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Preface
Years ago, when I was still a young art student in Japan, a Zen master once asked me: “What is the core function of art for you?” I pondered over this koan for some weeks. Then I replied to him, “It is vitamin C for the soul.” He asked me to elaborate, and I explained that humans require vitamin C to maintain good health, but too much is simply wasted, that is, expelled from your body; likewise, art brings energy to your soul, however, too much can lead to decadence.
No matter how you as an individual may answer that question about art’s function, artwork should express a universal reality, whether tranquility or agitation. The goal of the Japanese arts through the ages has been to create a sense of tranquility and peace. This applies to the art of monochrome, commonly known as sumi-e.
Den sho 伝承 (den = oral; sho = tradition or handing down) is the traditional oral way of passing down technical information, in all forms of art, to each successive generation. This book was written with the intention of translating this longstanding Asian teaching method from its oral form to the written page. It is difficult to offer a den sho–like, “one to one” teaching experience through a book. But I hope that some form of this practice’s power will be conveyed even through the written word, as I pass along the experience I received from my own mentor years ago in the art of sumi-e.
Den sho means that the mentor, in addition to giving oral instruction, will often literally take the hand of the student and guide him or her. This close contact in instruction also leads the mentor to convey over time a philosophy of art and a way of life to the student; thus, this approach to creating art of course reaches beyond the commercialization of the art form. In fact, a tenet of the teaching of the fine arts at the university level in Japan is that students are not allowed to enter their work in competitions or display them in galleries, simply because if a painting is sold, the thinking goes, a young student’s mind will be set on the style and subject matter of the work rather than its meaning, and the student will lose his or her own intrinsic creative spirit.
In this book, my hope is that while the “how to” has been shown in step-by-step fashion, some of my deeper experience will also be conveyed through the words and images. In my classes at university and professional levels, and now with you here in these pages, it has been my mission to pass my experience on together with the philosophical and technical aspects of the art of sumi-e.
Suiboku-ga and Sumi-e
Sumi-e is commonly described as art done in monochrome, with the use of sumi ink and handmade paper. Sumi-e means “black ink painting” (sumi = black ink; e = painting). The ideogram 墨: which is read sumi in Japanese can also be read as boku in Chinese, and as is true of most Asian art and culture, the roots of Japanese painting are found in China.
The early stages of monochrome art became a recognized genre during the ninth century in China, and suiboku-ga (sui = water; boku = sumi ink; ga = painting) was gradually disseminated throughout the Far East. These paintings were usually done on silk. Later, when handmade paper became readily available, the spreading of sumi ink upon that new, absorbent surface created another, different form of monochrome painting which has a more direct spiritual connection with the artist: sumi-e.
I have elected to make a definitive distinction between suiboku-ga and sumi-e styles of ink painting, because technically speaking, suiboku-ga, which was developed from the “outline” painting done on sized silk, came before the art that is produced with minimized strokes in sumi ink—sumi-e. Internationally, and especially in the U.S., all monochrome art that uses sumi ink has been called sumi-e. Very little has been written about suiboku-ga in most English-language texts, and in most publications on the subject the terms sumi-e and suiboku-ga are used interchangeably.
But being aware of their differences helps you to see that there are “two sides to the coin” in monochrome art, and helps you to recognize how philosophy is an essential underpinning to this art. As well, a brief look at their contrasts offers a glimpse of the rich history that ink painting has absorbed and reflects today.
Suiboku-ga is based upon the Chinese word sui un sho ga (sui = water; un = spreading in gradation; sho = distinct representation; ga = painting). Since the word suiboku-ga contains the additional concept of “water,” it has more complexity in contrast to the simpler word sumi-e.
Suiboku-ga is commonly painted in greater detail with overlapping brush strokes, and in addition, it may be large in size. Obviously, the literal definitions of the words mean that if a work contains great detail with many brush strokes in black ink, it can also correctly be termed sumi-e or boku-ga; but suiboku-ga would be a more formalized terminology for this type of work.On the other hand, paintings which are produced with minimal strokes are the ones I prefer to call sumi-e.
Paintings have been important to humankind from ancient times. Long before it would reach across the water to Japan, the influential Northern Sung style of paintings had its beginning in China during the first and second centuries of the Han Dynasty (221 BC–AD 221). In the Han Dynasty black ink was used for creating “white paintings”: an outline of sumi ink was drawn, then filled in with brilliant colors to create multicolored paintings. Eventually, white paintings without pigments added became recognized as a new genre of art. Then, during the Northern Sung period (960–1126), brush strokes in sumi began to be used within the outlines, instead of color, to further enhance the subject. The overall impression of these paintings was grand but somber, and carried a hint of oppressiveness. Northern Sung styles continued to prevail during the subsequent Southern Sung period (1127–1279) but new methods were also being introduced. Artists began to use the brush sideways to produce a gradient of different tones in sumi ink, which offered in another way to render the subject, often without using outlines. These were the foundations which led to the developing of paintings done solely in sumi ink.
The major contributions to Chinese painting as we know it today began with the Northern and Southern Sung periods, and continued through the dynasties of the Yuan (1280– 1368), the Ming (1368–1644), and the Ching (1644–1912). The imperial courts of each of these dynasties established a system where court-appointed masters in painting produced artwork expressly for the emperor and other royalty. These master artists were given ornamental belts and studios within the royal compound and they proudly displayed their belts to show rank. However, individual rulers promoted their own cultural heritages (be they Han, Mongolian, or Manchurian) via their master artists’ brushes, and also influenced the nature and subject of the artworks, leaving little creativity to the artists. For example, if the Emperor built a summer palace, he might request that the artist make paintings suggesting coolness for the walls and doorways. The artist’s job was to visualize what the emperor wished and then carry it out. To do this it was necessary for the artists to have thorough knowledge in style and techniques, but the original ideas and the artistic sensibility belonged to the patrons. Even so, during this long period of the court-appointed artist system, artwork did not remain static and the artistic approach to paintings did continue to change.
This shobu iris was painted using traditional Japanese pigments, with sumi in the background pattern. Chapter 5 explores this technique further.
Throughout the long history of China, the work of scholars, government officials, wealthy landowners and other members of the educated classes included the transcribing of documents and the writing of literature. These gentlemen of letters were accustomed to using brush and ink on paper when recording documents or writing poetry. They did not have professional training in painting techniques but especially during the Southern Sung dynasty, as a hobby, many began to add