Breaking New Ground Beyond Schools, Seeking Life’s Answers Through The Way of Japanese Calligraphy
Contents
- ■Profile
- A Childhood Spent Obsessively Writing Characters
- From Dynamic Japanese calligraphy Performances to A Unique Respect for Culture, Tradition, and Materials
- ーAnd you’ve continued practicing calligraphy from that point until now?
- ーSo at that point, did you feel like giving up Japanese calligraphy entirely? Or did you still want to pursue it, just not through formal study?
- ーFrom what you’ve said so far, it doesn’t seem like you were influenced by any particular calligraphy school or tradition. Instead, it was the dynamic, entertainment-focused aspect of performing Japanese calligraphy to music that initially drew you in and became a turning point. Is that accurate?
- ーI see. But you also mentioned that your perspective has changed again since then. For readers encountering Japanese calligraphy for the first time, especially those overseas, could you share what you now find appealing about the way of Japanese calligraphy?
- Simply Absorbing Each Piece Directly, Without Pretense
- For Commissioned Works, I Immerse Myself in the Client for 2-3 Months
- Committed to Handing Works Over in Person; Hoping to Create More Interactive Experiences
■Profile
With the motto “To lay bare human emotions through calligraphy,” Ichikawa wields his brush freely, following his senses day by day. At times dynamic, at times flowing, he creates works brimming with a sense of movement through the inspiration of each moment. His unique style of delving so deeply into the mindset of his clients that he can almost trace their thoughts has earned him a dedicated following both in Japan and abroad. I spoke to Mr. Ichikawa about his approach.
A Childhood Spent Obsessively Writing Characters
ーCould you start by telling us how you first encountered Japanese calligraphy?
Mr. Ichikawa: Unlike the typical image of young boys playing outside, I was completely absorbed in writing place names in kanji characters from a very young age. I’m not sure why, but I just loved writing characters. I was constantly researching the shapes of characters, their origins, and how to write them beautifully. I was a strange child, obsessed with writing! (haha)ーAt what age did you become aware of this love for writing?
Mr. Ichikawa: I became aware that I loved writing characters around age 5. But I didn’t actually start studying calligraphy until I was 10 years old. That’s when I really got into it. So in that sense, my path was a bit unusual compared to most . (haha) Many people who practice Japanese calligraphy were influenced by their parents, but I actively dove into the world of characters on my own, which is a bit special, I think.From Dynamic Japanese calligraphy Performances to A Unique Respect for Culture, Tradition, and Materials
ーAnd you’ve continued practicing calligraphy from that point until now?
Mr. Ichikawa: No, it didn’t continue uninterrupted (LOL). I did enjoy studying calligraphy. But since calligraphy is “the way of writing,” it involves interpreting classical styles and scripts. Back then, I preferred writing in my own style. So when my teachers tried to get me to follow their methods, it stopped being fun for me. That’s why I ended up quitting calligraphy classes in my third year of middle school.ーSo at that point, did you feel like giving up Japanese calligraphy entirely? Or did you still want to pursue it, just not through formal study?
Mr. Ichikawa: No, I didn’t do any calligraphy at all for the three years of high school. It was in college that I encountered Japanese calligraphy performances, where you express characters through movements choreographed to music. That looked really fun to me, so I immersed myself in that world for four years. But at the time, I never considered making a career out of Japanese calligraphy performances. I ended up getting a regular job after graduation. However, no matter what job I had, time and again I realized that the moments when I was happiest were when I was writing characters. Before I knew it, I had become a professional Japanese calligrapher! (haha)
ーFrom what you’ve said so far, it doesn’t seem like you were influenced by any particular calligraphy school or tradition. Instead, it was the dynamic, entertainment-focused aspect of performing Japanese calligraphy to music that initially drew you in and became a turning point. Is that accurate?
Mr. Ichikawa: Yes, that’s right – at first, I envisioned myself as a calligraphy performer. Over those four years in college, I came to really appreciate being able to entertain and bring joy to people through calligraphy set to music. That’s what drove me to go independent.ーI see. But you also mentioned that your perspective has changed again since then. For readers encountering Japanese calligraphy for the first time, especially those overseas, could you share what you now find appealing about the way of Japanese calligraphy?
Mr. Ichikawa: Through Japanese calligraphy, I want to convey the sensibilities, culture, and traditions of Japan. As you noted, initially I did want to become a performer. But my perspective is completely different now. The catalyst for this change was an encounter with someone. There’s an artisan who specializes in making traditional Japanese paper. When he asked me, “Do you truly understand paper? Can you discuss ink?” I couldn’t say a thing. I felt so ashamed… It made me realize that despite being a calligrapher, I had no depth of understanding about the culture, traditions, and materials involved. Even though I was a calligrapher, not knowing these things was so frustrating for me. I had also started to feel dissatisfied with just doing my own style at the time. So for about a year, I trained under a master, learning that there are countless types of paper, ink, and brushes, with mind-boggling numbers of possible combinations. Through that, I re-evaluated my own calligraphy style, realizing the meaning lies not in emphasizing performance aspects, but in respecting the culture, traditions, and materials while adding my own sensibilities. Using the wisdom of our predecessors through paper, ink, and brushes, while adding my own unique perspective – that’s how I hope to move people’s sensibilities as a contemporary Japanese calligrapher. So now, while being very intentional about aspects like ink densities and paper types, I’m trying to create a uniquely my own worldview through calligraphy. The appeal of Japanese calligraphy is fully encapsulated within this black-and-white realm. I want to build upon the wonderful traditions passed down by Japanese people, infusing them with my own ideas to share this experience across borders.
Simply Absorbing Each Piece Directly, Without Pretense
ーChanging topics slightly, when people view your works, how would you like them to appreciate and experience the pieces? Is there a particular feeling or message you hope to convey through your art?
Mr. Ichikawa: Personally, my moods can be quite changeable. My works reflect those undulating emotional states – they’re an honest projection of the thoughts and characters that naturally surface within me at those times, without any pretense. So the message conveyed differs across pieces, of course. But first and foremost, I want people to simply take in their direct, unfiltered impressions when seeing a work. Not thinking about it as “calligraphy” or “characters” or even “lines,” but just purely what feelings arise upon initially viewing the piece. There may be works that evoke nothing, or don’t resonate at all, and that’s fine too. If viewers can encounter even one piece that strikes a chord deep within them, that’s enough for me. My greatest joy is when a work allows me to connect on an emotional level.For Commissioned Works, I Immerse Myself in the Client for 2-3 Months
ーIn addition to pieces that arise spontaneously, I imagine you also receive requests from clients to create specific works. How do you approach creating a commissioned piece?
Mr. Ichikawa: In my case, I essentially “inhabit” or “possess” the persona of the client who commissioned the work. I’m not sure if that’s the best way to phrase it, but I’ll have in-depth discussions with the client to really understand why they want a Japanese calligraphic work, what the meaning behind it is for them, and so on. This is true not just for pieces with written text, but for all my works. So while the end result may be written characters, it requires a tremendous amount of time and preparation. That’s why when I take on a commission, I always check first whether the client is okay with the process potentially taking 3 months or longer. If they’re fine with that timeline, then I’ll accept the work. Now, if I were just churning out trendy, marketable calligraphy pieces without any deeper meaning, I could probably pump them out rapidly. But I’ve come to realize that approach would just exhaust me from having to be inauthentic to myself constantly. Things like social media shares are certainly viable avenues too, but for now I’m maintaining a fairly relaxed pace of updates around once every 2 weeks. However, I’ve also realized it’s crucial to give myself permission for this pace as well. Forcing myself to work through anguish and struggle would only mean being unable to sustain it long-term. And one of my core motivations is wanting to share energy and inspiration with others through my works. So by ensuring I can continue doing what I love in a sustainable way, I feel that positive energy can then be transmitted through my art to the people who receive it.
Committed to Handing Works Over in Person; Hoping to Create More Interactive Experiences
ーFor works imbued with such profound personal meaning, having them handed over directly must make for a wonderful experience for the recipients. Finally, could you share anything about your current endeavors or future prospects related to Japanese calligraphy?
Mr. Ichikawa: Within Japan, I held an exhibition not too long ago that many people attended. Preparing for that exhibition alone took about 6 months, since I devoted considerable time and intention to each piece. Another project I’m involved with concerns a company running “Minpaku (private lodgings)“ in Kyoto. They’re exploring whether the spaces that can’t be used for regular lodging could instead become venues for interactive cultural experiences. So I’ve been exhibiting works there and discussing possibilities for offering hands-on calligraphy activities for international visitors. On the international front, I’m also working with a European cosmetics company to design calligraphy for the packaging of their makeup brushes. Up until now, I’ve made it a point to meet clients in person to hand-deliver any commissioned works. But going forward, I really want to expand opportunities for more interactive, experiential encounters with Japanese calligraphy. In my personal opinion, there’s definitely value in being able to order works online and have them shipped. But experiencing calligraphy being created right before your eyes, using brushes, paper and ink chosen specifically for you based on your preferences – that’s an entirely different dimension compared to just receiving a finished piece, don’t you think? So in the future, I’d love to not only hand-deliver works overseas myself, but also hold interactive sessions where participants can pick their own materials, and then see me create a custom piece based on their input, as an experience we can share together.
