The phrase BUNBU RYŌDŌ 文武両道, “the martial and literary ways are one path,” encapsulates a rich tradition between martial and fine arts. It speaks to the seamless integration of seemingly disparate disciplines—martial arts and calligraphy—into a unified practice, fostering physical prowess and spiritual growth.
Throughout history, particularly during peaceful times like the Tokugawa Shogunate in the Edo Period, warriors of the Samurai class cultivated various cultural arts alongside their martial training. Calligraphy, in particular, held a revered place among these pursuits. The Samurai recognized that the discipline and focus required for mastering the brush parallel the mental and physical discipline demanded by martial arts. Thus, calligraphy became an aesthetic endeavor to sharpen awareness, refine movement, and cultivate inner strength.
This integrated approach to martial arts and calligraphy was not confined to a specific era but continued through the generations. Figures like Yamaoka Tesshu during the Meiji Period exemplified the fusion of martial arts, calligraphy, and Zen practice to harness KI energy and cultivate profound internal strength.
In modern times, many prolific martial artists studied calligraphy as well. Aikido, in particular, stands out for its close affinity with calligraphy. Its founder, Morihei Ueshiba, was not only a master of martial arts but also an avid calligrapher. In his later years, Ueshiba delved deeper into calligraphy under the tutelage of his student, Seiseki Abe. This pursuit was driven by a desire to encapsulate and express his formidable KI energy. When asked, during an interview with Black Belt Magazine, why Ueshiba wanted to study calligraphy, Seiseki Abe answered:
““O-Sensei had a tremendous amount of ki. But in his aikido, the ki would disappear on a moment-to-moment basis. The ki of O-Sensei could not even be captured by a movie camera. It was so fast and invisible. O-Sensei wanted to capture his ki and wanted to learn calligraphy. He wanted to put his ki on paper.”
Even though calligraphy was integral to Ueshiba’s training, very few of his students followed suit, recognizing the intrinsic connection between calligraphy and Aikido. Despite its profound significance within the martial arts community, the cohesive teaching and discussion of Japanese Calligraphy within Aikido training remain relatively rare—a facet deserving of greater exploration and acknowledgment.
Ueshiba’s contemporaries, like Jigoro Kano, founder of modern Judo, and Gichin Funakoshi, founder of Shotokan Karate, were also avid calligraphers. Other martial artists of the 20th century studied calligraphy but still needed to develop it to a higher degree. One of the few to do so was Omori Sogen, a teacher in the Jikishinkage Ryu school of swordsmanship. Sogen studied calligraphy under Yokoyama Setsudo in the Jobokudo School of calligraphy. He was also a Rinzai Zen master and developed a form of training in Zen with a brush, which he called Hitsuzendo (the way of the Zen brush), actively recognizing the merits of training in calligraphy along with martial arts and meditation.
From the Samurai era to modern times, practitioners have recognized the symbiotic connection between these disciplines, leveraging calligraphy to refine physical skills and cultivate inner strength. Despite its significance, the cohesive exploration of Shodo within martial arts remains relatively rare. Gohitsi Shodo Kai is committed to offering unique opportunities to delve into this rich tradition where the unity of mind, body, and spirit inherent in disciplined practice, honoring the timeless tradition of BUNBU RYŌDŌ.
