Ensō 円窓 Ensō in Japanese means "circle." In Japan's Zen sects, the circle symbolizes enlightenment and perfection. It is a common motiff used by artists to express "unhindered movement" of brush and artistic spirit.

The Calligrapher
Afaq Saleem started practicing Katori Shintō Ryū 香取神道流 (a style of Bujutsu 武術) in 1990 and calligraphy in 1996. He visits Japan regular. During the last three years he has been inspired by Zen calligraphy after joining a Sesshin (meditation group). He started to study under a Japanese Zen monk who is a direct descendant from the famous Hakuin Lineage (Hakuin 白隠; 1685-1769) in which the famous Yamaoka Tesshu 山岡鉄舟 (d. 1888) was also a follower. Yamaoka was a famous swordsman and samurai and one of the aspirators of Zen calligraphy known as Bokuseki 墨跡 (black ink brush writing by Zen priests or laypeople who practiced Zen meditation and wrote Buddhist sermons). Three famous calligraphers known as the Three Shu 三舟 or Bakumatsu no Sanshu 幕末の三舟 were:

1. Yamaoka Tesshu 山岡鉄舟 (d 1888)
2. Katsu Kaishu 勝海舟 (d 1899)
3. Takahashi Deishu 高橋　泥舟 (d 1903)
4. More Info (J-Site) Japanese Stie

Afaq has joined several Sesshin sessions in the past years and finds this a very eye opening and peaceful experience of great influence on his thinking and artwork. Afaq has been practicing martial arts for over 20 years and has worked with different masters inside and outside Japan. Afaq believes that the way of the brush is the same as the Way of Budō.

Afaq Saleem - Martial Artist, Calligrapher & Painter

• 20 years of Swordmanship
• 15 years Shodo
• 2 years Painting
• Shodo & Painting teacher State University
• Zen practitioner
• Founder of Shobukandojo-Holland

Calligraphy History

Calligraphy by Afaq RYUU = Dragon Scroll H = 190 cm. Very exclusive. Only one piece available. Price: $4,700 (includes shipping & tax)

Calligraphy originated in China, where the master Wang Xizhi 王羲之 (Jp. = Ou Gishi; 303-361) is credited with the creation of the art. In Japan, calligraphy is called Shodō (Jp. 書道, literally "way of writing"). Shodō was first introduced to Japan in the 8th century. The early Heian contemporaries Kūkai 空海 (774 - 835 AD), Emperor Saga 嵯峨, and courtier Tachibana no Hayanari 橘逸勢 are respectfully known as the Sanpitsu 三筆 (Three Great Brushes) of Japan, and their calligraphy is considered a true representation of Chinese calligraphy's timeless beauty.

In the 10th and 11th centuries these three were succeeded by the Sanseki 三跡 (Three Traces) -- Ono no Tōfū 小野道風, Fujiwara no Sukemasa 藤原佐理, and Fujiwara no Yukinari 藤原行成. These three masters developed what would become the first uniquely Japanese calligraphy style -- Wayō 和様. Fujiwara no Yukinari's style led to the creation of the Sesonji school, and Ono no Tōfū served as an archetype for the Shōren-in school which later became the Oie style of calligraphy. The Oie style was used for official documents in the Edo period and was the prevailing style taught in the Terakoya 寺子屋 schools of that time.

Japanese calligraphy has three basic styles: Kaisho 楷書, Gyōsho 行書, and Sōsho 草書. Kana is sometimes considered a fourth style. Kaisho, a block style with few movements, is also known as Shinsho. Gyōsho (Gyosho) is a median style that is not as stiff as Kaisho or as sweeping as Sōsho (Sosho). The latter is a flowing style composed with swift strokes. Its free movement and beauty has made Sōsho the most popular style with calligraphy masters. <Click here for more details on Calligraphy from the A-to-Z Dicitonary of Japanese Buddhism>

Kana, mentioned above as a possible fourth style, developed from the more radical forms of Sōsho. Kana, being the main script of Heian women, became known as onnade 女で (women's script). Waka poetry's growth helped to popularize kana. Kana, if compared to the bold Chinese calligraphy, is elegant and refined. Japanese calligraphy is given merit not only for its style, beauty, and meaning, but also for the character of the calligrapher which can be seen in the Kanji that is written.

Zen Calligraphy (Hitsuzendou)
True creativity is not the product of consciousness but rather the "phenomenon of life itself." True creation must arise from mu-shin 無心, the state of "no-mind," in which thought, emotions, and expectations do not matter. Truly skillful Zen calligraphy is not the product of intense "practice;" rather, it is best achieved as the product of the "no-mind" state, a high level of spirituality, and a heart free of disturbances.

To write Zen calligraphic characters that convey truly deep meaning, one must focus intensely and become one with the meaning of the characters they create. In order to do this, one must free his/her mind and heart of disturbances and focus only on the meaning of the character. Becoming one with what you create, essentially, is the philosophy behind Zen Calligraphy & other Japanese arts. 

Calligraphy by Afaq Optimal Use of Vital Power Famous Judo saying by founder Kanō Jigorō 嘉納 治五郎. Lit. = "Maximum Efficiency  with Minimum Effort"

Bun Bu Ryō Dō
We can also find many of these principles in Koryu techniques; the most advanced movements are sober, short but very direct and aiming at the most venerable parts of the body. This principle of utter focus and concentration together with other similarities is also found in Shodō. One mistake is fatal and can be directly seen on the paper or in martial arts; on the body. Furthermore the three main styles of Shodō may also represent the different levels in Budō and maybe in human life as well (i.e., childhood, youth, old age).

In Short: Shodō is a self portrait, as is Budō.
Afaq's motto is "More is Less, and Less is More." Furthermore he emphasizes that we must cultivate our inner self rather then chasing name and fame and money in whatever direction of art form. True nature should be felt with the heart and in person and seen with one's own true eyes. Do not see with the ear!

Afaq also warns us of "pseudo" teachers who are widespread in certain arts. Such people damage the old traditions to improve their own status, ego, and political power. This type of behavior is often seen in the world of martial arts and elsewhere -- often in the form of selling certificates in a most suspicious manner to bidders who desire certification. These practices heavily damage the true nature of these arts. The teachers who do this are dangerous and do not show us the true path towards enlightenment but rather guide people in the wrong direction. What use is a certificate on a wall if the true nature and essence are lost? As often the case, a certificate doesn't guarantee quality at all.

Says Afaq: "The old traditions try to teach us something much deeper, something that is timeless, more precious, and always relevant."

YouTube Video Calligraphy by Afaq Rou Kan Shin Shi Recalling the Old in the Present

Afaq's Japanese-Language Statement

書道の歴史
書道はその源を中国(中国では「書法」と言う)に見出せる。王羲之(おうぎし)が書を芸術の域にまで高めた。

日本には8世紀に伝わり、平安期の『三筆』と言われた、空海、嵯峨天皇、橘逸勢が表した書は時代を越えた真の中国書法を受け継いだ物であった。

10-11世紀にかけて、先人の表した書が仮名の出現によって日本独自の手法へと変化し、小野道風により「和様書道」が完成された。その後藤原佐理、藤原行成らを合わせて『三蹟』と呼ばれる書家が相次ぎ、隆盛を極めた。

時代が下り鎌倉期になると行成を祖とする世尊寺流、そこから別れた法性寺流、俊成流、定家流、伏見流、上代様、尊円流(清蓮院流叉は御家流とも言われる) の主流派が競い合う様になり、特に御家流は江戸時代に於ける教育熱の高まりと共に、寺子屋等で使われる教科書に用いられ、日本の標準書体であったと言える。

『和様書道』には三つの基本形があり、それぞれ「楷書」「行書」「草書」と呼ばれる。また特に「かな」は第四の型、と呼ばれる事もある。

「楷書」とは、点画を崩さずブロックレターとして書き、「行書」は「楷書」ほど型ばらずしかし筆の動きは滑らかに中庸の速さを保って書かれる中間の形、「草書」は「行書」を更に崩し流れる様に素早い筆の動きによって書かれる。「草書」の持つ特徴である自由で美し￿い動きが多くの書道家に好まれる所以である。

「かな」は上述した様に第四の型として分類すると、「草書」を更に崩した形として発達し、平安期には女性が主に書き、後に「女手」と言われるようになり、特に和歌の発展により「かな」の普及に拍車をかけた。「かな」と中国書法を比較すると、前者がより流麗で、洗練されているのが分かる。

『和様書道』はただ単に美しさ、形や意味のみならず、漢字を書く時と同様に書き手の個性が良く表現されるのである。

禅書道 (筆禅道)

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