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!
Ink, Yarn & Beer 