English Translation: T. Kato
Artist and calligrapher
Tankei Maruyama visited the American University in Dubai on two occasions in 2009. In May she conducted a workshop on Japanese calligraphy at the Visual Communication Program. She returned in November for a second
workshop preceding an
exhibition of her calligraphy works at the Rotunda Gallery, AUD.
The following interview is intended as a short introduction to the artist and her art. She discusses here briefly issues related to her creative and professional path, including the education of the artist, the practice of calligraphy and the present day conditions of the art of calligraphy in Japan.
The complete interview can be read and downloaded as a bilingual (English and Japanese) PANOPTIKON PAPERS pdf publication below.Panoptikon: Where are you from? Tell us about your personal background. How did your early experiences, the place you come from, and the context you grew up in influence your career choices?
Tankei Maruyama: I come from Tokyo, Japan. I started practicing calligraphy at the age of three rather naturally under the family surroundings where my father appreciated Japanese calligraphy. During the Japanese’s rapid economic growth era of the 1960’s, it was rather common for children to learn one of various cultural activities and sports exercises such as Calligraphy, Kendo (Japanese fencing), Judo, Piano and Abacus. In this background, I continued Calligraphy and have continued my practice without a pause. My present state is a result of these continuous efforts and volition. My studying of Calligraphy was a chance coincidence. It may have been my destiny.
P: What is your professional and artistic training?
TM: I studied Japanese Language & Literature at Nihon University as well as Calligraphic Arts. I also studied various Japanese cultural practices such as the tea ceremony, flower arrangement, and ceramics alongside my continuous daily calligraphy exercise.
P: What were your early artistic influences?
TM: I studied under the guidance of renowned calligrapher Kakei Fujita, whom I acknowledge as my paragon and spiritual mentor. It was a great acquaintance.
P: Who constitutes the public (general and/or specialized) that you intend to reach with your work? Who do you produce your work for? Who are the clients for your work?
TM: I produce my work, in many cases, by request from art galleries such as galleries in Ginza, Tokyo, galleries in department stores and/or galleries owned by a corporation. I am always conscious of a character of the place (a city) where my exhibitions are held. For example, I have a color image of red in Hong Kong, neutral tints in Paris, dignified & elegant color in Japan, golden colors in Dubai, green in Germany, etc. The natural features and the cultural climate of the country, city and region are the first clue for me to start the creation of my work. I always hope that my work brings brightness and happiness to the room or house it decorates. I also have the experience that my hands and body moves freely without any subconscious images. It is a sort of incidental encounter how my work meets with a future owner.
P: How can you explain or introduce non-specialists to the types of work you produce?
TM: Explanation is a secondary issue. In the same way as the case of fashion (clothes), music, sculpture and picture, what is more crucial is whether or not you like it, how it makes you feel and whether the work speaks to you. However, in principle, Japanese calligraphy has only the two colors of black and white and the creation will be made in a moment. Therefore, what I need to explain as an introduction is that a calligrapher has to diligently train daily for an art of flash. Both physical and mental discipline is essential.
P: What are the main tools and materials of Japanese calligraphy? What equipment do you use?
TM: The main tools and materials are ink (Sumi), paper, brush and inkstone. The important point is that it takes many accomplished craftsmen a lot of time to properly make these tools and materials. I would like to stress the importance of appreciating this fact and the selection of properly made tools and materials. I use the best brushes, inks and properly aged papers to create calligraphy works with the quintessence of art.
P: How do you create your pieces? What are the stages of your work?
TM: What I see as essential is “Innocence”. “Thinking nothing” is the most important. As to the stages of work, I summarize them as follows; 1) decide on a sentence or a writing or a character 2) decide on a style of expression 3) decide on a size and select the tools and materials accordingly
P: What makes a calligraphic work strong for you?
TM: Practically speaking, I use all the necessary materials required for the desired image since the depth of calligraphy is incalculable. But essentially speaking, the fascination of the calligraphy arises due to its unsparing and endless process of learning. It is a disciplinary challenge. The calligrapher simply rubs an ink stick on an inkstone calmly and peacefully. (It may take an hour or more to make the ink for writing a few words). During this process, the calligrapher becomes free from this world and enters into the world where sometimes you may not even hear any sounds.
Then, the calligrapher dips a brush into the ink and starts facing to a paper. If you are not yet ready with a firm discipline, you will be beaten by the strength of white paper. It is a mysterious experience. Everybody wants to write well and neatly. But you will not be able to write well with this anticipation. When you are in a state of “nothing”, then you are able to create a strong work. This is why many are enthralled with the magic of calligraphy.
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