«Calligraphy is music for eyes»

Chinese sages asserted, and knowingly. Calligraphic graphic arts are built on the basis of rhythmic harmony of lines, strokes, points, creates certain power vibrations in combination with the field of background, passing the endless gamut of human ideas, senses, moods.

The representatives of the western world are far difficult to be included in the mysteries of art of calligraphy, what to Chinese and Japanese, but the more interesting and richer than opening. Right on nothing unreserved creative fantasy is confirmed authoritative masters of the pas: «Structure of hieroglyph, his external look can give the most various impressions – a hieroglyph can as though motionlessly to stand, or to go, or to fly; to move, both, as if deleted from us or, vice versa, approached; he can as though quietly to lie in drowsiness or, waking up, to get up; a hieroglyph is sorrowful or, opposite, merry, he can pass rhythms both spring both summer both strike or the winters; can look like a tree, worn out beetles, or on the fine edge of knife or spear…; a hieroglyph can remind motion of streams of water or languages of flame, motion of clouds or haze, finally – game of sunbeams or lunar specks of light…»

From a treatise Tsay is Young (beginning of new era), translation of С.Н.Sokkolova-Remizova.

Understanding of beauty of hieroglyphic letter helps more deep and exact perception of the Japanese culture on the whole and the Japanese art in particular. Fundamental value of line, aspiring to the structural clearness and logical intercommunication of all of elements, so or differently, show up in all of spheres of spiritual and financial life of Japanese.

A high graphic culture the kernel of which is hieroglyphisity is both in architectural constructions and in the decorative patterns of the decoratively-applied art, and in the traditional painting.

Ryuseki Morimoto actively plugged a decorative aspect – coloured leaves of vasi (paper of the hand making) with gold and silver disseminations and refined frames in the context of exhibition. The showy good-lookingness of framings and backgrounds does not darken hieroglyphs, but yet more underlines their expressiveness. First on the Russian exhibition screens and fans are presented with a calligraphy. If on fans hieroglyphs began to write as early as epoch of Kheyan (IX-XII vv.), little screens (furosaki bebu), intended for the tea ceremony of tyanoyu, were never covered some images or inscriptions. Sensey Morimoto utilized these traditional objects, related to aesthetics and philosophy of tyanoyu, for creation of elegant compositions from separate miniature calligraphic works.

Master talks that to write little work more difficult, than large. Even the most miniature hieroglyph must possess the same power charged plastic arts, as well as large form.

The special place is occupied by work «Verses from thousand hieroglyphs», written on six kakemono (vertical scroll). This work, created in 536 Chinese penman of Chzhou Yuysy, became a canonical standard for Chinese and Japanese penmans, drawing which they demonstrated the trade level.

The poetic treatise of Chzhou Yuysy targeted at the sons of emperor and was made from thousand hieroglyphs, each of which repeated oneself never. A text is begun with description of bases of the universe, determination of meaningfulness of Nature, passes to reasonings about the political and public mutual relations of the states and people, about principles of governing the country, also touches mental and ethical and worldly questions.

Practically at once after appearance this labour became a standard for copying, what documentary certificates were saved about. The earliest fragments of copies are dated the period of Tan (VII-IX vv.). This work became the canonical example of calligraphic trade, what that like a train aid. The great number of artists and penmens in China and Japan was perfected the trade, rewriting «Verses from thousand hieroglyphs» in different calligraphic styles. Ryuseki Morimogo brilliantly presented own interpretation of this work, writing him, as talked already, on six kakemono.

As well as before, sensei Morimoto a lot of attention spares the «genre» of separate hieroglyphs, expressing through them the attitude, understanding of calligraphic the plastic arts. On an exhibition there is a lot of repetitions of the same hieroglyphs, written in different manners, that presents remarkable possibility of more deep contiguity with the element of art of calligraphy.

         As well,
         When new glorious brush
         Will purchase anywhere,
         You will bring home, will rinse
         And, finally, will test on business.