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Notes to self on the artistic journey Being an artist is not about some kind of a chaotic state, it is about an internal order that makes very clear sense. It is creating light from within by understanding the greatness that is possible. Being a student of the arts, means that we are interested in beauty, aesthetic, shades of light, proportion and glorious images that enhance and graces our being. And whilst practicing our skills, the big secret is, that we are learning this about the way WE are. About what moves and makes us who we are. By practicing art, we are exercising these very spaces in our being. Allowing our lives to glow a little more, with the feeling of beauty, finesse and powerful serenity. And so, even if for a short while, WE become part of it. And so it is not the art that is the journey, it is our own life that is the journey. When asked once, what is the difference between being a professional artist and an amateur one... well, I could say, it is to do with making a living out of ones art, or if you exhibit or show your art, or if it is a full time occupation. As much as all this is true, within the persona of what being an artist is, on a deeper level, any one who is touched by the creative mode, is an artist for that time. It can be in the way that we articulate and put our words together, which is the same way as blending ink on the palette. Or it can be in the way we look at another person and make it count, or not. The way we make a single brush stroke on paper count, or not. So really, when you are practicing art, you are the artist of your life, no less. It really is so, whatever shape and form you choose to do it with. The secret is, that it is within this glory of the moment that we are the power of what can happen, we harness our lives to make sense of it. To make it beautiful, to make it a useful struggle. To make it poetic, and romantic, and fantastic. To overcome the fear of non relevant, non important, or not good enough, or impressive enough. Once this bridge is crossed, over and over again, it is the art of living well that is celebrated in many moments of crossing, and finding new aesthetics to dwell in, to enjoy, to celebrate and to be part of. Find out More > You can find out more about Talia's art in the GALLERY . Connect direct for interior design projects and commissions HERE . > The journey with ink paintings have allowed me the discipline and practice to journey the path of art. You are welcomed to explore highlights of this journey with ArtBrush Online tutorials and read more writings on ArtBrush Library > For Japanese ink painting foundation course 'The Four Noble Ones' Sign up for a one-time payment of £220 > > For other individual painting tutorials check ArtBrush Online HERE

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 . What is haiga? Combining the three arts of calligraphy, painting and poetry, haiga is a unique form of Japanese artistic expression. It is a composition of a painted image and an inscribed three lines poem, known as haiku. Hai as in haiku poem, and ga for picture, thus haiga - ' haiku picture'. Haiga aesthetic intends to convey a moment in time that has captivated the poet’s heart and mind, giving it expression with few strokes of ink-brush on paper. Such haiku painting developed from the 17th century in Japan, out of a long tradition of hand written poems and paintings, which evolved earlier in the Heian and Kamakura periods (791-1336). But it is only in the middle of the 19th century that the term itself came to be used to signify an artistic genre when it appeared in a block-print album by Watanabe Kazan (1793-1841) called ‘Album of Kazan’s haiga’ ( Kazan haigafu ). The affinity between painted images and written words is Chinese in origin. In a colophon attached to a scroll, dated to the Tang dynasty (618-906), it stated the three arts of calligraphy, painting and poetry, to be considered by the emperor, as the ‘The three perfections’ ( san chueh ) and were highly regarded. To follow on, during the Sung dynasty (960-1279), both calligraphy and painting, were two of the arts known by Neo-Confucian scholars as 'The four accomplishments’ ( kinkishoga ) - painting, poetry, music and gō (or chess). They were valued as part of the stature and standard of a person’s capabilities. This influence was transplanted to Japan, and mastership of word and image was developed and cultivated from as early as the 10th century. The belief that handwriting reveals the inner virtue of the writer was a source of emphasis both in poetry and literature such as in the famous Tales of Genji . From waka to haiku poetry Poetry was practiced by aristocratic class of emperors, courtiers and court ladies, as well as by Buddhist monks. Known as waka (or tanka ) poems, they were most popular in the Heia n and Kamakura eras. These court poetry were written to a meter of 31 syllables with a rhythm of 5-7-5-7-7. By the 15th century it had become popular to compose poetry by groups of poets working together, making chains of waka poems, called renga, keeping to the rhythm of 5-7-5 then 7-7 syllables and repeating it. Each poet added another layer of meaning to the chain, which could continue for hundreds of lines. Eventually each link became a format in itself, especially the 5-7-5 syllable poems, which was the beginning of haiku . Haiku , emerged from an interaction between the new popular, largely urban commoner and samurai-based cultures that came to the fore in the 17th century, and the residual classical official courtly poetry tradition, which haiku transformed into a contemporary language and form. It was different from court poetry, which was restricted to the literate intellectual class who mainly used natural imagery to express emotions, often related to love, its joys and sorrows. Haiku evolved when education and cultural experience became more widespread, drawing less from romantic notions, it infused humour and insight into life with a lack of pretension. The shift from court poetry to haiku influenced the shift from poem-painting to haiga . The first was detailed, elegant, accurate and refined in style, while the latter was free and minimal, using expressive brush strokes. Now, lets look together at two quite different haiga examples: 'Melon Blossom' In ‘ Melon Blossom’ , the viewer first takes in the visual image, followed by reading the poem. The making of haiga starts the other way around; usually the haiku is put together first, even if not finally inscribed until the visual image is brushed in. Matsuo Bashō, the most distinguished Japanese poet, presents here his talent and control of the three arts. Mostly painted in soft colours, the black ink marks of the melon’s branch and leaves lend a contrast to the work, giving it tenacity and balance. Resembling the calligraphy lines, they shift the viewer’s attention from the bottom left of the composition to the top right of the poem. 'Neither to evening Nor to morning does it belong - The melon blossom.' 'Melon Blossom' / Matsuo Bashō (1644-1694) / Hanging scroll, 32.8 x 48.5cm. Ink and watercolour on paper The poem is written in a fluent, balanced grass ( sōsho) script. Also known as ‘reed handwriting characters’ ( ashide-moji), grass script uses kanji and kana characters to form a particular style, favourite by calligraphers and artists alike as words became image. The calligraphy frames the composition and brings attention back into the painting. The signature and seal on the left side nicely balances the whole. Affinity with nature is created in a sensual way, smelling the blossom, sensing the daylight or darkness of night ( nor evening nor morning ). Bashō presents harmonious existence within the natural world, rather then standing in awe of it, as a philosophical idea, as was the case with court poetry of the past. He involves the viewer by revealing an inner meaning and perhaps his own feelings as well. Linkage between the painting and the poem is made by the melon’s image and the melon blossom associating with each other. Big and round on the outside, it is empty inside, drawing attention to the undefined illusive moment of blossoming in contrast to the grand blossom itself. A fragment of a bigger scene, the fact of being ‘unfinished’, is a virtue of the poem, rather then a fault. In keeping with the nature of haiga , it allows the viewer to be involved and complete the story/image in their own mind. With the strong, solid calligraphy balances, the background is left open, empty and unformed. It remains a mystery. Haiku evokes rather than states; haiga minimalist information suggests a scene, a place, and a form. Using hints and sensitive details, it echoes into the viewer’s perception and understanding. 'Moon' 'Through the ages Rising above the mountains - Tonight's moon.' 'Moon' / Inoue Shirō (1742-1812) / 31 x 50cm. Ink on paper Inoue Shirō, a follower of poet painter Yosa Buson, was a doctor by profession from Nagoya whose highly simplified work is unique. One fluent brush line marks a whole mountain, with a changing tonality of colour; perhaps like ‘the ages of time’ in the poem, it flows to meet the haiku on the right top part of the haiga . Where is the moon then ? The calligraphy itself changes tonalities, like moonlight shadows, and the character for moon, tsuki , in Japanese, is somewhat elongated and isolated from the rest of the poem, like a moon rising above the mountain. The empty space, which is most of the haiga , can be considered as whiteness of snow, or as darkness of night, or as reflected light of the rising moon. The suggestive language of word and image corresponds to the empty space, giving the viewer’s freedom to meditate on the images proposed. Simplicity is an important character of haiga. E xecuted with monochrome ink, it is sometimes described as a rough or ‘abbreviated sketch’ ( ryakuga ). The visual image seem to be quickly executed, and it stands at the borderline of literal representation. The painting- poem presents an exact combination of minimal information of the mountain’s silhouette and the calligraphy, transferring the essence of nighttime and the atmosphere of the rising moon. Haiga aesthetic and artists The way a poem is written and the image that is associate with it, creates a new imaginary world. A world greater then each art form in itself. Making more then anything, a new rhythm and pace, a dwelling space invitation to the viewer. The achievement of complementary or confronting connections, or even linkage by absence of word or image, between painting and calligraphy to evoke the poem’s atmosphere, is part of the virtuosity of haiga artists. Haiga is a lyrical, expressive fine art. It is the result of a myriad of influences. Drawing from Chinese aesthetics, and the traditional Heian court poetry, it was also impacted by Zen thought, and ideas of traveling poets. And so those who practiced haiga were equally diverse in styles. Men and women artists, poets, painters, travellers, Buddhist nuns and Zen priests, all worked within the genre. Although not as easy to define or categorise, haiga aesthetic has evolved with a stylistic criteria of abbreviation, selectivity, and simplicity along with the corresponding minimalist brushwork of calligraphy and painting. It heightens the awareness of nature, including human nature, with a hint of a season or other specific time. Using everyday scenery as subjects, and encompassing the senses, haiga leaves empty space for the viewer to engage in a process of a suggested art rather than a confronting one. In conclusion In haiga we can see how the painting amplify the poem's emotion and add layers of context and insight. It offers a slight change of focus, a shift in attention and so invites us back to the inner appreciation of beauty. Rather then seeking it outside, reflection of the inner life might resonate in the beauty of external things, but it is essentially evoked from within. The different intensity of atmosphere and feelings, from solitude to longing, to awe-inspiring joy and humour, expressed in a variety of styles and ways, makes haiga a truly unique genre of artistic expression. Learn More > For the complete essay on haiga with a selection of 5 more artworks, discussed by Talia, you are invited to subscribe to ArtBrush library - Sign up now for a one-time payment of £75 > In the library you will also find various essays relating to Japanese art history and aesthetics, as well as notes referring to the practice of ink painting, recommended resources and artist contemplation. > 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 * Waka image - Calligraphy by emperor Go-Yōzeione one of a set of 12. Written over decorated paper in gold and silver powders and cut foil, colour, and ink. MET museum collection. ** Portrait image - Matsuo Bashō by Katsushika Hokusai. Woodblock print from Hokusai Manga.

How to better appreciate Japanese art? In particular, lets explore the meaning of the crab in this 18th C. Japanese print. These kind of fine quality Japanese prints, known as surimono , were often made for festive occasions such as the New Year. They were usually commissioned by a poet or a poetry group and privately published. Although their subject matter may seem common, these prints are full of hidden meaning and subtle imaginative ideas, woven between the poem and image. Nature and its patterns When looking at the arts of Japan, flora and fauna were always integrated as part of its visual world. Their very essence quality iconography was used in conjunction with giving expression to notions, thoughts, and beliefs of a culture dependant on its visual language as communication connecting network. The composition representation of Japanese painted art, like in its poetry, seems to always be located in a particular span of time. Artists use of coded imagery as a specific set of vocabulary facilitated the expression of the transitory state of time. Observation of natural rhythms and planetary patterns is a key feature in the Japanese relation to the natural world and its phenomena and how it evolved in the painted art. In particular, the way animal behaviour reacts in specific time and responding to the changing nature of time. Be it ebb and flow, change of temperature and humidity, light and dark, as well as the magnitude of the changing seasons. This aspect of time flow, reveals to us the very essence character of the art work. The crab A particular interesting aspect of behaviour in the natural world is that of heralding time of phenomena not yet occurred. The crab ( kani 蟹) comes out at the ebb of the tide, especially when the morning sun rise or the evening sun set. It waits on the water edge to feed, enjoying the early or late soft rays of light. The etymology of its name kan-i means both ‘court rank’ as well as ’bravery’, which indeed he is, in heralding dawn and dusk and in reacting with the water cycle and the ebb of tide. The crab knows to follow the ocean’s rhythm and the day and night cycle. The art of surimono This woodblock print, known as s urimono - to mean ‘printed things’, is a limited edition and privately commissioned print, made for special occasions and times of the year. In particular surimono were designed as original gift cards for the New Year. The art of surimono was developed during the 18th century by top artists, usually commissioned by a poet or a poetry group. It was designed with subtle details, high quality paper and pigments, and refined technique of printing. Artist Utagawa Kunisada (1786 – 1865) was one of the most prolific woodblock print artist of the 19th C., with over 20,000 designs he has created during his lifetime. In this fine print by him, a giant crab is depicted from above, crossing the soft sand unto the water. Two poems are placed at the top part, with Kunisada beautiful designed round, red seal on the bottom right. Calligraphic poetry The two poems are placed carefully above the crab, as if coming out of the blue water. They are so well engraved that one may confuse them with calligraphy brush strokes. The first poem by Bunsō Takemasa on the right reads: 'The warbler sings to the moon and stars at Susaki Bay as the sun rises auspiciously at the dawn of spring.' The second poem is by Kubo Yasujūrō (1780-1837) , one of the many poets who came from samurai family and of the first to make a living out of the kyōka poetry, by holding competition and compiling anthologies of amateur kyōka poetry: 'Morning arrives in a sea of mist the giant crab crawls ever more slowly as the day goes by.' Both poems indicate the season and hour, describing Susaki Bay on the outskirts of Edo, which was a traditional place for gathering shells and seeing the first sunrise of the year over the sea. Time in poetry and painting was represented often with relation to a specific place, in defining not only the moment but also the emotional mood caused by that place and hour. In conclusion And so, a crab is not just a crab, it is part of the great clock of the natural world and was carefully chosen to be depicted here in this print. Although only one single crab is painted, its image alongside the calligraphic poetry, reveal to us, if only in our imagination, a whole landscape of the disappearing night time with its moon and stars, and the coming of the first New Year sunrise by the silver blue seashore. Learn More >Learn how to paint crabs and shrimps with Japanese ink and brush in this easy step-by-step tutorial - Sign up now for a one-time payment of £65 >   > For a selection of essays relating to Japanese art history and aesthetics as well as ink painting practice, recommended resources and artist contemplation - You are invited to subscribe to ArtBrush library. Sign up for a one-time payment of £75 > > 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

Known as the 'Four Treasures', these are the main tools and materials used in the practice of Japanese ink paintings and they are — brush, paper, ink stick and ink stone. Each, carry a long tradition of craftsmanship in its own right, as the quality differ from simple student kit, to highly prized, hand-crafted collectible items. Paper was made traditionally with kozo fibre (the bark of mulberry bushes), and can vary in thickness, shade and size. The brush, made of natural animal hair, ranges in hardness, size and shape. The ink stick 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 variety shades of black, and gradations of translucency. And finally, the ink-stone which is made usually out of slate, is there as a rough surface upon which the ink is grind. Japanese brush - 筆 fude The Japanese brush, known as fude , has been used in Japan for over a thousand years for writing and painting. Originated in China, its usage goes even further back into ancient history. It is one of the oldest painting tools known in human history. The brush is not just a brush. It was considered a magical instrument by the ancient calligraphers and artists of the East and is still revered for its capabilities today. It is a tool that facilitate the very flow of the creative process. It is used as an ‘extension’ of the hand for writing and painting. Like a magic wand, it gives expression with spirited ink mark, to the world as it is being experienced. A transformational object, no less. As one of the four treasure of ink painting, with a single brush the artist can make a thousand different ink strokes. It is in the mastering of the special qualities of the brush that a rich expression of forms can be achieved. What is the brush made of? The brush is made of natural materials. The handle usually made out of a piece of bamboo or wood. While the bristle is formed out of various types of animal hair. These are cut and strung together in a particular format, then glued, and attached to the handle. The bristle hair can range from animals such as horse, goat, sheep, weasel, badger, even chicken and peacock feathers. What is the difference between western and Japanese brushes? The preferred shape of a brush is that of a water drop like, a round full body with a sharp, neat tip. This formation allows a variety of rich lines and ink marks to be painted with a single brush, whilst using western brushes one may need different brushes to achieve the same result. Because of its unique structure, a Japanese brush, in difference from a western brush, can hold three times more ink. A high quality brush is made in such a way that the longer hair is strung on the outside, and the shorter hair is on the inside. Sometime made of different kinds of hair so that the inside ‘hold’ the ink for longer when used. Horse tail, weasel, deer and badger’s hair, are commonly used for the shorter, central part of the brush. While softer hair, used for the longer, outside part of the brush and can be made of goat, sheep, cat, and softer parts of horse and deer’s hair. These longer hair get wrapped around the central core of the brush. The softer hair tend to absorb more ink and the hair keep together when wet, and tight around the hard core hair of the brush. Types of brushes Although artists can use one brush to create all sorts of brush strokes, once practiced with, you may wish to have a selection of brushes of different size and hair type to use for various projects. Here are the main brush features to look out for - Size - brushes range from exquisite fine brushes, to small, medium, large and mega brushes, the size of a broom. Choose the sizes you are most likely to use. Firmness - the choice of which brush to use, follow on with its size, is how springy, or elastic the bristle is when used with ink on paper. For example, softer brush will have a fine flow for long orchid leaves, while a more springy brush will facilitate bamboo stem strokes in a powerful way. Function - selecting the right brushes is determined by the function you would need it for. And so from the range of brushes used for ink painting, choose your brushes according to size, theme of painting and firmness. There are other specialised brushes, such as those used for calligraphy, be it fine sutra texts or flowing large poetry scrolls. And then there are other specific range of brushes, such as those used for background washes of painting; professional mounting paintings; and layering alum to size paper. Japanese ink - 墨 sumi Japanese ink, known as sumi or boku , is an organic, natural material, that has been used in Japan for over a thousand years for writing and painting. Originated in China, its usage goes even further back into ancient history. It is one of the oldest painting material known in human history. Because of its unique quality, painting with sumi ink can creates beautiful variance shades of black and translucency that range from soft greys to deep black, making ink painting so powerfully spirited and sublime at the same time. What is sumi made of? Sumi ink traditionally comes in the form of a solid ink stick in various sizes and qualities. Made of compressed soot or coal dust, mixed with essence oils and natural glue to form the solid stick. Soot was collected either from burnt wood, like pine, making coal dust. Or soot collected from vegetable oil lamps burning, usually in caves, after which, the soot forming on the rocks surface of the cave would be carefully scratched and collected. When sumi is made of pine soot, it will produce a more matte, cold, lighter, bluish black, where when it is made of oil soot, it will be more glossy, brighter, deeper reddish black. The quality of the ink depends on the type and age of the wood used for coal dust, or the quality of the vegetable oil. Higher quality sumi , has good weight about it, as there is no air formed between the soot and glue. It would have a smooth surface texture, as all the materials are well bonded. And it will carry a quality fragrance to it, especially when grinding it for painting. Ink-stones - 硯 suzuri Ink-stones, known in Japanese as suzuri , originated in China as early as the 3rd C. BC. As it is used as a surface for grinding ink on with an ink stick, a good quality ink-stone is as important as an ink stick in producing high quality ink. It is the right consistency of ink particles and water that is required when ink is ground on the stone surface. If the surface is too flat, the ink stick will not get well ground and the ink will be watery and weak, if the surface is too rough, the ink will be coarse as it will consist of large particles, making it impossible to paint or write with. And so, it has been an ingenious long term quest to make the perfect surface that will produce thick ground ink. A tool that produces beautiful, fine, fluent ink for painting and calligraphy. This quest has made the production of ink-stone a refined craft throughout the century, both in China and Japan. How does it work? An ink-stone will usually have a flat surface upon which the ink is rubbed, known as the ‘hill’ ( oka ). It will also have a deeper part, which is known as the reservoir, where ink will be collected and form up as it is ground. It is known as the ‘well’ or ‘sea’ ( umi ). The making of ink is done by gradual rubbing of the ink stick on the ink-stone, while adding water to it. Please see video ‘how to make ink’ for full demonstration. Types of ink-stone Ink-stones are made in various sizes and shapes. Some are circular, others are rectangular. There are ink-stones with lids to match, which keeps the ink clean in between sessions. And some stones have a specially design to size wooden boxes, to protect the stone. As ink-stones production has been developed throughout thousands of years, the materials used for them varied from clay, bronze, iron, porcelain, to a variety of rock formations. Today most students and artists ink-stones are made of slate, which offers an excellent textured surface upon which ink is ground. Yet, the connoisseur of ink-stone may be keen on those made of unique rock formation, which produces particular beautiful textured surface. The duan ink-stone, with its beautiful purple/red or green colour is one highly sought after ink-stone. The mountains in the Duan prefecture in China, are known as volcanic tuff. The rock formation from this place produces fine surface, perfect for ink rubbing. The ink-stones were made of rocks from the lower part of the mountains. These mines, opened since the 7th C. onward, are no longer active. Therefore making these ink-stones highly sought after collector’s items. A well sough after Japanese ink-stone is the akame ink-stone, known to be produced since the 11th C. in Japan, at the Yamaguchi prefecture. The stone allows for smooth and fine ink with excellent texture. Akama stones, contains large amount of quartz and iron, making it easy to carve on. And so ornamental design and lids are often made for these ink-stones. Another well known ink-stone is the ogatsu ink-stone, made in Miyagi prefecture in Japan. Its colour is beautiful smoky black, made of hard slate, which is known for its texture and low water absorption. The traditional crafts of making ogatsu ink-stone dated back to the 14th. C. and it is still active today. Japanese paper - 紙 washi Japanese paper, known as washi , is a fine yet strong, hand made material made from the bark of mainly mulberry bush. Because of its unique qualities, painting with ink on washi can creates beautiful variance shades of blacks and translucencies, ranging from soft greys to deep black. It is one of the ‘four treasures’ materials, which together with the ink, ink stone and brush, have been making ink painting a powerful spirited and sublime practice at the same time. Washi was first known to be made in 105 AD by a Chinese official, and introduced to Japan in 610 AD by a Korean Buddhist monk. The process of paper making in Japan has been refined throughout the years, to a most sophisticated high level production, with over 230 types of paper made at the hight of this hand made industry. Today only few hundred families still making paper in this unique tradition. What is Japanese paper made of? Washi is made from the barks of various shrubs. In a process of steaming, or long wetting time it is transformed into fibre used to create fine paper. The most common bark used for paper, is from the bark of mulberry ( broussonetia ), known as - kozo . This plant has been growing in the wild for centuries in Japan. It takes two to three years for the bark of the kozo to mature enough to be used for paper making. Harvesting occurs in late fall or early winter after the leaves have dropped. Shoots are cut near the base of the plant and are tied into bundles that can weigh over forty-five pounds. A second type is - mitsumata - known as Oriental Paperbush ( edgeworthia chrysantha ) typically cultivated on hillsides, interspersed with Japanese cedars and cypress trees. It is harvested in much the same way as kozo , except the tied bundles are often placed in rivers after harvesting to preserve freshness. Mitsumata produces fibres that are soft, absorbent, and insect resistant. It is often used in combination with other fibres. Pure mitsumata produces fine writing paper. The highest quality fibres are used in making paper that Japanese bank notes are printed on. The third type is - gampi - which is harvested in spring, when the plant is saturated with water and sap. Gampi can neither be steamed like kozo or mitsumata , nor cultivated with much success. Gampi plant grows in the wild and its extremely tough, long fibres, must be harvested from February to May. The naturally damp-resistant and insect-resistant fibres are excellent for making long-lasting paper. The slick, lustrous paper makes a distinct crackling sound when handled. The scarcity of gampi fibres and the high quality of the product makes it a rare and expensive paper. It is often used as calligraphy paper or in the pounding of gold leaf. Types of paper There are two main types of paper used in ink painting. One is raw paper, slightly rough texture and soft. This paper is absorbent and will react with the ink and water. The second type is sized paper, which has a layer of alum solution coat, making it non absorbent and resisting ink and colour. It usually has a smooth and fine surface texture. Unsized paper was loved by Zen monks and artists as it reacts well to free style painting and calligraphy. It echo the bold, free brush strokes and requires an experienced usage of ink and brush. The raw paper will reflect variety shades of ink fine hues and colours. Sized paper was used as early as the 10th Century in Japan, by poets and artists, for poetry and story telling scrolls. The paper was used for detailed artwork and fine sutra copying and decoration. The ink ‘sits’ on the surface of the paper, and will not ‘run’ on the paper. It is used today for delicate line work, especially with figures and fine landscape. There are additional varieties of absorbency grades and textured paper, including semi-sized paper, where depending on the artist’s subject and desired effect, the paper is chosen. Format, Size, Texture and Sound of paper Paper can be found in three main formats. As individual sheets of different sizes, where the common largest sheet size is 69 x 137 cm. As rolled paper, which can come in variety of sizes, such as 34 x 69 cm and 46 x 69 cm and can be rolled for few meters. And third, paper which is already mounted on cardboard, ready to paint on, known as shikishi . Handmade Japanese paper, despite its delicate feel is very strong and supple. It has one smooth side and the other slightly rough. Painting is done on the smooth side, for good absorption effect. The rough side is used for the mounting of finished artwork on a backing paper. You will also find that paper comes in different thicknesses. This reflects the making process and does not necessarily relate to the actual strength of the paper. You may choose different thickness according to the way you wish to present your artwork. If you want to mount the painting, a thinner paper is preferred. If you wish to frame it in the western style then you may wish to work on a thicker paper, where you may not need to mount it. Paper has different crackling sounds when handled. Get used to listen to that sounds and begin to recognise different quality of paper according to its sound. Getting your own set As an ink practitioner, you will discover in time, your own preferred brushes, size of paper and inks you enjoy working with and create your own set. As a beginner, you may wish to try a beginner’s set. See below recommended sources in the U.K. and the U.S. U.K. Sources - Recommended for beginners - Affiliate with Jackson’s Art Supply PAPER Paper Pads 24x32cm 20 sheets Papaer Pads   30x40cm 20 sheets INK Liquid Bottled Ink  60ml If you want to grind your own ink - Ink Stone Ink Stick BRUSHES Fine Brush Fine Brush Medium SIze Brush Medium Size Brush Medium Size Brush Traveler Box Set I - Made in Japan. Ink stick, ink stone, one fine brush, water dropper, in a beautiful wooden box. You will still need another large / medium brush to add to your painting set. Traveller Box Set II - Made in Japan. Ink stick, ink stone, two fine brushes, water dropper, in a wooden box. You will still need another large / medium brush to add to your painting set. OTHER TOOLS FOR YOUR SET Ceramic Flower - For mixing colours Brush Rest Brush Mat - A natural bamboo case to keep your brushes WATAERCOLOUR Watercolour Set of 12 Colours Watercolour Set of 18 Colours Watercolour Set of 24 Colours U.S. Sources - Recommended for beginners - Affiliate with Jackson’s Art Supply PAPER Paper Pads   24x32cm 20 sheets Papaer Pads   30x40cm 20 sheets INK Liquid Bottled Ink  60ml If you want to grind your own ink - Ink Stone   Ink Stick   BRUSHES Fine Brush Fine Brush Medium SIze Brush Medium Size Brush Medium Size Brush   Traveler Box Set I  - Made in Japan. Ink stick, ink stone, one fine brush, water dropper, in a beautiful wooden box. You will still need another large / medium brush to add to your painting set. Traveller Box Set II    - Made in Japan. Ink stick, ink stone, two fine brushes, water dropper, in a wooden box. You will still need another large / medium brush to add to your painting set. OTHER TOOLS FOR YOUR SET Ceramic Flower   - For mixing colours Brush Rest   Brush Mat   - A natural bamboo case to keep your brushes WATAERCOLOUR Watercolour Set  of 12 Colours Watercolour Set  of 18 Colours Watercolour Set  of 24 Colours Learn More > For more writings on Japanese ink paintings and its tools and materials sign up to ArtBrush Library Sign up for a one-time payment of £75 > > 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 ** First image is by Katsushika Hokusai -A surimono for the year of the horse 1822

There are many great books on ink painting and art history that can help practitioners improve their skills. This is a list of 21 art-related and Japanese ink painting history books. Each has been part of my own journey with ink through the years and impacted my understanding and appreciation of art. They are essential for any artist who wants to learn more about ink painting. I full-heartedly recommend these books to ink painting practitioners. They cover a variety of topics, from the history of Japanese ink painting to the artist practice and meditation. Few are catalogues of museum exhibitions and may be out of print. See if you can get them second hand, or direct from the museum. They are all well-written and filled with beautiful artwork that will inspire you to create your own masterpieces! This list is being updated from time to time, so do check it up or sign up to the mailing list to get updated. History of Japanese Art By Penelope Mason This book is one of the most concise works of Japanese art history you will ever need. It covers history from early Jōmon time (10,50-300bc) and up to Meiji and Shōwa (1868-1945). The book looks into the art forms of each period, mainly painting, ceramic, architecture, and sculptures. Purchase on Amazon HERE History of Far Eastern Art By Sherman Lee This book was given to me by a dear friend who was an avid Japanese art dealer and collector in London. He said to me, "This is the only book you need on Asian art. Take it!" It includes work from the early stone and bronze age and up to 18th c. Japan. And it covers the art history of China, India, Japan and South Asia and Indonesia. Purchase on Amazon HERE How to Look at Japanese Art By Stephen Addiss Any book by Stephan Addiss is a book I would recommend. He is one of the leading, passionate scholars of Japanese art, and I was lucky to be in few of his lectures when he visited London. This book helped me begin to understand how to view Japanese art. And although rather thin looking, it offers essential guidelines as to how to approach and begin to appreciate Japanese art aesthetic values. It covers ceramics, sculptures and traditional Buddhist art, zen ink painting, calligraphy, woodblock prints and gardens. Purchase on Amazon: HERE Empire of Signs By Roland Barthe A very personal book on Japanese aesthetic by Roland Bathers which touched me deeply in its feeling descriptions. As is said in its promotion, "If Japan did not exist, Barthes would have had to invent it…" Purchase on Amazon HERE The Art Lover's Guide to Japanese Museums By Sophie Richard This well-designed book, with many images, covers prominent art museums in Japan and is quite recent. It includes tips and advice with detailed addresses. It can be a great source of information for those of you who wish to view original art while travelling to Japan or viewing the museums' websites online. Purchase on Amazon HERE The Mustard Seed Garden Manual of Painting Translated by Mai mai Sze A latest printout of 17th C. manual of how to paint. Originated in China and adopted by Japanese artists as well. It has various different volumes. Original copies can be found in museum’s displays, like the British Museum. The manuals have many lessons and examples of how to paint according to various masters of the time, with core notions and reasonings. An essential manual to guide and inspire the ink painting practitioner. Purchase on Amazon HERE Buddhism and the Arts of Japan By Richard B. Pilgrim A short concise writing with a chapter on Zen art and Zen aesthetics Purchase on Amazon HERE The Art of Zen By Stephan Addiss A beautiful book of paintings and calligraphy by Japanese monks from the 1600 - 1925 with notes and translations by Stephan Addiss. Purchase on Amazon HERE Masterpieces from the Shinenekan Collection Los Angeles County Museum catalogue This catalogue presents a selection of Japanese paintings, of the 18th C. Edo period, from the collection of Joe and Etsuko Price. I was lucky enough to meet with the collector himself, and view original artwork both at his home and at the museum. The collection holds valuable Japanese ink paintings, in particular the eccentric ink masters work of 18th C. Jackuchō, Shōhaku and Rosetsu. Purchase on Amazon HERE Haiga By Stephan Addiss Exhibition catalogue book of the haiku painting tradition, known as haiga . This book may be of interest for the ink painter, calligrapher and poetry lovers. Purchase on Amazon HERE Haiku - Japanese Art and Poetry By Michiko Warkentyne & Barry Till A sweet little book of Japanese haiku poetry according to season, with accompanied artwork and calligraphy. Purchase on Amazon HERE Under the Seal of Sesshū By Jon Carter Covell Read about the life and work of 15th C. master monk-painter Tōyō Sesshū, considered one of the founders of Japanese ink painting tradition. The book was written by Jon Carter Covell in 1941! So if you can get your hand on a copy, you may just discover overlays of history interwoven. It covers the life of Sesshū, his styles of paintings with attention to his landscape, figures, bird and flower and animal painting. Purchase on Amazon HERE Wild Ivy - The Spiritual autobiography of Zen Master Hakuin Translated by Norman Waddell Translation to English of the spiritual autobiography of Zen master Hakuin. The book includes Hakuin own Zen experiences, paintings and advise to students. Purchase on Amazon HERE A book of Five Rings By Miyamoto Musashi Known as Japan’s greatest warrior, Musashi was also a master of the brush. Although only few of his paintings survived, they are well known and unique to his character. He is the one to coined the phrase - ‘as the brush so is the sword’. Towards the end of his life he put together his experience in a simple five chapters book. An essential read for the ink painter and the martial artist alike. Purchase on Amazon HERE The Uninhibited Brush By Jack Hillier Jack Hillier is one of the pioneer scholars of Japanese art and his writings are so very insightful and well written. In this (big) book, published in 1974!, you will find essays about the great masters of ink of the Shijo style, to include the literati movement, Ōkyo and his followers and many others. Purchase on Amazon HERE Designing Nature - The Rinpa Aesthetic in Japanese Art By John Carpenter A beautiful exhibition catalogue book written by my London university professor, Dr. John Carpenter, now head of the Metropolitan museum of art. We have always shared the passion for Rinpa school and aesthetic, and it is worth while reading his notes in this catalogue with his excellent example of how to research Japanese art. Purchase on Amazon HERE Silver Wind- The Arts of Sakai Hoitsu By Matthew P McKelway A beautiful exhibition catalogue book presenting highlights from the exquisite artwork of ink painter and Rinpa school master Sakai Hōitsu. Purchase on Amazon HERE Sea of Ink By Richard Weiha A most poetic, beautiful short story based on the autobiography of Chinese ink master Shin-t’ao of the 17th century, who was committed to capture nature with a single brush stroke. For the ink painter, the poet, the dweller and art historian. Purchase on Amazon HERE Anam Cara - Spiritual Wisdom from the Celtic World By John O'donohue Well, yes, I know this is not Japanese related, but it is one of my favourite books of healing, wisdoms and calm. Always like to read from it, whichever page opens. Purchase on Amazon HERE Drawing on the Right Side of the Brain By Betty Edwards The is the one and only essential drawing skills course you will ever need. With super practical exercises to develop your drawing skill as far and high as you like it. You can use the Japanese brush and paper for the practices. Purchase on Amazon HERE Think Like an Artist By Will Gompertz I stumbled upon this pocket book at Daunt bookshop in London and couldn't resist it. It is full of humour, brightness and intelligent tips for all you artists out there. Purchase on Amazon HERE Learn more in the ArtBrush Library Membership View a growing list of 48+ recommended books in ArtBrush Library . The ArtBrush Library is a membership with a selection of writings, essays and contemplations to guide you with your Japanese ink painting studies. Sign up now for a one-time payment of £75 >

‘To those who awaits only the cherry blossoms, Let me point to the spring in grassy patches amid the snow of a mountain village’ Fujiwara no Taika This poem has been used to explain the very essence of wabi-sabi by Sen no Rikkyo, master artist of Japanese tea ceremony. W abi-sabi as an aesthetic concept evolved with the tea ceremony in Japan by Sen no Rikkyo during the 16th century, yet it is rooted deep in Zen Buddhism already in the 12th century. Although strongly embedded in Japanese aesthetics, wabi-sabi as a concept is not always easy to define. It can however, be felt. This is perhaps its most clear element, the use of the senses for the aesthetic experience. While the 21st century is riding into a digitalisation of the senses, wabi-sabi takes us back to the touch and the taste, the sound and the fragrance of things, as well as their visual experience. To hold a tea cup with both hands and be touched by its textured material is the heart of the experience. While sipping tea, to feel the tongue sticking a little to the fired clay, these sensual feelings are woven into the ceramic beauty impact. In similar way to the tea ceremony, the ink artist takes a step back from the mundane daily world into their own rhythm, holding a raw ink stick and grinding it on an ink-stone to make ink. Feeling the rough texture Dwelling / ink on paper of the stone and taking in the fragrance of the ink as it blends with water, the artist dip the brush to make that first brush stroke - this preparation time creates a unique intimacy of nearness to the natural materials. The love of the textured material and its simplicity, define wabi-sabi artistic aesthetic, where possible, keeping materials not fully processed, so one can still get a glimpse of their original state. The soot of which the ink is made of, kept its true nature for many years whilst being exposed to the elements. Be it fire or rain, heat or cold weather, it gifts the sense of humility and humbleness away from pretension and arrogance. The power of simplicity Wabi (侘び) carries the idea of elegant beauty that is reflected in simplicity itself. Simplicity that has its core in humbleness. A will to be with the essence of things and not their external cover up. Journey / ink on paper ‘Get rid of the non essential’ - is the wabi-sabi artist most valuable instruction. The interaction of modest intelligence with a clean, efficient arrangement, allow wabi-sabi artists to keep with the integral component of its creation, and avoid unnecessary details. Ink painting will reveal just enough details for the viewer to identify the subject painted, but not more than necessary. The ink painting is intended to echo the very nature of its subject matter, not to copy it. Rustic beauty Sabi (寂び / 錆び) translated from Japanese, to mean ‘rust’. It suggests the nature of the ever-changing experiences and things that weathered, fade away or dissipate. It signifies not the ending of things, but actually the flow and continuity of the creative process. Sabi aesthetic does not find a need to ‘hide’ the ongoing ageing of the art created, on the contrary, the moss on the stone sculpture, the rustic wood pillar inside a home, or the ragged ink brush stroke on textured paper - are all part of cherishing the beauty of time passage. The way ink becomes even more distinct as the paper ages, turning yellow in time, is part of the magic celebrated by the aesthetic of sabi . This ever-changing state of materials far and beyond the artist work, emerges because of time throwing its magnitude flow upon everything. And while doing so, revealing a tranquil beauty within the greater creation and its ongoing powerful laws of transformation, extinction and reformation. Finding and enjoying the rustic beauty of this is the aesthetic of sabi . Cherishing the creative process Within the aesthetic of wabi-sabi , the creative process is exposed and emphasised. It is original in a moment in time, and thus a unique experience. Dwelling II / ink on paper The ink painting is not intended to be perfect. On the contrary, not the complete figure is painted, nor the whole landscape is seen. The painting will hold spaces and gaps ready to be completed with the viewer’s imagination. In ink painting, one can appreciate the aesthetics of wabi-sabi where the flow of the brush and ink emphasise the wellness experience of imperfection. It is imperfect because no hand can make a ‘perfected’ line in that sense. Each line and mark is raw and organic, rich in wonder and mystery, reflecting the nature of both artist and viewer at any given time. Wabi-sabi aesthetic practice in ink painting offers an intimate experience. It unfolds the feeling that even the minute and seemingly insignificant painted theme, can have an insight into the warmth and beauty of a growing and becoming creation. Learn More > For more writings on Japanese ink paintings and its tools and materials sign up to ArtBrush Library Sign up for a one-time payment of £75 > > 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 >All paintings in this article are by Talia Lehavi and can be viewed in GALLERY

ArtBrush is an online school created to assist you in developing your skills in Japanese Ink Painting while giving you a deeper appreciation for this tradition within Japanese art history. The schools 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. 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 . Hoseo Sensei & Talia "My own extensive journey into Japanese art and its 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 students to learn alongside me and progress in their creative journey, wherever in the World." The school is catered for beginners as well as for those with prior experience, to provide a valuable learning voyage for anyone with a desire to learn the foundations of Japanese ink painting. We have a wide variety of courses available, including single courses, which focus on one specific subject, called ArtBrush Lessons. Our Four Nobles Foundation Course offers an in-depth study, and our expanding ArtBrush 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. Learn More > 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 > For more writings on Japanese ink paintings sign up to ArtBrush Library Sign up for a one-time payment of £75 >

Ink painting, known as suibokuga or sumi-e, flourished in China from the 8th century onwards but it was not until the 13th century, when Japanese Zen monks brought this painting technique from Ch’an monasteries of southern China to Japan, that it became known in Japan and chiefly associated with Zen. It is a tradition steeped in rich history and wisdom, unique in its practice and value then, and more so today. You are invited to learn this ancient practice right here, right now. ArtBrush school offers a wide range of courses, where you will have the opportunity to depict subjects such as plum blossom, wild orchids, bamboo, and chrysanthemum. The school also has an online library that provides access to a wealth of knowledge on this way of practice. The library includes in-depth essays on tools and materials and how to care for them, art history writings, and aesthetic notions of the masters of ink. The courses are led by Talia LeHavi, an artist, practitioner, and teacher of traditional Japanese ink painting, with over twenty-five years of experience. Why learn Japanese ink painting? 1. Learn a New Skill Whether painting is something completely new, or you already have experience as an artist, ink painting is pursued by people of all ages and capabilities. Everyone has an inner creative spirit; learning Japanese ink painting will allow you to unlock your creative potential and learn a new artistic skill. 2. Attune to Nature Japanese ink painting expresses the dynamics of life and the natural world and encourages the artist to become one with the subject. Observing nature and tuning to its rhythm, fosters a great sense of inner peace. Subjects change with the seasons, allowing the practitioner to become part of the changing cycle of life. In addition, this practice uses natural materials. You will dip your brush with water, soot, and minerals pigments, using the essence of water and earth to create serene, meditative paintings. 3. Practice Meditation Japanese ink painting is a form of active meditation. By bringing your attention to a still point where the brush meets the paper, you may find a new inner space of quiet and serenity. The practice does requires focus and mindfulness. Whether you are a beginner or already practice meditation, Japanese ink painting will support your inner authentic self whilst creating some beautiful artwork. 4. Improve Well-being As a form of mediation, this practice has the power of improving well-being and robustness. Practicing your brush and ink painting will connect you to your unique natural rhythm, and will increase your self-awareness and resilience. You may discover that the nature of the process brings you to new chambers within you, creating a deep state of calmness and wellness. 5. Open the gate to a new culture Japan is a land of high aesthetic. It is mysterious and fascinating, sometimes with seemingly contradictory natures and ways. The practice of Japanese ink painting provides an insight into Japanese culture and its aesthetics. By diving into this traditional art form, you will learn about the art of subtraction and symmetry, the nature of empty space and fullness, and the unique sense of harmony and balance that is characteristic of Japanese aesthetics. Experience Japanese ink painting for yourself and discover the artist within you. Begin your journey with ArtBrush online school today - HERE Learn More > For more writings on Japanese ink paintings and its tools and materials sign up to ArtBrush Library Sign up for a one-time payment of £75 > > 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

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. Ceramic water dropper in the shape of a chrysanthemum  I 18 C. I porcelain with cobalt blue under transparent glaze I Mikawachi ware I MET 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. metal water dropper I shaped as a hare I Momoyama Period (1568 - 1600) 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. ceramic water dropper I Boy with an ox I private collection 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. ceramic water dropper with cracked-ice design I 19th C. I Hirado Mikawachi ware porcelain with underglaze blue I LAMCA 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 they can be found in the 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 see these kind of little sculptural objects with two holes in them, you will know what they are and what they are used for. Learn More > For more writings on Japanese ink paintings and its tools and materials sign up to ArtBrush Library Sign up for a one-time payment of £75 > > 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

7 roles of dragons in Japanese painted art of the Edo period Dragon emerging from clouds Nagasawa Rosetsu (1754-99), ink on fan paper, 25.5x52 cm., The Brooklyn Museum 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 . Dragon and waterfall (c1780-90) Kanō Eisen Michinobu (1730-90), hanging-scroll, ink on silk, British Museum 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. Hour of the dragon (tatsu no koko), 1795 Kitagawa Utamaro, part of a series of the 12 hours in Yoshiwara (seirō jūni toki tsuzuki), Colour woodblock print, British Museum 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. Roaring temple dragon Nampu Katayama (1887- ), Honji-do, Nikko 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. Dragon of the storm Kanō Sanraku (1559-1635), part of two six-fold screens, 178x357cm., ink and colour on paper, Myōshinji, Kyoto   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. Fireman’s jacket with dragon and tiger design Paste resists dye on plain-weave cotton, quilted with wool and woven gold metallic thread, outlined with gold metallic thread, 90x126cm., Tokyo National Museum 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 Courtesan and Kamuro Utagawa Kuniaki (fl.1844-68), hanging scroll, ink, color and gold on silk, 120x56.2, British Museum. 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. Taoist Immortals, 1764 Soga Shōhaku (1730-1781), detail from pair of six-panel screens; ink and color on paper, Each 163.2x364, Private collection, Kyoto 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 The Chinese painter Chang seng-yu and dragon Nagayama Kōin (1765-1849), ink on paper   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 'Dragon’s cloud' Mochizuki Gyokusen (1834-1913), ink on silk, private collection 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 > 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 £75 > Get > A selection of ink dragon paintings by Talia is available for you to purchase direct from the studio collection inquire here - Ink Dragons > Images credit copyrights All efforts were made to respect copyrights owner where possible.

Learn how to enhance the quality and radiance of your painting 'balance comes before form' - The Earth Goblin Like diamonds, we are made of many facets of light and structure. All these many parts of our heart-mind-body, strive on balance. The more we are able to maintain balance within our many facets, the greater the light we emanate, inside and out. For the artist to create an insightful image, the practice of finding ongoing inner balance is essential. If you consider the yin yang symbol, it is hanging on an eternal balance and movement of two seemingly opposite forces. Yet together they complete a whole circle which maintain its harmonious stability. Consider another analogy, imagine a beautiful circular stone water fountain, where the water constantly rising up from its centre and flowing evenly in all direction, and whilst doing so, creating a wonderful dome like shape. The flow is constant, keeping the shape of the dome itself, made of water. It is within the moving, flowing balance of the water, that this shape is maintained and therefore offer a balanced harmony. ink painting is like this. Here are five aspects of exploring inner balance within the practice of ink painting. Attune with the seasons Each of the seasons, with its rise, peak, and fall, offers a particular wave of rhythm, lights and colours. It is in this continuous movement of life force that we can find balance to our soul and heart. Painting the way plants and animal appear in each particular season, connect us with nature and the natural cycle of life. This continuum cycle is a healing path, offering well being and stability that are generously provided by mother earth. Within the discipline training of ink painting, the student needs to practice each painting subject in various stages of its growth. If it is a plant like the wild orchid, you will learn to paint it from the emerging leaves and buds to the opening flower, to the full flower and the weathering petals. Same practice will be needed with any living being, be it a rock, a plant, an animal or a human depiction. Go with the flow of the brush Holding the brush is like holding a magic wand with which you can give expression to the mysteries of life. Practicing your brush strokes lines will teach you of the coming together of mind, heart and hand with an inner balance of flow. When this flow is established within you, it is then, that you make your beautiful paintings. As you find the balance inside, it is reflected in your painting. Use your sumi - Black ink Withdrawing the use of colours, and submitting your expression solely to the one black ink, allows a deeper focus on shapes, forms and spaces that enhances the artistic images that are personal and yet may touch the viewer with a fresh intake of the world as you view it. Finding your inner balance, regardless of colour, gives your artistic journey a skeleton like strength and power that can then be enhanced with colour, but not before. Practice the art of giving and receiving Learn the art of how much water to give out and use in your painting and how much ink. Find balance between light and dark shades of ink. Explore the delicate coming and going of the brush on the paper, and the pressure of your brush strokes as it dance its journey on the paper. How many details do you give away of your painted story? And how much do you allow of the story of your painting to be received by the viewer dreaming completion. Experience the splendor of solitude The time you are making for yourself to paint, is you creating a clear space for your inner wisdom to guide you and facilitate your quiet, yet powerful dialogue with the creative path of your choice. Allow yourself to expand the scope of the 'YES' realms, as your chi, your life force, directs you. where you can dwell in. It is limitless. Consider your practice time as your splendid solitude. It is not time wasted, it is time to be cherished as it create a something from a nothing. In conclusion The wild orchid flowers, grow humbly on the faraway hidden mountains. They are not easy to reach and are mostly hidden from site, shying away in their splendid solitude. Perhaps this is why they are one of the four foundation lessons of the ink painting practitioners. Their depiction is a learning practice in exploring both inner and outer flow and balance. Finding this balance inside us, with the many layers and positions of ourselves, comes before giving expression to form and shapes on paper. As you practice your brush, you may discover how these fine balances, organizes themselves to increase the quality and radiance of your artistic journey. Learn More > Learn how to paint wild orchids and experience the artistic journey of inner balance and radiance Sign up for a one-time payment of £65 > > 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 > > A selection of wild orchid ink paintings by Talia are available to purchase direct from the studio. Inquire HERE > Images Credit Wild Orchid paintings - Talia Lehavi photography - Lucia Sanekata

Wild Poppies I Suzuki Kiitsu (1796–1858) Intro The aesthetic notion of mono no aware is rooted in the fabric of Japanese art as early as the 10th century. The very nature of this contemplative appreciation of life, imbued the art with a sense of longing, a gentle lingering feeling of knowing of the impermanence nature of all things. While the theme of wild flowers and grasses has always been a popular motif in Japanese art. Their fleeting flowering time has made their depiction a creative challenge to the master artists of Japan.  With their abundance of colour, variety of shapes and fine fragrance, they can be found adoring limited edition woodblock prints, known as ‘ surimono ’, complex textile patterns, lacquer ware, ceramic, And off course, painted screens and scrolls. Nature and the Four Seasons Fields of undisturbed wild flowers, painted to mark a particular landscape - an edge of a stream, a high mountain top, or a deep lush valley,  were intended to bring nature and its landscape indoors. Using wild flowers, as a way to reflect on the ongoing change of seasons was an essential part of this artistic aesthetic.  Large screens, depicting spring and summer wild flowers of all kinds and sizes, would represent hope and new beginnings of springtime, and the  joyful high season of summer and its culmination. Flowering plants of the four season I Rinpa style I Early 18th C. 'mono no aware’ While the theme of autumn flowers and grasses would suggest a time of letting go. A farewell from the warmth of summer days, and the arrival of the cold, darker winter months.  The movement of autumn wind through the long grasses, can almost  be heard in beautiful painted screens, adding to the overall melancholy feeling. This sense of autumn melancholy, emphasizes the transient nature of life, and it is one of the essential aesthetic notions used in Japanese art. It is known in Japanese as ‘mono no aware’ . To mean something like - the awareness of the transience nature of things, with a gentle sadness of their passing.  Fields of susuki grasses I Muromachi period (1392–1573) The idea of mono no aware  evolved from the Buddhist notion of the impermanence nature of life and living. Everything is impermanent, in constant movement, in an ever changing form and state. And yet, this notion has its roots even earlier, in Japanese culture of the 10th century. It can be found in early literature, such as the 'Tales of Heike ' and 'Tales of Genji '. These novels, with their poetry and illustration, are telling the story of those who lost the battles, not those who won. Accepting the reality of change and loss as is, without overflowing emotion and drama, but, with a deep sadness of its passing. The subtle tension, that appears between the sadness experience of being and the acceptance of it, is part of the nature of reality. It creates an echo, within which aesthetic and art forms up. Be it in literature, theatre, poetry or paintings. Art itself is being created within this very tension. In the words of the 14th century monk Yoshida Keiko - ‘Are we to look at flowers in full bloom, at the moon when it is clear?  Nay, to look out on the rain and long for the moon, to draw the blinds and not be aware of the passing of spring — these arouse even deeper feelings.  There is much to be seen in young boughs about to flower, in gardens strewn with withered blossoms.’ (translated by Donald Keene / in ‘Essays in Idleness') Keiko emphasizes, that the 'before' and the 'after' of things are a more interesting experience then the thing itself. Therefore a straight brush line, or a full on blossom, are not in favor as much as the moment before the blossom appears, or the unfinished ink brush line on paper. A poem that is hinting of the story, but does not tell it all. A fleeting varying moment of beauty, within the impermanence flow of life. Yes, they will perish and wither away, and yet, we witness them in the now. This aesthetic notion of mono no aware intends to include our senses as a whole experience. It is about the whispering sound of fields of grasses, and the soft fragrance of small gentian flowers. It is about the fine texture of pamper reeds in the wind, and clusters of radiance yellow fennels. The poetry is in the painting and the painting is part of a poetry, lingering on and on. Just like the vanishing echo sounds of a temple bell, long pass its ringing.  Mono no aware unique aesthetic join the sadness and the drama with the knowing, and coming to terms with, the ongoing shifting of life, and the finding of harmony and beauty in this very nature of being. Autumn Grasses in Moonlight I Shibata Zeshin (1807–1891) And so.. Everything passes away, only to reappear in a different form and shape, the flowers, the grasses, The seasons and our lives.  The theme of wild flowers in Japanese art invites us to reflect on this very notion. And yet, the great masters of Japan, with their deep observing eye, have successfully immortalized this in their beautiful artwork.  This short essay is dedicated to Prof. Jacob Raz, who first introduced me to the aesthetic of Japanese art and in particular mono no aware as it appears in poetry, theatre and fine art. Learn More > 'Wild Flowers' - Ink and colour artwork series available by inquiry via the online gallery HERE > For an in-depth Wild Flowers and Grasses Painting Course with Japanese ink and colour - check it out here Sign up for a one-time payment of £220 > > Live workshop  - 'Herons and Cranes' - Japanese ink painting workshop retreat with Talia at Mallorca studio - October 2025 Details and booking > Images credit copyrights 1. Wild Poppies I Suzuki Kiitsu (1796–1858) I Hanging scroll I ink and color on silk I 98 x 33.3 cm I MET Museum of Art 2. Flowering plants and vegetables of the four season I Anon Rinpa style I early 18th C. I right screen from Pair of six-panel folding screens I ink, light color, and gold leaf on paper I 163 × 372 cm I MET Museum of Art 3. Fields of susuki grasses I Muromachi period (1392–1573) I One of a pair of six-panel folding screens  I ink, color, and gold on paper I 150.4 x 349.2 cm I Cleveland Museum of Art 4. Autumn Grasses in Moonlight I Shibata Zeshin (1807–1891) I Two-panel folding screen I ink, lacquer, silver, and silver leaf on paper I 66.4 × 175.3 cm I MET Museum of Art Images from public domain sources. All efforts were made to respect copyrights owner where possible.