The Art of Shodō: Japanese Calligraphy

A look at Japanese calligraphy—or shodō—reveals a discipline that goes beyond visual art: it is a cultural, spiritual, and educational practice that has endured for centuries in Japan. In this article, you’ll discover what shodō is, its history, tools, styles, and how it’s practiced with mindfulness today.

The term shodō (書道) literally means “way of writing”: sho (書) = writing, and dō (道) = way or way. In Japan, Japanese calligraphy – or Japanese calligraphy in the plural – is much more than tracing kanji, hiragana, or katakana on paper; it is an artistic, cultural and spiritual discipline. It is practiced with traditional instruments such as the brush (fude), black ink (sumi) and craft paper (washi) and demands a precision that reveals the inner energy of the calligrapher.

Japanese calligraphy has its roots in Chinese calligraphy, brought to Japan between the fifth and sixth centuries B.C., mostly by Buddhist monks who copied sutras and religious documents. From these Chinese characters came kanji, adopted and adapted in modern Japanese writing.

During the Heian period (794-1185), calligraphy became a nativization in Japan: key figures such as Ono no Michikaze, one of the “Three Strokes of the Brush” (sanseki), helped create a style of their own called wayōshodō or authentic Japanese calligraphy. In this context, the use of hiragana also emerged, a cursive script used by women and court writers that gave a very Japanese character of fluidity.

In shodō, the so-called “four treasures of study” (bunbō shihō) are used:

• Fude (brush): bamboo handle and natural bristles, used in different sizes depending on the style.
• Sumi (ink): traditionally in a bar, it is ground on stone (suzuri) with water. There is also liquid ink for modern practice.
• Suzuri (ink stone): hard surface where the bars are inked, essential to achieve the intensity of black.
• Washi (rice paper): absorbent and delicate, ideal for capturing the expressiveness of the stroke.

Other auxiliary elements: the bunchin or paperweight, the shitajiki (protective mat), brush holder (fudeoki) and writing box (suzuri-bako) to store tools elegantly.

Kaisho (楷書) is the regular style, with defined strokes and rigid structure. Ideal for learning Japanese shodo calligraphy, technique and correctness. Each kanji is written separately and with balanced proportion.

Gyōsho (行書) is a semi-cursive style, with strokes that flow but remain legible. It is used when looking for a visual rhythm, less rigidity than kaisho but still order.

Sōsho (草書), also known as grass writing, is highly stylized and difficult to read. The ink seems to flow like a wind through the grass, and the stroke becomes emotional art rather than clear communication.

• Tensho (tensho): Inspired by the writing of ancient stamps, still used in hanko (Japanese stamps) stamps for their thick tracing and ancient shapes.
• Reisho (reisho): clerical style, with rougher and more formal strokes. It has been used in traditional inscriptions and posters, especially during the Edo period.

The Buddhist-Zen origin of shodō implies that calligraphy is not only technique, but also meditation. A single stroke reflects the calligrapher’s mental state and does not admit of correction: either it flows with intention or it betrays a lack of focus.

Practicing shodō requires total concentration, controlled breathing, and conscious movement. The calligrapher empties himself mentally and allows the brush to express his vital energy (ki), as a form of meditative art and Japanese mindfulness.

In Japan, shodō is taught from elementary school as a compulsory subject. Children first practice kaisho and then move on to more fluid styles, integrating art into their cultural background.

Today, shodō is still in force: there are school clubs, workshops and online courses to learn shodō and Japanese writing with a brush. Some combine traditional techniques with modern brushes (fudepen) for everyday use without the need for traditional ink stones or boxes.