Sumi-e & Ink Painting – Page 3

Composition: Some Thoughts

Composition is, by definition, the act or process of “arrangement into specific proportion or relation and especially into artistic form.” This can apply to written and visual arts, and other areas as well. Composition can be practical, it can be adventurous. Whatever it is, it is the individual’s sense of design.

One of the most challenging areas of composition is deciding how much is enough? That will be dependent on a number of things – what are you trying to express? In the old days, when photography did not exist, detail in Western art was much appreciated. Being able to capture realistically an object or person was highly prized. Detail was also valued in Asian art, but differently; scrolls made for a visual adventure, section by section, as can be seen in part of Long Scroll of Sesshu below, unlike the more limited flat surfaces of books.

Besides hand scrolls, multiple scrolls, such as this one presented in the Weng Collection’s catalog, hung side-by-side, created a larger work with individual panels, such as the triptych of Western art.

With photography, realistic and intimate recording of details became possible, and simplification and interpretative exploration began in the visual arts. Zen in the east influenced ink painting because of its simplicity and focus of the moment in which the painting or calligraphy was produced.

Simplicity may have multiple levels. A single line or movement may be repeated. Details can also be within those elements. For instance, in a garden, a curved walk may be the most dominant visual detail, but within that curve may be found many details, such as rocks or leaves or plants.

Simplicity by itself may fail. Placement of elements in that simple composition need to be considered. The most common compositional element discussed in photography is the Rule of Thirds. If you are unfamiliar with the rule, draw a tic-tac-toe grid: this is the Rule of Thirds. Where the lines intersect is where you should consider placing the subject of interest. Placement of subject in each of those four intersections gives a different energy to each picture. Using this same precept prevents placement of horizontal or vertical focal subject in the dead center of the picture.

A picture or painting based solely on horizontal and / or vertical elements is tedious. In this mix something needs to break this up. Diagonal lines, shapes such as circles or triangles, or curves are compositional elements which add visual interest. Balancing all of these can create a visually dynamic composition, but too much or wrongly placed, these same elements may destroy an otherwise compelling composition. At the same time, it is also necessary to consider colors, contrast, and scale. These, too, impact the final image.

How the eye is led to the focal point of the image is key to good composition. This can be called framing. In photography, placement of objects in the foreground is common. Shadows and bright areas are other ways to accomplish the directional sense in a composition. Combine these with diagonals or curves, and the eye is led along a visual path to the area of interest. In photography, this can be a bit of a challenge, but with cropping and airbrushing, distractions can be minimalized or removed. In painting, these elements are far more easily avoided.

In photography, the natural world continually gets in the way. We have all taken portraits of people with things protruding from their heads. Painting a portrait, this is much less likely to happen. Avoiding these distractions can be a challenge, simply because the photographer can be very focused on the subject. However, as one progresses in understanding composition, these become more than obvious, and easier to avoid. What is more subtle is an awareness of color. For example, a person in a blue jacket against a background similar in shade (degree of blackening) or color may be more difficult to assess. Similarity in color is called a merger. This is where an understanding of contrast is important.

Contrast may be high or low. High contrast images display few shades of grey; low contrast studies contain many. If you are not sure about this, take a color photo or paint a picture, and then change it to black and white in your photo editing software. It becomes much more apparent when you do this. Short scale / high contrast subjects can be very dynamic, and often this is more easily seen than the subtleties of long scale / low contrast subjects. Long scale subject matter can be very beautiful, but if there is a lack of adequate contrast compositionally and in adjacent areas, a weak picture may result.

* * *

In the four weeks since I started my photography class, my sense of framing a photograph has changed, as has my sense of color and composition. More than anything, though, I have become more aware of light and shadow. I’ve always liked the shimmering of light through leaves – as much as I love the rustling sounds – but now I find myself looking at shadows in general. Our next assignment is to use light – flash, strobe, whatever – in different ways, such as diffusing it or bouncing it or reflecting it. Of course, YouTube comes to the rescue on that note!

This short course has shifted my perceptions, and I am looking forward to seeing how it plays out in sumi-e. Today, my studio will lose its tenant, and I am looking forward to some quiet and privacy and being able to use my space again. My brushes and ink await.

Sumi-e / Ink Painting Books, ii

Motoi Oi, i

Today, I am going to begin a brief series on a rather lovely set of books, published by Motoi Oi (1910-2004) shortly after his arrival in the U.S. Initially paperback books, self-published and handbound by his wife using traditional Japanese binding, much of his work was consolidated into hardback by the Japan Publication Trading Co. in Tokyo.

The Sumi-e Society of America writes about itself and Mr. Oi:

The Society was created in New York in 1963 by Professor Motoi Oi to foster and encourage an appreciation of East Asian brush painting. For the initial fifteen years (1963-1978) its annual exhibitions were held in New York City. Over the years, the Society has grown and there are many chapters in the United States and a sister organization in Canada.When asked why he had started the Sumi-e Society, Mr. Oi answered, in part, “In the East, paintings reflect the great joy of culture. They are a reflection of an intense personal idiom. My idea was to provide a means through which the fresh, new spirit of American culture could be viewed in Sumi-e.”

Professor Oi was born in Japan and in 1958 he emigrated to the U.S.A. where he worked as a printmaker, painted, wrote books on Sumi-e painting and taught art at Queens College , New York City and the Brooklyn Institute of Art and Science.

In 1981, Mr. Oi was awarded the 6^th class of the Order of the Rising Sun for his work in US-Japan cultural relations.

Oi himself writes on the inside cover flap of this book:

What is sumi-e? Is is so simple an art form that a novice can literally pick up a brush and start painting right away. Yet, it intrigues even those whoc spend their lifetimes studying it. In this book, Mr. Oi introduces to the beginners the fundamental techniques of sumi-e and describes its spirit, which plays the most important part, in terms of … Zen Buddhism … a mystic religion of extreme self-discipline and concentration. The importance of its [sumi’e’s] spirit is, however, too often ignored, and the craze for this art is usually based on a complete misunderstanding, the result being a mere imitation of its superficial features.

Given this, I am not even going to approach the spirit behind Mr. Oi’s books; rather, that is up to the individual artist and reader to explore. Instead, I think it is interesting to read the book and consider what is said. For instance, in the above edition, concerning rough sketches, he writes, “in following a rough sketch, painting becomes a matter of technique and hence loses the fresh, spontaneous feeling. Therefore I do not recommend it.” What does this mean? To me, it says it is best to look at each subject as something totally new and unexperienced. It also says to consider the subject in advance – light, dark – and to consider the approach to the painting in terms of brush stroke, ink gradation, how the brush will be loaded. This, of course, comes through practice of lines, circles, and other techniques, such as illustrated below.

Mastery in any art or craft means mastery of its tools. Here, ink, brush, paper, water. It also means mastery of the self, in whatever way it means to you, the painter, the artist, the craftsman. I rather like these paragraphs from his “Notes on Sumi-e” found at the end of the book:

The ability to think is what produces a good Sumi-e. A dexterous hand may turn out a mechanically excellent picture but not a true Sumi-e in spirit.

Pick up a Fude with a deep sense of humility. Free your mind of arrogance and hostility. You are not out to conquer Sumi-e. Rather, you want to be one with it. There should be neither a victory nor a defeat. Complete union is the ultimate goal.

Sumi-e is a mirror to your mind. It, however, surpasses mere reflection by rendering an image free of frills and pretense. Only the bare truth is reproduced on a sheet of paper.

I wonder, myself, just how this might be judged by others. For me, I know when I have accomplished this, free of the monkey mind; I can look at my painting and know it is well done. But do others see it? I think we are all prejudiced by our moods, likes, dislikes, current preferences. Certainly what appears good today may seem like a horror the next. As we are not static, perhaps this undulation of appreciation – this seeming fickleness – is actually a very, very good thing.

Sumi-e / Ink Painting Books, i

Over the past year, I have gotten some requests about recommendations for sumi-e / ink painting books. In my own collection, I have a number which are still available on today’s market. Current books will be the focus for today’s posting; later I will move into other books in my library which may still be available as used, or in re-issued editions. Calligraphy books will be in their own postings.

These are technique books. Some are filled with little text and a lot of pictures, others have a lot of writing as well. There are times when I love to read, and there are times when I want a picture to copy and learn from it. My mood and subject interest will determine which book I choose.

By copying a picture, you have to analyze what is going on, and figure out how you will do it. This means looking at the brush strokes – even if there is a description in the text on how to load the brush, angle it, and move it. It never hurts to do these as practice because that is how we all master anything – through repetition, thought, doing.

Current Sumi-e / Ink Painting Books

Copying the Master and Stealing His Secrets, by Brenda Jordan and Victoria Weston

I am placing this book a the top of the list because it is important to understand a bit of the history of an artist’s training in traditional Japan, not just in modern times, but hundreds of years ago.

Copying the Master explores the handing down of painting traditions in Japan from one generation to the next. Students may vary in ability, but the skills taught allow the student to gain technical skills needed for successful painting. Japanese tradition in teaching is through observation, not explanation, at least in the arts, as I understand it. This book has some amusing stories behind the students’ learning, as well as give the reader an appreciation of what it meant to be an art student in an artist’s atelier. Whether or not the old masters of the Renaissance taught their students in the same way is an interesting thought – natural skill, observation, or was it more didactic, as we may find in today’s art schools?

For myself, this book is of considerable importance because understanding the traditions behind Asian art training really helps lessen my sense of guilt about copying someone else’s work! After all, plagiarism is seriously frowned upon; the same may be said for copying another’s artwork. Besides that element, this book broadens the reader and artist’s appreciation of the cultural and historical context of the training of artists, as well as acknowledging the whims of fashion and social attitudes about the roles of men and women in the art world.

The Mustard Seed Garden Manual of Painting, translated by Mai-Mai Sze

In and of itself, this is a really wonderful piece of work. The reason for this is because it has been in print for over three hundred years, in China and Japan – there is a traditional approach which may seem odd, but it does lay a foundation of appreciation for Chinese painting and its place in time. For the westerner, this book gives valuable understanding about the structure of plants and animals in brush stroke and in outlines (created using a brush). Because of the fact these images are derived from woodblocks, the nuances of the brushwork are lost, but if you copy the examples, you will create your own subtleties. In my own library, I have a ten-volume series of this book in Japanese from the early 1900s (I think).

The Way of the Brush: Painting Techniques of China and Japan, by Fritz van Briessen

This book combines a history of Chinese and Japanese ink painting along with examples of specific brush strokes, their forms and shapes, and how to do them. While this is not a book for the beginning painter who wants to dive in and just do, this book is, in my opinion, a necessity to begin to understand the aesthetic of ink painting.

Many beginning ink painters – myself included – are lead to believe that all is spontaneous scribbling and splattering. “Anyone can do that!” is a common approach. When you get into this book, which may be a bit of a challenge, you learn far more than you ever thought was possible about ink painting. There is work involved, planning, and thought in a picture, and even though it is only ink on paper (something the Western sense of art tends to devalue), any sumi painter knows that one wrong brush stroke can destroy a painting. When the appreciation of the mastery of brushwork is gained, a greater appreciation for Asian artwork is gained as well.

For myself, gaining mastery of a brush is essential to my appreciation of Chinese and Japanese art. As someone with a bit of experience in art media of America and Europe, I have to work very hard to forego my cultural definitions of art. This is not something I have been able to achieve overnight, but something that has come about through my own painting. Understanding aesthetics foreign to our own allows a greater appreciation and a deeper valuation of an art, whether in ink painting, pottery, or literature, to name a few.

Chinese Painting Techniques, by Alison Stilwell Cameron

This, like van Briessen’s book, is another book that is informative and practical. Cameron spent her childhood in China, and spoke Chinese as her first language. Her training in Chinese art began in her youth, following traditional subjects and training methods.

Cameron does not go into the historical details of Chinese painting, but she does go into the different styles of painting. She covers brush strokes and their structure; plants, animals, and people; spontaneous painting, and best of all, explores fine line painting. The scope of this book is broad and much of it is general, but the detail of writing takes the student / reader / artist into areas of ink painting which many books do not cover.

Japanese Ink Painting: The Art of Sumi-e, by Naomi Okamoto

I’ll admit to some prejudice in favoring this book, partly for the author’s name (!), but also because of the fact Okamoto is from Japan, and has been trained in both Japanese and European art traditions. As a result, she demonstrates sumi-e in both ways – the gentle, simple, clean aesthetic of sumi-e, as well as the illustrative use of ink in more Western traditions.

The medium of the ink stick is not one in which most westerners have been trained. In school, it might come along as part of a cultural awareness, but it is not taught in most school classes as an ongoing point of study, such as pencil drawing or watercolor. Higgins opaque India ink is what most people will think of when it comes to “ink” for artwork. I think many westerners approach ink painting as an experience so different that the artist really does not learn to appreciate its value as a medium. Without color, the ink only gives us black and white and shades of grey. The characteristics of the ink, and the type of paper used, also are odd to us – unsized paper?! That is usually cheap newsprint. If you look at Okamoto’s landscape and figure paintings, a different appreciation of ink-on-paper can be developed.

Finally, Okamoto approaches subjects in a less messy and splattery way than a number of western sumi-e painters. I enjoy her structured approach, which is not tight, but more graceful. I have learned a lot from this book that I have not found in others; if I were to put it into words, I would say that I understood the simplicity and elegance of an ink stroke most fully in following her instruction – a very subtle experience.

Japanese Ink Painting: A Beginner’s Guide to Sumi-e, by Susan Frame

Susan Frame combines watercolor techniques and sumi-e strokes in an uniquely personal way. There is spontaneity in her work which is expressed through a mastery of brushwork. Most sumi-e is black / white /grey, but Frame adds color intensively.

Brush strokes are demonstrated in this book, and while the author does not go into great detail, the information is clear and well presented. The student can learn from this book, as well as realize that ink painting does not need to be confined to one’s perception of ink and its role in artwork.

For me, this book is not just about brushwork, but also about having fun, not taking myself too seriously, and letting go. Frame’s work is splashy and expressive. My only criticism is that her work appears more Chinese in influence than Japanese, but that is simply my perspective.

The Sumi-e Book, by Yolanda Mayhall

Yolanda Mayhall’s first book, The Sumi-e Book, covers many of the basic strokes of sumi-e and ink painting. Because she does not introduce color, the beginning student can truly appreciate the nuances of gradation and the impact they have on paper. From basic brush strokes, demonstrations show how pictures may be created. Overall, this book covers enough for the beginning student to gain mastery if he or she has the correct supplies.

The Sumi-e Dream Book, by Yolanda Mayhall

I have mixed feelings about this book as far as some of the illustrations – the “dream” pictures make me a bit edgy – but the illustrations of brushwork, flowers, and landscapes are quite enjoyable. The subtle colors of many of the illustrations bring out the beauty of the brush strokes, but I find that in the very colorful paintings the brushwork is easily lost.

Artists need to explore medium in different ways, not limited ones; the creativity of Mayhall comes through quite clearly. I also enjoy the fact I can see the evolution of her work and the influence different art traditions play out. The biggest value of this book is that it takes sumi-e and utilizes it in a melding of both East and West.

Conclusions

Any student of sumi-e / ink painting should know of the traditions behind it, its cultural and artistic significance in Asia. I think that an appreciation of a traditional art form in its own context takes it beyond just something to look at, and brings it into a realm of personal understanding – I can appreciate a brush stroke far more than before because not only have I read about the training, I have done it, I do it, I struggle to master it. I know its continuum.

At the same time, I am also a product of western culture and its values and aesthetics. Being able to take ink painting into my own sense of aesthetic is important for my own expression. Some people may not approve of the works of Frame or Mayhall, as they break with tradition, but they have a significance because they demonstrate how cultures meld and art develops. Western art has also made its impact on the visual arts of Asia – there are some very fine oil / acrylic / watercolor painters who have learned our traditional media and mastered it, blending it with their own traditions, and creating wonderful pieces of art.

If you are a serious student of ink painting, I recommend all of these books, each for a different reason.

The August Project: Bone Strokes

Kaishu / Kaisho – standard or regular script, with some variations over time, is what most of us are familiar with as Chinese characters or Japanese kanji. It fits nicely into squares, but it goes far, far beyond that. There are a lot of dynamics at work in this script! Dots and lines, hooks, and so on. It is amazingly complicated in some ways, but not in others. But doing it right is another story.

This is an example of regular script, from a long, long time ago.

If you look closely, you will find some long, horizontal lines, which are wider at either end and narrow toward the middle. These are called “bone strokes.” Here is one below – and the path the brush should follow as you create it.

The work of the day. 4 hours. Horizontal accomplished, but initial brush stroke and ending brush strokes are far from attractive.

The August Project: Begun, Not Begun

I’ll use the excuse that I am warming up – so to speak – to my August project of copying the Heart Sutra. After giving it some thought, I am still thinking about it.

I decided, as I thought, to simply dig out some ink and some brushes, and play a bit, loosen up. Once I did so, I realized how stressed out about everything I’ve become. Even this project, because perfection is what was on my mind, not enjoying a process.

I also was considering the reality that using the seal script might not work for me. I did a bit of research on the seal script, and realized it would be possibly more frustrating than I wanted to handle. The reason is that the lines are uniform, with none of the thick-and-thin and technical details, such as bone lines and dots, that kaisho would require. So, for now, I have decided I will probably do it in the latter.

Playtime

In the process of playing, I started with lines. Straight lines, horizontal, vertical, criss-crossed. Circles and spirals. Bone lines. Dots. I used bottled ink, and cheap, poorer quality ink sticks, and sheets of paper. The results are like photography – lotsa photos, lotsa paintings – and only a few which are particularly pleasing.

Lines

In the line category, I wonder if it is just me, or if other people from the West experience the incredible difficulty I have with doing straight lines. Both horizontal and vertical, parallel to the edge of the paper, are very difficult to produce. My theory is that as someone who was taught the Palmer method of script, everything – but everything! – has a slant on it, except the t-bar. Horizontal and vertical lines are very foreign.

In one book, one on the meditative approach to sumi, the author wrote about the importance of focusing on each line individually, not on the group of lines. This proved to be the case. As I began to paint grid after grid, the understanding of this concept became quite clear. Becoming the line as I was painting it is the simplest way I can explain the experience.

Circles / Enso

On the other hand, circles were a bit more easy, but doing them from the bottom of the` page and moving in a clockwise manner was a bit of a challenge. My penmanship training was always start the number zero at the top, and create it by moving counterclockwise. On a few pages, the paperweights did not hold, and so the paper got pulled along in the brush movement.

From circles and spirals, came a series of circles – some of which developed an incredible dynamic quality for me.

Bone Lines

Bone lines, used in kaisho, were especially difficult. I watched videos from YouTube, simply to watch how the brush was manipulated. Reading directions also created confusion. Instructions in videos and in text books emphasize that the brush is held vertical to the paper. To me, this means a 90 degree angle, perpendicular, not a tilt at all. Then, watching, of course there is a tilt to the brush, but it is done through wrist manipulation. Books say to keep the brush vertical, and then say “push the brush to the right” – well! What does that mean?? I think I figured it out – some of my bone lines began to look like bone lines.

Dots

Finally, I could not just practice lines and circles. I had to do something a bit different. Yesterday I did dots – such as would be found with grapes – and various techniques with the brush. Dots can be made by simply allowing the ink to be absorbed by the paper and spread, or by twirling the brush, to create a circle.

Brush Loading

Another technique is loading the brush in different ways. In the picture below, you can see different methods.

In the picture above, there are three ways of loading the brush demonstrated. The top one is the traditional light ink with the brush tipped in dark, and pulled at an angle across the paper. The second one was an attempt to add dark ink to the top of the brush, near the handle, along with dipping it – this did not work out too well as I was stingy with the ink. The third line, I was more generous, with both ink and water – the light middle line is visible to show the result. Finally, the fourth line is the result of using a light wash for the brush, and then adding dark ink to the middle of the brush. A rather nice effect.

Bouncing the Brush

I also practiced bouncing the brush, sort of tapping it and moving it along the paper. The picture below demonstrates what can be done with this technique.

Copying the Master

Thoroughly warmed up now, I decided to see about copying a painting, using a video to copy and learn from techniques. I admire the work of Kazu Shimura (see link to the right), who has over 70 videos on YouTube about sumi-e painting. One I really enjoyed was his demonstration painting of hydrangeas.

Two totally different approaches to the same subject. I went for the first one, and to do it with some rain. These are my first attempts. I did them from recall on what I saw, but I was not too pleased with my results. Something was missing.

I did about 5 paintings altogether, but none of them worked. So, I watched his first video again. This time, my painting was far more pleasing than any of my other attempts. Knowing full well I would fail at frogs, I did a snail.

And now?

It’s Friday, early evening. I read a book today from the library – a rare treat – and then went out shopping for a computer desk. I think tomorrow I am ready to begin the Heart Sutra. It will be slow, maybe only one character, maybe a few more than that. I think I will go page by page, as broken down on van Ghelue’s web page or from her book. This past week I have spent about 20 hours painting in ink, and enjoying every minute!