A work of calligraphy remains incomplete until it bears the imprint of the artist’s identity through a signature or a seal. The signature holds equal significance as the main composition, for a poorly executed signature can degrade the beauty of the entire piece.
Shodo artists employ various methods to sign their creations. The most prevalent approach involves using one’s first or last name. Westerners typically inscribe their signatures using Katakana, the Japanese syllabary for foreign words, but they can also adopt Kanji characters when appropriately translated.
In addition to one’s name, artists may use a pen name. A teacher or mentor may bestow these pseudonyms to hold special personal significance. The selection of Kanji characters for pen names should go beyond mere meaning and consider aesthetic appeal.
Pen names can encompass an artist’s teacher-given name, a Buddhist name (if ordained), or even a nickname.
In addition to the name, it is customary to include the word “KINSHO” [謹書] following the signature, signifying “respectfully written.” This word formally acknowledges that the calligraphy was crafted with humility and reverence. An abbreviated form of this is to use the Kanji “SHO,” [書] signifying “written by.” The decision to include “KINSHO” or “SHO” must consider the overall visual harmony within the work. (Example of Aikido calligraphy written by Toyoda Shihan and signed Toyoda Kinsho).
Signatures must adhere to the fundamental rules of writing and align with the calligraphy’s style. If the calligraphy is in Kaisho style, the signature should likewise be in Kaisho. Similarly, for Gyosho style calligraphy, the signature should match that style.
Since we read calligraphy works from right to left, signatures are placed as the last line on the far left, occupying the lower third of the composition. The signature must coexist within the artwork and complement and balance the overall piece.
In “Zen and the Art of Calligraphy,” Omori Sogen examines Yamaoka Tesshu’s signature. Tesshu was a renowned calligrapher, swordsman, and Zen master of the Meiji Period. Sogen elucidates how Tesshu’s signature evolved as he matured and gained enlightenment. He describes Tesshu’s earlier signatures as technically proficient but lacking vitality and appeal. In contrast, towards the end of his life, his later signatures are characterized as refined, delicate, controlled, and even divine.
Artists should not shy away from experimenting with their signatures. Signatures need not remain static but can be altered, modified, and refined. With practice and mastery of the brush, one’s signature can evolve and improve alongside one’s calligraphic skills.