書家　山内清香　オフィシャルサイト


	local newspaper and its English transration




























































































































































































































	exhibition at Hirose Gallery





	three dimentional works made of iron

















	mural works on three panels




	work with the image of "*Take*"

Produced a massive work, Hirai Castle, 1997


in front of the massive work		massive work 5.4m x 2.7 m

At the Ho Chi Minh Bao Tang May Thurt Museum of Art, 2001


ancient Chinese characters (chinese bronz inscriptions)		art work presented to the museum

Seika Yamauchi, Japanese calligrapher
Splendor of traditional cultures in the Orient

Vietnam-Japan Interchange Exhibition was held in June, 2001. Seika

Yamauchi, a woman calligrapher, a member of the delegation of Japanese

artists who joined this exhibition, gave a demonstration of calligraphy

together with Mr. Chuong Han Minh, an artist, at Ho Chi Minh City

Museum and gave a deep impression to citizens in Vietnam.

At the social gathering with Vietnamese artists, Ms. Seika Yamauchi was

full of charm and said,

"It is more than 25 years since I started to learn calligraphy, but frankly

speaking, there are very few Japanese women who love the art of this field

and pursue it more deeply. If I have to explain why I have dedicated myself

to calligraphy, it is due to my way of thinking and the environment that my

mother is a calligrapher, too. I have been thinking that calligraphy can

express the unique beauty of the Orient. That is the beauty of the

appearance of written characters, and also it includes profound significance

of the life from the past to the present. I always desire to express thought of

myself through calligraphy. Sometimes it is my thought related to emotions

of each human being, or inspired from styles of the classical art I met before."

In addition, regarding Japanese women artist's 'how to express her own

thought' through calligraphy, Mr. Chuong Han Minh said,

"She is really walking her path of writing unique calligraphy. Power of

brushstrokes expresses her freewheeling, dynamics, sophistication and

warm-heart. Ms. Seika Yamauchi sent me a calligraphy of two characters.

They are 'Dream - Wind', 'Dream' is come from the letter of 'Poetry-Dream', and

'Wind' is come from the letter of 'Wind-Style'. Ms. Seika Yamauchi explained

that her ink-painting expresses a style of dreams and lyrics."

The leader of the delegation of Japanese artists said,

"Two characters of 'Unicorn ' and 'Phoenix' written by Ms. Seika Yamauchi a

couple of minutes ago express in a friendly why the conception of the Oriental people

who respect the four spirits of 'Dragon, Unicorn, Tortoise and Phoenix'. They

represent exactly Seika Yamauchi's will."

Ms. Seika Yamauchi has been walking the path of writing old letters, an art with

more than three thousand years ago of history and experience. In her calligraphy art,

she creates big pieces that are five meters in length on site, and which have

received high praise not only in Japan, but also in China and Australia.

In the past year she was invited to Australia and taught students there.

Ms. Seika Yamauchi desires that many people in the world become exposed

to this Oriental art. According to the leader of the delegation, this idea is not

only Ms. Seika Yamauchi's individual one, but is one that is shared in common
with many Japanese artists who joined the Vietnam-Japan Interchange Exhibition.

The representative of the delegation of Japanese artists said,

"The power of Occidental art became inadequate to attract us. In the 21st

Century however, we are returning to Asian art because of this, and we
have found friends among Vietnamese artists."

In return for these words spoken from his heart, Vietnamese artists welcomed

the artists from the land of cherry blossoms with applause and looked upon them

with eyes of friendship and respect.

　Yugeki-Ten 　Art 　Exhibition, 2002


drawing calligraphy		massive work,15m x 5m


the mayor of Matsumoto City and I

Participating in Yugeki-Ten Art Exhibition

Matsumoto Shimin Times (Japanese newspaper) November 18, 2002

The other day I participated in “Yugeki-Ten Art Exhibition” at Matsumoto City Museum of Art on the theme of “How to Express an Abundant Life in Heaven and Earth”. I had so many sweet and memorable meetings with people of Matsumoto City who I realized appreciated not only the exhibition，but also my performance of calligraphy. I would like to express my sincere gratitude to all of these art loving people．

An exhibition and performance of calligraphy was held in Australia two years ago and another at Ho Chi Minh City Museum last year ，but I have never had an exhibition such as the one in Matsumoto City Museum of Art where we could appreciate an outdoor work below our eyes from the first floor．That was a big piece，15 meters in length，and 5 meters high I had never created something like this before．More so，from the first floor, visitors could appreciate the characters difficult to see from the ground floor, being too large in size．

“Yugeki-Ten Art Exhibition” means “playing extremely”, but I was eager to work on the expression although I felt that it exceeded my capability. Regarding this big piece，I couldn’t but feel anxiety, because I could not find a place for practice as I was entering the key stage of the work．

But when I stood on a pure Daigasen（big paper for calligrapher），my hesitation left me. I devoted myself to drive a writing brush in order to write down my life on it．I would rather say that the writing brush moved on its own and I followed it，maybe that describes it more appropriately.

When I finished writing，I was almost like a cicada’s shell which used all its power and got exhausted．I expressed my“heartfelt thanks”to so many Matsumoto people，Museum staff who communicated pleasantly and the volunteers who cooperated for“Yugeki-Ten”，and also many visitors who came despite the rain．

I am sure it is my duty to continue to express the reality which exists in this period or this moment with my body and soul，on the basis of my experience in Matsumoto in order to express my gratitude．It seems there is no limit to expression considering livingloving，being free，being peacefu1，and further more human aspects of pity，sadness and ridicule．

World peace art exhibition 2008 in Croatia


	Pay a courtesy visit to Mr.Stjepan Mesic President of Republic of Croatia		present my work to the President


	Lecture on calligraphy in University of Zagreb


	lesson on calligraphy		demonstration of calligraphy

World peace art exhibition 2009 in Cambodia



	Mr.Sok An Deputy Prime Minister of Kingdom of Cambodia		Rector of the Royal University of Arts



	lesson on calligraphy in Royal University of Arts



			lesson on calligraphy at the primary school in Province of Siem Reap



			I present a well to a village in Province of Siem Riap

Pranned exhibition in Ikeda Public Museum of Art ,2012

Pranned exhibition at the Ikeda Public Museum of Art ,2012

folding screens(Byobu) made in Ikeda Public Museum

Japan-Thailand exchange exhibition of arts in Art Center Silpakorn University,2013


	with prime minister Yingluck(center)		picture with Yingluck Shinawatra,
			Prime MInister of Thailand

Exhibition in National Chiang Kai-Shek Memorial Hall,Taiwan,2014


	director of National CKS Memorial Hall and I

Exhibition in University of Hawaii,2014


			professors of U.H. and I

Local Newspaper (Jomo Shinbun)

Jomo Shinbun　February 4, 2003

Ms. Yamauchi's personal art exhibition was held at Hirose Gallery in Takasaki, Japan, in late January. The exposition had his poetry, Chinese poetry, works in Kana or Chinese characters of her haiku, tanka ( thirty one syllabled verses) which were added through imagination on receiving inspiration after looking at ink-paintings and three dimensional works made of iron and among others.

Ms. Yamauchi has been an ardent and dedicated creator of classics for about twenty years. It was about ten years ago that she got interested in hieroglyphs. Looking back at the past she says that she got attracted to the real simplicity of hieroglyphs and various interesting shapes which are still in there infancy.Although Ms. Yamauchi has created various works, her urge to do more remains unsatisfied. Recently, she has been studying "Tonba letter", one of the types of hieroglyphs. She still finds herself in a learning stage but she knows she will utilize it in her future works.

At the same time, she is not extremely insistent on hieroglyphs. She says, "In the beginning, I have words and sentences to write and then I consider the most appropriate letters for them. In the process some images match the modern letters while some match the ancient ones."

Apart from writing on papers and folding screens, she sometimes writes directly without even having a draft. "At those moments, I can rather put my force and spirit physically and mentally into creative activities for want of a draft. I feel I can create the best work at that time which I cannot rewrite otherwise," she explains.

In the exhibition, there was a section exhibiting about ten pieces of three-dimensional work at the corner of the gallery where her personal art exhibition was held. Most of them were works formed by welding iron bars or plates, bolts and so on, and were painted red or black, or had gold foils.

They expressed various people. One person was writing something sitting on the floor. Other people were watching her while lying down, holding or folding their hands. "The overall finished work includes many people, so this time I tried this kind of exhibition," she says.
She likes three-dimensional works, but she cannot afford enough time to create many.

She says, "When I write a small work, sometimes my mind shrinks, too. At that time if I create a three-dimensional work, I feel good and it seems my calligraphy looks broad-minded and natural," she smiles.

Ms. Yamauchi's works express her sentiment and views of life by the medium of letters. "I'd like to express them more freely. I utilize Chinese characters, kana and hieroglyphs as the means to do so. Forms being similar, I think it is not necessary to distinguish calligraphy or three-dimensional works."

It seems her desire to express more freely is her greatest driving power to create various works.

Culture column, Jomo Shinbun (Japanese newspaper)　September 25, 2006

Touching Sensitivity

A calligrapher does not only write letters on papers. I have written letters on lampshades, ceramics, and glasses, and have created three-dimensional works made of irons, too. This summer I delivered a mural work nearly ten meters in length to a famous company in Tokyo.

I have adopted not only Chinese characters and hiragana but also ancient hieroglyphs as letters for writing.Chinese characters "Take" (bamboo) was often written in Chinese classics. Since I myself like it, I have created several works on the theme of "Take". Recently I have been eager for creating one work with the image of "Take" in "Tsuki ni Hoeru"(Howling at the Moon : Sakutaro Hagiwara's famous poem). From his poem "Take" I can imagine a sensitive image with a unique sharpness. It is not a beautiful or elegant bamboo with its leaves fluttering down like flower petals.　

I like Sakutaro's poetry from the time I was a high school student. Perhaps he was influenced
by Akiko Yosano (poet) who went to France, I have a deep impression of his "Ryojo"
(Sakutaro Hagiwara's poems) in which she described the France that she yearned. At that time, I also read "Take", but it did not touch my heart.

Sakutaro pours out his vague anxiety and loneliness in his poetry. Maybe my wave length of sensitivity matched with his. But I could not feel Sakutaro's pain so much. Sometimes I meet some obstacles while creating works. I burn papers every day, which I could not write as I had desired. I cannot write anything even if one month has passed. After having such experiences, I could understand Sakutaro's feeling.

Where and why am I attracted to Sakutaro? My understanding is he expresses loneliness in himself skillfully as poetry. Sometimes I feel loneliness as if I stood alone in crunching sands in a vast desert. This loneliness or melancholy goes nowhere to hide, and I can take a new step for the first time. Sakutaro knows this kind of loneliness, and he brings it out by borrowing the rhythm of poetry like good flowing music. I admire his way expressing of himself.

Sakutaro observed plants carefully such as the stems of bamboos and grasses, and expressed them by words. I read "Take" again and found many new things, one of them is his acute power of observation.

I can see paintings of bamboo often, but it is very rare to meet writers who observe bamboo roots gradually becoming thin, and further more, the faint vibration of cilium at the edge of the roots, and feel something. It reminds me of the sensitivity of Hasegawa Tohaku's (ancient Japanese painter)　national treasure "Shorinzu Byobu" (folding screen).

Great work of art includes two extremes of sensitivity, boldness and strength, I feel Sakutaro's "Take" is just that. My impression of "Take" has changed. Before I accepted that this poem described "the darker aspects" of humanity, but on the contrary, it seems to be describing "the positive aspects" too.

When human beings are driven to the depths of despair, we cannot but extend somthing like a bamboo. Sharp blue bamboo, as if it were breaking through unstable feeling, is my ideal. From darkness to light and from negative to positive, breaking through sharply and strongly, it shows as if it were spreading out to the universe. While the blue bamboos go under the ground and in the sun, it is wonderful if I can follow the blue bamboos as the emotions and the real world continue to change.

　Seika Yamauchi