Text by Eido Tai Shimano
Calligraphy by Kogetsu Tani
Shambhala Publications: Boston, 1992.
160 pp., $50.00 (clothbound).


THE ZENGO OR ZEN WORDS and phrases in Kogetsu Tani’s calligraphy cut right to the heart of dharma. Brief texts by Eido Tai Shimano frame the calligraphy by introducing the word or phrase in English and providing essential commentary on the tradition. At least since the T’ang dynasty, Ch’an and Zen masters have used the calligraphic scroll as a pointer or a reminder, an agent to provoke thought and preparation for zazen, not as a substitute for daily practice. But how can calligraphy and short commentary achieve fuden no den, that is, how can it “transmit the intransmittable” dharma?

Calligraphy becomes an expression of practice reflecting characteristics of the individual master. The fourteenth-century Zen master Ikkyu was noted for his very bold, high-energy hand; the hand of the eighteenth-century “snow country” Zen recluse Ryokan is as spidery as the mountain trails he roamed.

In Zen Word, Zen Calligraphy the authors have achieved a rare balance between inspiration and scholarship. Kogetsu Tani’s hand is strong without appearing to be highly “practiced,” a style that retains some rough (human) edges. He draws from the (nearly impossible to read) grass or “running hand” a vertical speed and grace in Chinese characters, retaining enough of the more formal and readable “clerk’s hand” style that a student can quickly count brush-strokes and enjoy some dictionary work.

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