Category: Blitherings

The Four Treasures: Inkstone / Suzuri, i

I am not an expert on inkstones. I own a few, most of which I have used, and some I like better than others. My most expensive is perhaps the best, although recently I acquired one which I have still not tried. A cheap inkstone is simply a cheap inkstone, and worthless. An inexpensive inkstone is not cheap, just a bargain, and a pleasure to use!

A Little History of the Inkstone

In the “kanji countries” – that is, eastern Asian countries with a tradition of brush and ink as writing implements – inkstones were developed to grind ink sticks. If you think of sandpaper, you will understand the underlying principle of the inkstone, which is to grind away the ink into fine particles which are dissolved in water. The finer the grit of the sandpaper, the finer the grit of the ground ink. A poor inkstone will not do the job it is intended to do. A fine inkstone may be ruined by a poor ink stick, so taking care to choose high quality stone and ink is important to the artist and calligrapher.

According to various websites, there is archeological evidence of inkstone usage in China as far back as 5000 years. In Japan, the arrival of the inkstone – the suzuri – came later, as Chinese and Japanese cultures made contact. Inkstones have been excavated in Japan which date to the 8th century, and 1998 at the Tawayama site in Matsue, Shimane Prefecture, the finding of the Chinese inkstone parts suggests articles related to writing were introduced to Japan via the Korean Peninsula much earlier than previously thought – about 100 A.D.  Inkstones are usually made of stone, but have also been made of ceramic, tile, clay, porcelain, jade, iron, copper, silver, wood, lacquer, and bamboo.

There are many areas throughout China, Japan and Korea noted for the quality of stone for inkstones. A good inkstone will quickly grind ink into very fine particles, will not absorb the water used to grind the ink, and not harm the brush. The mineral content and character of the inkstone influences the fineness of ink particles, as well as the blackness of the ink.

Two Chinese stones I have and used include the Duan and She stones from China. Duan (Chinese: duanshi. Japanese: tankei) is a volcanic stone, or tuff. The colors range from reddish to purple. The She stone is from China (Japanese: kyu), and is a form of slate. Both stones may have markings throughout, which are considered to increase the value and beauty of the stone.

In Japan, according to a contact, there are no more mines today which are capable of producing good inkstones, and the best stones are imported from China and carved by Japanese artisans. Nonetheless, in Japan, there Akama and Ogatsu inkstones. The Akama stone is reddish in color, with a hard, fine grain. The Ogatsu stone is black, and allows for detail in carving. It, too, is a hard stone with a fine grain. I have both Akama and Ogatsu stones.

Parts of the Inkstone

An inkstone is not just a practical tool, but a work of art in itself, whether simple and functional, or richly carved. Generally speaking, an inkstone will have a large, flat area for the ink, and a slope leading to a well for water. A small amount of water is placed in the well, and using the bottom of the ink stick, water is pulled onto the flat surface where the grinding of ink occurs. I often will sprinkle a bit of water onto the flat surface of the stone, begin the grinding of the ink, and pull more water up as needed. A stone with a large flat surface can help the artist localize different shades of grey, and the well may be used to dilute ink already on the brush to lighten it. This link will show you the general structure of an inkstone.

A Duan Inkstone

This stone measures approximately 3 x 5 inches (7.5 x 12.5 cm) on the inside.  When tapped, it has a nice, crisp sound.  The case is made of rosewood, and well constructed.

Not all inkstones have boxes or lids, and unless you use your stone frequently, it would be easy to let the ink dry out in the stone if you covered it and forgot about it.

This stone cost about $40.00 around 2000. Ink is easily made using this stone, and has a pleasant consistency. As it is a small stone, ink needs to be replenished on a regular basis. The size also makes it convenient to take to class, or to use outdoors, as it is neither heavy nor bulky. This is a great everyday stone for the the artist looking to explore ink painting and calligraphy. It is a quality stone without a high price, and a good ink stick (not a student grade ink stick) will produce thick, rich ink.

The Budget, Phones, a Dog, and Weird Little Things

This has been a rather dismal week.

There are just times when life’s external events pile up, and become Issues.

The budget crisis locally, statewide, and nationally is producing delayed effects, especially for those employed in the public sector.

Yours truly is one.

And, now, with the new fiscal year, the ones spared so far are looking ahead with consternation.

The city of Los Angeles, looking to save money, is auditing phones, to see if they are connected or not.  8000 phones never ring, are not used, and the potential annual savings is nearly three million bucks, if other phones are found not working.  Tax dollars at work.

How many jobs could be saved, would have been saved, if this had not occurred?

Life goes on, despite or inspite of it all.  Coming home to wagging tails is always a pleasure!  This guy certainly makes the day brighter! And looking at the junk on my desk, I had a good laugh over this.

Off to work!

I’ll check my phone, too.

Chinese Painting Class: Dragon

What really happened . . .

My last Chinese painting class had the assignment of peony, but that lasted about 20 minutes.  A student requested Teacher demonstrate a dragon, and had brought in a painting by a famous artist as a sample.  This turned into an incredible class demonstration!

Chinese Dragons  龍

Chinese dragons are different than western dragons.   In fact, they really are not dragons by western standards.  The pronunciation for dragon in Chinese is “lóng” – like “long” with a long “o” and a rather French “n” sound, like in “fin” – sort of nasal, by what I recall hearing.  Wikipedia sums it up:

The Chinese dragon or Oriental dragon is a mythical creature in East Asian culture with a Chinese origin. It is visualized these days as a long, scaled, snake-like creature with four legs and five claws on each (though it did not always have five claws). In contrast to the European dragon which stands on four legs and which is usually portrayed as evil, the Chinese dragon has long been a potent symbol of auspicious power in Chinese folklore and art. The Chinese dragon is traditionally also the embodiment of the concept of yang (male) and associated with the weather as the bringer of rain and water in an agriculturally water-driven nation. Its female counterpart is the Fenghuang (usually translated as a phoenix).

Dragon Painting

The original painting, from a calendar of twelve monthly dragon pin-ups, is to the right.  Copying a painting is a traditional method for learning techniques.

When a painting is done with both ink and color, the ink is laid down first.  This ink creates the foundation for the painting, the color is added last.  Different papers have different qualities, some being unsized, others not.  Sized papers resist bleeding.  Our dragon was painted on unsized paper, so Teacher’s brush was very dry.  Even when diluted ink was used, the brush was blotted on paper towels to pull out excess moisture.  When the colors were applied, they were diluted as well, but the brush was blotted, and the wash applied in quick, short strokes.

Beginning the Painting

The initial part of the painting was a rough outline in charcoal, lightly applied to the paper.  Proportions were determined, and placement.  Then the major outlines of the painting were started – the “bones” of the painting.  These lines were both thick and thin, and applied with relatively dark ink.  Even though the face was the starting point, the eyes were not completed until the painting was nearly done.

Take a look at how Teacher holds his brush. This is very different than how we hold our brush in the west. Also look at how his left hand is placed on the paper. Those of you who have done calligraphy, or spent countless hours in the classroom in your childhood during penmanship, remember this position.

Teacher uses his brush vertically, using only the tip, as well as sideways. All of this can be done with a large brush tapering to a fine point. This point can be shaped by wiping it along the edge of the dish, twirling it in the process of removing extra ink, as well as with the fingers. Narrow lines are done with the brush tip, but broader areas of ink are done with the length of the brush.

Using only one brush, Teacher completes the overall lines and shades of the painting before color is added. A sense of depth depends on all these elements working together.

Teacher completes one section before moving on to the next. First the head is outlined, then claws, and twisting body. Below the head, the rest of the dragon develops, body, tail, claws. Paper is left white so clouds, mist, and flame may be represented by light washes and color.

When the dragon is done, the eyes are added, very carefully. Ruin the eyes, ruin the painting!

Adding Color

After the dragon is completed, inking continues. The background is completed, final touches are added here and there. Once Teacher is happy with his painting, he begins to add color to the painting.  He also has switched to a large, western watercolor brush!

One of the biggest challenges in watercolor is remembering that color becomes lighter as it dries. Unsized Chinese paper can become waterlogged and tear very easily. For the best results, the artist has to think ahead. Knowing about how light a color will dry comes with experience. Even so, as the painting develops, the need for darker color will be found. Patience! Let the paper dry, and then add more.

Teacher mixes an ochre, then moves into a cool blue.

Red is added.

Three hours later, teacher has completed his painting.

A Foray into Toe-Up Socks, iv

I’ve finished the first sock of this pair, and I can only say I am not too fond of it, as far as doing it, and as far its design.  This being the first sock, and fraught with a high learning curve, it is understandable.

After turning the heel, I continued on with lace rib stitch for 6 inches, and then began the top pattern, which is a repeat of 7 stitches.  To recap, the sock is a 6-stitch repeat, done on 60 stitches.  I decided to increase 3 stitches, every 20th round.  Then I began the pattern, which I will modify, and attach to posts about the second sock, which 1) should be nicer looking, and 2) have a gusset rather than short row heel, and 3) have a decrease of stitches (maybe) for the top border.  Just so you know, the bind off is stretchy, done as k2, slip 2 stitches back to left needle, k2tog, k1, slip 2 stitches back to left needle, and continue until done.  It was a nuisance to do, but the edge worked out rather nicely.

The top of the sock, as you can see, flairs out a bit. As this was the calf area, I figured it would be better to make it the 3 stitches bigger rather than 4 stitches smaller. Maybe I’ll change my mind on that, seeing how it doesn’t have any ribbing on the top. On my leg it looks like it will slide down toward my ankle, which is fine if I want a baggy sock around my ankle, but with this design, I don’t think so.

As far as the overall design of the sock, I’m not displeased, but not happy either. The vertical lines of the ankle and foot are in a nice contrast to the horizontal quality at the top.

At this point, I admit that I am still not sold on toe-up socks. This being my first one, I know I am far from any point of making a definitive statement. There is a lot more still to learn, and certainly I am doing that! And, that was the goal in the first place.

A Request

If you have any sock patterns that you think are just the BEST toe-up sock pattern, leave me a note and a link if there is one.  Or email on Ravelry. I’d love to see other socks, and though I do have books on the subjects, the subject is far more vast than I first realized.

Abstractio

As I wrote a bit earlier in my posts about my Chinese Painting Class, there is a challenge to start painting a subject when the knowledge that is gained by practice and by painting has slid by the wayside.  In an effort to stop feeling frustrated and stressed out by the process, I decided to play.  Play is part of growing up – and part of any art or skill acquisition – a  way to try, explore, experiment, learn.  I forget this way too much!

Relearning

The subject was peonies.  I have done a few good ones.  This is what I did that led to tears.  To put it politely, it sucks.

Becoming very frustrated, I decided to practice some strokes in classical subjects which are the foundation for Asian painting: bamboo, orchid, chrysanthemum, plum.

Some memory returns, but the brush is far too wet.

Break the Rules

Rules exist to be broken. Many sumi painters paint traditional subjects, which are beautiful in variety and subtlety. Others move into areas far beyond the traditional expressions, meeting either excitement or criticism. The beauty of ink is its immediacy, and how it lends itself to spontaneous expression. However, this element of spontaneity comes with practice and experience, and without either, the dilettante remains such. The artist combines the repeated practice, the knowledge, the experience with the moment. All artists are dilettantes and students at times, and other times, they move into that time and space when it all comes together in a moment of mastery.

Next Steps . . .

Given these thoughts, I let it go.

Absorbent xuan paper – washes – diluted ink – pure ink – pure pigment – mixed pigment – water – no water.  Playing with paper, ink, paint is a form of reacqaintance with old friends.  Not having a goal, just going somewhere, and letting it lead you into itself.

I am not an abstract painter, but I am not a realistic one, either.  I prefer suggestion.  Purely abstract adventures are rather frightening – nothing recognizable on which to get a toehold – only a plummeting in, down, out – moving with the moment.

First one done, very timid.  I realize just how much I’ve forgotten!  One thing that is very important to remember is that the color of Chinese paint becomes a lot light – mucho mucho! – when it dries.

These next few, I diluted the paint and ink considerably less. I sprayed the paper in some areas, applied ink and then painted over it, flicked the paint, pushed and smooshed and let the ink or color bleed in.

I rather like the above two paintings.

Continuing along the same path, I remembered that I have some acrylic paints, Golden Fluid Acrylics, which are a dilute paint (not less pigment, just thinner, like cream) and some others with sparkly effects. This painting is ink and dilute acrylic. Unfortunately, the sparkles don’t show up in the photo, but they do add a nice quality to the finished picture below. I’m actually rather pleased with this one. It makes me think of looking up into an oak tree, seeing the leaves against a bright sun.

And finally, this. I think this is my favorite. Unfortunately, the photo is not the best. This one was a bit more planned, with colors more carefully considered, warms and cools placed in some specific areas. Splatters, too, and drips were done with more conscious thought. Not all of it was planned out. Ink was added before, during, and after the colors. The paper was sprayed at various times. The point of this painting was to try to incorporate what I learned from all the above, and work to see if my thoughts would produce specific results.  Did it work?  Yes and no.