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Learning Japanese ink painting — an introduction Overview The study of Asian ink painting is a practice of being with the heart’s rhythm. Exercising discipline and steadiness of hand and mind to develop a creative process over a substantial period of time. This is an active meditation process in encouraging new ways of observation and self listening as part of healing and inspiration. Being an ancient practice form in China and Japan, its validity is true today as in its glorious past, especially us eful for those who wish to encourage creative mode of life in themselves. The appeal of Japanese ink painting is in the flow of the brush. The seemingly 'effortless' minimalistic stroke that suggest a bamboo in the wind or a flying sparrow, is magical. It is an art form of economy, using one brush to reflect upon nature's harmonies. Results can be achieved on first practice, but to achieve mastership flawless of the brush, long term practice is necessary. Study emphasise solid brush strokes, and so practice of calligraphy offers a good platform with variety of strokes possible to be made with a single brush. The play between ink and water on various absorbent paper, stimulate the visual impact between the subject matter and the space around it, to give feeling of depth, light and richness of composition and colour, even though 'only' black ink is mostly used. Japanese ink painting was traditionally divided into two main schools of practice, the first was 'line work,' depicting subject with line drawing of the outside form. And the second, 'ink marks', that which depict subject as ink marks with no outside line. Upon this basic practice, combination and variety of techniques developed, including usage of Japanese watercolour, made from natural pigments. ‘The Four Treasures of 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' of ink, these carry a long tradition of craftsmanship in their own right, as their quality differ from simple student's kit, to highly prized, collectible, hand made sets. The paper, made of various percentage of kozo fibre (from the bark of mulberry bush), can vary in thickn ess, shade and size. The brush is made of natural animal hair, vary in hardness, size and shape. The ink stick, sumi, is made out of soot or coal dust, traditionally mixed with essence 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, suzuri, is made usually out of slate and is used as a rough surface upon which the ink is grind. ‘The Four Princes of Ink Painting’ Beginners are best to start with four traditional themes, known as 'the four princes of ink' — they are — bamboo, plum-blossom, wild orchid and the yellow empress, known as chrysanthemum. These four subjects hold within them the basic brush-strokes necessary to accomplish success. This study goes along with an early introduction to calligraphy characters (kanji). More advance study, for those with some knowledge of the field, includes themes such as — song birds & flowers, sea-life, animals, landscape & figures. At this level, students should look for an in-depth study of composition and usage of space. A helpful way is to observe and study the great masters of the brush from the history of Japanese art. At this level it is well advised to accompany the study with calligraphy practice of kana script as well as more complex kanji.

Footprints of enlightenment The ink painting of Zen master Hakuin

The six canons of brush painting Circulation of chi (breath, spirit, vital force of heaven) produces movement of life The purpose of the painting is to express the life force of the artist & object, therefore train to work freely and in one sitting Brush creates structure The combination of light & dark, wet & dry, thick & thin, smooth & rough strokes, According to the object, draw its form Draw as you see, not s you think. Understand the object by careful observation, train your hand to contemplate. According to the nature of the object, apply colour Black is colour and its shading are used as a palette of many tones. Organise composition with the elements in their proper places Space is as important as the painting, the relation of objects to space create the balance. Know where the heaven are, where the earth is and make the composition accordingly. In copying, seek to pass on the essence of the master’s brush and method. Copying the masters is as essential as drawing skills, it is part of learning and developing the skills from which originality can grow. *All but the first canon can be learned and practiced to the point of true accomplishment. Freely adapted from ‘the Mustard seed garden manual of painting’ 1679 with notes by Talia.

Avoiding the banal In painting, it is better to be inexperienced (young in chi) than stupid. It is better to be audacious than commonplace. If the brush hesitant, it cannot be lively; if commonplace, it most likely will produce only banalities. If one aims to avoid the banal, there is no other way but to study more assiduously both books and scrolls and so to encourage the spirit (chi) to rise, for when the vulgar and the commonplace dominate, the chi subsides. The beginners should be hopeful and careful to encourage the chi to rise. Freely adapted from ‘the Mustard seed garden manual of painting’ 1679

You are invited to download and/or printout for ease of use. Enjoy the read. Get your own Japanese ink painting tools and materials - Choose from three sets carefully curated by Talia

Painted Poetry or Poetic Painting The unique genre of haiga in Japanese ink painting Within the rich tradition of Japanese ink painting the painted image and written word have always been interrelated. The artistic training included both writing beautiful calligraphic characters, as well as painting various themes and subjects with minimal strokes. Painted ink poems has evolved as a unique artistic format that has come to be known as haiga. Please download and/or printout the essay and enjoy the read. Thank you for visiting the library. Learn More > For an in-depth painting course tutorial '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 > Recommended further read - Haiga, Takebe Sōchō and the Haiku-Painting tradition / Addiss Stephen and Fumiko Y. Yamamoto, exhibition catalogue. You can get your copy on this affiliate link > Purchase on Amazon HERE > Recommended further studies - In depth FREE, U-tube recorded series of lectures on 'The three perfections' in Japanese art history, by Dr. John Carpenter- Japanese art curator at the MET, and Talia former Japanese art history professor you are invited to view - HERE

You are invited to download and/or printout for ease of use. Enjoy the read. Get your own Japanese ink painting tools and materials - Choose from three sets carefully curated by Talia

Water Dropper in Ink Painting and Calligraphy A water-dropper, known in Japanese as suiteki - 水滴 , is a unique container made especially to hold water for usage in ink painting and calligraphy practice. This container design vary in size, shape and material, with the single intention to allow only one drop of water, at a time, to be poured out onto the ink or colour pigments palette. When you think about it, water is the main substance used with ink for painting and calligraphy. And so its container has a significant importance. It is the water that connects together the ink, the brush and the paper, known as the 'treasures'. The water is the plasma that allows for beautiful ink marks, and flow of calligraphy writing. Thus the water-dropper, even though it has not officially been included with the traditional ‘four treasures’ tools of painting and calligraphy, is of great value, and is known as an essential part of the calligrapher desk and the ink painter studio kit. How does it work? Although small and humble, water-droppers are highly sophisticated objects. The container has to have two holes in its design, one to allow drops of water out, whilst the other allow air to go in. In this way the pouring of water is controlled by the artist. The angle with which the water-dropper is held, determine the speed and how many drops will flow. ceramic water dropper in the form of a folded lotus Leaf with crab and frog I 19th C I Hirado Mikawachi ware I porcelain with celadon glaze, blue and iron glazes I LACMA The design of a water dropper Considering its function, the design of a water-dropper is quite challenging. To create a small container with two holes that can be held in the palm of the hand. It needs to be simple and practical to function. These small containers have become objects carrying symbology and meaning. They have evolved as miniature sculptures of complexity and a collectible highly valued items. The materials used for making these fine objects are multiples. From metal such as bronze, copper, silver or brass, to various types of stones such as jade and amber. Most popular are water-droppers made of ceramic with decoration and various motifs. The design of the pouring spout can be with a handle, or just a drop like hole. It can also be a more open shape with larger opening. The shapes of the container has many times a reference to the value of water. It may be from shapes of traditional water container designs, such as a gourd, a tea-pot or even a water droplet. Or a shape with references to plant or an animals living in or by water, such as a lotus flower, a water-frog, a dragonfly or a fish. Other designs carry a particular symbolic meaning relating to the nature of the year, such as the year of the hare or other zodiac animals. Or it may be a reminder of well known Zen teaching, like the boy and the ox motif, reflecting on a well known zen lesson about the nature of enlightenment. These unique containers can also be engraved and painted with fine landscape decoration, or a reference to a source of water, like reeds by the river, a waterfalls, a mystical landscape with water source. Even cracked ice as in the sample here. How to fill up a water-dropper ? The way to fill up a water-dropper is by dipping it in a larger container of clear water. Once you place your water-dropper inside, you will see air bubbles coming out. That means it is getting filled up. When no more bubbles coming up, it is full, ready to be used. Take it out of the larger container, wipe it dry on the outside surface and you are ready for your practice. Care for your water-dropper To care for you water-dropper, make sure you keep it clean and wrapped with a piece of cloth when you travel with it so it does not crack or break. Every so often you can place it in a bigger container with water and few drops of vinegar. This will clean any scaling that may have built up. You can leave it overnight and make sure to wash well and refill with clear water. Further research As you can see from this brief introduction, water-droppers hold a world within them, not just water. With quite an ingenious, simple and ancient technique, they have become a unique collectors items. You can further your study of water-droppers by visiting selected Asian art museums fine collections around the world, usually in their calligraphy or ceramic display section. Also, you may find them coming up from time to time at Asian art auction houses and galleries. So when you next find these little objects with two holes in them, you will know what they are and what they are used for. Getting your own tool-set As an ink practitioner you may wish to have your own water dropper. In the three sets, curated by Talia for students, you will find water-droppers as part of the tool-kit. * STUDIO SETS - Quality Japanese MADE sets Traveller Set This set has a small blue and white rectangular water-drooper with flowers and water reeds elements painted on it. Celedon Set This set has a beautiful circular celadon water-dropper. Blue & White Set This set has a circular blue and white water-drooper painted with a mountain landscape surrounded by water and a boat. To read further comprehensive essays on the ink artist practitioner tools-set and more - check out ArtBrush Library Find out your favourite Japanese ink painting courses with ArtBrush Online HERE You are invited to download and/or printout for ease of use. Enjoy the read.