I write a calligraphy at a dash with a gigantic brush (weighing 7kg)soaked with India ink. The brush looks as if it danced rhythmically on the paper. The splashes spurting from the brush tip, fly around, making a calligraphy (e.g. "?"(dream)) conspicuous. This is my "daijikigo":writing a calligraphy on an extra-large piece of paper (10m by 5m).

I have displayed my works all over the world since 1990. The specialty of my calligraphy is giving a demonstration of "daijikigo". In 1995, I participated in the 4th World Women's Conference (Beijing) as a member of NGO, and had friendships with people of 190 countries through calligraphy.

In 2002, I tried "daijikigo" at a high place (4,270m above sea level) around the source of the Huang He. In the spring of 2003, I joined the people from 170 countries discussing the water of the world at the 3rd World Water Forum (Kyoto), and wrote a large calligraphy of "?"(billow)on a large piece of paper (10m by 5m), which gave a proper topic to them.

The participants began to write their wishes for water in India ink around my calligraphy, soon filling the space with various languages. One of them, officer of the Environment Agency of Germany, wrote me saying, "I think people from all over the world have made friends through the calligraphy of "?"(billow). In the fall of the same year, I displayed some great works and demonstrated "daijikigo" at my one-person show in Paris.

In January 2004, I promoted "waku-waku ten"(an exciting exhibition) at Yokohama Minato Mirai Gallery, where I invited attendants to "kakizome"(special New Year's calligraphy). People aged 2?80, and some foreign visitors wrote their wishes, enjoying writing with brushes. In November 2004. I participated in an art festival in Shinjo City (my hometown), Yamagata Prefecture, where I promoted the exhibition " Michiko Hamasaki yearning for her home". "Daijikigo" in the opening was televised and reported in the newspaper on a large scale. 20,000 people (out of Shinjo'spopulation of 40,000) visited it.

I stick to "daijikigo" for two reasons. Firstly, I long for largeness, highness and strength that human beings fundamentally have. I have visited China in quest of the roots of calligraphy over ten times since 1960. Visiting stone monuments and rock-wall monuments at various places in the country, and surveying remains in the vast deserts and very high mountains in Tibet, I had a strong yearning for largeness, highness and strength, and a strong impulse to write large calligraphies. I must exert all my powers and concentrate my attention on the performance when writing on an extra-large piece of paper. Great resolution is needed. Having a strong will to make such resolution is thrilling like a challenge to the unknown. For me calligraphy is a challenge to myself, and "daijikigo" is an act to make sure that I live now.

The second reason is "sharing calligraphies". "Daijikigo" is, as mentioned above, an act taking a lot of energy. If you write a large calligraphy for yourself, you cannot feel the upsurge of energy you get from "daijikigo" demonstrated in front of spectators. "Sharing calligraphies"in "daijikigo" means collaboration: producing works involving spectators, which is the basis for high regard for "daijikigo". Conventionally calligraphies (after being completed) are appreciated; on the contrary, in the case of "daijikigo" I write the most suitable word for the occasion, which is chosen by the spectators on the spot. This may be called "spectators-involving calligraphy". Encouraged by the spectators'willing cheers, clapping and mental power, a writer can show his or her unexpected ability. The completed work is the result of the combination of the spectators' spirit and the writer's feeling. Both of them can share the fulfilled time. I am sure, "daijikigo"("spectators-involving calligraphy"; "sharing calligraphies") can be a necessary and important field of communication, especially in the present world where people are busy and have fewer and fewer occasions to communicate with each other.

I will carry forward the activities of "daijikigo" both in Japan and in foreign countries. I hope "daijikigo" will become established as a new field of Japanese calligraphy.

Let's try "daijikigo"!

Profile : Michiko Hamasaki

Born in 1942 at Yamagata Japan and live in Yokohama.
B. A.   Tokyo University of Liberal Arts and Sciences.
      One-year Postgraduate Program of Arts and Calligraphy,
: Tokyo University of Liberal Arts and Sciences.
e-mail: info@michinokai.com


1990 to present: One-person shows in Ginza, Roppongi, Yokohama and other
2003 One-person show and "daijikigo"(a large-calligraphy performance)
at Gallery Grand Paris, Paris.
1997   A one-person show and "daijikigou" at Daiwa Japan House,London.
1996 Participation in, and "daijikigou" at Japan Festival, Cannes.
1994 Participation in an exhibition of women calligraphers from Japan, China
and Singapore.
1993 Displays at Modern Japanese Art Exhibition in Paris.
1992   Displays at Modern Japanese Painting Exhibition in the Netherlands.

Experiences and Achievements

2007 "Daijikigo" at Polish-Japanese Institute ofInformation Technology, Poland .
2007 "Daijikigo" at Salamanka University.Spain.
2007 "Daijikigo" at the Budo Seminar, Spain.
2007 A one-person show ; Gallery Matisu at Matida City, Tokyo.
2006 "Daijikigo" at the 7th World Water Service Technology Symposium at Pacifico,Yokohama.
2006 "Daijikigo" at the Japan Embassy, Poland.
2006 "Daijikigo" at the Budo Seminar, Spain.
2005 A one-person show and "daijikigo" at Poland.
2005 A one-person show ; at kyukyodo, at Ginnza,Tokyo.
2004 A one-person show and "daijikigo" at Yumeria, Shinjo City, Yamagata.
2004 A one-person show and "daijikigo" at Yokohama Minato Mirai Gallery.
2003 "Daijikigo" at the 3rd World Water Forum, Kyoto.
2002 Travel and "daijikigo"in the East of Tibet.
1999 A pilgrimage to Kailas in Tibet.
1998 Travel in the East of Tibet and Nepal.
1995 "Daijikigo"at the 4th World Women's Conference, Beijing.
1995 Travel in Gandhara and Takla Makan.
1994 Promotion of the exhibition "The Rubbed Copies of Monumental Inscriptions
of Hian Shimizu's Poems".
1990 Visits to Korea, America and Australia.
1986 A visit to China as a research member to the historical sites of Chinese calligraphy.


The Rubbed Copies of Hian Shimizu's Poems Inscribed in a Special Way "Sojitsubori" (Iwasaki Geijutsu sha, 1997) The Rubbed Copies of Monumental Inspections of Hian Shimizu's Poems (1994)