With their “ample” character, fat faces have existed in Japan since its inception. This talk focuses on fat faces from the Edo period to the present day. The political capital of Edo (the former name of Tokyo), nurtured many pop cultures, and in that environment, hand-painted letters on storefronts and quotidian consumer goods evolved to please the eye. Kanteiryu (a style of calligraphy used for publicity and programs for arts like Kabuki and others), characterized by its extremely dense texture, was conceived in such a climate, as were Yose Moji (a handwritten style for Japanese theater), Sumo Ji (a special style for sumo rankings), and Kago Ji. (cage letters—the characters are thick and square in shape). All were made for specific businesses and cultural realms, and were beloved by the people of Edo. These so-called Edo Moji—both traditional styles and new ones reflecting a contemporary aesthetic— can still be found on the streets of Tokyo. What have the modern fat faces inherited from the old, and what roles will they play going forward? This presentation examines the lineage of fat faces, as well as their future.
江戸時代と現代の極太書体
極太書体の数々はその際立った”太さ”を魅力に今も昔も各所で活躍している。今回は日本の江戸時代から現代までの極太文字に焦点をあてたい。行政首都として栄えた江戸には役人だけでなく多くの町民も集まり、様々な大衆文化が発展した。その中で、芝居の看板やあらゆる品々を飾る文字にも趣向が凝らされることとなる。太い線で隙間なく書かれる書体、勘亭流もそうした背景のもと江戸の町に生まれた。勘亭流を代表に、寄席文字、相撲字、籠字など肉太を特徴とした数々の書体が発達し利用され人々に愛された。それら江戸文字は現代にも受け継がれ街中で見かけることもできる。当時の面影を伝える江戸文字に対し、それぞれの時代を映した新しい極太書体も開発されてきた。近年の極太書体は過去から何を受け継ぎ、今どのような役目を担うのか。極太書体の系譜とこれからについてお話し