Ziya Art Center and Oakland Asian Cultural Center Present:

The Art of Sho
Calligraphy of East Asia Workshop

Professor Ronald Y. Nakasone
A member of the Core Doctoral Faculty at the Graduate Theological Union in Berkeley,
with over 150 scholarly works on Buddhist thought, ethics, and aesthetics

January 15, 2019 from 6 – 8 p.m.
388 Ninth Street, Suite 290, Oakland, CA 94607

Registration: $20
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What to Expect from the workshop

Participants will practice rinsho by “seeing” exemplary calligraphy samples, and by “writing” three fundamental operations—movement, pressure, and rhythm—of the brush. We will touch on the aesthetic of space and line.

In East Asia the traditional study of sho (calligraphy), rinsho 臨書—seeing 臨and writing 書, looks to exemplary samples of calligraphy for instruction and inspiration. “Seeing” involves knowing how lines are executed. “Writing,” means to discover the physical operation of the brush, i.e., the movement and pressure of the brush, vis-à-vis the texture of ink and the writing surface, and to replicate its operation. Knowledge of the meaning of the kanji is also important.
           
Lines can be seen everywhere. Some lines are harsh and cold; others are soft and fluid; others are dynamic, bold, and rhythmic.

A single brush stroke can exhibit strength, vigor, steadfastness, profundity, and playfulness. While moving across the writing surface, the brush creates space, an essential aesthetic quality. Space is not a passive medium in which forms are located or where events occur, rather it defines and is the source from which form emerges.

Form in turn creates space that gives meaning and efficacy to form, highlighting the interplay of form and space. In the Art of Sho, the space that appears when the ink-laden brush moves across the writing surface reveals the “spaceless” abode of the writer-artist’s kyōgai, “spiritual dwelling-place.”

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About the Instructor

Ronald Y. Nakasone believes the Art of Sho (calligraphy) to be an opportunity for the artist to give form to his or her formless spiritual landscape.

The Museo de Arte Contemporaneo in Santiago, Chile hosted his most recent solo exhibition in 2017. A member of the Core Doctoral Faculty at the Graduate Theological Union in Berkeley, he has published more than 150 scholarly works on Buddhist thought, ethics, and aesthetics, Aging and Spirituality, and Ryukyuan (Okinawan) Studies.

He co-edited the two-volume Asian American Religious Cultures (2015).

Artist’s website: www.formlessform.net

Registration: $20
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Visit the 5th Calligraphies in Conversation Exhibition for FREE

Over 70 artworks are on display at OACC from around the world including China, Czech Republic, France, Hong Kong, Hungary, India, Indonesia, Iran, Italy, Pakistan, South Africa, Switzerland, Taiwan, Turkey, UK, and United States. Curated by Arash Shirinbab, curatorial team of Calligraphies in Conversation, and Donna K. Khorsheed, Program and Artistic Director of OACC.

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The full list of participating calligraphers and artists include: 2flui Simon Cyril, Achyut Palav, Akshaya Thombre, Arash Shirinbab & Forrest Lesch-Middelton, Bruno Riva & Katia Bagnoli, Charlotte Chan, Chen Forng-Shean, Chris Paschke, Christine Dabadie-Fabreguettes, Claire Kito, Debra Self, Elisabeth Burgun, Fatemeh Ojji, Feng Jin, Guntur Darmawan, Hamidreza Safizadeh, Hoonaz Afaghi, Janet Martorello, Jin Feng, Katie Leavens, Kristian Kabuay, Leesette Turner, Leon Sun, Marcy Robinson, Meredith Jane Klein, Mohammed Aiyyoob Akram, MohammadReza Dehshiri, Mok Kam Cheung, Monica Dengo, Motoko Kamada, Naomi Teplow, Nikola Klanicova, Pamela Rickard, Prabhakar Bhosale, Raoul Martinez, Renee Owen, Rita Planchon, Ronald Y. Nakasone, Rupali Dhamane, Rutu Palav, Salma Arastu, Salva Rasool, Sehar Shahzad, Sherrie Lovler, Shubhangi Gade, Stefan Arteni, Susan Duhan Felix & Refa1, Susan Frame, Takako Matoba, Tashi Mannox, Thomas Ingmire, Tung Ho, Virginie Cadart Travadel

Registration: $20
Register for the workshop by clicking on the "Buy Now" button below:

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