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The present article analyses how Japanese calligraphy (shodō) is portrayed in the media, particularly in the Japanese comic book (manga) Barakamon. Although it is an art strongly anchored in tradition, shodō has continuously found new ways to reinvent itself and to become an integral part of everyday life. In order to observe the role of Japanese calligraphy in the media, the article will analyse the manga series Barakamon, showcasing several issues related to calligraphy, and how they are treated in the manga: the link between the visuals and the text of a calligraphic work (and how it might create difficulties for the manga's translators), the issue of value within a calligraphic work and the importance of the calligrapher's individuality and of finding a unique style.

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This study aims to analyse the way in which modern techniques are used in the art of Japanese calligraphy (shodō). Known for its preservation of traditional values, over the years shodō has started to focus less on rigour of the form and more on the possibility to reflect the calligrapher's vision and thoughts. The article intends to highlight this shift by accentuating the impact that the evolution of writing in Japan has had on shodō and ultimately showcasing the way in which colour is used by calligraphers. The two aspects this study will bring forth will be the way in which the evolution of writing in Japan created an opportunity for innovation and how the novelty factor has evolved, currently opening new possibilities of using colour to convey deeper layers of meaning. In order to illustrate how the use of colour in shodō can transcend conventional practices, we analyse the work (物の)哀 The beauty of simple and ephemeral things created by the contemporary Romanian calligrapher Rodica Frențiu. We conclude by emphasizing the close link between traditional values and the calligraphers' expressivity and by underlining the fact that this approach can broaden the creative horizons of shodō in the future.