In the world of Japanese calligraphy, two terms often emerge: Shodo (書道) and Shuji (習字). Shodo is defined as the way of writing, while Shuji is defined as penmanship. While both are interconnected within the realm of Japanese calligraphy, they are two separate things and represent distinct facets of the rich tradition of Japanese writing. Shodo and Shuji encapsulate different approaches, purposes, and philosophies behind the art of calligraphy, reflecting the multifaceted nature of this practice.
At first glance, the nuances between Shodo and Shuji may seem subtle, but their differences become apparent upon closer examination. Shuji, rooted in the practicalities of character formation and penmanship, finds its place within educational systems and everyday communication. In contrast, Shodo transcends mere writing to embody artistic expression, cultural heritage, and spiritual exploration.
Shuji, which refers to the study of Japanese kanji characters and the art of writing them correctly and beautifully, is often part of the regular school curriculum in Japan. Shuji is evaluated based on how well a student can write according to the teacher’s example, demonstrating proper stroke order, balance, and proportions of kanji characters. In essence, it is about learning how to write so that anyone can consider the writing beautiful.
Shuji of 赤心
Shodo of 赤心
Shodo, on the other hand, is about learning how to express yourself through writing. Shodo is not about how a character looks but what feeling it conveys to anyone who encounters it. In addition, Shodo is deeply rooted in Japanese aesthetics, culture, and spirituality, drawing inspiration from Zen Buddhism and traditional Japanese arts. Shodo is often pursued as a dedicated art form by artists and practitioners seeking to cultivate mindfulness, discipline, and self-expression through calligraphy.
Contrary to popular belief, studying Shuji to practice Shodo is unnecessary. Practitioners of Shodo must let go of the need to write calligraphy beautifully as one won’t be able to improve in Shodo while focusing only on writing beautiful and correct characters. This is not to say that Shuji is not important, only that it is different, as are the learning process and interpretation. Many calligraphy masters are experts on both Shuji and Shodo; however, those who have truly understood the meaning of both are capable of keeping them separate.
One point of contention between Shodo and Shuji is that Shodo’s works are sometimes illegible. When looking at a workpiece through the lens of Shuji, something unreadable is considered unappealing. However, in Shodo, the look of a character is not based on legibility but on personal expression. It is not about what it says but how it was written and what feelings it conveys. Shuji is appreciated on the outside when the character’s composition, beauty, and form are displayed. Meanwhile, Shodo is enjoyed on the inside as one experiences the feel and wonders how the artist wrote the piece.
Even though Shodo and Shuji are two separate things, this is not to say that practitioners of Shodo do not need to worry about learning skills such as how to use the brush, basic strokes, and composition. A practitioner can write Shodo poorly if not appropriately trained in techniques. Therefore, learning technique is essential in Shodo, and its emphasis on artistic expression should not be an excuse for poor writing.
In summary, while Shuji and Shodo are related to Japanese calligraphy, Shuji is more focused on practical writing skills and correct formation of characters, often taught as part of formal education. In contrast, Shodo encompasses a broader range of artistic and expressive practices, emphasizing creativity, individual style, and spiritual depth. The main differences between the two are how they are evaluated, interpreted, and enjoyed.