Search Results

This workshop is inspired by this year of the dragon. You will learn to paint dragons, clouds, mountains and pine landscape and will be guided into the realm of Japanese ink painting and explore your creative artist way and its evolvement. The workshop will take place and Talia’s studio in Mallorca and you can enjoy the peace and beauty of the island. Studio opens at 9am and workshop begins at 9:30. We will work till 1:30pm. All basic tools and materials will be supplied for the duration of practice. You are invited to bring your own kit, and you will have the opportunity to purchase various tools and materials at the studio. Each day will begin with calligraphy and other brush practice. Learning how to paint and creating your own compositions. Work on various types of paper and learn to mount your own work in the traditional Japanese way. Worksheets to form your notebook for the workshop will be offered. Light refreshment will be served throughout the day. Day 1 Intro to the workshop / Dragon calligraphy / One line dragon / How to paint a dragon Day 2 Cloud calligraphy / Clouds / Dragon amongst clouds painting Day 3 Mountain calligraphy / On rocks and mountains / Ink landscape Day 4 Mount your paintings Day 5 Tree calligraphy / Pine dragon / Pine dragons landscape / Outro of workshop *This is a general plan and may change slightly according to need and time. What to look for : Introduction to Japanese brush, ink, paper, colours and the artist tool set. Preparing the artist workspace, and making your own ink. Learning how to hold the brush, body posture and mindset. Guidance on brush strokes, lines and marks to understand the way of ink, brush and paper. Learning various painting techniques such as line work, free style (mokutse), dry brush and washes. Practicing active meditation with your painting journey as part of empowering your artistic creative self. Observing skills and sketching practice, finding inspiration in the almond grove outside the studio. Viewing and learning about ink paintings by various Japanese ink masters, from the rich history of Japanese art and Talia's research and library. Understanding in depth themes on composition, mounting, signing and sealing your artwork. Create your own original one to five completed ink paintings. Learn how to mount your artwork in the traditional Japanese way.

5 values for ink painting - an artist contemplative take What happens when we paint using only black ink? What happens when we put asides the rich palette of many colours and focus our attention with the one medium and colour? Its not that we don't love colour, we do. Colours are the bountiful beauty of this earth, governed by the rainbow. So there is the wonder, what is beyond the rainbow? What is the 'pot of gold' over the rainbow and how do we experience it? Well, looking out from here, it seems like there is a vast universe out there, with limitless creative possibilities. If we dare eliminating colour, even just for a short while, by taking up the ink stick as our medium of expression, it may just act as a unique connective tool. Bringing together endless painting potentialities, images both from out there in the universe, as well as inside us, as our consciousness, our heart-mind, naturally is a part of the great creation. And somehow, just like that, by being humble and subtracting the non-essentials, we may discover new rhythm and form and shape of our own being. The Essence of Earth Japanese ink, known as sumi, is made of ancient pine trees coal, or ashes and soot collected from oil lamps. It comes off the earth and goes through a metamorphosis of substance. This process makes it a rich matter with beautiful variety of deep black colours, ranging from black-red hues to dark black-blue ones. This black is not really a colour as such. It is made of the essence of the Earth. The elements of earth and fire, of water, air and of wood, coming together in an alchemical way to create a magical material, a conduit, an agent with unique characters that allow us, the artists, to use it in such a way, so as to give meaning and expression to our living experience. And the viewer, can be immersed and enjoy themesleves dwelling in this very same experience. Minimialism and Abundance Using black ink allows the artist to find their focus on the essential. Discovering what works in a composition and how to give meanings with visuals that are not disturbed by much noise and fluff. It looks like minimalistic art, and it is, as it holds in it the very plentiful of the core artistic notion, by getting rid of the non-essential. It is a journey of sorting out, eliminating, and reducing what is not of the very essence of the visual story. It is an art of subtraction, holding the abundance of resolved raw beauty. Flow When working with monochrome ink we are not distracted by colour. Our attention is tuned to the energy flow of the painting, be it an experimental, abstract image, or a planned composition of a determined theme. The very action of using ink and water on paper, facilitates a natural movement, which may well bring forth a radiant richness of shades and mixing combinations. This process picks up our own movement. And being within movement is finding a flow. We may choose a rhythm according to a theme, or, how we are feeling at a particular time. Maintaining this flow offers strength, well being and quality brush strokes. Dream world Do you dream in colour? Do you remember the past or have visions of the future in colour? And when you imagine something, a place, a person, an experience, how does that appear in your heart-mind? Memories, dreams, visions, our world of imagination, these, do not seem to have colour in them. Perhaps they arrive from a multi-dimensional place deep in ourselves, beyond time and space as we know it. Beyond colour as we see it. It is not by chance that ink painting is probably the most ancient painting practice within the story of humanity. Somehow, the value it holds is still current, providing a most connective self empowerment practice, then and now. When you are practicing ink painting you are connecting to an ancient Way. A way of the masters of painting and their streams of wisdom and heart felt perception. Sharing their unique views of the complexity of nature and its divine aspects and patterns. Thus it is ancient, yet raw and of the moment. Beyond time and place. When we paint with black ink we are invited to connect with a dream world that is beyond colour, that may be ancient, yet potent. In this our consciousness is eternal, part of the dream world of creation. Beyond the rainbow Black is not a colour, yet it is all colours. It allows us to observe, connect and give presence to shapes, forms and moods of us, as creator. Black ink painting does not rely on shades of beautiful reds or greens or blues, it goes beyond the framework of earth, the rainbow colours range, into a deep realm within creation. In this realm, time and space may have different expressions, or may not even exist, as it is limitless. Whether you make an abstract ink marks and lines, or depict a flower or landscape, your own expression of it may be timeless, as it will have colour, in a strange way, by its absence. What if the rainbow was binding us to this place and time. What if its palette of colours is limiting our vision and creative expression. And what if beyond the rainbow there is a vast range of colours we have never seen. Clusters of hues and light our eyes have never experienced. Be it the harsh light we live in, overly usage of computer's visuals, or just our habits and conditional views, we don't know enough about the light and glow which is out there. Those night time deep dark shades, which can be seen on a starry night, so rich, so diverse, we can only glimpse at when in nature. Or when witnessing the breathtaking iridescent Northern Lights coming in and out of Earth. Even though we may not experience these often, they have never gone, they are awaiting us. Take a break from painting in colour, and take up the ink and brush. Just for a moment, raise the veil and see what happens when you train afresh your heart-mind vision away from the rainbow and be washed by starlight, transcending time and space in the very realm of your heart. 'Stand firm in the sea of ink, seek life in the movement of the brush-tip; create a new surface and texture on the foot-long material, and give forth light from the unformed darkness. Then, even if the brush and ink and the drawings are all wrong, the 'me', the 'self', remains there. For one controls the ink and is not controlled by it, handles the brush and is not handled by it. One gives form to the embryo, the embryo does not assume its own form. From one, it divides into ten of thousands, and from the ten thousand shapes of things, one attends to the One, transforming the One into the primeval cloudy forms - this is the height of artistic ability.' Quotes on painting / Shih T'ao (1642-1707) Learn More > Live workshop - learn to paint Japanese ink painting with Talia at Mallorca studio - September 2024 Details and booking > > For an in-depth Foundation Course on Japanese ink painting check it out here Sign up for a one-time payment of £220 > > 'Tendril' - Ink Artwork Series by Talia check online gallery HERE Images credit copyrights 1. Haboku Landscape / Sesshū Tōyō (1420-1506) / ink on paper / 11.5 × 75.8 cm / Myōshin-ji temple, Kyoto, Japan 2. Six Persimmons / Mu Ch'i (13th) / ink on paper / 36.2 × 38.1 cm / Daitoku-ji Kyoto, Japan 3. Vine / Itō Jakuchū (1716-1800) / Price Collection L.A. U.S.A 4. Mountain hut under the winter moon / Nagaswa Rosetsu (1754-1799) / Ink on silk / Kōsetsu Museum, Japan Images from public domain sources. All efforts were made to respect copyrights owner where possible.

7 roles of dragons in Japanese painted art of the Edo period Originally from India and China, dragon images were mentioned in early kami worship folklore of Japan. Although not quite seen by the naked eye, dragons were popular in folklore and tradition, associated with powerful forces. Protectors of the universe and the dwellings of man, in service to Chinese emperors and Taoist Immortals, rulers of wind and rain, lords of precious stones and representatives of the creative yang force in Tao. After being incorporated into Buddhism, dragons humbly assumed the position of protectors of divinities, guardians of temples, and bringers of rain. And yet one has to take into account the possible religious manipulation of dragon images and roles to fit with the indoctrination of new religions upon older ones; and look for what actually is rooted in true appreciation of the world of phenomena. In a culture so inclined to visual images, Japanese art serves as a major source for historical appreciating of the forces at play in the belief and configuration of its culture. The Edo period (1600-1868), particularly the 18th century, was a time of revival and development of the arts, expansion of thought, visual dimension and language. In tandem with its official art schools, scholarly and religious art, there evolved a growing movement of individual artistic expression, and the development of paintings and prints of the floating world (Ukioy-e). During this period visual language provided richness and variety of thought and style compounded, in a relatively short time, to meet the creative needs of a changing culture. Taking into account the rich experimental atmosphere of Japanese art during the Edo period, this writing will highlight usage of dragons as part of the visual language in the arts of Japan.  Also will be included a consideration of the dragon’s role as a motif for political, religious, folkloric and decorative contexts. It is part of an extensive explorative essay on the subject, that can be found in full with bibliography and notes on ArtBrush Online library HERE. Unseen dragons River and lakes, waterfall and streams, clouds and rain, storms and typhoons, are climatic powers, created by the constant movement of the permeating elements of water and air with different intensities and combinations. They have repeated patterns of curves, swirls, ellipses and spirals, with no sharp lines. Dragon images were visualised from the pattern of these natural forces. When painted as part of the elements dragons are mostly up to two-thirds seen while the rest of their shape blends with the elements. Kanō Michinobu ink painting, who was heading the Shogunate’s official painting school at the time, shows a dragon and a waterfall that merge to the point where it is one entity. In accordance with the Japanese local belief that every waterfall has its guardian deity, Michinobu depicts an image that follows the patterns, shapes and boundaries that the waterfall presents. Ascending and descending at will, moving freely through the elements, dragons were held accountable for natural phenomena, causers of changes. The dragon’s characteristic of transformation was considered to be the very spirit of change, a time when good luck and success were indeed needed. Time dragons Dragon symbols were used often as measures of the twelve-year cycles. They were also used to measure the hours in a twenty-four-hour cycle divided by two to form a unit for each of the twelve animals of the Asian Zodiac. The dragon represents the hours between 7-9 am. Early in the morning, which for some working people is the brightest time of the day, yet for others, like the working girls of the Yoshiwara quarters is time to rest. In Kitagawa Utamaro print, part of a series of twelve compositions showing scenes from day and night life of Yoshiwara courtesans, Utamaro depicts two girls under the same futon waking up, but not quite. Time is depicted in a clocklike structure on the top right part of the print. The Portuguese introduced clocks to Japan in the late 16th century. By the 1780s, pocket watches became common amongst the merchant class and standing clocks appeared in wealthy homes and established shops. Although the structure of the clock in the print keeps the general form of it, it does not attempt to represent a real clock (the Japanese kept to their own time count), it represented social status. It was not the working of the machine that mattered as much as displaying wealth, success and order. New adaptation of Western technology in Japanese artistic representations of time reflects sophistication of style and class. The name of the hour (that of the dragon) is written on the bell at the top, the bottom is the name of the series title; the middle part depicts various flowers of the seasons. Temple dragons One of the first painters reputed to depict dragons was a third century Chinese artist, Ts’ao Pu-hsing. It was said that he learned to paint the dragon from an actual red dragon that resided in a lake, and the painting, even two centuries later, had the power to bring rain by causing clouds to gather when held over water. Ts’ao Pu-hsing was considered the first to use dragons on walls and ceilings of Buddhist temples. As if descending from above, dragons on temple ceilings were designed to fit in an egg shape circle around the ceiling. Adopted by Buddhism as guardians of the faith and as bringers of rain and protection from draught. The dragon in Honji-do , the biggest temple in Nikko, the compound mausoleum of the Shogun Tokugawa Ieasu (rin-no-ji), is an enormous image painted on the ceiling. Made in black and white, the dragon covers most of the main hall (21x14 meters). It serves as a prime example of an ‘official dragon’, in service to the Shogun. It is powerful, authoritative and serious in its guardianship. Still a widely practiced custom today, when a person enters a temple where a dragon is painted, they clap hands under its head. The echo of its roar, when heard, confirms their success and grants their wishes. While official dragons were fierce and dramatic, yet showing submission and duty, a whole body of expressive, personal, highly sophisticated and eccentric work was intensively developing in the studios of individual artists, mainly around Kyoto, but also in Edo and Osaka. Their dragon images exhibited a similar excitement, humour, mystery and lively expression. Exaggerated and overdramatic at times, they reflected above all the growing artistic freedom and originality of the era. Official dragons “His horns resemble those of a stag, his head that of a camel, his eyes those of a demon, his neck that of a snake, his belly that of a clam, his scales those of a carp, his claws those of an eagle, his soles those of a tiger, his ears those of a cow. Upon his head he has a think like a broad eminence (a big lamp) called ch’in muh. If a dragon has no chi’n muh, he cannot ascend to the sky.” Wang Fu (Han dynasty 206BC-221AD) Of humble origins, when Liu Bang seized the Chinese throne during the Han dynasty (206BC-220AD) he could not compare himself with kings and princes of the Six States period before him. To consolidate the authority of his rulership, a tale was invented about his mother being conceived by a roaring dragon. Incorporating the symbol used by Taoism for geomancy and divination practices, dragons became, from then on, directly linked with the emperor. When Buddhism was introduced to China, it adopted the dragon to promote its superiority over Taoism. The embracing of the dragon’s image as part of the Shogun’s official school of painting, also adopted the ideas associated with the dragon by Taoism and Buddhist belief. It appears as a powerful authority, beyond human reach, reflecting the character of its patrons. While Buddhism influenced the themes of freedom from suffering and the quest for enlightenment in medieval Japan, the Tokugawa discourse was concerned with the achievement of a stable society. The adoption of Neo-Confucianism as a state philosophy was an attempt to promote social order, ethical life and a hierarchical system based on adherence to authority, the Shogunate attempted to control and rule the growing population and massive urbanization of the Edo period. Kanō Sanraku was an established figure, the head of the Kyoto branch of the Kanō school and a student of the famous Kanō Eitoku. The dragon’s image is powerful and fierce, confronting a pair of tigers on an opposite screen. The composition is heavy, and although it attempts to depict the vicious whirls of strong wind, the gold background makes it quite heavy and arresting. Kanō school decorative styles and themes, offered confirmation of the ruler’s authority and legitimacy. The dragon, of course, was very useful, seen as powerful protector of the nation, provider of rain guaranteeing good harvest. Its image in backdrop screens for the Shogunate presents its powerful obedience to the ruler. It implies the greatness of the leadership, by being reflective of the ruler’s knowledge and education in relation to history, the natural world, Chinese literature and religious ideas. In contrast to dragon motifs in the latter part of this essay, which are personalized, full of emotion and heartfelt spirit, the ‘official’ dragons occupy a moral behaviour and intellectual philosophy. Tokugawa rulers were afraid of fires, not only because of its destructive force, but also because of its social upheaval and disorder that it caused. The great fire of Edo in 1657 destroyed daimyo estates, parts of Edo castle, and left more than 100,000 dead. Following this disaster, the Shogunate authorities ordered the establishment of permanent firefighting units (jō-bikeshi). This was the beginning of a new organized system of fire brigades. A fireman’s costume was first designed with a dragon and tiger design. Not indigenous to Japan and depicted as big cats; tiger images were imported from China. Strongest of the beasts, and quick as the wind, tigers were used in the feng-shui (‘patterns of wind and water’) system of reading and regulating nature’s influence, as representing powers of the wind itself. Coupled with the dragon, they symbolized the forces of wind and water and their interplay in nature. Their images painted on the Shogun’s fire brigade uniform, were considered protective powers of the elements of water and wind. They represented control over fire where the wind could shifts the direction of a fire, and the water could divert and extinguish it. Furthermore, by combining religious and folk belief in the dragon images, its depiction implied the enforcement of law and order that the Shogunate was aiming at. Decorative dragons Decorations included in prints and books offered an insight into popular images of the period, the mood on the streets of the big cities, the dreams and hopes of people as well as their humour, general knowledge and major attraction. Dragon images were used, for example, as decoration on the costumes of high-ranking courtesans , and kabuki actors , incorporated in the visual language of the entertainment districts as well as in general education and folklore.  Prints and book illustrations reveal the public taste and more so, what people believed in and how they presented their beliefs. While dragon images used on costumes by Edo fire brigades were considered to hold protective powers against the city many fires, the courtesan’s fashion of late Edo was flourishing with extravagant colors and incorporation of rich folk symbols, not always with the obvious meaning. Dragon images painted with black ink on silk, contrasted by the very colourful overlays of printed patterned kimono became very popular. Kuniaki, a pupil of Kunisada who produced actor and genre prints as well as paintings of Edo beauties, painted an overly dressed courtesan with flamboyant hairstyle, trying to walk on very high heels with her attendant (kamuro). The dragons on both figure’s kimono, are almost the only appropriate theme to match the overly decorated costume. The big dragon on the courtesan’s costume coils around her body, with its tail peeking out on her left side. He is staring at a smaller dragon, which is coiling itself around the younger attendant’s kimono. Her sleeve, hiding her hand, reveals a painted claw. The intersection of glances creates tension and humour. As the courtesan and attendant exchange looks, so the dragons stare at each other. Who is looking at whom? The dragons, no longer formal and fierce, are comic and amusing. Laughing dragons The need for new intellectual ideas and artistic updates in a growing, changing society caused renewed interest in Chinese legends and literature. Copies of Chinese paintings served as inspiration for eccentric artists like Shōhaku in their discovering of new boundaries of artistic expression. Taoist Immortals were known in Taoism as beings that began their lives as humans, underwent physical and spiritual transformation, and then lived beyond the bounds of governing laws (yin and yang). Free spirits who could move through the elements, and serve people and circumstances, they interacted on behalf of mortals with the gods and the Tao. Often depicted as unconventional in appearance, emphasizing their rejection of norms and rules, their transcendent state of being, as well as their supernatural capabilities. A water dragon traditionally served as a vehicle to the Chinese immortal Lu Dongbin, but Shōhaku treatment of the theme of Immortals is extreme and amusing. The Immortal seems to be reclining on the head of a rather confused dragon. He is hardly able to balance himself amongst the dragon’s swirl of clouds and water, while holding a bowl which could be magic or for begging. He is stretched to the side in an attempt to keep stable, while the dragon force moves forward. Strong black ink brushstrokes contrast the detailed blue garment and its red sash. With fine details of comic facial expression, both Immortal and dragon convey the wit and humour of Shōhaku’s thought and brush, evident in his extravagant artistic expression and wild character. Transforming dragons It was told that during the 4th century another great Chinese artist, Ku K’ai-chih, painted dragons without eyes. When asked why, he said “My dragons are live and if I draw their eyes they will fly away.” From then on, eyes were the last to be painted, for if the painting was real enough it might cause all sorts of natural disasters provoked by dragons. Many stories were told of painters whose work was so real and animated that their dragon flew away. The supernatural powers of dragons come to life with painted art. In the same way as coming in and out of water and air, dragon images seem to use the paper to appear in the world of our vision, only to depart again. Kōin, a student of Goshun and a kyoka (mad verse) poet, turned to legendary subjects in his work. According to traditional belief, an image of a dragon emerging from a bowl surrounded by people, has a hidden message in it, referring to a phrase ‘a dragon out of a spittoon’ (hifuki kara ryū),  meaning that the unexpected in life may happen at any time. In conclusion Embedded in storytelling, religious legends and folklore, the dragon’s image is mystical and mysterious. Not given to obvious definition as an animal nor a dreadful creature, it remains unseen. Likened to the element’s flowing traces of curves and spiral with no sharp lines, its image follows these formless shapes, created by the patterns of water and wind. Similar by nature to climatic change, and to the transforming quality of the planetary water cycle, dragon images offer boundaries of artistic representation of the natural world phenomena and its powers. Despite the fact that the dragon’s image is absent from the painting on the left, its ecology, habitation, arrival or departure, can be seen in the dragon’s cloud. The painted waves of the sea, suggests the unseen forceful energy of a dragon – without the dragon itself. The wide range of dragon’s visual characteristic of power authority and efficiency, as well as, playfulness and transformation of states, reflects on the very nature of forces at play during Edo period and its artistic expansions. Originated as a powerful symbol of natural forces, protectors of the universe and in service to sages and rulers, dragon images were incorporated into the Shogunate’s and temple’s empowered symbols, as well as used in the counting of the hour, the season and the year. The 18th century art demonstrated the expansion of the image’s role into decoration and folklore symbols in print, costume, and tattoo, even to be exhibited on the commercial market. The visual language of dragon images of that time, is kaleidoscopic and rich in its role, style and mode of expression. “The bright moon pearl is concealed in the oyster; the dragon is there.” Shi King Learn More > Learn to paint ink dragons with Talia at her Mallorca studio - June 2024 Details and booking > > For the comprehensive essay on 'The Visual Language of Ink Dragons in Japanese Art of the Edo period' with Bibliography and notes and other writings on Japanese ink paintings sign up to ArtBrush Library Sign up for a one-time payment of £55 > Get > A selection of ink dragon paintings by Talia is available for you to purchase direct from the studio collection check out the portfolio collection Ink Dragons > Images credit copyrights All efforts were made to respect copyrights owner where possible.

Taking a closer look at an ink painting by Japan famous warrior Miyamoto Musashi This ink painting of a small bird holding onto a long barren branch, looks like a most serene traditional nature theme, but is it? Lets observe a little deeper. This simplified artwork was painted with few minimal brush strokes and yet attention is given to each single one. Every stroke carries a flow as well as clear discipline of its place within the whole. Nothing missing, nothing added. The balance is just exact. The stem is painted with a single determined movement crossing the space from top to bottom. With only few mid-tone ink marks, foliage is hinted of at the lower section of the painting. Light-wash of horizontal brush lines at the painting lower part, suggest a nearness to a source of water, perhaps a stream or a lake, giving a feeling of depth to the composition. Placing the shrike at the top of the stem creates a sense of hight and long distance view. And suddenly, the flat scroll become alive with depth and hight, creating a three dimensional effect. Only few details, like the eye of the bird and the moss on the main branch, are dotted in dark black ink with a precise manner, giving focus and power to the whole artwork. More so, let us not be fooled, this is not a mere decorative kind of painting. What gives power to this composition is the inside story. There is a life drama going on! The shrike is on full alert, focused, and quietly waiting. Can you detect what it is waiting for? Yes, the answer is in the middle of the stem. A  small black worm is climbing up, marked by a fine black line for its body and a single dot for the head. And now, our perception changes, to become a story, that of a hunter and its prey. We are witnessing the moment before the bird attack, seconds of preparation and alert. The suspense is in the air, who is going to make it? the hunter or the hunted. The shrike is a small hunting bird that is known by its dark, masked-like eyes area. It uses its beak to nail its prey onto branches and by doing so able to dissect it in small pieces. In its practice the shrike fly high up to observe its prey from treetops, and then fly right back down to capture it. This moment, before attack, must have been of interest to the artist of this painting. And the theme does offer a clue as to who this artist is. Definitely no mere painter. Considered the greatest Japanese samurai of all, a fierce warrior who has claimed to have never lost a battle in his life, this is an ink painting by Miyamoto Musashi. Miyamoto Musashi (1584- 1645) Born in Miyamoto village into the ilit warrior ('samurai') class of Japan 16th century, Musashi's father, who was a master swordsman, died when he was only seven. The boy was adopted by his uncle and began practicing the warrior martial arts. From a young age he challenged himself to become the best swordsman in the land. He claimed to have won his first battle at the age of thirteen, and by the time he was twenty-six won over sixty contests. In his adult life, Musashi became a 'ronin', a masterless warrior,  specializing in the two swords technique. He offered his service to different masters, living mostly like a hermit. Never having a bath or cutting his hair, he would wonder the land in all weathers on his perilous adventures. His life story is rich with tales of heroic battles, of which, off course, he always won. He has become a legendary warrior. Musashi devoted his time to the perfection of the 'Way of the sword' known as kendo. Pursuing the ideal of the warrior through the path of kendo was not only practicing the sword but abiding with the code of the warrior life. Its moral code stem deep from both Confucian philosophy and Zen practice. These practices also included calligraphy and ink painting of which Musashi mastered. Two years before his death, Musashi retired to a life of seclusion in a cave, where he practice calligraphy, painted and culminated his life philosophy into a single book. The 'Book of five rings' (go rin no sho) as it was named, is a summary of his warrior skills, life experience and wisdom. He described it as 'a book for men who want to learn strategy' . Divided into five segments, titled - Ground, Water, Fire, wind and Void, each part presents a different aspect of the 'Way of strategy' as he called it. The book of five rings has become one of the most well known martial arts instructions manual through the generations, and still today. Although being a thin book, somehow, the more one reads it, the more truth and wisdom unfold from it. It is a book for the spirited warrior. The Spirited Warrior 'In strategy your spiritual bearing must not be any different from normal. Both in fighting and in everyday life you should be determined though calm. Meet the situation without tenseness yet not recklessly, your spirit settled yet unbiased. Even when your spirit is calm do not let your body relax, and when your body is relaxed do not let your spirit slacken.' (-'Water book') Musashi's teaches that one needs to 'become acquainted with every art' and 'know the Ways of all professions'. He himself was talented with many skills. Amongst them, he was a metalsmith, a painter, a poet, a philosopher and an author. The following instructions about timing in strategy, could well be applied not only in martial art training, but as a set of life skills in general, and within the artistic creative process in particular. Here is Musashi : 'Do not think dishonestly The Way is the training Become acquainted with every art Know the Ways of all professions Distinguish between gain and loss in worldly matters Develop intuitive judgment and understanding for everything Perceive those things which cannot be seen Pay attention even to trifles Do nothing which is of no use' (-'Ground book') The Way of Brush and Sword 'The worrior's is the twofold Way of brush and sword, and he should have a taste for both Ways'.     (-'Ground book') Musashi considered the way of the warrior in similar to the way of the artist. He was a master of ink painting and calligraphy, and although only few of his artwork survived today, the precision and mastership of his brush can be clearly seen and felt. Each ink mark demonstrate his warrior spirit at play. In this ink painting on the right, Hotei, the famous god of good luck and fortune, is carrying his bag of abundant gifts on his back, while observing intensely at a pair of roosters fight. This kind of observation, which Musashi called 'the gaze', is a vital part of his teaching. He gives firm training instructions as to how to develop superb observation skills, and use one's vision to increase perception of the world, inside and out.* We can see his 'gazing strategy' reflected in his ink paintings. Just like in 'Shrike on barren stem' painting, where the watchful eye of the bird creates the tension of the storyline, so is in this ink painting, we have Hotei intense watch of the fight. His head rests on both his hands, which are nested on his rod. Attention is given to his quiet watchfulness, empowering the scene. And then there are the two roosters watching each other in a moment of pause. Perhaps not such a quiet one, but the tension is there. The contrasted shouts of the birds verses the intense stillness of Hotei is a wonder. What goes on in his mind? How can Hotei keep still? Obviously he cannot offer his gifts to the roosters as they are not paying attention. Yet, he is not taking sides in this fight either. He is patiently waiting a resolve. Perhaps there is a lesson to be learned here. A lesson that suggests that even when in struggle, one can allow luck to play a part. Not just any luck, but the kind of good fortune represented by Hotei, that of natural flow of the connective universe, with its abundance of gifts, that can guide anyone out of conflict, if only one pays attention. And perhaps like the god of good fortune in this painting, finding in oneself a neutral position in times of struggle is the best action. A place that rely solely on the magic rod of balance. The warrior heart, our soul, no matter what we claim to carry in our bag. *For more about the gaze strategy and Musashi practical teaching see full article on ArtBrush library Ink Composition 'The way of strategy is the way of nature. When you appreciate the power of nature, knowing the rhythm of any situation, you will be able to hit the enemy naturally and strike naturally'. (-'Ground book') Back to 'Shrike on a barren branch'. This artwork is a wonderful example of Japanese ink painting at its best. It carries essentials core elements of what makes an excellent ink painting. Lets look at them - Usage of space - What is not painted here is as important as what is painted. The usage of space is essential in conveying this. There are minimal brush strokes that divide the empty space to create a landscape in a most brilliant way. Less then a third of the scroll is actually painted, while more than two thirds are empty. But this space is not 'empty' as such. It is a conductive space, an essential part of the composition. It is the dream world of storytelling. Connecting the gaze of the shrike, the movement of the worm, the foliage and the water together to tell us, the viewers, the tale of the shrike on a barren tree. Composition balance - Much like in Japanese flower arrangement, known as ikebana, where a good arrangement would have a neat balance of three main parts, so does division of subjects 'weight' in a good ink painting, is into three. Creating a rhythm of movement, the first most essential weight, the secondary weight and the third. This can be easily identified by becoming aware of the way your eyes move on the artwork. Do not think about it, just witness the flow as your eyes travel the painting and you will find this rhythm. And so we have the shrike at the top branch as the first essential part of this painting. Then our eyes flow with the branch to the bottom left corner of the base of the tree and water as a second weight. And thirdly we move to view the central part of the branch, to discover the black mark that is the worm. Coloured ink - The masterful usage of ink shades in this scroll reflects the talent of its maker and its deep understanding of the flow of ink. The light ink is used boldly and confidently. The darker marks added, are accurate and use the ink in a well preserved manner. Flow - This kind of flow in an ink painting is to do with its 'chi' - the energy movement of the artwork. First, there is the movement of the artist brushwork itself to consider. The confident versatile range of brush strokes reflect a masterful brush. The brush move on the paper with freedom and flow and yet it has the discipline and experience of usage. There is no hesitation nor unnecessary pauses. Secondly, we have the theme itself to consider. There is a strange and wonderful range of movement in this painting, created by what is seemingly not moving. The one or two wide brush stroke that suggest still reflection of water, yet we know water are in constant flow. The same goes for the shrike, we know the bird can fly, but it is depicted waiting, quietly. The branch, with its strong solid brush stroke, may be barren in solitude, yet must be moving with the weight of the bird on it, or perhaps with the flowing wind. The one clear movement that we do see is the worm. It is climbing up, seemingly oblivion to the danger above and below. So here we are, experiencing different time lines, different rhythms and movement in the one scene. And the scene itself is in actual a suspense of what is yet to happen. It is about the moment before action. True to the warrior way of Musashi - being always at the ready. In Conclusion - On Bravery and Courage 'I take up my brush to explain the true spirit'     (Introduction 'The book of five rings') Every artist is a warrior. Fear is one of the most common buffers to creativity, perhaps it acts like a filter, which requires the inner warrior to take oneself through this filter to arrive safe on the other side. A person who picks up the brush, like a magic wand, become for that time the artist, the warrior, the pathfinder of their way. It is a unique individual journey and no two are the same. As Musashi demonstrates in his writing and painting, his brave and courageous attitude is an inspiration not only to the warrior martial artist but also to the creative exploring artist. The artistic creative process has many dimensional facets to it. Sometimes it is an active and full-on mode. at other times, it is a sparkling solitude of precious silence. The artist, like the warrior, is brave in embracing the journey as it unfolds. Each to their rhythm, pace and timing. Like the painted branch of this scroll, one brush stroke with intention can hold a world of wisdom. Recommended Read The book of five rings / Myamoto Musashi/ Translated by Victor Harris *Victor Harris was a curator of Japanese art at the British Museum and specialised in swords and armors. His introduction and translation of the book are highly recommended. Images credit copyrights 1. Shrike on a barren tree 125.6x54.3cm / singed Niten /Kuboso memorial museum of arts, Izumi 2. Portrait of Miyamoto Musashi From a series of woodblock prints titled 'Fidelity in Revenge' by Utagawa Kuniyshi c.1848 3. Hotei watching a roosters fight size 70.3x31.3cm / signed Niten / Matsunaga memorial museum, Kanagwa Images are from public domain sources. All efforts were made to respect copyrights owner where possible. Learn More > For the full essay and more writings on Japanese ink paintings sign up to ArtBrush Library Sign up for a one-time payment of £55 > > For an in-depth foundation course on Japanese ink painting check it out here Sign up for a one-time payment of £220 > > For other individual painting tutorials please check the link HERE

Courses from ArtBrush View all of the ArtBrush courses, lessons, manuals, and memberships on this page. Japanese Ink Painting Beginners Course Step-by-step how to create beautiful Japanese ink paintings of wild orchids, bamboo, chrysanthemum, and plum blossom View Course Learn How to Paint Pine and Ikebana This unique course was filmed live at the London Flower School combining the two artistic forms of ink painting and Ikebana View Course Learn How to Paint Bamboo Step-by-step how to create beautiful Japanese ink paintings View Course Learn How to Paint Water Irises and Dragonflies Learn to paint step-by-step beautiful irises and magical dragonflies View Course Learn How to Paint Peonies Ants and Butterflies Learn to paint step-by-step summer peonies, ants and butterflies in ink and colour View Course Learn How to Paint Falcon and Pine Step-by-step how to paint the majestic falcon and evergreen pine View Course Learn How to Paint Summer Flowers and Insects Step-by-step how to create beautiful Japanese ink paintings of water irises, wild roses, hydrangea, grand peonies, dragonflies, bees, ants and butterflies View Course Learn How to Paint Crabs and Shrimps Step-by-step how to create beautiful Japanese ink paintings View Course Learn How to Paint Chrysanthemum Step-by-step how to create beautiful Japanese ink paintings View Course Learn How to Paint Roses and Bees Learn to paint step-by-step beautiful roses and bees in ink and colour View Course Japanese Ink Painting and Art History Library Selection of writings, essays and contemplations to guide you with your Japanese Ink painting studies View Course Learn How to Paint Tiger and Bamboo Step-by-step how to paint tiger and bamboo View Course Learn How to Paint Wistera Step-by-step how to create beautiful Japanese ink paintings View Course Learn How to Paint Wild Orchids Step-by-step how to create beautiful Japanese ink paintings View Course Learn How to Paint Plum Blossom Step-by-step how to create beautiful Japanese ink paintings View Course Learn How to Paint Hydrangeas and Butterflies Learn to paint step-by-step beautiful hydrangeas and butterflies in ink and colour View Course Japanese Ink Painting Membership Providing you lifetime access to all courses, lessons, manuals, and library View Course

ArtBrush Library Selection of writings, essays and contemplations to guide you with your Japanese Ink painting studies Enrol for £55 Course Description About this membership Welcome to ArtBrush Library, a hub for learning about the history of Japanese ink painting, created to assist in expanding your knowledge and appreciation of this traditional process. The library is a growing source of writings and essays, covering a range of subjects including tools, materials, ink masters, contemplative notes for the artist, viewing paintings and exploring ink painting within Japanese art history. Plus, there are a selection of Hebrew writings available. Please see included writings in the content section below. ArtBrush Library will continue to grow with new material, so be sure to visit often to harness this tool within your ink painting journey. All of the material on the library is downloadable, allowing you to print and create your own reference book at home. ''Study as if you never could get enough of it, as if you were afraid something might just get away from you'' - Confucius GALLERY Insight to ArtBrush Library content Access the ArtBrush Library Selection of writings, essays and contemplations to guide you with your Japanese Ink painting studies Enrol for £55 INSTRUCTOR Meet your teacher Talia Lehavi is an artist, a practitioner and a teacher of traditional Japanese ink painting. Following years of teaching, her love and passion for this artistic medium has now prompted her to create ArtBrush - online school for the studies of Japanese ink painting. The school is designed for students of all levels, from around the world, who are excited to learn, explore and discover the joy of ink painting and its many facets. TESTIMONIALS What our students say about their experience Talia’s ArtBrush online school guides its students onto a soulful journey into the realms of traditional Japanese ink painting. It is a unique combination between the disciplined perfection of the inner discourse of the hand, brush and ink, with an opportunity for new horizons as well as deep and spontaneous individual insights. — Tsipi W. Art Historian As a beginner in Japanese Ink Painting, Talia's approach to teaching made me feel completely comfortable. I have learnt so much about the history, processes and application of Ink Painting and cannot wait to continue pursuing my newfound skill set even further. I would recommend ArtBrush to everyone, no matter of capability, it's a truly unique school which allows for dedicated and encouraging learning. — Holly G . Artist Very detailed and informative course ! I have always been an admirer of Asian traditional painting and this course provided me of an insider's look of this magic world. With the help of Talia and the ARTBRUSH online courses, I have managed to learn, exercise and master special brushwork techniques otherwise unaccesible to me. I also got an overall understanding of the aesthetics around this beautiful world of ink painting. I totally recommend this! — Olympia T . Artist & Writer CONTENT Included in this membership ArtBrush library - Resources for the ink painter practitioner Welcome to the Library Welcome Learning Japanese Ink Painting - Introduction Mindful Notes for the Artist The Six Canons of Brush Painting Avoiding the Banal 4 Essential Japanese Ink Painting Tutorials What Makes a Painting Original ? How to Make a Line with Ink ? How to Make a Simple Line? Mastering the Power of Ink and Brush - Richard Weihe/ Shih-T'ao Learn From the Pine - Matsuo Bashō A Secret About Being an Artist Monochrome Ink - Beyond the Rainbow Understand your Tools and Materials Ink 墨 'sumi' Ink Stone 硯 'suzuri' Paper 紙 'kami' Brush 筆 'fude' Water-Droppers 水滴 'suiteki' seal 判子 'hanko' Japanese Watercolours 水彩 'suisai' How to Care for Your Tools and Materials Mounting Your Ink Painting How to Mount Your Painting How to Look at a Japanese Ink Painting The great Dream - Looking at One Zen Ink Painting Footprints of Enlightenment - The ink Painting of Zen master Hakuin Nagasawa Rosetsu -18th C. Eccentric Master of Ink Ink Dragons in Japanese Art of the Edo Period A Crab Woodblock Print Chrysanthemum by The Stream - From Jachuchū to Murakami The Mad Poet and the Wind - A drawing by Hokusai A Shrike on a Barren Branch - An ink painting by Japan famous warrior Musashi Japanese Aesthetic 1. Wabi-Sabi and the Practice of Ink Painting 2. Haiga - Painted Poetry or Poetic Painting About Calligraphy Structure of the Writing System - Introduction Types of Script Outline Structure of Characters Pictures of Ink and Water 水 墨 画 'sui boku ga' - Calligraphy Practice Sample (with video) Notes for Your Calligraphy Practice Water 水 'sui' - Worksheet Ink 墨 'boku' - Worksheet Picture 画 'ga' - Worksheet Pictures of Ink and Water 水 墨 画 'sui boku ga' - How to do (0:57) Calligraphy Net for Practice - Print and use under your practice paper Recommended Resources 52 Books Recommended Japanese art history / Japanese ink painting /Masters of ink / Calligraphy / About art and aesthetic / Being an artist / Hebrew 22 Museum Collections of Japanese Art from Around the World 12 Soureces for Tools and Materials ספרית בית הספר ׳אמנות המכחול׳ ברוכים הבאים לספריה הכרות עם ציודי ציור דיו יפני ארבעת האוצרות של ציור דיו דיו יפני - סוּמי - הקדמה חותמות בציור דיו מסורתי - הקדמה ודוגמאות איך לתחזק את ׳ארבעת אוצרות הציור׳ הערות חשובות לאמן ציור הדיו לימוד ציור דיו - הקדמה שִשה העיקרים של ציור דיו המנעות מהבנאלי הקו הנוֹשם התמחות בעֹצמת דיו ומכחול לִמדי מהאוֹרן - מצוּאוֹ בַּאשוֹ מתיחת ציורים הנחיות למתיחת הציור שלך על קליגרפיה מבנה מערכת הכתב - הקדמה סוגי כתב מתווה המבנה הפנימי של סימניות ׳תמונות דיו ומים׳ - סוּאִי-בּוֹקוּ-גָה - אימון קליגרפיה יפנית - הערות לאימון ׳סוּאִי׳ - מים - דף עבודה ׳בּוֹקוּ׳ - דיו - דף עבודה ׳גָה׳ - תמונה - דף עבודה ׳סוּאִי-בּוֹקוּ-גָה׳ -תמונות דיו ומים - וידאו קליגרפיה (0:57) רשת רקע לאימון סימניות קלגרפיה - להדפיס ולהניח מאחורי דף האימון Access the ArtBrush Library Selection of writings, essays and contemplations to guide you with your Japanese Ink painting studies Enrol for £55 FAQs Frequently Asked Questions When does the membership start and finish? The membership starts now and never ends! ArtBrush library is open for you to use whenever you want. How long do I have access to the library? How does lifetime access sound? After enrolling and as long as ArtBrush is live online, you have unlimited access to the library across any devices you own for as long as you like. Will I be able to access all materials in the library? Yes! The library is growing every month, and your membership allows you full access to all materials. How do I enrol? To enrol in the ArtBrush Library Membership, click on any "Enrol" button on this page and complete your purchase. You will need to create an account with us to purchase and access the library. If you already have an account, log in to complete your purchase. Then, you'll have access to the library, and your purchase details will be emailed to you. What software do I need to access the course? Please simply ensure that you have updated your internet browser to the latest version. If you run into any technical issues, we advise to clear your cache, cookies and browsing history. For any further technical enquiries please contact: artbrushonline@gmail.com What if I wish to cancel? We would never want you to be unhappy! If you are unsatisfied with your purchase, contact us in the first 7 days and we will give you a full refund. How can I get further help and ask a question? At any time, our team will help you at: artbrushonline@gmail.com

Learn Japanese Ink Painting Online courses and workshops that teach students how to master Japanese ink painting, step by step. Start my journey Welcome to ArtBrush Online School for Japanese Ink Painting ArtBrush will assist you in developing your skills in Japanese Ink Painting while giving you a deeper appreciation for this tradition within Japanese art history. Our online school's step-by-step courses are designed to allow you to practice brush exercises, guiding you in creating your own ink paintings while experiencing the meditative nature of the process. Watch the video to learn more. TESTIMONIALS Hear from students that took our courses Read what our students said about their experience taking our ArtBrush online courses. Very detailed and informative course! I have always been an admirer of Asian traditional painting and this course provided me of an insider's look of this magic world. With the help of Talia and the ArtBrush online courses, I have managed to learn, exercise and master special brushwork techniques otherwise inaccessible to me. I also got an overall understanding of the aesthetics around this beautiful world of ink painting. I totally recommend this! ​ — Olympia T. Artist & Writer INSTRUCTOR Meet your teacher ArtBrush founder, Talia Lehavi, is an artist, practitioner and teacher of traditional Japanese ink painting. Following years of teaching, her love and passion for this artistic medium has now prompted her to create ArtBrush, the online school for Japanese ink painting. "My own extensive journey in Japanese ink painting, studying with mentors for seven years and completing an MA at the School of Oriental and Africa Studies in London, has provided me with a wealth of knowledge that I want to share with you. My experience has allowed me to teach Japanese ink painting Worldwide, and I’ve created ArtBrush to allow past and new students to learn alongside me and progress in their creative journey, wherever you are in the World." COURSES New ArtBrush courses The Foundation Course covers the four traditional themes for the beginner ink painter student. These are bamboo, plum-blossom, wild orchid and the yellow empress, known as the chrysanthemum. Summer flowers and insects course is a more advanced course to guide you how to paint water irises, wild roses, beautiful hydrangeas, and grand peonies. You will also learn to paint dragonflies, butterflies, ants and bees and discover how to add these insects to your composition in such a way that they will enhance your painting. Each course also includes a tools and materials check-list, pdf worksheets, and bonus compositions for you to practice in your own time. Courses Foundation Course Step-by-step how to create beautiful Japanese ink paintings of wild orchids, bamboo, chrysanthemum, and plum blossom View Course Summer Flowers and Insects Step-by-step how to create beautiful Japanese ink paintings of water irises, wild roses, hydrangea, grand peonies, dragonflies, bees, ants and butterflies View Course LESSONS ArtBrush lessons Lessons are single, focused courses on one specific subject. Each lesson also includes a tools and materials check-list, pdf worksheets, and additional compositions for you to practice in your own time. ​ Please note: some lessons are included in the ArtBrush Courses. Wisteria Step-by-step how to create beautiful Japanese ink paintings View Lesson Wild Orchids Step-by-step how to create beautiful Japanese ink paintings View Lesson Plum Blossom Step-by-step how to create beautiful Japanese ink paintings View Lesson Hydrangeas and Butterflies Learn to paint step-by-step beautiful hydrangeas and butterflies in ink and colour View Lesson Pine and Ikebana This unique course was filmed live at the London Flower School combining the two artistic forms of ink painting and Ikebana View Lesson Bamboo Step-by-step how to create beautiful Japanese ink paintings View Lesson Water Irises and Dragonflies Learn to paint step-by-step beautiful irises and magical dragonflies View Lesson Peonies, Ants and Butterflies Learn to paint step-by-step summer peonies, ants and butterflies in ink and colour View Lesson Shallow Water - Crabs and Shrimps Step-by-step how to create beautiful Japanese ink paintings View Lesson Chrysanthemum Step-by-step how to create beautiful Japanese ink paintings View Lesson Roses and Bees Learn to paint step-by-step beautiful roses and bees in ink and colour View Lesson MANUALS Manuals: Text-based learning Manuals are written guides to assist you in your Japanese ink painting experience. Falcon and Pine Step-by-step how to paint the majestic falcon and evergreen pine View Manual Tiger and Bamboo Step-by-step how to paint tiger and bamboo View Manual MEMBERSHIPS ArtBrush Memberships Memberships provide you with an all-rounded, in-depth learning experience for your journey in Japanese ink painting. ​ ArtBrush expanding library provides you with writings and essays on the history of Japanese ink painting. ArtBrush Library Selection of writings, essays and contemplations to guide you with your Japanese Ink painting studies View Membership ArtBrush Lifetime Membership Providing you lifetime access to all courses, lessons, manuals, and library View Membership TOOLS The tools and materials needed for ink painting The four main tools and materials used in this practice are brush, paper, ink stick and ink stone. Known as 'the four treasures ' , these carry a long tradition of craftsmanship in their own right and their quality varies from a simple student's kit to a highly-prized, collectible, hand-made sets. Paper is made of various percentages of kozo fiber (made from the bark of mulberry bush). It can vary in thickness, shade and size. The brush, made of natural animal hair, varies in hardness, size and shape. The ink stick, known as sumi, is made out of soot or coal dust, traditionally mixed with essential oils and natural glue to form a solid stick. This black solid ink has a range of shades of black and a variety of translucency. The ink-stone, known as suzuri, is traditionally made out of slate, which has a rough surface upon which to grind the ink. View all Tools and Materials blue & white set View Set celadon set View Set traveller set View Set STUDENTS View work from our students Talia is the founder of the new ArtBrush Online school for Japanese ink painting. The school offers step-by-step courses that teach students how to master Japanese ink painting. It catered to beginners and those with prior ink painting experience. There are a wide variety of courses available, including single courses that focus on one specific subject. ​ The Foundation Course covers the four traditional themes - bamboo, plum-blossom, wild orchid and the yellow empress, known as the chrysanthemum. ArtBrush expanding library provides you with writings and essays on the history of Japanese ink painting. Each course also includes a tools and materials check-list, pdf worksheets, and additional compositions for you to practice in your own time. Judy H. Raji N. Richard D. Dr. Tamar S. Judy H. Raji N. Leoni C. FOLLOW US Follow ArtBrush on Social Media Please follow ArtBrush on Instagram and Pinterest to stay updated with upcoming courses

A selection of writings, essays and contemplations to guide you with your Japanese Ink painting studies. Welcome to ArtBrush Library, a hub for learning about the history of Japanese ink painting, created to assist in expanding your knowledge and appreciation of this traditional process. The library is a growing source of writings and essays, covering a range of subjects including - tools, materials, ink masters, contemplative notes for the artist, viewing paintings and exploring ink painting within Japanese art history. ArtBrush Library will continue to grow with new material, so be sure to visit often to harness this tool within your ink painting journey. All of the material on the library is downloadable, allowing you to print and create your own reference book at home.

4 Essential Japanese Ink Painting Tutorials Of the many wonderful Japanese ink painting themes, there are few that have come to be considered essentials for the artist practitioner. And so, if you would need to condense the whole teaching of ink painting into four lessons only, then you would probably want to learn to paint wild orchid, bamboo, chrysanthemum and plum blossom. While every ink painting theme has its own unique value, why, and how, have these four become to be known as the foundation lessons for the practitioner artist? 'The Four Noble Ones' Known as 'The Four Noble Ones' or 'The Four Gentlemen' - wild orchid, bamboo, chrysanthemum and wild plum hold within them together, like a pearl, the essential brush strokes practice for ink paintings. Each lesson, highlight different usage of line work and ink marks, offers an understanding as to the usage of ink and water to create shades of ink, and teaches core ideas of composition as well as careful observation of the ink masters paintings of the past. 'The Four Noble Ones' carry the perception of time flow and the elements, as well as main qualities and notions for the discipline of ink painting practice. Origin of 'The Four Noble Ones' The origin of these four plants as the 'Noble Ones', is somewhat of a mystery. Their tale goes back to Chinese literati ink painters of the Song dynasty (960–1279), hence their title also as 'The Four Gentlemen'. Ink painting and calligraphy together with music, used to be practiced by Chinese scholars as a mean of improving oneself and cultivating ones character. Chosen not only because of their beauty, wild orchid, bamboo, chrysanthemum and wild plum also have come to be considered as representing essential qualities for the scholar-painter character. The qualities of humility, purity, resilience and forbearance. These various literati painting subjects were collated as compilation of knowledge over the generations, to include, instructions and details ranging from how to make ink and colour, to understanding composition, appreciation the artist observation skills, and samples of the masters. Thanks to the development of woodblock prints around the the 17th C. these compilation were turned into printed painting manual instructions for the discipline of ink painting. One of the early well known manual was the Chinese manual titled 'The Mustard Seed Garden Manual of Painting'. It was divided into various books and devoted a book for each of The Noble Ones' plants. As the manual became available and more popular, various copies were printed reaching other countries including Japan. It is recorded that the Japanese Tokugawa shogun exchange in 1724 his copy of the manual with a 1679 edition which belonged to an artist in his employ. The manuals made ink painting more accessible and must have inspired Japanese artists to create their own painting manuals as well. Today there are various version and editions to these kind of painting manuals. (see link below) And so, 'The Four Noble Ones' have become the foundation and essential practice themes for the ink painting practitioner. Unfolding seasons of 'The Four Noble Ones' Each subject represents the arrival of one of the four seasons and convey different feelings and emotions. The orchids suggest early spring time and the bamboo of summer time. The chrysanthemum tells of autumn into winter, and the plum blossom of winter into spring. Each plants display, in different way, its hidden beauty in spite of the hard weather and condition it grows in. Thus the study of these four will unfold the hidden beauty in ones painting. Wild orchids The spring blossom, blooming up high in the faraway mountains tops creaks and rocks, is this wild orchid way. It is as if the plant touches the sky. Access to it, is almost impossible. Because of this, it has become a symbol for hidden beauty. With its fine blossom, rare and graceful, it has also become a symbol of humility, elegance. Bamboo Bamboo is one of the most loved subject of ink painting. It is the beauty of the line that comes through with the painting. It represents the season of summer and the quality of resilience. As it is the fastest growing woody plant in the world and an ever-green plant, it gets its power from adaptability rather then strength. And so it came to represent flexibility and inner power. Chrysanthemum The royal chrysanthemum suggests the end of autumn and the coming of Winter. Fields of yellow chrysanthemum were considered as precious as gold. Its golden beauty represents purity and a determination. The power of anchoring in truth even in the face of the withstanding changes of season. Plum blossom The end of winter is snowy and very cold. The bare trees are well covered with snow, and it is the plum blossom that succeed in-spite of the cold weather to bloom and cover the tree with beautiful pink, red and white blossom with fine fragrance and delight. This power overcomes the cold and bleak weather, represents inner beauty and humble display of courage and bravery, in the face of difficulties and hardship, and this is plum blossom painting. In conclusion The wild orchid, bamboo, chrysanthemum and plum blossom have become an essential themes for the beginner apprentice of ink painting, as well as of deep value to professional artists. Each lesson trains ones hand and heart with specific brush movements, allowing the student to learn, practice and remember these and connect with the profound flow that comes when executed well. Just like playing scales on the piano, or warming up for a dance, practicing these with harmony, can immensely enhance the artists skills and quality of line. Learn More For an in-depth painting course 'The Four Noble Ones' you are invited to join ArtBrush Foundation course Sign up for a one-time payment of £220 > For individual painting tutorials please check the link HERE For the contemporary Mustard Seed Garden Manual of Painting, translated by Mai mai Sze you can get your copy on this affiliate link > Purchase on Amazon HERE *Images in this article are taken from the mustard seed garden manual of painting