Kobara Sensei 7th Year Memorial Service



On December 17th, 2011 the Seventh Year Memorial Service for Kobara Ranseki Sensei took place at the Buddhist Church of San Francisco at 1:00 PM. Kobara Sensei was the founder  and Shihan ("Headmaster") of the Ranseki Sho Juku system of Japanese calligraphy and painting as well as the Vice President of the Kokusai Shodo Bunka Koryu Kyokai, which is based in Urayasu, Japan.

The private service was attended by around 20 people, mostly members of the Kobara family and H. E. Davey Sensei and Miyauchi Somei Sensei, two of his closest students of shodo. Although Kobara Sensei taught many people the ancient art of brush calligraphy over several decades, only four people ever received Shihan-Dai, the highest level of teaching certification. Davey Sensei and Miyauchi Sensei are the last two living Shihan-Dai of Ranseki Sho Juku shodo. They lead the Wanto Shodo Kai, "East Bay Shodo Association," in Oakland, California. Davey Sensei is also the Director of the Sennin Foundation Center for Japanese Cultural Arts, where classes in Integrated Shodo & Meditation are offered.

A Jodo Shinshu Buddhist service started the event, followed by a traditional offering of incense to Kobara Sensei by members of his family, Miyauchi Sensei, and Davey Sensei. The memorial service closed with comments from Kobara Kazuko, Kobara Sensei's wife. She recalled his deeply spiritual nature, how he viewed most everyone as members of his family, and how his last words were expressions of gratitude.

Following the service, refreshments were offered at the church social hall, which contained pictures of Kobara Sensei as a child, teaching shodo, receiving awards at international shodo exhibitions, and being presented with the Order of the Rising Sun by the Japanese government. 

Concepts in Japanese Art

FURYU
Furyu is composed of two characters meaning, “wind” and “flowing.” Like the moving wind, it can be sensed but not seen. It is both tangible and intangible in its suggested elegance. And like the wind, furyu points to a wordless ephemeral beauty that can only be experienced in the moment, for in the next instant it will dissolve like the morning mist.

FURABO
Relating to furyu, furabo indicates a person that roams about, unattached, fluttering like a slender piece of cloth swept by the wind.

FUZEI
Japanese aesthetic terms describing artistic feelings, sensibilities, and outlooks.

You can learn more about these ideas in The Japanese Way of the Artist by calligrapher H. E. Davey.

About Shodo

Expanded attention, deeper relaxation, increased focus and resolve . . . shodo students have a chance to achieve lasting spiritual transformation through the classical art of Japanese calligraphy (shodo). Simple step-by-step exercises let beginners and non-artists alike work with brush and ink to reveal their mental and physical state through moving brush meditation.

Kanji, or "characters," used in both Japan and China, have transcended their utilitarian function and collectively can serve as a visually stirring piece of fine art. Shodo allows the dynamic movement of the artist's spirit to become observable in the form of rich black ink. In shodo, you can sense both the rhythm of music as well as the smooth, elegant, and balanced construction of architecture. Many practitioners feel that the "visible rhythm" of Japanese calligraphy embodies a "picture of the mind"--and calligraphers recognize that it discloses our spiritual state. This recognition is summed up by the traditional Japanese saying: Kokoro tadashikereba sunawachi fude tadashi--"If your mind is correct, the brush will be correct."

Some Japanese calligraphers and psychologists have written books on the examination of our personality through calligraphy. Just as Western companies have employed handwriting analysts to help them select the best individuals for executive posts, the Japanese have traditionally expected their leaders in any field to display fine, composed script. This stems from the belief that brush strokes reveal the state of the body and subconscious mind--its strengths and weaknesses--at the moment the brush is put to paper. It has also been held that the subconscious can be influenced in a positive manner by studying and copying consummate examples of calligraphy by extraordinary individuals. Japanese tradition teaches that by using this method, we can cultivate strength of character akin to that of the artist being copied. Since shodo is an art form, it's not strictly necessary to be able to read Chinese characters, or the Japanese phonetic scripts of hiragana and katakana, to admire the dynamic beauty of shodo. Within Japanese calligraphy, we find essential elements that constitute all art: creativity, balance, rhythm, grace, and the beauty of line. These aspects of shodo can be recognized and appreciated by every culture.

About Art of Shodo

Art of Shodo offers reliable information about Japanese brush calligraphy, or shodo. Art of Shodo features the award winning art of Hiseki Davey Sensei, author of The Japanese Way of the Artist, Brush Meditation: A Japanese Way to Mind & Body Harmony, and other works. Davey Sensei's calligraphic art can be purchased through Art of Shodo, and Mr. Davey can be commissioned to create shodo art for your personal collection, home, business, or commercial use. He can be contacted at hedavey@aol.com.

Excerpt

Harmony is a central aspect of shodo. Harmony is frequently expressed through a state of dynamic balance. Balance in shodo is asymmetrical, which produces an active feeling of movement within the characters. One could liken it to a picture of a sprinter whose inclined running posture has been frozen by the camera. Seeing such a picture, you instantly have a sensation of movement, but this sensation is different from what you experience when viewing a photo taken of a runner at the moment he trips and is falling forward. Both photos show bodies inclined in the direction in which they are moving; the difference between the two is balance. Balance in shodo can also be witnessed through a natural alternation of heavy and light brush pressure, which in turn produces an oscillation of thick and thin lines of ink. If all the brush strokes are of equal thickness the work looks stilted, unnatural, and dead. --The Japanese Way of the Artist

Japanese Art

In Japanese art, space assumed a dominant role and its position was strengthened by Zen concepts.
Stephen Gardiner

Mu

This artwork was commissioned by a Facebook friend in Canada, Ms. Angie Kehler, and it now resides in her collection of Japanese art. It is the character mu, "nothingness," painted by H. E. Davey Sensei in the abstract and cursive sosho script. The calligraphy was done on a traditional shikishi, a piece of stiff paper, roughly 9 x 10 inches, and used in classic Japanese painting and calligraphic art. (Click on the images to enlarge them.)

The artwork is hand painted and one of a kind. It arrived in Canada in a shikishi specific frame from Japan. Many examples of Japanese calligraphy in the West are not traditionally and correctly framed. Since they are not traditionally framed, they don't really look right; since they are often not behind glass, they don't last very long before they start to deteriorate. This is not the case with the artwork produced by Davey Sensei, author of The Japanese Way of the Artist, for his customers.

"The artwork is beautiful. The movement is both exquisite and powerful."

Angie Kehler