The Ikigai Podcast
The Ikigai Podcast
Motivation Through the Brush: How Calligraphy Sparks Inspiration with Naoko Mikami
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.
Well, probably for some people, maybe to spell this phrase is enough, maybe, but I think the best way is to focus on small things that make you happy, easily like a kind word, a good meal or the beauty of nature. For me, a good meal is working very much. So, even on tough days, look for something to appreciate and remember. It's okay if not every moment feels great, it's okay.
Speaker 2:Find your Ikigai at ikigaitribecom. This episode, episode 95 of the Ikigai podcast we have calligrapher and artist Naoko Mikami joining us again, so it's good to see you again, Naoko. Of course, we met about a month ago in Tokyo.
Speaker 1:Yeah, thank you for having me here again.
Speaker 2:It's my pleasure we're going to talk about life again. It's my pleasure we're going to talk about life, calligraphy and how they merge to make every day a good day. Yeah, but let's touch on why we met. Because you joined my workshop, and that was in Tokyo, and you presented this wonderful calligraphy workshop. So how was the experience for you?
Speaker 1:The workshop was a truly rewarding experience. I was moved by the participants' enthusiasm and openness to learning about the new things. I felt positive energetic vibes there.
Speaker 2:Fantastic.
Speaker 1:Yeah, I felt positive energetic vibes there, fantastic. And yeah, and this time my main goal was for everyone to experience calligraphy. Normally I would explain details like how to grind the ink, how to hold the brush and various techniques, but if we focus too much on those things from the start, the magic of this kind of experience can fade, so instead I wanted them to feel the unique sensations like the brush gliding across the paper or the smell of the ink, things that we don't often encounter in daily life. It was wonderful to see process of creating their own work. It was a really great experience for me to join the retreat. Thank you very much.
Speaker 2:Well, that's very wonderful to hear, very satisfying to hear, and I know you put so much effort into preparing for the workshop and yeah, it was very special and thank you, it's very experiential. As you said, we actually practice calligraphy and we focused on certain terms related to kokoro which we actually talked about previously.
Speaker 2:Yes, yeah yeah, yeah, but yeah, I really appreciated the effort you put into not only deciding the kanji and the ink and brushes and everything set up for each participant, but you also delivered a wonderful speech, so would you like to share part of that speech?
Speaker 1:Okay, so during the retreat I mainly talked about traditional Japanese concepts. Like you said, I explained ideas like kokoro heart, mind and spirit, and budoshin, immovable mind, and zanshin, lingering mind. We actually discussed about them in our last podcast. Yes, I wanted to show why Japanese culture has traditionally placed so much importance on training the mind and spirit alongside of physical skills, and I also explained the phrase, one of the Zen concepts.
Speaker 2:Yes Now, you put a lot of effort into your speech and it was inspiring. And actually I came to you and said I'm doing this retreat in Japan and could you come up with a theme? And you came up with Nichi Nichi Kore Ko Jitsu, which I thought was fantastic and we'll get into the meaning of it. But actually behind you is also a special piece of calligraphy you you brushed to show our participants and yeah, that was very special when you presented that. It got a lot of uh oh, sort of responses. So what does Nichi Nichi Kore Ko Jitsu mean?
Speaker 1:It means every day is a good day, but it doesn't mean every day will feel perfect. It's about finding something good or meaningful in every day, no matter what happens. It reminds me, it reminds us to value each day and see it as a chance to grow or learn. It captures the Zen idea of being mindful or accepting, reminding us to stay present and see the beauty in each moment.
Speaker 2:Yeah, it was funny during the retreat we really use this phrase a lot. Obviously, we had many wonderful experiences. We did all these things like indigo dyeing, like eyes on there and pottery and doing Zazen and other things, even sutra tracing. But we also had some challenges and I think when we had the challenges, I think we said every day is a good day.
Speaker 1:Exactly.
Speaker 2:To remind us like okay, we've had a bit of a challenge but actually today's been a good day. We've had some meaningful things, challenging things, and I think it also reminds you, yeah, to be grateful that you, you know you are alive, you have this day, and even if it's frustrating it's still something to learn from.
Speaker 1:Yes, yeah, it was really.
Speaker 2:It was really wonderful to see them use it, so I think it's something they'll remember for the rest of their lives, and I will too. So I guess the challenge of this 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 go wrong. So do you have some advice about that, or just remembering the phrase kind of help?
Speaker 1:For me. I use this phrase when things go wrong, like you said, for example. It's a bit long story, but is it okay?
Speaker 2:Please go ahead.
Speaker 1:For example, several years ago, I organized an art exhibition abroad for the first time. It was an exciting opportunity to share Japanese culture there, but it was also full of unexpected challenges, challenges. The first problem happened when the artworks from Japan didn't arrive on time. That's not good, not good at all. Due to a mistake in the documents, the shipment was stopped at customs. I had only a few days before the opening. I had to communicate with the shipping company and customs officers every day. It was a stressful experience.
Speaker 1:But finally, some of the artworks were released, but not all were released, but not all. So I had to deal with changing many aspects of the exhibition and also with apologizing to the artist who didn't be able to exhibit. In the end, oh no, no, no, I was so guilty, I felt so guilty, I felt so guilty. Well, and when the artworks arrived, there was another surprise Ta-da, a large customs duty was charged. Oh my, even though I thought all procedures were complete. I thought all procedures were complete. To keep the schedule, I had no choice but to pay the fee myself.
Speaker 2:I see.
Speaker 1:Yeah, it was a very expensive lesson, but I learned the importance of double-checking every detail for international shipments. And during the setup of the exhibition I also faced cultural difference. The local workers were very relaxed and not on time, which made me feel anxious very much.
Speaker 2:In.
Speaker 1:Japan, things are usually very punctual, so this was a big adjustment for me. I ended up helping with the setup myself to make sure everything was ready. Everything was ready, and on the first day of the exhibition there was one last challenge Some of the lighting equipments stopped working, making parts of the display too dark. I quickly worked with the staff to fix the problem and we managed to borrow replacement lights just in time. In the end, the exhibition was a success and many visitors shared positive feedback about the beauty of Japanese calligraphy and art. Looking back, these difficulties taught me a lot about problem solving and cultural understanding. It was a stressful but unforgettable experience, also because I was already in the red big red with all the extra costs. It forced me to really put a lot of energy into sales and I managed to actually sell all the artworks.
Speaker 2:Oh, wow, awesome.
Speaker 1:Yeah, it was so frustrating at first. But this phrase frustrating at first, but this phrase日々これ後日 reminded me to stay calm and look for something good in each day. It really helped me keep a positive attitude.
Speaker 2:There you go. Wow, Well, maybe that's part of life If we have challenges. If I mean, if everything was easy, I guess we'd take it for granted. And then in you know these moments where the unexpected happens and we're frustrated and challenged, it kind of reveals this inner strength or we can handle adversity. And then, as you just shared with us, it kind of gives you this problem like oh, now I'm in the red, I have to sell these pieces to make a profit, and you did so. It kind of gave you this, almost like a superpower or strength to think.
Speaker 2:Yeah, you can say that yeah not only do I have this power, all these other problems, Now I have this problem that I've I'm going to turn into an opportunity and so probably became a great day, especially with your the artists who you help sell their art. They must've been very happy.
Speaker 1:Yeah, I think so, I hope so.
Speaker 2:So yeah, if we're to advise people on if you're having a bad day and you're just not feeling, people on if you're having a bad day and you're just not feeling you know, people will often say that like I got out of the wrong side of the bed this morning or I'm just not feeling it. Do you think just saying this is enough, or do you have any other advice on how to make a day a good day?
Speaker 1:Well, probably for some people, maybe to spell this phrase is enough, maybe, but I think the best way is to focus on small things that make you happy, easily like a kind word, a good meal or the beauty of nature. For me, a good meal is working very much. So, even on tough days, look for 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 and grateful.
Speaker 2:I think I like that advice. I think also taking some action helps. I mean, I wasn't feeling it this morning and I was thinking, oh, come on, nick, you've got to 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 want to go, you've got to go, just go. Just go and put your clothes on and go. And so I went, and then I was exercising and then I bumped into a Japanese friend.
Speaker 1:Oh cool.
Speaker 2:So we had a good chat and he's saying, oh, nick, you should do Zumba classes and lose some weight, zumba, some combat classes. And so, yeah, it was good to see him and I was able to share, you know, my retreat details and how it was a great success and, yeah, it was really good. And then I came back thinking, oh, today's a good day, I've caught up with a friend and I've exercised, so, yeah, it's appreciating the small things. But I think also, ken Moggy talks 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 then these positive things can happen. So, yeah, appreciation and proactivity seems to really help, True. So let's go deeper into this piece 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. So why did you brush it on a wider scroll or on this sort of hanging canvas?
Speaker 1:Traditional Japanese kakejiku are long and narrow. Kakejiku are long and narrow. The proportion was designed for viewing in a tokonomai, a traditional alcove in Japanese rooms For people from other countries, other cultures.
Speaker 2:These long scrolls might look exotic maybe.
Speaker 1:And while they have their own charm, I sometimes find them a bit outdated or out of place in modern settings. The idea of using a wider format came partly from my husband's advice. He's French, so he has a different sense of aesthetics. He pointed out that for many Western homes, a wider scroll would feel more natural and easier to integrate into the space. This feedback really made sense to me. It offers a way to honor traditional aesthetics while adapting to contemporary lifestyles. The wider format also gives a sense of openness and allows the meaning of the words to breathe. I see it as a way of bridging the past and present, creating a piece that respects tradition but feels fresh and modern.
Speaker 2:It certainly felt fresh and modern. I actually remember the moment, you know, your husband hung it up and then slowly lowered it and I was like, oh, look at that. And yeah, like I guess we can compare it to the scroll behind me. There's a clear border and in some way I guess you could say the kanji almost looks a little bit caged. Yeah, it's sort of trapped in this space. It still looks very beautiful and attractive. Yeah, yeah, yeah, yeah, I think you're right. Your piece with no frame, it's just almost like a blank canvas and you've done your beautiful calligraphy over it. It does have this sense of freedom and fresh and modern and it sort of can breathe. And I noticed that you even put a smiley face stamp next to the kanji. That's often related to ski or to like, so that was quite playful and unique. Yes, but there are these other design elements. There's even those three little red dots, uh-huh.
Speaker 2:And you have three stamps on the piece as well. Do you want to touch a little bit on that and why you decided to be a bit more creative or non-traditional with those elements?
Speaker 1:Basically this stamp. We use two name stamps on the piece, so one is your name and one is your artist name, something like that. And the third one is like how can I say? A playful stamp, fun stamp, yeah, yeah, yeah, this. You can put this stamp anywhere on your piece, but to keep the balance of the artwork and for this, nichi, nichi, kore, kojitsu normally the name stamp, two name stamps and the third stamp will be separated like diagonal or here. I don't know why, but I felt right to put them together on the corner. And they're smiley. Smiley is purely play, yeah, so it's purely play, yeah.
Speaker 2:Yeah, so it's quite unique and fun, yes, but also very beautiful, thank you. Yeah, I think we talked about this last time, but there's something about calligraphy. Even if you can't read calligraphy, there is this appeal to the shapes and the contrast of black ink on white paper, and then there is the meaning behind the kanji, which you've said is more important than the artwork itself, and that's what we talked about. So for someone to view your calligraphy, it's very enjoyable and very. It does evoke feelings of comfort or, you know, curiosity or connection. And I'm sort of leading now to the experience of brushing calligraphy.
Speaker 2:So, as part of my retreat, I took my clients to a Zen temple where we practiced Shakyo, so sutra tracing just with a brush pen. But we were in the most beautiful hall and it had this very conducive environment to do the sutra tracing Like. It was this huge hall and it was bright and had this glorious decorations on the roof and all made the whole structures made from wood, interlocking wood, no nails. So just being in the environment was very inspiring, but very quiet, very clean, and it was obviously an exercise to encourage my clients to be present and mindful and have that experience for about half an hour, and so they were tracing these kanji that they really had no idea about the meaning of yeah, and in silence and not trying to focus too much on outcome or how they looked and yeah, they really enjoyed the experience. So, as you're a professional calligrapher, you've done this for many years and you're so good that you can sell the work you create. So, when you practice calligraphy, what is the experience for you? What do you experience?
Speaker 1:Well, this Shakyo thing reminds me of an experience from when I used to work in International Budo University, the martial arts university. I was the secretary of president, mr Oka Oka sensei, who was also a great kendo master. He started every morning by doing shakyō in his office. And should I explain about shakyō a little bit?
Speaker 2:Yeah, sure, why not yeah?
Speaker 1:Oh okay. Shakyō refers to the practice of copying Buddhist sutra by hand. In Japan, it is particularly regarded as part of Buddhist training and devotion, widely recognized as a means of spiritual purification and prayer. It is some kind of meditation, in a way, like meditating while writing. Anyway, go back to the President Oka Sensei's morning routine. Shakyo was his way of centering himself before starting the day, and I believe it was an important part of his process of maintaining focus and clarity. Watching him do this every day left a lasting impression on me. It showed how a simple, repetitive practice can help clear the and bring a sense of calm. So, similarly, when I practice calligraphy, I feel calm and focused. I think it's really, really like Shakyo.
Speaker 2:I see.
Speaker 1:On the other hand, when I'm making my works, sometimes it feels like a hundred meter sprint. Sometimes it feels like a hundred meter sprint. I focus intensively and bam start quickly and finish everything all at once. Of course, it's not always like that, but there are times when it happens. There are times when it happens Well. Anyway, both Shakyo and calligraphy share this power of bringing us into the here and now, which I think is so important in today's busy world.
Speaker 2:That is one of the fascinating aspects of calligraphy in general and as an art piece, you really only have one shot, yes, and you're not meant to correct what you've just brushed, because it's almost like the idea of archery, where it's. You know, one shot, you've done the shot, that's it. You cannot retake that shot Right. So that's fascinating because I guess in Western art if you felt, oh, I've done too much here, you could cover it up or go over it later, whereas calligraphy you're sort of trusting yourself, trusting the intention, trusting experience and letting go. Yeah, so I imagine when you first thought about becoming an artist and practicing and creating art, was there tension. And how did you get used to that tension of thinking? How did you get used to that tension of thinking rather than thinking?
Speaker 1: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 a clear image and I follow the image and brush very fast, or sometimes I have some hesitation or some other options around me into the calligraphy. I take very long time to make it, so it's hard to say.
Speaker 2:But now, as an artist, do you feel any pressure or tension, or are you really comfortable with your craft?
Speaker 1:Yes, it also depends. So it's like every day's my condition it's different. So yeah, yeah, yeah. So sometimes I'm very comfortable and confident, but other days not that much.
Speaker 2:Like everyone else. Yeah, yeah, not that much.
Speaker 1:Like everyone else, yeah, yeah, yeah, yeah, but I try to make myself believe that I can do it. But if I failed, it's okay. So it's really difficult to explain this thing for me. Maybe I'm still in the cloud, in the cloud. Yeah, I'm looking for something in the cloud, maybe.
Speaker 2:No, that's fine. It's yeah, because it is unique calligraphy and, as I said before, I could look at something I can't read and think, well, I can't really make meaning of the kanji, but still feel something and still think it's beautiful and balanced and it evokes these feelings. But I had another guest who is a calligrapher and she had the expression that the ink never lies. So if there is hesitation or uncertainty, that will be conveyed in the ink and if there is this feeling of confidence and freedom and, you know, playfulness, that will also be conveyed in the ink. So that's interesting, yeah.
Speaker 1:Yeah, yeah, yeah yeah.
Speaker 2: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's quite non-traditional, and I think last time when we spoke first, you said you didn't really like calligraphy. When you were as a child or a teenager. And then you also, I think you said you're not a calligrapher who's really strict with tradition, so you're quite expressive. So how are you expressive with your calligraphy and do you push the boundaries of the craft?
Speaker 1:Yes, I do try to push the boundaries of my craft while still respecting the traditions. Calligraphy has a long history and I deeply value its roots. At the same time, I believe it's important to adapt it to modern life so that it continues to resonate with people today. For example, instead of sticking only a traditional kakejiku, I often experiment with wider formats like this, and I even created some calligraphies on scrolls made out of denim fabric.
Speaker 1:Oh wow, yeah, I like that. I like that experiment. This makes it easier for people to display in contemporary spaces while still appreciating the spirit of the art, of the art. I also enjoy blending calligraphy with other art forms or unexpected materials. Once I created a piece inspired by the movie the Matrix. I love that movie. Yeah, I combined traditional Japanese text with a modern digital aesthetics, creating a dialogue between the past and the future.
Speaker 2:That's the perfect movie to choose to do calligraphy for Awesome?
Speaker 1:Yeah. So through these experiments, my goal is to make calligraphy feel alive and relevant to today's audiences, while preserving its timeless beauty.
Speaker 2:Love it, love it. That's fantastic, and I guess that would also appeal to a wider audience.
Speaker 1:Thank you.
Speaker 2:Thank you, thank you, thank you. So, when you create beautiful calligraphy, what feelings or emotions do you experience when you look at your completed work and you've just finished or maybe later you go back and have a look Are you analytical or do you get more sort of emotional?
Speaker 1:Mostly emotional. Oh nice, yeah. I feel thankful when I see a finished piece. For me, completing calligraphy work is about 80% of the process. The remaining 20 comes from the expertise of the professional kakeji craftsman who mounts it. So seeing the completed hanging scroll for the first time is always a special moment. It's both exciting and nerve-wracking.
Speaker 2:Nice.
Speaker 1:When I deliver the work to the craftsman it's just a thin sheet of paper, often with ripples or creases from the ink's absorption, but after it's mounted it feels like the paper has been dressed in an old couture gown.
Speaker 2:That's a good metaphor.
Speaker 1:Yeah, the transformation is so incredible and I love the moment. When I see the final scroll, I always think, wow, it turned out so beautifully, knowing that is the result of a wonderful collaboration.
Speaker 2:That's something I didn't really think about. Yes, so once you've done your work I mean, making the kakajuku is also a highly skilled process and a traditional craft and my understanding is less people are learning that craft and maybe it's getting harder to find. What do you call someone who makes? K? Ya means shop, so kake Nandaro.
Speaker 1:We are. I call him Hyouguya-san.
Speaker 2:And so when you've done a piece, do you just trust it to them or do you? Does the client have some input or is there some discussion on what colors to use and how how thick the framing should be?
Speaker 1:for the color, I ask the clients normally sure if client didn't say anything. I prefer to use white and the negative space margin. I decide myself.
Speaker 2:So, yeah, it's a collaboration. And then they then go and make the gown, so to speak, the frame, and so I guess for them there is this sense of responsibility. This calligraphy, this beautiful calligraphy, now I have to help frame and make it, you know, I guess, presentable as a hanging scroll. Well, there you go. So that's interesting. You kind of you get to see it in 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 of calligraphy, what do you hope the client will learn from the piece? What do you hope they will feel from the piece?
Speaker 1:I hope they connect with the message in the artwork. I want the piece to remind them of something meaningful like staying calm or appreciating life. I hope it becomes a source of strength or inspiration for them. For example, one client bought a work as a gift for his wife who was having a hard time starting her own business. He told me that the artwork's message of inner strength and self-belief really spoke to her and gave her encouragement Nice. Knowing that my work can support someone in such a personal way makes me feel truly grateful.
Speaker 2: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 piece is available for purchase. It's a wonderful piece, it's inspiring, it's beautiful, it's modern and it has that very important message of every day is a good day, as in every day can be a day where you learn something, from where you can be inspired, where good things can happen where bad?
Speaker 2:things happen, it's still a meaningful day. So, yes, you can purchase this piece. So I think we'll put some photos on the show notes and I'll put a link to your website and provide your contact details.
Speaker 1:Thank you.
Speaker 2:This would definitely be a beautiful piece for a home, perhaps some corporate space. Yeah, any thoughts or ideas on how people could decorate an environment with your piece now, Ko?
Speaker 1:So, as you mentioned, this Nijinichi Korekoji's piece is not just art. It's a reminder to value each day. Its modern design makes it perfect for any space and it can inspire you every time you look at it.
Speaker 2:So if this message speaks to you, the peace is available yeah, and it's beautiful peace and something that will give this positive energy to not only wherever you hang it, but, I think, to your life. So it might be good to give to yeah, someone you care about, like a partner or a child or someone who is yeah, maybe someone is struggling with a new business or life and this reminder is very helpful. So every day is a good day, and it's been a good day to catch up with you.
Speaker 1:Yeah, yeah.
Speaker 2:It was a wonderful day to have you at the workshop. Thank you, I'm sure we'll work together 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 words or thoughts before we end this episode.
Speaker 1:Maybe you can mention your website and anything else you'd like to mention. Normally, I work I make the calligraphy with commissioned based, so this is a very special piece, I think, and you don't need to wait for a month to complete the kakejiku. No, no, yeah, I can quickly send it to anywhere, I think, and so this is like a prayer for everybody and for myself. Every day could be a good day, so I hope your struggle or anxiousness or anything, you can see a good aspect of the day. I hope so.
Speaker 2:I think they will when they see it. So, yeah, why not? Why not treat yourself to this wonderful piece of calligraphy with this wonderful message that every day is a good day? And I have this belief that that piece has captured a part of you now, cole, in your flow or your creativity. So people have a part of your creativity with them and this wonderful message that every day is a good day. And we're you know we're so lucky to be alive, we have so much to be grateful for, and this piece can inspire you when you're feeling down or frustrated or anxious or stressed, or even when you're happy. It might inspire you to share the love, to share how good life can be. So I'd like to say every day is a good day with you in the world Naoko.
Speaker 2:And so by having this piece, I think that's what people will feel.
Speaker 1:Yeah, nijinichi kore kojitsu.
Speaker 2:Ne Soda ne. Every day is a good day, yeah, so it's been a great day catching up. We'll have information about the piece, photos, links on the show notes and, yeah, if you're keen to buy it, I recommend that you do.
Speaker 1:Thank you very much.
Speaker 2:So thanks for joining me today, Naoko. As always, good to chat with you.
Speaker 1:Thank you, nick, have a great day.
Speaker 2:You too.