Shodo Performance in Gifu - Japanese Calligraphy with Large Brushes 書道

Shodo is Japanese calligraphy, a writing art that goes back 1500 years when writing was introduced from China. Performances are done with large brushes as in this case at a festival in Gifu City where the Shodo performers did the characters of Saito Dosan, Oda Nobunaga, and Akechi Mitsuhide, samurai leaders who played a role in Gifu's history.

[@toeknee3868]

As a foreigner I'm lost I don't understand why. But it does look good though

[@queenlokilani]

Never thought they'd use a big brush like i seen in a game of mine 😂. So cool!

[@gwco.8227]

Who ever is speaking in the loudspeaker, can anyone tell me what is he saying ?

[@theonlygoodlookinghabsburg2081]

Dear Dave, why do you disable the like/dislike option? Enabling it would make the algorithm more favourable towards the video and thus will lead to more people watching and appreciating your videos.

[@kartikeyabhai8390]

Writing Sequence India(intu for chinese) to China (Cheen for us Indians) to Japan

[@kartikcaim751]

What

[@kartikeyabhai8390]

@@kartikcaim751 I meant writing travelled from India to china and then to japan

[@kartikeyabhai8390]

@@yolohat4570 boi, the earliest written manuscriptures are Indian......the earliest text written on rocks is Indus Valley from around 2500 BC....I never meant this style of writing but the whole form of writing in general

[@danaespag1425]

Hi - any idea what characters are drawn by the two last performers? At 4:43 I'm interested in seeing what they look like in printed form.

[@wassupbros4629]

i know the one on the right is 秀 but idk about the one on the left. I suspect it could be 光but i am not sure

[@broyhan]

光秀 just google the guys name

[@amandacartrettewithautism6885]

Angel Is Watching Nickelodeon On Pluto TV At The Arc Program, Ronin Dave.

[@ronliebermann]

When I lived in Japan I saw many examples of Japanese calligraphy. But I never learned how many Japanese fonts exist. I’ve also never learned how many Western fonts exist, as brought down from our Celtic origins. There could be ten thousand Western fonts, or more. This matters because fonts are so important. In particular, High German displays wonderful examples of literature which is elevated through the correct choice of lettering. So it’s clear that in the future, during the period of reformation, the entire catalogue of fonts will have to be narrowed-down to perhaps a hundred styles. The various Celtic languages may be culturally very different, but they can share the same fonts. For example, I can’t read German, but if I saw a German book with a font that I recognize, that would provide some indication as to the intent of the author. But let’s be clear: Nothing can be translated from one language to another. Books can be “transliterated” but so many cultural references are lost in the “transliteration” that it could never be called a “translation”. Genuine translation is impossible. If an American truly wishes to read German books, then first he has to live in Germany for ten years, and go to school. That’s just not practical for most people. And for that reason, cultures can never be combined. Japan will always be Japan, and America will always be America. Each country has its own unique culture, which can never be blended into a “global order”. And transliterated works don’t qualify for any kind of copyright protection. Most of the meaning of the original text has been lost. That’s a crime. A real crime which could be described as sabotage. Children don’t know that transliterated works are illegitimate. As adults, it’s our job to protect them from communist revisionists who seek to destroy all culture. Violence and Pornography translate quite well. The kids are drowning in it, courtesy of the Jews. The “image” is nowadays used as a kind of poison. Anyway, I mention all of this because I feel that at this point in time, it would be premature to engage in any kind of font selection. Before those choices are made, it would be worthwhile to examine the way that paintbrushes are used. I don’t know how many paintbrushes Rembrandt may have had, but certainly he used different kinds of brushes to achieve different dramatical effects. There are probably a hundred different paintbrushes which technically produce different outcomes. But I don’t know if these outcomes have ever been classified. If you had to paint the dialogue for a hundred operas, would a hundred different paintbrush textures impart a certain meanings? If it were up to me, I would teach children the use of a hundred paintbrushes as a purely technical skill. Some are bold and hard, some are delicate and soft, etc. So perhaps the styles of paintbrushes can be part of the larger job of teaching the children handwriting, and then calligraphy, and then painting. If the paintbrushes can be categorized according to expressive potential, that might make the job of choosing national fonts easier. It all depends on the educators who design the curriculum. In any case, I think that kids would be better off learning the use of brushes, calligraphy, and painting as a single unified subject.