In Southern California, the normal scenery is beige in the hills during the winter – lately, black – but in the towns, landscaping tends to be green year round.
Seldom do you find leaves changing like you do back east – which is anything inland from the Pacific! – but in our front yard we have a tulip tree. In the summer, the shade and leaves keep our house cool, to the point we seldom have the air conditioner on. In the winter, with fewer leaves and shorter days, the light comes in the windows, and the branches are silhouetted against the sky.
And as the year ends, it drops it leaves. This year, we had a short cold snap that came with rain, and the leaves are so beautiful, more so than usual. Soon they will all drop off. I caught this picture in the late, late afternoon.
According to the Google Chinese translator, 国画兰花 means “orchid painting.” If I plug in the characters, sure enough, that is what I get! There are a lot of really beautiful orchid paintings, both Japanese and Chinese, and some from other parts of the world.
The Four Gentlemen
In learning to paint in sumi, the student first becomes acquainted and accomplished in painting the orchid, bamboo, plum, and chrysanthemum. Practicing each, the student learns critical brush strokes, and while one may become adept at the strokes, mastery is where the artist steps in.
Painting the orchid allows the student the opportunity to practice long movements with the brush. This requires moving with the arm, rather than the wrist, which is very strange to us in the west. Those of us who learned to write script hour after hour in school learned to control our movements. Big, sweeping arm movements were not encouraged.
In addition to learning to control large movements, the student also works with varying shades of ink, from light to dark, to create a dynamic painting. The leaves require darker ink, and the flowers require lighter. In addition to lighter ink, the flowers require smaller, controlled movement. Finally, “dotting the heart” – the black ink at the center of each flower – requires the patience for the ink to dry. Applied too soon, the elegant shape becomes a blurry spot in what might otherwise be a perfect flower.
Besides being an elemental step to learning sumi, the orchid represents spring, as well as the virtues of noble behavior and modesty. In Japanese, the “Four Gentlemen” are called “shi-kunshi. Each plant has a corresponding season and virtue. In contemplating paintings of these subjects – the orchid, bamboo, plum, and chrysanthemum – one also steps into the symbolism of each.
Painting the Orchid
Of the “Four Gentlemen,” the orchid is the most easily learned. The long flowing leaves are delightful to paint. The flowers are as well – a great deal of satisfaction is found in mastering the curves of the strokes. Most difficult is “dotting the heart.”
That said, the mastery of the orchid, or any of the Gentlemen, is a lifetime experience. The expression and shape and composition of such simple subjects becomes increasingly more interesting, and more challenging.
The Video: Painting the Wild Orchid in Sumi-e
Here is a video showing some of my orchid paintings in color, as well as a demonstration in sumi. I have not annotated this video, but am leaving it for you to observe. Let me know what you think!
Fields of wheat are found throughout the world, and it is a grain of significant nutritional importance to many populations. Technically a grass, wheat originated in the middle east, and was the agricultural foundation for a number of early civilizations.
As a subject to paint in sumi-e, it provides a number of interesting lines and planes. Using a diagram of the plant, pictures of wheat found on the web, and dried grasses for arrangements, there are many resources for the artist. I’ve used a combination of all three as references.
Painting Wheat
The first area to be painted is the seed head. It weights down the plant, and gives a graceful direction to the subject. By painting these first, the focal points of the picture may be chosen. As wheat rests on a top of a tall stem, consideration should be given to the composition – is the wheat going to be upright and tall, or bending over in a graceful curve?
The seeds are painted dark to light, with the ink on the brush being used until gone. Next, the stem and the beard may be painted. The beard is lightly done, with quick graceful strokes. The stem may be created with a pause and pressure at the beginning of the stroke, before continuing on and completing the stem in one movement.
The leaves are done at the end, using the side-brush stroke in combination with vertical strokes which change direction and pressure for character. Finally, the veins of the leaves are done in medium-to-dark ink.
My own wheat is rather amateurish in execution, but that is how one learns. Many sumi artists and calligraphers will practice a subject over and over until the right combination is reached, and the seemingly effortless execution of a painting is done.
In the spring of this year, I decided to work up a lace beret. I’ve had the pattern written up and completed for some time, but did not want to publish it until I had included more photographs in the publication.
I am really pleased with the pattern, and my test knitters did a wonderful job correcting mistakes, as well as posing for pictures. These wonderful people include Judy and Donna, as well as models Alicia and Emmy.
Today, I posted this pattern on Ravelry, and on the Patterns page here on Ink, Yarn & Beer. Here are some of the photos taken in the process.
There is absolutely nothing to dislike about this hat! It looks great on, and knits up quickly enough. The pattern directions are clearly written, the charting is easy to follow. Lucy Sweetland is a talented knitter and designer – not to say a great photographer! Check her out her blog, A Black Pepper.
Needless to say, my photographic skills do not do justice to this hat. What do you expect from a digital point and shoot? Well…I may buy a new camera in the future, too, and then??
Ink, Yarn & Beer 