[One Day After Another…]
0:00/1:34
Narrado por Jorge Obregón
Narrado por Jorge Obregón
Another similar example of the use of calligraphy, highlighting its visual value, is the graphic representation of a fragment from the poem One Day After Another, featured in this work. Written by Taigu Ryōkan 大愚良寛 (1758–1831), a Zen monk and poet, the poem reflects on the arrival of spring and the enjoyment of life's simple pleasures.
Shimizu Kōshō transforms the ideogram for "day" (nichi 日; which also means "sun") with his ink strokes, starting with a form that resembles an embryo and gradually coming to life as time (or the days) pass.
Kōshō was a monk and abbot of the Tōdai-ji temple 東大寺, succeeding Kaiun, until he retired in 1981 and left the Buddhist monastic life. From that point on, he pursued a self-taught career as a painter and calligrapher. His work is characterized by spontaneity and by bold, energetic brushstrokes.
Another similar example of the use of calligraphy, highlighting its visual value, is the graphic representation of a fragment from the poem One Day After Another, featured in this work. Written by Taigu Ryōkan 大愚良寛 (1758–1831), a Zen monk and poet, the poem reflects on the arrival of spring and the enjoyment of life's simple pleasures.
Shimizu Kōshō transforms the ideogram for "day" (nichi 日; which also means "sun") with his ink strokes, starting with a form that resembles an embryo and gradually coming to life as time (or the days) pass.
Kōshō was a monk and abbot of the Tōdai-ji temple 東大寺, succeeding Kaiun, until he retired in 1981 and left the Buddhist monastic life. From that point on, he pursued a self-taught career as a painter and calligrapher. His work is characterized by spontaneity and by bold, energetic brushstrokes.
Another similar example of the use of calligraphy, highlighting its visual value, is the graphic representation of a fragment from the poem One Day After Another, featured in this work. Written by Taigu Ryōkan 大愚良寛 (1758–1831), a Zen monk and poet, the poem reflects on the arrival of spring and the enjoyment of life's simple pleasures.
Shimizu Kōshō transforms the ideogram for "day" (nichi 日; which also means "sun") with his ink strokes, starting with a form that resembles an embryo and gradually coming to life as time (or the days) pass.
Kōshō was a monk and abbot of the Tōdai-ji temple 東大寺, succeeding Kaiun, until he retired in 1981 and left the Buddhist monastic life. From that point on, he pursued a self-taught career as a painter and calligrapher. His work is characterized by spontaneity and by bold, energetic brushstrokes.