Over a week after the few days spent with Kaz Tanahashi at Great Vow Zen Monastery I am considering how deeply it has effected me. Kaz led a workshop on Japanese calligraphy. Being an artist I'm extremely interested in the art and how it may be incorporated into my own work. I went to the workshop looking for ways to become a better, more sincere artist. I left realizing that I had been introduced to a lot more than that.

The history of Japanese calligraphy begins in China were the characters were originally developed. First they started out as pictographs more likely drawn in the earth. Later they were carved in bone and wood. This method dates back to the twenty-eighth century BCE. As tools developed they were carved in stone. After the development of ink and brush the characters shifted due to the change of medium. This writing style was introduced to Japan about 600 CE.

Japanese calligraphy has been highly influenced by, and influenced, Zen thought. There is an emphasis on the moment. The calligrapher has but one chance to create a mark. There is a demand for concentration as a lack of confidence is very apparent. Through attentive brushwork the calligrapher learns much about the mind. In Zen calligraphy, or Hitsuzendo, there is an emphasis of "no-mind" rather than skillful craft. In this state of "no-mind" there is no separation between the artist and the craft.

In line with these ideals Kaz taught us the importance of learning and then the importance of unlearning. In the beginning of the workshop Kaz taught us in a way that I imagine is not much different than how Japanese elementary students learn calligraphy. We looked at an example of the character and attempted to duplicate it as faithfully as possible. Over and over we repeated the same character, developing an understanding of its subtleties. We had the opportunity for Kaz to hold our hands, literally, wherein he would hold our hands and direct the brush. This was a great opportunity to directly experience the attention and delicate nature of a master.

After some time he directed us to improvise; to create our own version of the character. Then we were set loose to be wild and experiment. This was the unlearning part. I found it rather freeing and refreshing. In line with this type of unlearning at the end of the workshop Kaz did a public demonstration wherein we had the chance to see him create some of his one-stroke paintings.

On Sunday Chozen-roshi, co-abbot of Great Vow, gave a wonderful talk pointing out the variety of lessons we can learn from brushwork. The main point that stood out to me was how a skillful calligrapher is attention to each brushstroke, finishing each cleanly and starting each freshly. There isn't regret, "oh, that stroke was all wrong. I should just give up." In a similar way a student of Zen is attentive to each moment. She also pointed out in calligraphy the delicate nature of various pressures. At times only the thin delicate tip of the brush makes a mark. At other times one presses the whole brush on the paper. In a similar way to live our lives skillfully we learn when to press harder and when to let up.

I noticed that when Kaz talked about the subtleties of brushwork he was very simple and direct. Often he asked us, "Are you smiling? Is your brush straight up?" After returning home I find his voice ringing in my mind, reminding me to adjust my posture and general mood.

Kaz also gave a presentation about his work with World Without Armies. When I first heard about this project I found it to be idealistic and romantic. Through his presentation I learned that it is indeed possible for a country to have no army, as is the example with Costa Rica. Kaz's enthusiasm about the project was contagious and showed me that it is indeed possible.

The more time I spent with him the more I was struck by his down-to-earth nature. He's a mild and humble old man; full of much experience and mastery. He is a modern Renaissance man - aikido master, Shinto priest, artist, translator of old Japanese texts, and peace activist. I was really inspired by the combination of his skill and his humility. He became much more than a calligraphy teacher, he became a living example of skillful living.