January 7, 2025 • 42 mins
Can artwork inspire us?
Beyond mere decoration, art forms like calligraphy have the unique ability to evoke feelings of motivation and purpose.
In this episode of the Ikigai Podcast, Nick welcomes back Naoko Mikami to explore how calligraphy can be a powerful source of inspiration, helping to set the tone for a positive and fulfilling day.
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Speaker 1 (00:00):
Well, probably for some people, maybe to spell this
phrase is enough, maybe, but Ithink the best way is to focus
on small things that make youhappy, easily like a kind word,
a good meal or the beauty ofnature.
(00:22):
For me, a good meal is workingvery much.
So, even on tough days, lookfor something to appreciate and
remember.
It's okay if not every momentfeels great, it's okay.
Speaker 2 (00:58):
Find your Ikigai at ikigaitribecom.
This episode, episode 95 of theIkigai podcast we have
calligrapher and artist NaokoMikami joining us again, so it's
good to see you again, Naoko.
Of course, we met about a monthago in Tokyo.
Speaker 1 (01:18):
Yeah, thank you for having me here again.
Speaker 2 (01:21):
It's my pleasure we're going to talk about life
again.
It's my pleasure we're going totalk about life, calligraphy
and how they merge to make everyday a good day.
Yeah, but let's touch on why wemet.
Because you joined my workshop,and that was in Tokyo, and you
presented this wonderfulcalligraphy workshop.
(01:44):
So how was the experience foryou?
Speaker 1 (01:47):
The workshop was a truly rewarding experience.
I was moved by theparticipants' enthusiasm and
openness to learning about thenew things.
I felt positive energetic vibesthere.
Speaker 2 (02:04):
Fantastic.
Speaker 1 (02:04):
Yeah, I felt positive energetic vibes there,
fantastic.
And yeah, and this time my maingoal was for everyone to
experience calligraphy.
Normally I would explaindetails like how to grind the
(02:30):
ink, how to hold the brush andvarious techniques, but if we
focus too much on those thingsfrom the start, the magic of
this kind of experience can fade, so instead I wanted them to
feel the unique sensations likethe brush gliding across the
paper or the smell of the ink,things that we don't often
encounter in daily life.
(02:51):
It was wonderful to see processof creating their own work.
It was a really greatexperience for me to join the
retreat.
Thank you very much.
Speaker 2 (03:05):
Well, that's very wonderful to hear, very
satisfying to hear, and I knowyou put so much effort into
preparing for the workshop andyeah, it was very special and
thank you, it's veryexperiential.
As you said, we actuallypractice calligraphy and we
focused on certain terms relatedto kokoro which we actually
(03:28):
talked about previously.
Yes, yeah yeah, yeah, but yeah,I really appreciated the effort
you put into not only decidingthe kanji and the ink and
brushes and everything set upfor each participant, but you
also delivered a wonderfulspeech, so would you like to
share part of that speech?
Speaker 1 (03:51):
Okay, so during the retreat I mainly talked about
traditional Japanese concepts.
Like you said, I explainedideas like kokoro heart, mind
and spirit, and budoshin,immovable mind, and zanshin,
lingering mind.
We actually discussed aboutthem in our last podcast.
(04:15):
Yes, I wanted to show whyJapanese culture has
traditionally placed so muchimportance on training the mind
and spirit alongside of physicalskills, and I also explained
(04:36):
the phrase, one of the Zenconcepts.
Speaker 2 (04:41):
Yes Now, you put a lot of effort into your speech
and it was inspiring.
And actually I came to you andsaid I'm doing this retreat in
Japan and could you come up witha theme?
And you came up with NichiNichi Kore Ko Jitsu, which I
thought was fantastic and we'llget into the meaning of it.
(05:02):
But actually behind you is alsoa special piece of calligraphy
you you brushed to show ourparticipants and yeah, that was
very special when you presentedthat.
It got a lot of uh oh, sort ofresponses.
So what does Nichi Nichi KoreKo Jitsu mean?
Speaker 1 (05:26):
It means every day is a good day, but it doesn't mean
every day will feel perfect.
It's about finding somethinggood or meaningful in every day,
no matter what happens.
It reminds me, it reminds us tovalue each day and see it as a
(05:48):
chance to grow or learn.
It captures the Zen idea ofbeing mindful or accepting,
reminding us to stay present andsee the beauty in each moment.
Speaker 2 (06:03):
Yeah, it was funny during the retreat we really use
this phrase a lot.
Obviously, we had manywonderful experiences.
We did all these things likeindigo dyeing, like eyes on
there and pottery and doingZazen and other things, even
sutra tracing.
(06:24):
But we also had some challengesand I think when we had the
challenges, I think we saidevery day is a good day.
Speaker 1 (06:33):
Exactly.
Speaker 2 (06:35):
To remind us like okay, we've had a bit of a
challenge but actually today'sbeen a good day.
We've had some meaningfulthings, challenging things, and
I think it also reminds you,yeah, to be grateful that you,
you know you are alive, you havethis day, and even if it's
frustrating it's still somethingto learn from.
Speaker 1 (06:58):
Yes, yeah, it was really.
Speaker 2 (07:01):
It was really wonderful to see them use it, so
I think it's something they'llremember for the rest of their
lives, and I will too.
So I guess the challenge ofthis phrase is how to apply it
to your life.
When you are having a bad day,you know when something goes
wrong, or a number of things gowrong.
(07:22):
So do you have some adviceabout that, or just remembering
the phrase kind of help?
Speaker 1 (07:31):
For me.
I use this phrase when thingsgo wrong, like you said, for
example.
It's a bit long story, but isit okay?
Speaker 2 (07:42):
Please go ahead.
Speaker 1 (07:44):
For example, several years ago, I organized an art
exhibition abroad for the firsttime.
It was an exciting opportunityto share Japanese culture there,
but it was also full ofunexpected challenges,
challenges.
The first problem happened whenthe artworks from Japan didn't
(08:09):
arrive on time.
That's not good, not good atall.
Due to a mistake in thedocuments, the shipment was
stopped at customs.
I had only a few days beforethe opening.
I had to communicate with theshipping company and customs
(08:31):
officers every day.
It was a stressful experience.
But finally, some of theartworks were released, but not
all were released, but not all.
So I had to deal with changingmany aspects of the exhibition
and also with apologizing to theartist who didn't be able to
(08:55):
exhibit.
In the end, oh no, no, no, Iwas so guilty, I felt so guilty,
I felt so guilty.
Well, and when the artworksarrived, there was another
surprise Ta-da, a large customsduty was charged.
(09:17):
Oh my, even though I thoughtall procedures were complete.
I thought all procedures werecomplete.
To keep the schedule, I had nochoice but to pay the fee myself
.
Speaker 2 (09:30):
I see.
Speaker 1 (09:32):
Yeah, it was a very expensive lesson, but I learned
the importance ofdouble-checking every detail for
international shipments.
And during the setup of theexhibition I also faced cultural
difference.
(09:53):
The local workers were veryrelaxed and not on time, which
made me feel anxious very much.
Speaker 2 (10:05):
In.
Speaker 1 (10:05):
Japan, things are usually very punctual, so this
was a big adjustment for me.
I ended up helping with thesetup myself to make sure
everything was ready.
Everything was ready, and onthe first day of the exhibition
(10:28):
there was one last challengeSome of the lighting equipments
stopped working, making parts ofthe display too dark.
I quickly worked with the staffto fix the problem and we
managed to borrow replacementlights just in time.
(10:48):
In the end, the exhibition wasa success and many visitors
shared positive feedback aboutthe beauty of Japanese
calligraphy and art.
Looking back, thesedifficulties taught me a lot
about problem solving andcultural understanding.
(11:10):
It was a stressful butunforgettable experience, also
because I was already in the redbig red with all the extra
costs.
It forced me to really put alot of energy into sales and I
(11:30):
managed to actually sell all theartworks.
Speaker 2 (11:34):
Oh, wow, awesome.
Speaker 1 (11:38):
Yeah, it was so frustrating at first.
But this phrase frustrating atfirst, but this phrase日々これ後日
reminded me to stay calm andlook for something good in each
day.
It really helped me keep apositive attitude.
Speaker 2 (11:54):
There you go.
Wow, Well, maybe that's part oflife If we have challenges.
If I mean, if everything waseasy, I guess we'd take it for
granted.
And then in you know thesemoments where the unexpected
happens and we're frustrated andchallenged, it kind of reveals
(12:16):
this inner strength or we canhandle adversity.
And then, as you just sharedwith us, it kind of gives you
this problem like oh, now I'm inthe red, I have to sell these
pieces to make a profit, and youdid so.
It kind of gave you this,almost like a superpower or
(12:38):
strength to think.
Yeah, you can say that yeah notonly do I have this power, all
these other problems, Now I havethis problem that I've I'm
going to turn into anopportunity and so probably
became a great day, especiallywith your the artists who you
help sell their art.
They must've been very happy.
Speaker 1 (12:58):
Yeah, I think so, I hope so.
Speaker 2 (13:02):
So yeah, if we're to advise people on if you're
having a bad day and you're justnot feeling, people on if
you're having a bad day andyou're just not feeling you know
, people will often say thatlike I got out of the wrong side
of the bed this morning or I'mjust not feeling it.
Do you think just saying thisis enough, or do you have any
(13:23):
other advice on how to make aday a good day?
Speaker 1 (13:27):
Well, probably for some people, maybe to spell this
phrase is enough, maybe, but Ithink the best way is to focus
on small things that make youhappy, easily like a kind word,
a good meal or the beauty ofnature.
(13:49):
For me, a good meal is workingvery much.
So, even on tough days, lookfor something to appreciate and
remember it's okay.
If not every moment feels great, it's okay.
The key moment feels great,it's okay.
The key is to stay open andgrateful.
Speaker 2 (14:14):
I think I like that advice.
I think also taking some actionhelps.
I mean, I wasn't feeling itthis morning and I was thinking,
oh, come on, nick, you've gotto go to the gym, you haven't
been this week.
And I'm like, oh, come on, nick, you've got to go to the gym,
you haven't been this week.
And I'm like, oh, I don't wantto go, you've got to go, just go
(14:34):
.
Just go and put your clothes onand go.
And so I went, and then I wasexercising and then I bumped
into a Japanese friend.
Speaker 1 (14:45):
Oh cool.
Speaker 2 (14:46):
So we had a good chat and he's saying, oh, nick, you
should do Zumba classes and losesome weight, zumba, some combat
classes.
And so, yeah, it was good tosee him and I was able to share,
you know, my retreat detailsand how it was a great success
and, yeah, it was really good.
(15:07):
And then I came back thinking,oh, today's a good day, I've
caught up with a friend and I'veexercised, so, yeah, it's
appreciating the small things.
But I think also, ken Moggytalks about starting small and
just start small.
So you know, put your shoes on,put your clothes on and then
just walk to the gym and thenthese positive things can happen
(15:30):
.
So, yeah, appreciation andproactivity seems to really help
, True.
So let's go deeper into thispiece you brushed.
So the piece behind you.
It has a modern appeal to it.
It has a modern appeal to it,and so, instead of a traditional
long kakejiku hanging scroll,it's more like a white canvas.
(15:55):
So why did you brush it on awider scroll or on this sort of
hanging canvas?
Speaker 1 (16:02):
Traditional Japanese kakejiku are long and narrow.
Kakejiku are long and narrow.
The proportion was designed forviewing in a tokonomai, a
traditional alcove in Japaneserooms For people from other
countries, other cultures.
Speaker 2 (16:33):
These long scrolls might look exotic maybe.
Speaker 1 (16:35):
And while they have their own charm, I sometimes
find them a bit outdated or outof place in modern settings.
The idea of using a widerformat came partly from my
husband's advice.
He's French, so he has adifferent sense of aesthetics.
He pointed out that for manyWestern homes, a wider scroll
would feel more natural andeasier to integrate into the
(16:58):
space.
This feedback really made senseto me.
It offers a way to honortraditional aesthetics while
adapting to contemporarylifestyles.
The wider format also gives asense of openness and allows the
meaning of the words to breathe.
(17:19):
I see it as a way of bridgingthe past and present, creating a
piece that respects traditionbut feels fresh and modern.
Speaker 2 (17:34):
It certainly felt fresh and modern.
I actually remember the moment,you know, your husband hung it
up and then slowly lowered itand I was like, oh, look at that
.
And yeah, like I guess we cancompare it to the scroll behind
me.
There's a clear border and insome way I guess you could say
the kanji almost looks a littlebit caged.
(17:56):
Yeah, it's sort of trapped inthis space.
It still looks very beautifuland attractive.
Yeah, yeah, yeah, yeah, I thinkyou're right.
Your piece with no frame, it'sjust almost like a blank canvas
and you've done your beautifulcalligraphy over it.
It does have this sense offreedom and fresh and modern and
(18:17):
it sort of can breathe.
And I noticed that you even puta smiley face stamp next to the
kanji.
That's often related to ski orto like, so that was quite
playful and unique.
Yes, but there are these otherdesign elements.
(18:39):
There's even those three littlered dots, uh-huh.
And you have three stamps on thepiece as well.
Do you want to touch a littlebit on that and why you decided
to be a bit more creative ornon-traditional with those
elements?
Speaker 1 (18:59):
Basically this stamp.
We use two name stamps on thepiece, so one is your name and
one is your artist name,something like that.
And the third one is like howcan I say?
A playful stamp, fun stamp,yeah, yeah, yeah, this.
(19:27):
You can put this stamp anywhereon your piece, but to keep the
balance of the artwork and forthis, nichi, nichi, kore,
kojitsu normally the name stamp,two name stamps and the third
stamp will be separated likediagonal or here.
(19:51):
I don't know why, but I feltright to put them together on
the corner.
And they're smiley.
Smiley is purely play, yeah, soit's purely play, yeah.
Speaker 2 (20:11):
Yeah, so it's quite unique and fun, yes, but also
very beautiful, thank you.
Yeah, I think we talked aboutthis last time, but there's
something about calligraphy.
Even if you can't readcalligraphy, there is this
(20:31):
appeal to the shapes and thecontrast of black ink on white
paper, and then there is themeaning behind the kanji, which
you've said is more importantthan the artwork itself, and
that's what we talked about.
So for someone to view yourcalligraphy, it's very enjoyable
(20:53):
and very.
It does evoke feelings ofcomfort or, you know, curiosity
or connection.
And I'm sort of leading now tothe experience of brushing
calligraphy.
So, as part of my retreat, Itook my clients to a Zen temple
(21:14):
where we practiced Shakyo, sosutra tracing just with a brush
pen.
But we were in the mostbeautiful hall and it had this
very conducive environment to dothe sutra tracing Like.
It was this huge hall and itwas bright and had this glorious
(21:36):
decorations on the roof and allmade the whole structures made
from wood, interlocking wood, nonails.
So just being in theenvironment was very inspiring,
but very quiet, very clean, andit was obviously an exercise to
(21:59):
encourage my clients to bepresent and mindful and have
that experience for about halfan hour, and so they were
tracing these kanji that theyreally had no idea about the
meaning of yeah, and in silenceand not trying to focus too much
on outcome or how they lookedand yeah, they really enjoyed
(22:25):
the experience.
So, as you're a professionalcalligrapher, you've done this
for many years and you're sogood that you can sell the work
you create.
So, when you practicecalligraphy, what is the
experience for you?
What do you experience?
Speaker 1 (22:46):
Well, this Shakyo thing reminds me of an
experience from when I used towork in International Budo
University, the martial artsuniversity.
I was the secretary ofpresident, mr Oka Oka sensei,
who was also a great kendomaster.
(23:08):
He started every morning bydoing shakyō in his office.
And should I explain aboutshakyō a little bit?
Speaker 2 (23:19):
Yeah, sure, why not yeah?
Speaker 1 (23:20):
Oh okay.
Shakyō refers to the practiceof copying Buddhist sutra by
hand.
In Japan, it is particularlyregarded as part of Buddhist
training and devotion, widelyrecognized as a means of
spiritual purification andprayer.
(23:41):
It is some kind of meditation,in a way, like meditating while
writing.
Anyway, go back to thePresident Oka Sensei's morning
routine.
Shakyo was his way of centeringhimself before starting the day
, and I believe it was animportant part of his process of
(24:06):
maintaining focus and clarity.
Watching him do this every dayleft a lasting impression on me.
It showed how a simple,repetitive practice can help
clear the and bring a sense ofcalm.
So, similarly, when I practicecalligraphy, I feel calm and
(24:33):
focused.
I think it's really, reallylike Shakyo.
Speaker 2 (24:39):
I see.
Speaker 1 (24:40):
On the other hand, when I'm making my works,
sometimes it feels like ahundred meter sprint.
Sometimes it feels like ahundred meter sprint.
I focus intensively and bamstart quickly and finish
everything all at once.
Of course, it's not always likethat, but there are times when
(25:05):
it happens.
There are times when it happensWell.
Anyway, both Shakyo andcalligraphy share this power of
bringing us into the here andnow, which I think is so
important in today's busy world.
Speaker 2 (25:21):
That is one of the fascinating aspects of
calligraphy in general and as anart piece, you really only have
one shot, yes, and you're notmeant to correct what you've
just brushed, because it'salmost like the idea of archery,
(25:41):
where it's.
You know, one shot, you've donethe shot, that's it.
You cannot retake that shotRight.
So that's fascinating because Iguess in Western art if you
felt, oh, I've done too muchhere, you could cover it up or
go over it later, whereascalligraphy you're sort of
(26:05):
trusting yourself, trusting theintention, trusting experience
and letting go.
Yeah, so I imagine when youfirst thought about becoming an
artist and practicing andcreating art, was there tension.
And how did you get used tothat tension of thinking?
(26:26):
How did you get used to thattension of thinking rather than
thinking?
Speaker 1 (26:35):
I've only got one chance of doing this rather than
I'm going to express myself.
It depends.
Yeah, yeah, yeah, yeah.
Sometimes I feel that I have aclear image and I follow the
image and brush very fast, orsometimes I have some hesitation
or some other options around meinto the calligraphy.
(27:03):
I take very long time to makeit, so it's hard to say.
Speaker 2 (27:13):
But now, as an artist , do you feel any pressure or
tension, or are you reallycomfortable with your craft?
Speaker 1 (27:20):
Yes, it also depends.
So it's like every day's mycondition it's different.
So yeah, yeah, yeah.
So sometimes I'm verycomfortable and confident, but
(27:42):
other days not that much.
Speaker 2 (27:46):
Like everyone else.
Yeah, yeah, not that much.
Speaker 1 (27:47):
Like everyone else, yeah, yeah, yeah, yeah, but I
try to make myself believe thatI can do it.
But if I failed, it's okay.
So it's really difficult toexplain this thing for me.
(28:11):
Maybe I'm still in the cloud,in the cloud.
Yeah, I'm looking for somethingin the cloud, maybe.
Speaker 2 (28:24):
No, that's fine.
It's yeah, because it is uniquecalligraphy and, as I said
before, I could look atsomething I can't read and think
, well, I can't really makemeaning of the kanji, but still
feel something and still thinkit's beautiful and balanced and
it evokes these feelings.
(28:47):
But I had another guest who isa calligrapher and she had the
expression that the ink neverlies.
So if there is hesitation oruncertainty, that will be
conveyed in the ink and if thereis this feeling of confidence
(29:07):
and freedom and, you know,playfulness, that will also be
conveyed in the ink.
So that's interesting, yeah.
Speaker 1 (29:17):
Yeah, yeah, yeah yeah .
Speaker 2 (29:20):
So that's the feelings I have when I look at
your piece.
Every Day is a Good Day,nichinichi Koreko Jitsu.
And, as I said before, it'squite non-traditional, and I
think last time when we spokefirst, you said you didn't
really like calligraphy.
When you were as a child or ateenager.
(29:43):
And then you also, I think yousaid you're not a calligrapher
who's really strict withtradition, so you're quite
expressive.
So how are you expressive withyour calligraphy and do you push
the boundaries of the craft?
Speaker 1 (30:02):
Yes, I do try to push the boundaries of my craft
while still respecting thetraditions.
Calligraphy has a long historyand I deeply value its roots.
At the same time, I believeit's important to adapt it to
modern life so that it continuesto resonate with people today.
(30:27):
For example, instead ofsticking only a traditional
kakejiku, I often experimentwith wider formats like this,
and I even created somecalligraphies on scrolls made
out of denim fabric.
Oh wow, yeah, I like that.
(30:50):
I like that experiment.
This makes it easier for peopleto display in contemporary
spaces while still appreciatingthe spirit of the art, of the
art.
I also enjoy blendingcalligraphy with other art forms
or unexpected materials.
(31:12):
Once I created a piece inspiredby the movie the Matrix.
I love that movie.
Yeah, I combined traditionalJapanese text with a modern
digital aesthetics, creating adialogue between the past and
the future.
Speaker 2 (31:37):
That's the perfect movie to choose to do
calligraphy for Awesome?
Speaker 1 (31:41):
Yeah.
So through these experiments,my goal is to make calligraphy
feel alive and relevant totoday's audiences, while
preserving its timeless beauty.
Speaker 2 (31:54):
Love it, love it.
That's fantastic, and I guessthat would also appeal to a
wider audience.
Speaker 1 (32:03):
Thank you.
Speaker 2 (32:04):
Thank you, thank you, thank you.
So, when you create beautifulcalligraphy, what feelings or
emotions do you experience whenyou look at your completed work
and you've just finished ormaybe later you go back and have
a look Are you analytical or doyou get more sort of emotional?
Speaker 1 (32:24):
Mostly emotional.
Oh nice, yeah.
I feel thankful when I see afinished piece.
For me, completing calligraphywork is about 80% of the process
.
The remaining 20 comes from theexpertise of the professional
(32:44):
kakeji craftsman who mounts it.
So seeing the completed hangingscroll for the first time is
always a special moment.
It's both exciting andnerve-wracking.
Speaker 2 (33:02):
Nice.
Speaker 1 (33:03):
When I deliver the work to the craftsman it's just
a thin sheet of paper, oftenwith ripples or creases from the
ink's absorption, but afterit's mounted it feels like the
paper has been dressed in an oldcouture gown.
Speaker 2 (33:26):
That's a good metaphor.
Speaker 1 (33:28):
Yeah, the transformation is so incredible
and I love the moment.
When I see the final scroll, Ialways think, wow, it turned out
so beautifully, knowing that isthe result of a wonderful
collaboration.
Speaker 2 (33:48):
That's something I didn't really think about.
Yes, so once you've done yourwork I mean, making the kakajuku
is also a highly skilledprocess and a traditional craft
and my understanding is lesspeople are learning that craft
and maybe it's getting harder tofind.
(34:09):
What do you call someone whomakes?
K?
Ya means shop, so kake Nandaro.
Speaker 1 (34:30):
We are.
I call him Hyouguya-san.
Speaker 2 (34:37):
And so when you've done a piece, do you just trust
it to them or do you?
Does the client have some inputor is there some discussion on
what colors to use and how howthick the framing should be?
Speaker 1 (34:52):
for the color, I ask the clients normally sure if
client didn't say anything.
I prefer to use white and thenegative space margin.
I decide myself.
Speaker 2 (35:09):
So, yeah, it's a collaboration.
And then they then go and makethe gown, so to speak, the frame
, and so I guess for them thereis this sense of responsibility.
This calligraphy, thisbeautiful calligraphy, now I
have to help frame and make it,you know, I guess, presentable
(35:34):
as a hanging scroll.
Well, there you go.
So that's interesting.
You kind of you get to see itin a new light once it's been
framed and turned into a scroll.
Yeah, wonderful.
So let's talk about selling.
When you sell a piece ofcalligraphy, what do you hope
(35:57):
the client will learn from thepiece?
What do you hope they will feelfrom the piece?
Speaker 1 (36:05):
I hope they connect with the message in the artwork.
I want the piece to remind themof something meaningful like
staying calm or appreciatinglife.
I hope it becomes a source ofstrength or inspiration for them
.
For example, one client boughta work as a gift for his wife
(36:31):
who was having a hard timestarting her own business.
He told me that the artwork'smessage of inner strength and
self-belief really spoke to herand gave her encouragement Nice.
Knowing that my work cansupport someone in such a
(36:53):
personal way makes me feel trulygrateful.
Speaker 2 (36:58):
Yeah, that's interesting because with
calligraphy, there is a message,yes, a tangible message, like
you can read it.
Yeah Well, with that in mind,let's go back to Nichinichi
Koreko Jitsu, because this pieceis available for purchase.
It's a wonderful piece, it'sinspiring, it's beautiful, it's
(37:22):
modern and it has that veryimportant message of every day
is a good day, as in every daycan be a day where you learn
something, from where you can beinspired, where good things can
happen where bad?
things happen, it's still ameaningful day.
(37:44):
So, yes, you can purchase thispiece.
So I think we'll put somephotos on the show notes and
I'll put a link to your websiteand provide your contact details
.
Speaker 1 (38:01):
Thank you.
Speaker 2 (38:03):
This would definitely be a beautiful piece for a home
, perhaps some corporate space.
Yeah, any thoughts or ideas onhow people could decorate an
environment with your piece now,Ko?
Speaker 1 (38:20):
So, as you mentioned, this Nijinichi Korekoji's piece
is not just art.
It's a reminder to value eachday.
Its modern design makes itperfect for any space and it can
inspire you every time you lookat it.
Speaker 2 (38:44):
So if this message speaks to you, the peace is
available yeah, and it'sbeautiful peace and something
that will give this positiveenergy to not only wherever you
hang it, but, I think, to yourlife.
So it might be good to give toyeah, someone you care about,
(39:09):
like a partner or a child orsomeone who is yeah, maybe
someone is struggling with a newbusiness or life and this
reminder is very helpful.
So every day is a good day, andit's been a good day to catch
up with you.
Speaker 1 (39:26):
Yeah, yeah.
Speaker 2 (39:29):
It was a wonderful day to have you at the workshop.
Thank you, I'm sure we'll worktogether in the future when I do
more retreats in Japan.
Yoo-hoo, so that was really fun.
So that was really fun.
So any, yeah, any final wordsor thoughts before we end this
(39:51):
episode.
Speaker 1 (39:58):
Maybe you can mention your website and anything else
you'd like to mention.
Normally, I work I make thecalligraphy with commissioned
based, so this is a very specialpiece, I think, and you don't
need to wait for a month tocomplete the kakejiku.
No, no, yeah, I can quicklysend it to anywhere, I think,
(40:23):
and so this is like a prayer foreverybody and for myself.
Every day could be a good day,so I hope your struggle or
anxiousness or anything, you cansee a good aspect of the day.
(40:47):
I hope so.
Speaker 2 (40:51):
I think they will when they see it.
So, yeah, why not?
Why not treat yourself to thiswonderful piece of calligraphy
with this wonderful message thatevery day is a good day?
And I have this belief thatthat piece has captured a part
of you now, cole, in your flowor your creativity.
(41:12):
So people have a part of yourcreativity with them and this
wonderful message that every dayis a good day.
And we're you know we're solucky to be alive, we have so
much to be grateful for, andthis piece can inspire you when
you're feeling down orfrustrated or anxious or
(41:33):
stressed, or even when you'rehappy.
It might inspire you to sharethe love, to share how good life
can be.
So I'd like to say every day isa good day with you in the
world Naoko.
And so by having this piece, Ithink that's what people will
feel.
Speaker 1 (41:54):
Yeah, nijinichi kore kojitsu.
Speaker 2 (41:57):
Ne Soda ne.
Every day is a good day, yeah,so it's been a great day
catching up.
We'll have information aboutthe piece, photos, links on the
show notes and, yeah, if you'rekeen to buy it, I recommend that
you do.
Speaker 1 (42:16):
Thank you very much.
Speaker 2 (42:18):
So thanks for joining me today, Naoko.
As always, good to chat withyou.
Speaker 1 (42:23):
Thank you, nick, have a great day.
Speaker 2 (42:26):
You too.
Well, probably for some people, maybe to spell this
phrase is enough, maybe, but Ithink the best way is to focus
on small things that make youhappy, easily like a kind word,
a good meal or the beauty ofnature.
(00:22):
For me, a good meal is workingvery much.
So, even on tough days, lookfor something to appreciate and
remember.
It's okay if not every momentfeels great, it's okay.
Speaker 2 (00:58):
Find your Ikigai at ikigaitribecom.
This episode, episode 95 of theIkigai podcast we have
calligrapher and artist NaokoMikami joining us again, so it's
good to see you again, Naoko.
Of course, we met about a monthago in Tokyo.
Speaker 1 (01:18):
Yeah, thank you for having me here again.
Speaker 2 (01:21):
It's my pleasure we're going to talk about life
again.
It's my pleasure we're going totalk about life, calligraphy
and how they merge to make everyday a good day.
Yeah, but let's touch on why wemet.
Because you joined my workshop,and that was in Tokyo, and you
presented this wonderfulcalligraphy workshop.
(01:44):
So how was the experience foryou?
Speaker 1 (01:47):
The workshop was a truly rewarding experience.
I was moved by theparticipants' enthusiasm and
openness to learning about thenew things.
I felt positive energetic vibesthere.
Speaker 2 (02:04):
Fantastic.
Speaker 1 (02:04):
Yeah, I felt positive energetic vibes there,
fantastic.
And yeah, and this time my maingoal was for everyone to
experience calligraphy.
Normally I would explaindetails like how to grind the
(02:30):
ink, how to hold the brush andvarious techniques, but if we
focus too much on those thingsfrom the start, the magic of
this kind of experience can fade, so instead I wanted them to
feel the unique sensations likethe brush gliding across the
paper or the smell of the ink,things that we don't often
encounter in daily life.
(02:51):
It was wonderful to see processof creating their own work.
It was a really greatexperience for me to join the
retreat.
Thank you very much.
Speaker 2 (03:05):
Well, that's very wonderful to hear, very
satisfying to hear, and I knowyou put so much effort into
preparing for the workshop andyeah, it was very special and
thank you, it's veryexperiential.
As you said, we actuallypractice calligraphy and we
focused on certain terms relatedto kokoro which we actually
(03:28):
talked about previously.
Yes, yeah yeah, yeah, but yeah,I really appreciated the effort
you put into not only decidingthe kanji and the ink and
brushes and everything set upfor each participant, but you
also delivered a wonderfulspeech, so would you like to
share part of that speech?
Speaker 1 (03:51):
Okay, so during the retreat I mainly talked about
traditional Japanese concepts.
Like you said, I explainedideas like kokoro heart, mind
and spirit, and budoshin,immovable mind, and zanshin,
lingering mind.
We actually discussed aboutthem in our last podcast.
(04:15):
Yes, I wanted to show whyJapanese culture has
traditionally placed so muchimportance on training the mind
and spirit alongside of physicalskills, and I also explained
(04:36):
the phrase, one of the Zenconcepts.
Speaker 2 (04:41):
Yes Now, you put a lot of effort into your speech
and it was inspiring.
And actually I came to you andsaid I'm doing this retreat in
Japan and could you come up witha theme?
And you came up with NichiNichi Kore Ko Jitsu, which I
thought was fantastic and we'llget into the meaning of it.
(05:02):
But actually behind you is alsoa special piece of calligraphy
you you brushed to show ourparticipants and yeah, that was
very special when you presentedthat.
It got a lot of uh oh, sort ofresponses.
So what does Nichi Nichi KoreKo Jitsu mean?
Speaker 1 (05:26):
It means every day is a good day, but it doesn't mean
every day will feel perfect.
It's about finding somethinggood or meaningful in every day,
no matter what happens.
It reminds me, it reminds us tovalue each day and see it as a
(05:48):
chance to grow or learn.
It captures the Zen idea ofbeing mindful or accepting,
reminding us to stay present andsee the beauty in each moment.
Speaker 2 (06:03):
Yeah, it was funny during the retreat we really use
this phrase a lot.
Obviously, we had manywonderful experiences.
We did all these things likeindigo dyeing, like eyes on
there and pottery and doingZazen and other things, even
sutra tracing.
(06:24):
But we also had some challengesand I think when we had the
challenges, I think we saidevery day is a good day.
Speaker 1 (06:33):
Exactly.
Speaker 2 (06:35):
To remind us like okay, we've had a bit of a
challenge but actually today'sbeen a good day.
We've had some meaningfulthings, challenging things, and
I think it also reminds you,yeah, to be grateful that you,
you know you are alive, you havethis day, and even if it's
frustrating it's still somethingto learn from.
Speaker 1 (06:58):
Yes, yeah, it was really.
Speaker 2 (07:01):
It was really wonderful to see them use it, so
I think it's something they'llremember for the rest of their
lives, and I will too.
So I guess the challenge ofthis phrase is how to apply it
to your life.
When you are having a bad day,you know when something goes
wrong, or a number of things gowrong.
(07:22):
So do you have some adviceabout that, or just remembering
the phrase kind of help?
Speaker 1 (07:31):
For me.
I use this phrase when thingsgo wrong, like you said, for
example.
It's a bit long story, but isit okay?
Speaker 2 (07:42):
Please go ahead.
Speaker 1 (07:44):
For example, several years ago, I organized an art
exhibition abroad for the firsttime.
It was an exciting opportunityto share Japanese culture there,
but it was also full ofunexpected challenges,
challenges.
The first problem happened whenthe artworks from Japan didn't
(08:09):
arrive on time.
That's not good, not good atall.
Due to a mistake in thedocuments, the shipment was
stopped at customs.
I had only a few days beforethe opening.
I had to communicate with theshipping company and customs
(08:31):
officers every day.
It was a stressful experience.
But finally, some of theartworks were released, but not
all were released, but not all.
So I had to deal with changingmany aspects of the exhibition
and also with apologizing to theartist who didn't be able to
(08:55):
exhibit.
In the end, oh no, no, no, Iwas so guilty, I felt so guilty,
I felt so guilty.
Well, and when the artworksarrived, there was another
surprise Ta-da, a large customsduty was charged.
(09:17):
Oh my, even though I thoughtall procedures were complete.
I thought all procedures werecomplete.
To keep the schedule, I had nochoice but to pay the fee myself
.
Speaker 2 (09:30):
I see.
Speaker 1 (09:32):
Yeah, it was a very expensive lesson, but I learned
the importance ofdouble-checking every detail for
international shipments.
And during the setup of theexhibition I also faced cultural
difference.
(09:53):
The local workers were veryrelaxed and not on time, which
made me feel anxious very much.
Speaker 2 (10:05):
In.
Speaker 1 (10:05):
Japan, things are usually very punctual, so this
was a big adjustment for me.
I ended up helping with thesetup myself to make sure
everything was ready.
Everything was ready, and onthe first day of the exhibition
(10:28):
there was one last challengeSome of the lighting equipments
stopped working, making parts ofthe display too dark.
I quickly worked with the staffto fix the problem and we
managed to borrow replacementlights just in time.
(10:48):
In the end, the exhibition wasa success and many visitors
shared positive feedback aboutthe beauty of Japanese
calligraphy and art.
Looking back, thesedifficulties taught me a lot
about problem solving andcultural understanding.
(11:10):
It was a stressful butunforgettable experience, also
because I was already in the redbig red with all the extra
costs.
It forced me to really put alot of energy into sales and I
(11:30):
managed to actually sell all theartworks.
Speaker 2 (11:34):
Oh, wow, awesome.
Speaker 1 (11:38):
Yeah, it was so frustrating at first.
But this phrase frustrating atfirst, but this phrase日々これ後日
reminded me to stay calm andlook for something good in each
day.
It really helped me keep apositive attitude.
Speaker 2 (11:54):
There you go.
Wow, Well, maybe that's part oflife If we have challenges.
If I mean, if everything waseasy, I guess we'd take it for
granted.
And then in you know thesemoments where the unexpected
happens and we're frustrated andchallenged, it kind of reveals
(12:16):
this inner strength or we canhandle adversity.
And then, as you just sharedwith us, it kind of gives you
this problem like oh, now I'm inthe red, I have to sell these
pieces to make a profit, and youdid so.
It kind of gave you this,almost like a superpower or
(12:38):
strength to think.
Yeah, you can say that yeah notonly do I have this power, all
these other problems, Now I havethis problem that I've I'm
going to turn into anopportunity and so probably
became a great day, especiallywith your the artists who you
help sell their art.
They must've been very happy.
Speaker 1 (12:58):
Yeah, I think so, I hope so.
Speaker 2 (13:02):
So yeah, if we're to advise people on if you're
having a bad day and you're justnot feeling, people on if
you're having a bad day andyou're just not feeling you know
, people will often say thatlike I got out of the wrong side
of the bed this morning or I'mjust not feeling it.
Do you think just saying thisis enough, or do you have any
(13:23):
other advice on how to make aday a good day?
Speaker 1 (13:27):
Well, probably for some people, maybe to spell this
phrase is enough, maybe, but Ithink the best way is to focus
on small things that make youhappy, easily like a kind word,
a good meal or the beauty ofnature.
(13:49):
For me, a good meal is workingvery much.
So, even on tough days, lookfor something to appreciate and
remember it's okay.
If not every moment feels great, it's okay.
The key moment feels great,it's okay.
The key is to stay open andgrateful.
Speaker 2 (14:14):
I think I like that advice.
I think also taking some actionhelps.
I mean, I wasn't feeling itthis morning and I was thinking,
oh, come on, nick, you've gotto go to the gym, you haven't
been this week.
And I'm like, oh, come on, nick, you've got to go to the gym,
you haven't been this week.
And I'm like, oh, I don't wantto go, you've got to go, just go
(14:34):
.
Just go and put your clothes onand go.
And so I went, and then I wasexercising and then I bumped
into a Japanese friend.
Speaker 1 (14:45):
Oh cool.
Speaker 2 (14:46):
So we had a good chat and he's saying, oh, nick, you
should do Zumba classes and losesome weight, zumba, some combat
classes.
And so, yeah, it was good tosee him and I was able to share,
you know, my retreat detailsand how it was a great success
and, yeah, it was really good.
(15:07):
And then I came back thinking,oh, today's a good day, I've
caught up with a friend and I'veexercised, so, yeah, it's
appreciating the small things.
But I think also, ken Moggytalks about starting small and
just start small.
So you know, put your shoes on,put your clothes on and then
just walk to the gym and thenthese positive things can happen
(15:30):
.
So, yeah, appreciation andproactivity seems to really help
, True.
So let's go deeper into thispiece you brushed.
So the piece behind you.
It has a modern appeal to it.
It has a modern appeal to it,and so, instead of a traditional
long kakejiku hanging scroll,it's more like a white canvas.
(15:55):
So why did you brush it on awider scroll or on this sort of
hanging canvas?
Speaker 1 (16:02):
Traditional Japanese kakejiku are long and narrow.
Kakejiku are long and narrow.
The proportion was designed forviewing in a tokonomai, a
traditional alcove in Japaneserooms For people from other
countries, other cultures.
Speaker 2 (16:33):
These long scrolls might look exotic maybe.
Speaker 1 (16:35):
And while they have their own charm, I sometimes
find them a bit outdated or outof place in modern settings.
The idea of using a widerformat came partly from my
husband's advice.
He's French, so he has adifferent sense of aesthetics.
He pointed out that for manyWestern homes, a wider scroll
would feel more natural andeasier to integrate into the
(16:58):
space.
This feedback really made senseto me.
It offers a way to honortraditional aesthetics while
adapting to contemporarylifestyles.
The wider format also gives asense of openness and allows the
meaning of the words to breathe.
(17:19):
I see it as a way of bridgingthe past and present, creating a
piece that respects traditionbut feels fresh and modern.
Speaker 2 (17:34):
It certainly felt fresh and modern.
I actually remember the moment,you know, your husband hung it
up and then slowly lowered itand I was like, oh, look at that
.
And yeah, like I guess we cancompare it to the scroll behind
me.
There's a clear border and insome way I guess you could say
the kanji almost looks a littlebit caged.
(17:56):
Yeah, it's sort of trapped inthis space.
It still looks very beautifuland attractive.
Yeah, yeah, yeah, yeah, I thinkyou're right.
Your piece with no frame, it'sjust almost like a blank canvas
and you've done your beautifulcalligraphy over it.
It does have this sense offreedom and fresh and modern and
(18:17):
it sort of can breathe.
And I noticed that you even puta smiley face stamp next to the
kanji.
That's often related to ski orto like, so that was quite
playful and unique.
Yes, but there are these otherdesign elements.
(18:39):
There's even those three littlered dots, uh-huh.
And you have three stamps on thepiece as well.
Do you want to touch a littlebit on that and why you decided
to be a bit more creative ornon-traditional with those
elements?
Speaker 1 (18:59):
Basically this stamp.
We use two name stamps on thepiece, so one is your name and
one is your artist name,something like that.
And the third one is like howcan I say?
A playful stamp, fun stamp,yeah, yeah, yeah, this.
(19:27):
You can put this stamp anywhereon your piece, but to keep the
balance of the artwork and forthis, nichi, nichi, kore,
kojitsu normally the name stamp,two name stamps and the third
stamp will be separated likediagonal or here.
(19:51):
I don't know why, but I feltright to put them together on
the corner.
And they're smiley.
Smiley is purely play, yeah, soit's purely play, yeah.
Speaker 2 (20:11):
Yeah, so it's quite unique and fun, yes, but also
very beautiful, thank you.
Yeah, I think we talked aboutthis last time, but there's
something about calligraphy.
Even if you can't readcalligraphy, there is this
(20:31):
appeal to the shapes and thecontrast of black ink on white
paper, and then there is themeaning behind the kanji, which
you've said is more importantthan the artwork itself, and
that's what we talked about.
So for someone to view yourcalligraphy, it's very enjoyable
(20:53):
and very.
It does evoke feelings ofcomfort or, you know, curiosity
or connection.
And I'm sort of leading now tothe experience of brushing
calligraphy.
So, as part of my retreat, Itook my clients to a Zen temple
(21:14):
where we practiced Shakyo, sosutra tracing just with a brush
pen.
But we were in the mostbeautiful hall and it had this
very conducive environment to dothe sutra tracing Like.
It was this huge hall and itwas bright and had this glorious
(21:36):
decorations on the roof and allmade the whole structures made
from wood, interlocking wood, nonails.
So just being in theenvironment was very inspiring,
but very quiet, very clean, andit was obviously an exercise to
(21:59):
encourage my clients to bepresent and mindful and have
that experience for about halfan hour, and so they were
tracing these kanji that theyreally had no idea about the
meaning of yeah, and in silenceand not trying to focus too much
on outcome or how they lookedand yeah, they really enjoyed
(22:25):
the experience.
So, as you're a professionalcalligrapher, you've done this
for many years and you're sogood that you can sell the work
you create.
So, when you practicecalligraphy, what is the
experience for you?
What do you experience?
Speaker 1 (22:46):
Well, this Shakyo thing reminds me of an
experience from when I used towork in International Budo
University, the martial artsuniversity.
I was the secretary ofpresident, mr Oka Oka sensei,
who was also a great kendomaster.
(23:08):
He started every morning bydoing shakyō in his office.
And should I explain aboutshakyō a little bit?
Speaker 2 (23:19):
Yeah, sure, why not yeah?
Speaker 1 (23:20):
Oh okay.
Shakyō refers to the practiceof copying Buddhist sutra by
hand.
In Japan, it is particularlyregarded as part of Buddhist
training and devotion, widelyrecognized as a means of
spiritual purification andprayer.
(23:41):
It is some kind of meditation,in a way, like meditating while
writing.
Anyway, go back to thePresident Oka Sensei's morning
routine.
Shakyo was his way of centeringhimself before starting the day
, and I believe it was animportant part of his process of
(24:06):
maintaining focus and clarity.
Watching him do this every dayleft a lasting impression on me.
It showed how a simple,repetitive practice can help
clear the and bring a sense ofcalm.
So, similarly, when I practicecalligraphy, I feel calm and
(24:33):
focused.
I think it's really, reallylike Shakyo.
Speaker 2 (24:39):
I see.
Speaker 1 (24:40):
On the other hand, when I'm making my works,
sometimes it feels like ahundred meter sprint.
Sometimes it feels like ahundred meter sprint.
I focus intensively and bamstart quickly and finish
everything all at once.
Of course, it's not always likethat, but there are times when
(25:05):
it happens.
There are times when it happensWell.
Anyway, both Shakyo andcalligraphy share this power of
bringing us into the here andnow, which I think is so
important in today's busy world.
Speaker 2 (25:21):
That is one of the fascinating aspects of
calligraphy in general and as anart piece, you really only have
one shot, yes, and you're notmeant to correct what you've
just brushed, because it'salmost like the idea of archery,
(25:41):
where it's.
You know, one shot, you've donethe shot, that's it.
You cannot retake that shotRight.
So that's fascinating because Iguess in Western art if you
felt, oh, I've done too muchhere, you could cover it up or
go over it later, whereascalligraphy you're sort of
(26:05):
trusting yourself, trusting theintention, trusting experience
and letting go.
Yeah, so I imagine when youfirst thought about becoming an
artist and practicing andcreating art, was there tension.
And how did you get used tothat tension of thinking?
(26:26):
How did you get used to thattension of thinking rather than
thinking?
Speaker 1 (26:35):
I've only got one chance of doing this rather than
I'm going to express myself.
It depends.
Yeah, yeah, yeah, yeah.
Sometimes I feel that I have aclear image and I follow the
image and brush very fast, orsometimes I have some hesitation
or some other options around meinto the calligraphy.
(27:03):
I take very long time to makeit, so it's hard to say.
Speaker 2 (27:13):
But now, as an artist , do you feel any pressure or
tension, or are you reallycomfortable with your craft?
Speaker 1 (27:20):
Yes, it also depends.
So it's like every day's mycondition it's different.
So yeah, yeah, yeah.
So sometimes I'm verycomfortable and confident, but
(27:42):
other days not that much.
Speaker 2 (27:46):
Like everyone else.
Yeah, yeah, not that much.
Speaker 1 (27:47):
Like everyone else, yeah, yeah, yeah, yeah, but I
try to make myself believe thatI can do it.
But if I failed, it's okay.
So it's really difficult toexplain this thing for me.
(28:11):
Maybe I'm still in the cloud,in the cloud.
Yeah, I'm looking for somethingin the cloud, maybe.
Speaker 2 (28:24):
No, that's fine.
It's yeah, because it is uniquecalligraphy and, as I said
before, I could look atsomething I can't read and think
, well, I can't really makemeaning of the kanji, but still
feel something and still thinkit's beautiful and balanced and
it evokes these feelings.
(28:47):
But I had another guest who isa calligrapher and she had the
expression that the ink neverlies.
So if there is hesitation oruncertainty, that will be
conveyed in the ink and if thereis this feeling of confidence
(29:07):
and freedom and, you know,playfulness, that will also be
conveyed in the ink.
So that's interesting, yeah.
Speaker 1 (29:17):
Yeah, yeah, yeah yeah .
Speaker 2 (29:20):
So that's the feelings I have when I look at
your piece.
Every Day is a Good Day,nichinichi Koreko Jitsu.
And, as I said before, it'squite non-traditional, and I
think last time when we spokefirst, you said you didn't
really like calligraphy.
When you were as a child or ateenager.
(29:43):
And then you also, I think yousaid you're not a calligrapher
who's really strict withtradition, so you're quite
expressive.
So how are you expressive withyour calligraphy and do you push
the boundaries of the craft?
Speaker 1 (30:02):
Yes, I do try to push the boundaries of my craft
while still respecting thetraditions.
Calligraphy has a long historyand I deeply value its roots.
At the same time, I believeit's important to adapt it to
modern life so that it continuesto resonate with people today.
(30:27):
For example, instead ofsticking only a traditional
kakejiku, I often experimentwith wider formats like this,
and I even created somecalligraphies on scrolls made
out of denim fabric.
Oh wow, yeah, I like that.
(30:50):
I like that experiment.
This makes it easier for peopleto display in contemporary
spaces while still appreciatingthe spirit of the art, of the
art.
I also enjoy blendingcalligraphy with other art forms
or unexpected materials.
(31:12):
Once I created a piece inspiredby the movie the Matrix.
I love that movie.
Yeah, I combined traditionalJapanese text with a modern
digital aesthetics, creating adialogue between the past and
the future.
Speaker 2 (31:37):
That's the perfect movie to choose to do
calligraphy for Awesome?
Speaker 1 (31:41):
Yeah.
So through these experiments,my goal is to make calligraphy
feel alive and relevant totoday's audiences, while
preserving its timeless beauty.
Speaker 2 (31:54):
Love it, love it.
That's fantastic, and I guessthat would also appeal to a
wider audience.
Speaker 1 (32:03):
Thank you.
Speaker 2 (32:04):
Thank you, thank you, thank you.
So, when you create beautifulcalligraphy, what feelings or
emotions do you experience whenyou look at your completed work
and you've just finished ormaybe later you go back and have
a look Are you analytical or doyou get more sort of emotional?
Speaker 1 (32:24):
Mostly emotional.
Oh nice, yeah.
I feel thankful when I see afinished piece.
For me, completing calligraphywork is about 80% of the process
.
The remaining 20 comes from theexpertise of the professional
(32:44):
kakeji craftsman who mounts it.
So seeing the completed hangingscroll for the first time is
always a special moment.
It's both exciting andnerve-wracking.
Speaker 2 (33:02):
Nice.
Speaker 1 (33:03):
When I deliver the work to the craftsman it's just
a thin sheet of paper, oftenwith ripples or creases from the
ink's absorption, but afterit's mounted it feels like the
paper has been dressed in an oldcouture gown.
Speaker 2 (33:26):
That's a good metaphor.
Speaker 1 (33:28):
Yeah, the transformation is so incredible
and I love the moment.
When I see the final scroll, Ialways think, wow, it turned out
so beautifully, knowing that isthe result of a wonderful
collaboration.
Speaker 2 (33:48):
That's something I didn't really think about.
Yes, so once you've done yourwork I mean, making the kakajuku
is also a highly skilledprocess and a traditional craft
and my understanding is lesspeople are learning that craft
and maybe it's getting harder tofind.
(34:09):
What do you call someone whomakes?
K?
Ya means shop, so kake Nandaro.
Speaker 1 (34:30):
We are.
I call him Hyouguya-san.
Speaker 2 (34:37):
And so when you've done a piece, do you just trust
it to them or do you?
Does the client have some inputor is there some discussion on
what colors to use and how howthick the framing should be?
Speaker 1 (34:52):
for the color, I ask the clients normally sure if
client didn't say anything.
I prefer to use white and thenegative space margin.
I decide myself.
Speaker 2 (35:09):
So, yeah, it's a collaboration.
And then they then go and makethe gown, so to speak, the frame
, and so I guess for them thereis this sense of responsibility.
This calligraphy, thisbeautiful calligraphy, now I
have to help frame and make it,you know, I guess, presentable
(35:34):
as a hanging scroll.
Well, there you go.
So that's interesting.
You kind of you get to see itin a new light once it's been
framed and turned into a scroll.
Yeah, wonderful.
So let's talk about selling.
When you sell a piece ofcalligraphy, what do you hope
(35:57):
the client will learn from thepiece?
What do you hope they will feelfrom the piece?
Speaker 1 (36:05):
I hope they connect with the message in the artwork.
I want the piece to remind themof something meaningful like
staying calm or appreciatinglife.
I hope it becomes a source ofstrength or inspiration for them
.
For example, one client boughta work as a gift for his wife
(36:31):
who was having a hard timestarting her own business.
He told me that the artwork'smessage of inner strength and
self-belief really spoke to herand gave her encouragement Nice.
Knowing that my work cansupport someone in such a
(36:53):
personal way makes me feel trulygrateful.
Speaker 2 (36:58):
Yeah, that's interesting because with
calligraphy, there is a message,yes, a tangible message, like
you can read it.
Yeah Well, with that in mind,let's go back to Nichinichi
Koreko Jitsu, because this pieceis available for purchase.
It's a wonderful piece, it'sinspiring, it's beautiful, it's
(37:22):
modern and it has that veryimportant message of every day
is a good day, as in every daycan be a day where you learn
something, from where you can beinspired, where good things can
happen where bad?
things happen, it's still ameaningful day.
(37:44):
So, yes, you can purchase thispiece.
So I think we'll put somephotos on the show notes and
I'll put a link to your websiteand provide your contact details
.
Speaker 1 (38:01):
Thank you.
Speaker 2 (38:03):
This would definitely be a beautiful piece for a home
, perhaps some corporate space.
Yeah, any thoughts or ideas onhow people could decorate an
environment with your piece now,Ko?
Speaker 1 (38:20):
So, as you mentioned, this Nijinichi Korekoji's piece
is not just art.
It's a reminder to value eachday.
Its modern design makes itperfect for any space and it can
inspire you every time you lookat it.
Speaker 2 (38:44):
So if this message speaks to you, the peace is
available yeah, and it'sbeautiful peace and something
that will give this positiveenergy to not only wherever you
hang it, but, I think, to yourlife.
So it might be good to give toyeah, someone you care about,
(39:09):
like a partner or a child orsomeone who is yeah, maybe
someone is struggling with a newbusiness or life and this
reminder is very helpful.
So every day is a good day, andit's been a good day to catch
up with you.
Speaker 1 (39:26):
Yeah, yeah.
Speaker 2 (39:29):
It was a wonderful day to have you at the workshop.
Thank you, I'm sure we'll worktogether in the future when I do
more retreats in Japan.
Yoo-hoo, so that was really fun.
So that was really fun.
So any, yeah, any final wordsor thoughts before we end this
(39:51):
episode.
Speaker 1 (39:58):
Maybe you can mention your website and anything else
you'd like to mention.
Normally, I work I make thecalligraphy with commissioned
based, so this is a very specialpiece, I think, and you don't
need to wait for a month tocomplete the kakejiku.
No, no, yeah, I can quicklysend it to anywhere, I think,
(40:23):
and so this is like a prayer foreverybody and for myself.
Every day could be a good day,so I hope your struggle or
anxiousness or anything, you cansee a good aspect of the day.
(40:47):
I hope so.
Speaker 2 (40:51):
I think they will when they see it.
So, yeah, why not?
Why not treat yourself to thiswonderful piece of calligraphy
with this wonderful message thatevery day is a good day?
And I have this belief thatthat piece has captured a part
of you now, cole, in your flowor your creativity.
(41:12):
So people have a part of yourcreativity with them and this
wonderful message that every dayis a good day.
And we're you know we're solucky to be alive, we have so
much to be grateful for, andthis piece can inspire you when
you're feeling down orfrustrated or anxious or
(41:33):
stressed, or even when you'rehappy.
It might inspire you to sharethe love, to share how good life
can be.
So I'd like to say every day isa good day with you in the
world Naoko.
And so by having this piece, Ithink that's what people will
feel.
Speaker 1 (41:54):
Yeah, nijinichi kore kojitsu.
Speaker 2 (41:57):
Ne Soda ne.
Every day is a good day, yeah,so it's been a great day
catching up.
We'll have information aboutthe piece, photos, links on the
show notes and, yeah, if you'rekeen to buy it, I recommend that
you do.
Speaker 1 (42:16):
Thank you very much.
Speaker 2 (42:18):
So thanks for joining me today, Naoko.
As always, good to chat withyou.
Speaker 1 (42:23):
Thank you, nick, have a great day.
Speaker 2 (42:26):
You too.
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