understand what is important.

Everyone needs to ask, what does tea mean to me?  If you find some meaning in tea, by all means continue.  If you find it is not for you, why pursue something that is meaningless?

We all have a different relation with tea.  Our lives change with time and tea will change with your life. Doing tea is a philosophy of life.  This study is a study of culture not just tea.  Tea is part of bigger picture of life.

It all depends on the tightness or narrowness of your heart.  The more open you are the more room in your heart.  Grounded with your heart you will see more things, and it will make you more blind to the bad conditions.  Following your heart is a plus factor to be able to see the positive.  And don't forget to listen, listen, listen...

Dec 9, 2009

Anagama kiln and preivew of the Holiday Sale

Despite bitter cold and a horrendous East wind blowing last Sunday, my husband and I were invited to the opening of the anagama firing by Richard Brandt and crew.  I have attended a firing before, but I had to leave before the kiln was opened.  This time though, the previous week the kiln was fired for 5 days -- that is they fed it more than four cords of wood, then sealed it up to cool and Sunday was the opening.  This was very exciting as the fire is unpredictable and what went into the kiln may or may not resemble what comes out, depending on the fire, the flames and the placement in the kiln.  That is the magic of an anagama firing.

 Last Sunday we unloaded the anagama kiln and I must say that it's the best firing I've ever taken part in. The frozen wind and numb hands were not even a bother because the work was so fantastic. The colors are outstanding. The carnage low. Plenty of startling surprises. Everything seemed to fall into place. A labor of love it remains. I am very excited to share this work with you.  ~ Richard Brandt

We got there as they were taking the bricks down from the front of the kiln.  I was surprised at how orderly it was and the crew was very careful to stack each brick as it came from the door in order for the next people to seal up the front more easily.  Then the ash was swept away from the firebox and everything cleaned out before any pieces were taken out.    One of the first pieces to be taken out was a little figurine.It was found standing among the ashes in the firebox. It was on the lower front shelf and it had fallen off but remained standing as if it had jumped into the fire.

Here are a couple of photos as the first pieces were unloaded from the kiln:


While everything looks monochrome in these photos, there was plenty of drama and color when the pieces were unloaded.  There were so many spectacular vases, bowls, tea pots and sculptures:



I just wanted to preview a few pieces that Richard will be showing at the sale and (modestly) show some of the handbags I made from kimono material that will also be featured at the show.

Nishiura Ryokusuido
3826 NE Glisan St.
Portland Oregon 97229
Friday evening opening reception 7-9 pm

Saturday and Sunday 12-5 pm




I hope you will come out to see Richard's work.  Here's a few handbags made from kimono and obi that will be featured.

 
 

Dec 4, 2009

First Annual Ryokusuido
Holiday Show and Sale 2009


Please come to our Holiday Show of Japanese
Antiques, Kimono, and Obi, featuring wood fired
tea utensils by Richard Brandt, and Handbags and
Fashions by SweetPersimmon at

Nishiura Ryokusuido
Japanese Arts and Antiques
3826 NE Glisan, Portland, OR 97232


(503) 236-8005 or (503) 262-8369

Friday Dec. 11 7-9 pm
Saturday and Sunday
Dec. 12-13   12-5 pm


Please join us Friday evening for drink and refreshment
Tea will be served in a traditional tea ceremony room
on Saturday and Sunday

Nov 2, 2009

The Japanese Tea Garden

Portland Japanese Garden Presents:
The Bontei Tray Gardens of Marc Peter Keane
November 7–22
Free with Garden Admission

The 2009 Art in the Garden series continues at the Portland Japanese with a special exhibition of The Bontei Tray Gardens of Marc Peter Keane, featuring exquisitely designed, handcrafted wood and stone tray gardens by one of the world's leading experts on Japanese gardens. Keane is the author of Japanese Garden Design, one of the most popular books on this topic in the English language. He will be in Portland for the opening weekend of the exhibition on November 7 and 8, during which time he will give talks about his Bontei as well as a presentation on Japanese tea gardens in conjunction with the debut of his soon-to-be-released book on this subject.


Marc Peter Keane's release of his latest book, The Japanese Tea Garden, will be available. This new book, in which he describes the history, design, and aesthetics of tea gardens from T'ang China to the present day will be featured with a lecture and book signing. With over 100 stunning photographs, floor plans, and illustrations, this is the most extensive book on this genre ever published in English. The Japanese Tea Garden is a rich resource for garden lovers, landscape designers, and architects—and anyone who admires the striking aesthetic of the Japanese garden.
Lecture and Book Signing: The Japanese Tea Garden
Sunday, November 8, 4:30pm
$30 Members/$40 Non-Members
Place reservations online or call the events hotline at (503) 542-0280

Oct 7, 2009

Kabuki

PSU Center for Japanese Studies presents
Backstage to Hanamichi: the Color, Magic and Drama of Kabuki Lecture & Performance

Wednesday, October 21st, Time: 7:30 p.m.
$22.00 Tickets: 503.248.4335
The PCPA box office

The Japan Foundation, Shochiku Co., Ltd and The Japanese American Cultural and Community Center are pleased to present Backstage to Hanamichi - A Behind the Scenes Look at the Color, Magic and Drama of Kabuki with lead actors Nakamura Kyozo and Nakamura Matanosuke of the world-renowned Shochiku Company.

Kabuki with its magnificent beauty and highly refined artistry has made it a rare jewel among the great theater traditions of the world. Its actors must undergo years of rigorous training in order to master its three artistic components of music (ka), dance (bu) and drama (ki) before being allowed to perform before an audience. In order to create the magic that is seen on stage, the kabuki actor is supported backstage by a team of unseen artisans and craftsman including costumer stylists, wig masters, musicians and prop masters.

Backstage to Hanamichi provides the audience with a rare glimpse into the traditional world of this centuries-old theater and the painstaking preparations that leads up to an actor's grand entrance onto the hanamichi stage.

The lecture/performance includes performances of two kabuki dance classics: Sagi Musume (The Heron Maiden) and Shakkyo (Lion Dance), contrasting the lyrical style of the onnagata (actor specializing in female roles) with dynamic, acrobatic style in the heroic Lion Dance.

This program is presented in conjunction with the 100th Anniversary Celebration of The Japan America Society of Southern California.

Jul 22, 2009

C.H.A. Creative Handmade Art

C.H.A.
Creative Handmade Art
Year II

This show presents a collection of artists who study the way of tea.
…a way of beauty
…a way of life

Richard Brandt, Sanje Elliott, Jan Waldmann, Barbara Walker, and Margie Yap.

Together, with other special guest artists, we offer objects in clay, wood, painting and calligraphy in the spirit of peace and hospitality.

Come join us in this spirit.


August 7th, Opening Gala: 5:00 pm until 8:00 pm.
8th, Noon until 5:00 pm
9th, Noon until 5:00 pm


8855 SW 36th Ave., Portland, Oregon, 97219
503-245-8705

Jul 5, 2009

Zen and tea scrolls

I'd like to post a link to Phillytea blog. Morgan took very good notes during Roshi's talk about Zen and tea scrolls. Much better than mine. Please go check it out.

In the meantime for those of you who would like a little more reading on Zen calligraphy scrolls, there is a very good book by Eido Roshi and Tani Roshi who both wrote the scroll we used for the koicha seki where I made tea for Eido Roshi at Dai Bosatsu last month.


Zen Words, Zen Calligraphy
by Eido Tai Shimano, Kogetsu Tani (Illustrator)
ISBN-10: 1570621276
ISBN-13: 978-1570621277
Paperback
Calligraphy by Tani Roshi, commentary by Eido Roshi. The heart of Zen is expressed here in beautiful Japanese calligraphies, some of them just a word, other a famous Zen phrase from a person from a poem, koan, or anecdote. Shimano, a well-known Japanese-American Zen master, uses Zen stories and teachings to illuminate the inner meanings of each calligraphy.