Edomoji
Edomoji or edo-moji (Japanese: 江戸文字; furigana: えどもじ) are Japanese invented for advertising during the Edo period. The main styles of edomoji are chōchinmoji, found on paper lanterns outside restaurants; higemoji, used to label kakigōri and drinks like ramune and sake; kagomoji, literally "cage letters"; kakuji, a thick and rectangular seal script; kanteiryū, often used on flyers for performances such as kabuki and rakugo; and yosemoji, a mix of chōchinmoji and kanteiryū.
Chōchinmoji[]
Chōchinmoji (提灯文字) characters are the ones used on chōchin (hanging paper lanterns), such as the ones commonly seen outside a yakitori stand in Japan.
Higemoji[]
Higemoji (髭文字) characters have little "whiskers" (hige) on them. This style is used for kakigōri and ramune signs as well as being a common style for sake labels. While this gyosho-esque script appears fluid and spontaneous, it follows a strict ruleset based on the Chinese-originating "7–5–3 pattern". The brushstrokes must appear as seven distinct bristle lines, with narrower passages requiring five, and three as the stroke terminates.[1]
Kagomoji[]
Kagomoji (籠文字) literally means "cage letters". The characters are thick and square in shape. It is usually used in inverted form or sometimes as an outline.
Kakuji[]
Kakuji (角字) is a very heavy, rectangular style used for making seals.
Kanteiryū[]
Kanteiryū (勘亭流) or simply kantei, or shibaimoji (芝居文字), is a style is used for publicity and programmes for arts like kabuki and rakugo. Invented by (岡崎屋 勘六), the name derives from Okazaki's nickname, "kantei" (勘亭).
Kabukimoji[]
A style specifically associated with kabuki.[1]
Sumōmoji[]
Sumōmoji (相撲文字), sumōji, or chikaramoji[1] style of lettering is used for sumo wrestling advertisements and programmes.
Yosemoji[]
The name yosemoji (寄席文字) literally means "letters for yose" — Japanese theater. A combination of kanteiryū and chōchinmoji, it was used for posters and flyers, as well as in rakugo performances (e.g. mekuri), nafuda, and nobori. Unlike other calligraphic styles, yosemoji allows and even encourages multiple brushstrokes in order to fill in the characters as much as possible.[2]
References[]
- ^ Jump up to: a b c Richie, Donald (1987). A Lateral View: Essays on Culture and Style in Contemporary Japan. ("Signs and Symbols", 1974). Stone Bridge Press. pp. 85–92. ISBN 9780962813740.
- ^ Shores, Matthew W. (August 2014). "A Critical Study of Kamigata Rakugo and Its Traditions". University of Hawaii. Dissertation. Cite journal requires
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External links[]
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