Tuesday, October 27, 2026

Traditional versus innovation

One of the key issues in art is about keeping to tradition versus innovation to keep up with the times. There are always advocates for both sides, and as someone who dabbles a bit in art, I am exposed to points raised by both sides.


On one side, we have advocates who say that an art developed through history and survived because of its traditions, and as the current practitioners, it is our responsibility to continue preserving those traditions. We have a responsibility to pass down a piece of history to future generations.
 
Advocates for innovation would argue that every field of art has evolved over time, with innovations to update them according to the times. An art that is not "updated" will eventually lose its resonance with people and relevance to society, and become lost. It is therefore necessary to innovate so that the art remains relevant and thrives.
 
I personally think that both sides are right, and it hurts the art more to obstinately stick with one side. Tradition is important for passing down history to future generations, but innovation is also important for remaining relevant. Obstinate tradition, however, leads to obsolescence, eventually leading to the very outcome that we want to avoid: the lost of tradition. Meanwhile, innovation without tradition has no roots, and therefore, is technically a new art that is trying to start from scratch.
 
Tradition is tried and tested by time. But the times change, and art needs to keep up too. This brings in the need to innovate. At the same time, we need to remember that not all innovation will survive. Out of everything people try over time, only a small percentage end up resonating with a wider audience, eventually taking root and become a new part of tradition.
 
As a member of an art community passing down tradition while innovating to keep up with the times, we have to remember that our ideas may not be accepted. That is the way of life. We can only hope that we keep practising tradition, and whatever innovation we have becomes an idea that others can resonate with, and eventually assimilate it into tradition. 


Friday, October 16, 2026

Three down for 2026

I finally selected the piece for submission to this year's Onchikai Shodo Exhibition 温知会書道展. I decided to go with the phrase "将能而君不御者胜", which is a revisit of something that I wrote before. 
 
A candidate which was not submitted:
 
The next one would be The New Year Exhibition of Sankei Sho International Association 産経国際書展新春展 with its deadline in November, which I have been more or less working on in parallel with this recently submitted piece.


Wednesday, September 30, 2026

September 2026 calligraphy "homework"

The "homework" pieces that I submitted for September 2026.

Hanshi kanji 半紙漢字: 花間一壺酒
 
Single character 一字: 棧
 
Hansetsu kanji 半切漢字: 月鎖千門静 天高一笛清
 
Unsubmitted pieces:


 
 

Sunday, September 27, 2026

Creating on physical media

I used to write poems, some of which I have posted on this blog before. In fact, I used to write them quite often. But not now. It has been a while since I wrote poems, whether in English or Chinese. And recently, when I thought about it, I kind of understood the reason.
 
It is about physical media.
 
My poetry-writing days were back when I wrote them in a notebook. I always carried a notebook around, and when an idea came in, I would write it down. Pen and paper--raw ideas, raw thoughts. I also don't like to make my notebooks messy, so I would frame that spontaneous idea in my head and wrote it down. No crossing out. Which means not much editing; whatever editing took place in my head, in that short time.
 
But with things going digital now, I rarely note things down in my notebook. When I have an idea, I would try to note it down in a text file. The problem is that I can procrastinate as much as I want. I can edit as much as I want. I would look at what I wrote, think it can be better, try to edit it, try to perfect it. But it would never be perfect. And so, it would always remain unfinished. After a while, I would lose interest. The file would either reside in a folder, forgotten, or deleted.
 
When I wrote in notebooks, like it or hate it, whatever is written down has taken shape; it has been "published". Creating on physical media is immediate. When I started blogging, I took it as an extension of my physical diary; my blogs are my online digital diaries, and I tried to keep them raw and unedited. It is also why you often find grammar or spelling mistakes in my posts, because I rarely look through them before publishing them. If I don't catch a mistake while typing, it gets overlooked.
 
You can also see this pursuit of perfection in my calligraphy. Again, calligraphy is physical media; once you put the brush to the paper, the ink is absorbed, and that's it. No editing is allowed. But I always want to make it better. And so I keep writing the same thing again and again, trying to make it better. For a single work, I can use up many many sheets of paper.

 
Which is where calligraphy exhibitions come in. They help me to "publish" my works, because they have submission deadlines. Like it or not, I end up having to submit something by the deadline, even if I don't think it is perfect yet. Exhibitions force me to stop trying to rewrite for perfection, which is an impossible goal.
 
This endless pursuit of perfection can also be seen in how I revisit phrases in my calligraphy. I would write something, then go back months or years later to pick up from where I left, to try to make it better. Simply because I want to create something better.
 
To me, creating on physical media is raw creative power. It captures the moment. A lot of things created on physical media may never be shared with others, but a work has been brought into this world nonetheless. 
 
Maybe I should start writing poems on notebooks again... 

Friday, September 25, 2026

Mid-Autumn Festival 2026

Today is the 15th day of the 8th lunar month, which means it is the Mid-Autumn Festival aka 中秋节. So this is the mandatory 中秋 post.
 

 

Friday, September 18, 2026

Violet Evergarden Chamber Concert in Osaka announced

 
Violet Evergarden Chamber Concert will take place on 14 November 2026 at The Symphony Hall in Osaka. There will be two performances, at 14:30 and 18:00 respectively. This is a strings quartet with piano and harp, and songs will be performed by TRUE, Chihara Minori, and Yuuki Aira. The music will be performed by the Heartbeat Ensemble.
 
My overall thoughts on Violet Evergarden The Movie

Events:
 
Translations of short stories:
Gilbert Bougainvillea and the Fleeting Dream (unofficial translation of "ギルベルト・ブーゲンビリアと儚い夢")
The Starry Night and the Lonely Two (unofficial translation of 星降りの夜とさみしいふたり)
Diethard Bougainvillea's If (unofficial translation of ディートフリート・ブーゲンビリアIf) 
The Tailor and the Auto-Memories Doll (unofficial translation of 仕立て屋と自動手記人形)
 
Tellsis (Nunkish) translation:
Last line of Violet's final letter to Gilbert
 
Insights on the movie:
 
Audio commentary notes:
 
 
All posts related to Violet Evergarden.
  

Tuesday, September 08, 2026

A collection of random characters

This is a collection of random characters I wrote over the past few months.
 

 

Thursday, September 03, 2026

Revisiting an old phrase for upcoming exhibitions

风声雨声读书声声声入耳
家事国事天下事事事关心
 
This was a phrase I came up with many many years ago. I thought it would be a good idea to use this phrase for upcoming exhibitions. However, the challenge is that there are two characters that keep repeating: 声 and 事. It is very difficult to create a good piece of calligraphy when the same character keeps appearing, but I want to take up this challenge.
 
At the same time, due to paper size, it is just not practical to do so sometimes, so I decided to change it a bit for an upcoming piece. This is the draft.
 
As you can see, I changed the phrase to
风声雨声读书声千声入耳
家事国事天下事万事关心
to avoid three consecutive 声 and 事 when written using 半切 hansetsu paper.
 
For 二六 (2x6 feet) paper, I should be keeping the phrase in its original form, but using a layout that avoid grouping the three consecutive 声 and 事 together.
 
Update 9 September 2026: This is the draft for the 二六 (2x6 feet) paper version.

 
 
 

Monday, August 31, 2026

August 2026 calligraphy "homework"

The "homework" pieces that I submitted for August 2026.

Hanshi kanji 半紙漢字: 永結無情遊 (this was rated quite highly)
 
Single character 一字: 菲
 
Hansetsu kanji 半切漢字: 草閣共招溪上月 茶爐重和巻中詩
 
Unsubmitted pieces:



July 2026 calligraphy "homework"

Monday, August 24, 2026

My first calligraphy exhibition piece

Many years ago, when I first started learning calligraphy, my teacher asked me to write something so that she can help me submit it for an exhibition. This was the piece that got submitted.
 

眼にあてて海が透くなり桜貝 
(めにあてて うみがすくなり さくらがい)
This is a poem by 松本たかし (Matsumoto Takashi).
 
I even drew the crabs based on what I learned during art class in school.
 
I actually don't remember where this piece was submitted, because it was many many years ago. I think it was for a local exhibition in Yokosuka, but I could be wrong. 

Saturday, August 15, 2026

43rd Sankei International "Sho" Exhibition (第43回産経国際書展) at the Tokyo Metropolitan Art Museum

I submitted two works for the 43rd Sankei International "Sho" Exhibition (第43回産経国際書展) and received notification that one of them was selected for the exhibition. Today, I made my way to see my work on exhibition. 

There is only one venue in Tokyo for the Sankei International "Sho" Exhibition and it is at the Tokyo Metropolitan Art Museum, spanning 12 exhibition halls (4 on each floor, on B1, level 1, and level 2; basically, these are all the exhibition halls at the museum except for those used by the museum for its own exhibits). Out of the 12 exhibition halls, 10 were used for the exhibition, while the remaining 2 halls were used for the "junior" section, displaying works by school students. Out of the 10 halls, works submitted by the public (from all 47 prefectures in Japan, as well as those who submitted from overseas) took up about 4 halls; the remaining 6 halls displayed works by members of the Sankei Shokai Calligraphy Association.
 
Here are some of the pieces on exhibition. 



Here are some of the winning works by students.
 
There were also submissions from other countries, including Italy, the U.S., Malaysia, and even Singapore. The submissions from Singapore were mainly seal carvings.

 
I timed my visit to day because there was also a calligraphy demonstration, where the two calligraphers who received the top awards were asked to demonstrate how they go about creating their works.

This is my work on display in section 81 of the exhibition, similar to last year.

 
Last year, my work was selected for the first time for the 42nd Sankei International "Sho" Exhibition. This makes it the second consecutive year that my work has been selected for this exhibition, and the third consecutive year that my work has been selected for a national-level calligraphy exhibition. I hope to continue my submission cycle as outlined here.


Tuesday, August 04, 2026

Create tools and services to solve a problem, don't put the cart before the horse

I recently watched a video about the low rate of generative AI use in Japan, compared to the U.S. and China.
 
 
My own thoughts about the low rate of generative AI use is that, generative AI is a tool, a service. In the past, we invented tools and services to solve problems that we faced, to help us address specific issues. We didn't invent knives, then thought about what to cut with them. We needed to cut things, and so we invented knives.
 
This still holds true today. The reason why people use tools and services is because they solve specific issues that those people faced. If companies provide generative AI tools and services that addresses such needs, people will use them. Therefore, a government goal of "increase generative AI use to 80%" is pointless if you are just trying to ask people to use generative AI more. Such a goal should be about providing assistance to companies to develop tools and services that people need. When they can address a need, when they can supply something to meet a demand, there will be a market, there will be users.
 
Developing a service and hoping people will adopt it is not a transformative idea; it is taking a gamble. And for the many AI companies out there who took that gamble, I think it is only right that we leave them with the risks, instead of trying to provide public funds as assistance. After all, these companies are the ones winning big if their gambles pay off. Providing a safety net to risk-taking is not conducive to transformative ideas; rather, it breeds complacency because companies know they bear less risk, and therefore can be less meticulous.
 
Hopefully, the AI companies can come up AI services that meet actual needs, rather than just hoping that consumers will find a use for something that they invented. 

Friday, July 31, 2026

July 2026 calligraphy "homework"

The "homework" pieces that I submitted for July 2026.

Hanshi kanji 半紙漢字: 醉後各分散
 
Single character 一字: 膏
 
Hansetsu kanji 半切漢字: 敷華就實
 
Unsubmitted pieces:




Update: The hansetsu piece was selected as one of the better pieces for this month's homework and published in the calligraphy society's monthly newsletter.