Tag: ink painting

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.

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.

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.

Pain(ting Class)

For the past two years I have been getting a teaching credential, while teaching full time. You can imagine it – no time to do what I want to do. As time passes, doing what I want to do becomes an ever-increasing desperation. So many people and things pulling at me that it becomes difficult to know who I am at times. I am always someone in relationship to something else. When there finally is time, a sense of guilt descends. Is it really all right to be so selfish? Shouldn’t I be running off to the next project? That is, the next project for the students or the credential?? And reading for pleasure? No, it is anatomy and physiology and physics, along with making sure this “i” is dotted, and that “t” is crossed.

Now the credential is done. Most classes are prepped. Enter the California budget crisis. Thus far, I’ve been spared, but there is always that wondering in the back of my mind, the worry, the anxiety. Now I prepare for other things, being pushed into action on things I was going to do later.

Painting, more than anything, is really the most selfish thing I do in my life. No one is allowed to bother me. I get to express myself on paper. Then the doorbell rings. The dogs bark. I feel like screaming. Certainly not conducive for getting into the zen of it all. I feel angry and guilty.

The fact is, I’ve not done any consistent painting for almost two years, less in the past one. I’ve lost my connection with brush and paper, and I’ve lost my knowledge of color and how it all comes together. Tonight I was going to do the peony from class, and I got into hating my brushes. Too soft, too this, too whatever. The fact was, it was me.

I wanted to “produce” when in reality, the best thing to do was play. I pulled out a pile of various Chinese papers I’d cut some time ago, and off I went, not worrying about color or type of paper, or anything. Some of it was pure crap, other things I liked. I held the brush close to the bristles, other times I stood up and held the brush loosely, and just swooped, smooshed, and curved.

Um, I had fun!

Chinese Painting Class, 23 May 2009 – iii

The Demonstration

Chinese and Japanese paints must be waterproof once they dry, because of traditional mounting processes. In class, we use Marie’s, which come in packages of 12 or 18 colors. The picture of Marie’s shows you the ones we use; if you are new to Chinese painting, be sure to get the ones shown, as Marie’s also makes western watercolors, which are not waterproof.

Teacher has set his table up to work.  If you look at the picture, you will see that the other tables are covered in green paper.  On his working table is a large, felt pad.  This is used to absorb any paint or ink which bleeds through, as well as support, the thin paper used in painting.  You can see ink stains all over it.  To the left, the paints are placed, and the ink.  Above this, water.  The book or subject matter is above the paper, and below that, to the right of the paint, is the paper itself, which a soft, unsized paper.  Finally, note the paper towel that Teacher is using.  Make sure you have soft, absorbent rags on hand, or paper towels when you paint.  You will certainly need them, to blot your paper to prevent bleeding, as well as to pull excess moisture from your brush – if you don’t, you could end up with a sea on your paper because it is so absorbent!

As with western watercolors, it is important to have a palette which will allow pigments to remain pure and uncontaminated by others, as well as large areas where colors can be mixed together.  This palette is a tray for a desk drawer, bought at a dollar store.  You can see how it is being used.

Teacher has chosen the painting to copy, and has begun to paint.

The peony color is alizarin crimson. The brush is loaded with water, dipped into a wash of alizarin crimson, blotted, and then dipped into a more concentrated or pure mix of alizarin. When you dip your brush into water, just dip the tip, and allow the absorbency of the brush fibers pull up water. Then, in the dilute paint, use only the tip, and allow the fibers to absorb the color. When you blot your brush, lay it on its side, and you will see how the colors are stronger toward the brush tip. Again, dip your brush into the alizarin. Blot your brush again, or not at all. If you want to, you can also hold your brush with the tip upward to move pigment up the bristles; this is really effective you are using more than one color on your brush.

Before I continue, I suggest you take a look at how Teacher is holding his brush, even though it is a western one! (The sumi painter Susan Frame describes how to load the brush, and hold it.)  To paint the petals, he is using the length of the brush, at an angle, not just the tip, and creating the petals in one or two strokes. This way the gradated paint in the brush, in combination with the absorbency of the paper, create the subtle variations in color which characterize the flower petals, as you can see below. Note that as Teacher paints, the colors become weaker. He uses the paint in the brush to make many petals before reloading his pigments.

If you look in the above pictures, you will see that the colors range in intensity from light to medium. I think most of the petals have been done with the first loading of the brush. Now, Teacher has reloaded his brush, and is using pure pigment to create the a sense of depth in the petals, as would be seen toward the center of the flower. As the pigment is used up, lighter petals may be painted toward the edge of the flower. Notice the aura around the petals – this is the water spreading into the paper around the paint.

Tonality is an important element in any painting. It gives a sense of dimension and depth. Without it, a painting is weak. For many artists, this is difficult to see. For myself, I see color before I see tones, and if the color is more intense, or I have a preference for it, I can miss it altogether. To combat this tendency, use your digital camera and software to compare a color image next to one which is rendered solely in greys. This is a great tool to understand tone. You can see below that Teacher has done a great job!

At this point, Teacher lets the painting dry. This is necessary for the fine brush strokes which will be used to emulate the stamens and pistils of the flower’s center. Sometimes, to hurry things along, you can use a hair dryer! The paper’s absorbency will work against you for detail, so a very dry brush, and pure pigment (fresh out of the tube is best!) are your best options. If you don’t do this, the paint might bleed into the petals, and ruin everything you have just done.

A closer look will show that the blue is quite opaque, probably straight out of the tube, but the yellow is diluted. Because the paper is dry, the thinned yellow does not bleed into the paper and make a mess, but remains settled on top of the alizarin petals.

Now, it is time to add the stems and leaves to the peony. Teacher has chosen a large brush with dark bristles. This is a “hard” brush, with a resilience that can give crisp lines which vary as pressure is applied – very effective for painting twigs, branches, and stems. Notice how Teacher holds the brush for the leaves – at an angle. I expect the lighter leaves were a combination of yellow and green loaded into the brush – water, yellow, green. The darker ones were most likely water, green, and ink. Also, notice how fine a point is possible. This is a large brush, which is perfect for laying down large leaves, but the fine point allows for more delicate strokes as well. The brush is considerably dryer for the stems and leaves than it was for the petals.

The painting is nearly done. However, to complete the composition, Teacher added some peony buds, and veins to the leaves, which were worked in while the leaves were somewhat damp. Often, as he paints, Teacher presses the paper, checking for its moisture content before adding to an area.

And finally, the peony is finished. Calligraphy is added – sorry, but I don’t remember what it means! – and the painting is completed. You can see it below, including my shadow in the lower left corner! The finished size of this painting is probably about 20 inches (50 cm) square.

Before you move on to the rest of this rather long entry, I also want you to observe what Teacher has done in this very simple painting.  From top to bottom, he has moved from light and medium into dark.  The peony is light, and so are some of the leaves, toward the top of the painting, but increasing in darkness toward the bottom.  From left to right, or in different areas, the shades of the leaves vary from warm to cold.  This is a subtle element in the finished painting, but without it, the painting could be dull and uninteresting, yet you would never understand why.  Try this out – painting only a “cold” or “warm” painting, and you will see what I mean.  Unfortunately, my camera does not do justice to the painting at all.

Whenever I look at a painting, I enjoy looking at the details of different areas. Consequently, below you will see details of different areas, each of which has its own beauty. Try to analyze the details as you look at them – consider how it was painted, the sequence of color on the brush, the movement of the brush and number of strokes. Was the brush hard or soft? Was pressure applied and then lifted as the line was created? Was the tip of the brush used, or the side, or both? Was the paint very dilute, or pure? Was the brush loaded with water as the area was painted, damp, or dry? When you think about these, you analyze the painting. When you apply them, you learn skills. When you do them, and master them, you then are capable of creating a painting which combines all the elements with which you have struggled. And, in mastering your brush, you will also be mastering the paper!