sumi-e

THE ART OF JAPANESE INK PAINTING

S H O Z O SAT O

TUT TLE PUBLISHING

Tokyo · Rutland,Vermont · Singapore
Contents

Preface 7 [CHAPTER 5] Trees, Bamboo, Flowers & Grasses

Introduction: Suiboku-ga and Sumi-e 9 Painting Trees 113
Basic Techniques 114
1. Two Pines 118
[CHAPTER 1] The Art of Black Ink 2: Pine Breeze: Screen for the Tea Ceremony 122
The Relationship between Calligraphy and Painting 14 Painting Bamboo 126
Knowing the Difference between a 1. Morning Breeze 130
Pen and a Brush: Energy 14 2. Hope 131
Practicing with Ei, Dai and Wa 15 3. Gust of Wind and Rain 132
Learning from Classic Masterpieces 19 4. Summer Rain 133
5. Tarashi Komi Bamboo 134
[CHAPTER 2] Four Treasures in the Studio Painting Flowering Plum 136
Brushes: Types, Effects and Care 24 1. Pink and White Flowering Plum 136
Paper: The Foundation 31 2. Aged Flowering Plum 140
Black Ink: Variations in Tone 32 3. Fragrance of Plum under the Moonlight 142
Suzuri: The Stone for Grinding Ink 35 Painting Lilies 144
Other Studio Tools 36 1. Stargazer Lily in Gold Paint 144
Seals 39 2. Stargazer Lily in Traditional Japanese Style 146
3. Stargazer Lily in Tarashi Komi Technique 148
[CHAPTER 3] How to Use the Brush 4. Stargazer Lily in Sumi-e 149
Basic Brush Use 44 5. Calla Lily in Tarashi Komi Technique 150
Special Effects 54 6. Calla Lily in Suiboku-ga 152
Stamping, Nijimi, Dot and Splash Techniques 54 Painting the Shobu Iris 154
Mist and Fog Techniques 56 1. Shobu Iris in Sumi-e 154
Dry Brush Techniques 57 2. Shobu Iris with Silver Background 156
White Out Techniques 58 3. Shobu Iris in Tarashi Komi Technique 157
Wrinkled Paper Technique 60 Painting Grasses 160
Application of Gold or Silver Leaf and Dust 61 A Setting Sun in Autumn: Painted Door 160

[CHAPTER 4] Landscape Painting Techniques [CHAPTER 6] Innovative Uses for Sumi-e

1. Indian Peaks 66 1. Creation of the Universe: Sliding Doors (Fusuma) 164
2. Collegiate Peaks 70 2. Flexibility in Composition: A Four-Panel Door 168
3. After the First Snow 74 3. Sliding Doors to Hide Utility Area 170
4. Murmuring Surf 76 4. A Folding Screen 174
5. Islet with a Pine Tree 78 5. The Tokonoma: Mounting Your Paintings as Scrolls 176
6. Navarro River in Moonlight 80
7. Pine Breeze in the Moonlight 82 [CHAPTER 7] Mounting Your Paintings
8. Dragon Pine 86 The Mizubari Technique 180
9. Fury of the Pacific 88 The Ura Uchi Technique (Categories A & B) 181
10. Arches National Park 94 The Traditional Hyogu Technique 185
11. Canyonlands: Anasazi Towers 96 How to Make Sizing Formula 188
12. Monument Valley 98 How to Size Paper 189
13. Chillon Castle on Lake Geneva 100
14. Salzburg Castle and Bishop’s Residence 102 Glossary 190
15. Mountain Cascades in Suiboku-ga 104 Where to Purchase Asian Art Supplies 191
16. Mountain Cascades in Sumi-e 108 Acknowledgments 192
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Preface

Years ago, when I was still a young art student in Japan, a Zen
master once asked me: “What is the core function of art for
you?” I pondered over this koan for some weeks. Then I
replied to him, “It is vitamin C for the soul.” He asked me to
elaborate, and I explained that humans require vitamin C to
maintain good health, but too much is simply wasted, that is,
expelled from your body; likewise, art brings energy to your
soul, however, too much can lead to decadence.
No matter how you as an individual may answer that ques-
tion about art’s function, artwork should express a universal
reality, whether tranquility or agitation. The goal of the Japanese
arts through the ages has been to create a sense of tranquility
and peace. This applies to the art of monochrome, commonly
known as sumi-e.
Den sho (den = oral; sho = tradition or handing
down) is the traditional oral way of passing down technical
information, in all forms of art, to each successive generation.
This book was written with the intention of translating this
longstanding Asian teaching method from its oral form to the
written page. It is difficult to offer a den sho–like, “one to one”
teaching experience through a book. But I hope that some
form of this practice’s power will be conveyed even through
the written word, as I pass along the experience I received
from my own mentor years ago in the art of sumi-e.
Den sho means that the mentor, in addition to giving oral
instruction, will often literally take the hand of the student and
guide him or her. This close contact in instruction also leads
the mentor to convey over time a philosophy of art and a way of
life to the student; thus, this approach to creating art of course
reaches beyond the commercialization of the art form. In fact, a
tenet of the teaching of the fine arts at the university level in
Japan is that students are not allowed to enter their work in
competitions or display them in galleries, simply because if a
painting is sold, the thinking goes, a young student’s mind will
be set on the style and subject matter of the work rather than
its meaning, and the student will lose his or her own intrinsic
creative spirit.
In this book, my hope is that while the “how to” has been
shown in step-by-step fashion, some of my deeper experience
will also be conveyed through the words and images. In my
classes at university and professional levels, and now with you
here in these pages, it has been my mission to pass my expe-
rience on together with the philosophical and technical
aspects of the art of sumi-e.
Suiboku-ga and Sumi-e

Sumi-e is commonly described as art done in monochrome, with the use of sumi ink and
handmade paper. Sumi-e means “black ink painting” (sumi = black ink; e = painting). The
ideogram which is read sumi in Japanese can also be read as boku in Chinese, and as is true
of most Asian art and culture, the roots of Japanese painting are found in China.

The early stages of monochrome art became a recognized Paintings have been important to humankind from ancient
genre during the ninth century in China, and suiboku-ga (sui times. Long before it would reach across the water to Japan,
= water; boku = sumi ink; ga = painting) was gradually dis- the influential Northern Sung style of paintings had its begin-
seminated throughout the Far East. These paintings were ning in China during the first and second centuries of the
usually done on silk. Later, when handmade paper became Han Dynasty (221 BC–AD 221). In the Han Dynasty black ink
readily available, the spreading of sumi ink upon that new, was used for creating “white paintings”: an outline of sumi
absorbent surface created another, different form of mono- ink was drawn, then filled in with brilliant colors to create
chrome painting which has a more direct spiritual connection multicolored paintings. Eventually, white paintings without
with the artist: sumi-e. pigments added became recognized as a new genre of art.
I have elected to make a definitive distinction between sui- Then, during the Northern Sung period (960–1126), brush
boku-ga and sumi-e styles of ink painting, because technically strokes in sumi began to be used within the outlines, instead
speaking, suiboku-ga, which was developed from the “outline” of color, to further enhance the subject. The overall impression
painting done on sized silk, came before the art that is pro- of these paintings was grand but somber, and carried a hint of
duced with minimized strokes in sumi ink—sumi-e. oppressiveness. Northern Sung styles continued to prevail
Internationally, and especially in the U.S., all monochrome art during the subsequent Southern Sung period (1127–1279) but
that uses sumi ink has been called sumi-e. Very little has new methods were also being introduced. Artists began to
been written about suiboku-ga in most English-language use the brush sideways to produce a gradient of different
texts, and in most publications on the subject the terms sumi-e tones in sumi ink, which offered in another way to render the
and suiboku-ga are used interchangeably. subject, often without using outlines. These were the founda-
But being aware of their differences helps you to see that tions which led to the developing of paintings done solely in
there are “two sides to the coin” in monochrome art, and sumi ink.
helps you to recognize how philosophy is an essential under- The major contributions to Chinese painting as we know it
pinning to this art. As well, a brief look at their contrasts today began with the Northern and Southern Sung periods,
offers a glimpse of the rich history that ink painting has and continued through the dynasties of the Yuan (1280–
absorbed and reflects today. 1368), the Ming (1368–1644), and the Ching (1644–1912).
Suiboku-ga is based upon the Chinese word sui un sho ga The imperial courts of each of these dynasties established a
(sui = water; un = spreading in gradation; sho = distinct repre- system where court-appointed masters in painting produced
sentation; ga = painting). Since the word suiboku-ga contains artwork expressly for the emperor and other royalty. These
the additional concept of “water,” it has more complexity in master artists were given ornamental belts and studios within
contrast to the simpler word sumi-e. the royal compound and they proudly displayed their belts to
Suiboku-ga is commonly painted in greater detail with show rank. However, individual rulers promoted their own cul-
overlapping brush strokes, and in addition, it may be large in tural heritages (be they Han, Mongolian, or Manchurian) via
size. Obviously, the literal definitions of the words mean that their master artists’ brushes, and also influenced the nature
if a work contains great detail with many brush strokes in and subject of the artworks, leaving little creativity to the
black ink, it can also correctly be termed sumi-e or boku-ga; artists. For example, if the Emperor built a summer palace, he
but suiboku-ga would be a more formalized terminology for might request that the artist make paintings suggesting cool-
this type of work.On the other hand, paintings which are pro- ness for the walls and doorways. The artist’s job was to
duced with minimal strokes are the ones I prefer to call visualize what the emperor wished and then carry it out. To do
sumi-e. this it was necessary for the artists to have thorough knowl-

Left: This shobu iris was painted using traditional Japanese pigments, with
sumi in the background pattern. Chapter 5 explores this technique further.

SUIBOKU-GA AND SUMI-E 9

edge in style and techniques, but the original ideas and the all kinds toward greater elegance and refinement.
artistic sensibility belonged to the patrons. Even so, during During this same period in China under the Ming and
this long period of the court-appointed artist system, artwork Ching dynasties, in place of the black ink outlines, a new style
did not remain static and the artistic approach to paintings of art emerged using vibrant and opulent colors. Limited by
did continue to change. the court-appointed artists system, this art too reached a point
Throughout the long history of China, the work of scholars, of stagnation. But when the Ching Dynasty came into power,
government officials, wealthy landowners and other members the emperor promoted literary education as well as suiboku-
of the educated classes included the transcribing of docu- ga in the style of the Southern Sung. As a consequence art
ments and the writing of literature. These gentlemen of letters reached a high point in refinement, both in craftsmanship
were accustomed to using brush and ink on paper when and artistic expression.
recording documents or writing poetry. They did not have pro- However, the literati throughout these periods refused to
fessional training in painting techniques but especially be caught up in the trends and fashions of the times and
during the Southern Sung dynasty, as a hobby, many began to retained their belief that paintings should capture the spirit
add simplified artwork to their poetry; it was natural enough, (not all the physical details) of the object or theme. From their
since they were so familiar with the use of a brush. Thus viewpoint, intricate paintings with minute details were merely
began the merging of poetry with artwork. an “explanation”; they did not convey the spirit of the subject.
Generally speaking, the literati did not use the rigid out- Compared to the art’s beginnings based in Northern Sung
line technique in these simplified paintings but began to use style, the brush strokes were now reduced in number and
the brush in innovative ways. Artwork by the court-appointed simplified and were often combined with poetry. This style of
artists was often criticized as lacking in vitality and as being painting, whether done by the Chinese literati (wen jen) or the
stagnant; the literati, on the other hand, were using their own Japanese literati (bunjin), suggested the subject, rather than
creative ideas, and their spontaneous and energized methods describing its details. Importantly, the bunjin artists also rec-
in painting were a refreshing change. Their simplified but ognized the importance of active empty space: the viewer was
sometimes bold use of the brush would often capture the stimulated to become a participator in the painting. This
spirit of the subject, and could convey a wide range of expres- active empty space is an important component of the style.
sion, from dynamic power to elegance and tranquility. This is Also during the Ming and Ching dynasties, another style
the art style that I term sumi-e. of color painting was developed that adapted some sumi-e
Zen Buddhist monks from China introduced the Northern brush handling techniques. Unlike the sumi-e approach
Sung style of paintings to Japan during the Muromachi period where several tones of sumi were applied to the bristles of
in the fourteenth century. These works reflected the oppres- one brush to create a gradation, this time, color pigments
sive grandeur that was so characteristic of the Northern Sung. were applied to the bristles to create a gradient blend of col-
During the fifteenth century, as the monks brought the newer, ors. Often black ink was also incorporated as part of the
more flexible styles of Southern Sung and Yuan to Japan, new painting. This technique is still commonly seen in contempo-
trends in artistic expression began there. rary Chinese paintings.
This was also a time when other great changes were taking Even this very brief history of the emergence of painting
place in Japan and the warrior classes came to power. With with sumi (black ink) shows us that in both suiboku-ga and
the advent of the Tokugawa Shogunate system of government sumi-e, and even in paintings using color, the focus of the art
in 1603, a new era of social stability emerged in the nation of ink painting since its inception has been on the quality of
and there was now time to cultivate the arts. Zen Buddhism the line; this is what captures the form. In the art of the West,
exerted a powerful influence on the warrior classes who no the focus is generally more on color to develop the form.
longer were required to spend time in endless territorial or As we move on to the details and process of creating ink
civil wars. A newly developed pastime for these upper classes paintings, we will look at and create paintings of both kinds,
was chado, tea ceremony, which influenced Japanese arts of in order to understand suiboku-ga and sumi-e more deeply.

Right: Although it is composed of only a few types of sumi-e strokes—wide

to wide, wide to narrow, and narrow-wide-narrow—bamboo can express
many moods. The empty space at the right top plays an active role.

10 SUMI-E
CHAPTER 1
The Art of Black Ink
The Relationship between Calligraphy and Painting

Among the historical differences between European-based cultures and the Far East is
the method and tools of writing, so important for communication and keeping records. From the
earliest times, a brush was used for writing in China and this practice continues today in many
areas of Asia. The use of the brush as a tool in both writing and painting makes it difficult to draw
a clear demarcation between them; there is an overlap between the utilitarian and the fine arts.

As we learned earlier, during the periods in history when The brush is used in a similar way for both calligraphy and
China was ruled by emperors, among the populace were very painting, and I feel that learning the use of brush through cal-
well educated landlords and priests who were accustomed to ligraphy brings better understanding of the basic qualities of
dealing with brush, ink and paper every day. During their lines for a painting. Therefore, I consider this a very important
daily activities of copying sutras or writing documents for the first step.
government, they would take a break from their work to enjoy When writing with a ballpoint pen, one moves the tip con-
composing poetry and often would add a simple paintings to tinuously across the paper, but when writing with a brush,
their work. Whether one would call it writing or painting, one often lifts it up and then down as it moves across the
these works by the literati gradually became recognized as a paper in order to create a line which narrows or widens. When
genre of art. In Japanese their work is called bunjin-ga (bun = writing with a brush, the movement will be a combination of
letter, jin = person, ga = painting). right to left and up and down. This simple movement appears
It has been recorded that the earliest Chinese paper appeared to be easy, yet it is difficult to master. Here are some helpful
around 206 B.C. during the Han Dynasty. It is generally supposed ways to learn and embody the key principles and to make a
that the fibers from various plants woven for clothing, such as physical connection with sumi-e.
varieties of flax, were also used for making of paper. Archaeolog-
ical finds in remote Chinese provinces include paper made from KNOWING THE DIFFERENCE BETWEEN A
flax. Eventually fibers from other plants began to be used. As PEN AND A BRUSH: ENERGY
papermaking developed from the primitive to the sophisticated,
the making of sumi ink from soot was also perfected. As the To understand the difference between the use of a brush and
availability of paper became widespread and brushes of various a ballpoint pen, let us first turn to the ideogram dai (“great,”
types and sizes were developed, both writing and painting “big”).
undoubtedly became more commonplace. In the Far Eastern • Use your pointing finger as an imaginative brush, and
countries down through the ages, all documents and other writ- trace the character on the next page. Beginning on the left
ten forms of communication required sumi ink and brush, until end of the horizontal line, give your finger a little pressure,
European cultural influences brought new ways to write. Today, then relax the pressure and move on to the right.
the world over, the convenience of ballpoint pens, fountain pens • When you come to the end of the stroke, repeat a similar
and pencils makes them a daily necessity. And computer-gener- pressure but in addition bring your fingertip back a bit on
ated text—e-mails and such—has taken over much writing. the line, then lift your finger up. (This horizontal line alone
Yet, writing with a brush continues today. In contemporary is the ideogram for the number “one.” You have already
Japan, every first grader in school learns to write with a brush written a word!)
in a special class reserved for calligraphy. In contrast to pens • The next stroke to trace begins at the top and moves to
and pencils, the use of a brush, whether for calligraphy or the left bottom. Give a slight pressure at the beginning and
painting, carries with it established methods and rules both move down with a slight curvature, then gently release your
historically and traditionally developed. The various types of finger from the paper. Your fingernail should be last to leave
brushes and the effect they leave on the various kinds of the paper.
paper are of paramount importance. The amount of ink the • The next stroke begins near the joint of the horizontal
brush can hold must be controlled and the effects created and upright lines. Make contact with the paper with your
when painting lines, from wide to narrow, in tones from dark fingernail first, then as you move your finger to right bot-
to light, requires knowledge, skill and experience. When one tom, the ball of the finger should make contact with the
is taught as a child, this may become routine, but when an paper and give pressure. Gradually release the pressure so
adult is confronted with brush, ink and paper for the first that your fingernail is the last to leave the paper.
time, it can be a daunting challenge. Now you have experienced the writing of the ideogram of
Learning some basic lessons from writing can help you. “great.” This simple exercise shows how different the use of a

14 SUMI-E
Now try the exercise again, this time tracing not the char-
acter dai but its separated, individual strokes, focusing on
each one. Follow the lines with your fingertips once more, this
time focusing on your inner energy while your finger moves
along the lines. The actual use of the brush with ink will feel
different than this, of course. Nevertheless, this will help you
to become aware of your inner energy.

PR ACTICING WITH EI, DAI AND WA

Ei: Eternity—The Eight Strokes

There are eight basic strokes from which all of the kanji
ideograms in Chinese, Korean and Japanese are formed (as
written in the formal style). There is a character which
includes all eight of these basic strokes, so practicing it is
useful for beginners. This is the word ei which means “to pro-
Above: This ideogram is dai, or “great.” Following the exercise steps in the
text, trace over it with your index finger to better understand the intrinsic
long” and can be translated as “eternity.”
nature of brushwork.

brush is from a ballpoint pen or pencil. Energy is a key differ-

ence. In the instructive text here, “pressure with the fingers”
is used as a convenient way to explain the process but in real-
ity, these “pressures” should be internalized chi or ki, energy
which is centered in the lower abdomen to form a unity of
body and spirit. The pressure of the ball of your finger should
be accompanied with your inner energy. In the yin-yang bal-
ance of energy, this energy is considered “yang.” When
pressure is reduced while the finger is moving to the right in
the first stroke of dai the energy becomes “yin,” but the
increased ending pressure is again “yang.” We can say, with
only slight exaggeration, that the energy balance among
“yang-yin-yang” has been experienced in this one line. This is
the uniqueness of the use of black ink with a brush.

Above: Ei: Eternity

To develop an understanding of the eight strokes, use your

pointing finger as a brush to trace the strokes. Follow the
directional lines shown in red on the next page. Feel the up
and down pressure of movements across the paper. This
should help to give you a feel for the visual effect you plan to
create.
These brush strokes that are used to create all the other
ideograms are also the basic strokes for creating a painting.
For instance, Stroke 2 or Stroke 5 can be immediately used for
a bamboo stalk, and Stroke 6 and Stroke 8 are essentially the
shape of the leaves of bamboo.
When you do write this ideogram with a brush, some of
the lines such as 2, 3, and 4 are actually formed as a single
continuous line.
The movement of the energy and active empty space are
the fundamental aspects in visual art and have been
crystallized in this single ideogram. This is a clear illustration
that the art of calligraphy is the foundation of the art of black
Above: The individual lines for the ideogram of dai. ink.

THE ART OF BLACK INK 15

1 Dai: Great or Big—Strokes for Painting

Dai is a simple ideogram containing three strokes. Let’s look

at them again (see the facing page):

1. the A stroke is wide to wide;

2 2. the B stroke is wide to narrow; and
7 3. the C stroke is narrow-wide-narrow.
3
The strokes in this ideogram can be immediately trans-
5 formed into the fundamental strokes for a bamboo painting.
Similar to the previous example of the eight-stroke
ideogram ei, here the A stroke’s beginning and ending are
8
given additional emphasis with pressure, while the center
6 part is more relaxed: wide...to wide. If you create a series of
consecutive A strokes, you will recognize a bamboo stalk in
horizontal position. Draw them in an upright fashion, and you
will successfully create a stalk of bamboo.
The joint lines of the bamboo stalk are exactly the same
stroke—stroke A—but are much smaller. Each stroke has a
definite beginning and ending with a slight curvature in the
4
center.
Below that, notice how the same composition of lines, but
Stroke 1 To create the “dot,” the brush should be placed lightly on the
much finer and smaller, creates bamboo sub-branches.
paper. The little pointed mark on the left indicates where the brush is lifted The B and C strokes can be used to paint leaves of bam-
and moved on to the next stroke. boo. The B stroke, wide at the beginning, forms a leaf that is
Stroke 2 The movement of the brush is directed to the right, as the red coming toward you.
arrow shows. Notice, this line is very different from one created by a ball- Thus the ideogram dai has the required fundamental lines
point pen which is an even line from beginning to end! Substantial pres-
sure should be given to the beginning and ending of the stroke. Give
for painting bamboo. Look at Morning Breeze on page 130, one
greater pressure down on the paper as you begin; then relax your fingers example of a bamboo painting.
as you move right; but when reaching the end, increase pressure and give You should recognize that from one basic stroke with the
a slight bounce; then change the direction of the brush 90 degrees while
the brush is still in contact with the paper for the downward movement brush, combined with an artist’s understanding of the func-
coming next. tion and quality of line, variations can be used to create a
Stroke 3 In the process of changing the direction of the brush, notice how
painting.
a bone-joint form is created. As Stroke 3 moves downward, relax your fin- These brush strokes are characteristic of kan-ga, Japanese
ger pressure and lift the brush up, then move down with pressure to the
paintings which were influenced by Chinese calligraphy and
end of the line.
painting. After he returned from China, the “saint of suiboku-
For Stroke 4, the brush is turned 45 degrees and moves to the left. It is ga” Sesshu (see page 20) used these brush strokes in almost
lifted up to create the point. (Again notice the bone joint effect.) Note that
Strokes 2, 3 and 4 are one continuous line. all of his paintings of trees and rocks in outline form. The
Kano School, the major school appointed by the Shogunate,
Stroke 5 is similar to Stroke 2. At the end of the Stroke 5, turn the brush
45 degrees to the left and move down for Stroke 6.
also used this kan-ga technique in their paintings.

Stroke 6 In this case, the transition between 5 and 6 is much smoother

without added pressure. Compare the joint line between 2 and 3 with that
between 5 and 6. This 5–6 joint will not result in a bone joint. Note that
the 5–6 line does not touch the midpoint of 3 and is framed by the space of
line 2–3–4. This is because 5 and 6 are thicker lines and the space is needed
to create more active empty space. In the process of moving down for
Stroke 6, lift the brush up slightly then down (more pressure), and finally
the brush is gently lifted up. The tip is the last to leave the paper. Lift the
brush, then move in a clockwise circle in the air to begin Stroke 7.

Stroke 7‘s head is created with the definite “landing position” of the
brush. As the brush moves down toward the left, it is lifted gently but the
tip remains in contact with the paper. While the brush is in the air, your
arm should be in clockwise movement and moving down for Stroke 8.

The line for Stroke 8 should begin with the tip of the brush. Gradually
press down to the halfway point of the bristles, giving maximum pressure.
Then gently lift the brush to create the end point.

16 SUMI-E
Dai: Great or big

A (large)

A (small)

Bamboo stalk components

B C

Bamboo leaves

Wa: Harmony—The Three Styles tant to understand now because the use of each brush is
We can learn another helpful introductory lesson from writing directly related to the making of variations and quality in
the character for “harmony,” wa, in the three different styles: lines.
kaisho (formal), gyosho (semi-formal) and sosho (informal). It For writing ideograms in the formal style, called kaisho,
is possible to write these three styles using one type of the best brush is made with coarse hair. The power required
brush. However, because the styles are so different—from the in writing formal ideograms necessitates a stronger and
rigidity of formal writing to the flowing lines of informal writ- springier quality for the brush, which is generally made from
ing—professionals and beginners alike find it much easier to the weasel-sable type of hair. This “springy” aspect con-
use a proper brush for each category. We will discuss brushes tributes to forming the definite beginnings and endings that
in greater detail in Chapter 2, but some information is impor- the formal style may require.

THE ART OF BLACK INK 17

The semi-formal style of writing, gyosho, requires an
extreme balance while moving from wide to narrow and back
to a wide line again. Generally speaking, in this style one
continuous motion is used to complete the ideogram; the
word gyo means “motion,” in this sense “without definite
stops” as each stroke continues to the next. The brush for
writing in semi-formal style has whiskers of small mammals
such as a weasel or rabbit in the center of the bristle to create
a springy effect, with soft sheep hair on the outer edge sur-
rounding that core.
The informal writing style is known in common Japanese
terminology as sosho: the “grass style” of writing. In this most
simplified style of writing, a very soft brush is customarily
used and all of the lines flow together in one ideogram; more-
over, each word in a sentence continuously flows on into the
next one. In Western cursive writing the letters of a word are
connected, but in grass writing all of the words are also con- Wa in kaisho style
nected. In the example here, wa was completed as a single
unified line. To make the one continuous line with effects that
are wide to narrow, wet to dry, the brush that is used must be
composed solely of soft sheep hair with bristles that are
longer than in most brushes.
The spirit of ink is called bokki (boku = ink ; ki = spirit,
energy). Again, it is essential when working in ink to focus
your energy and transfer it to the page. It is not uncommon
when viewing ink works to find examples where a person may
have executed his calligraphy with bokki but his signature
may not show the same dynamic vibrancy because the spirit of
bokki was relaxed and the concentrated power was dissipated.
If a person is exposed to masterpieces and if the mind
and spirit are pure and open, a mysterious power and force
can be felt. When I was young and just entering my teens, my
Japanese painting mentor would take me to a museum in
Kyoto to contemplate great masterpieces. These experiences
faded in my memory as I grew older. But in the 1970s while I
was deeply engrossed in teaching sumi-e at the University of
Wa in gyosho style
Illinois, scientists in Japan, by using an electron microscope
with a magnification of 50,000 times, discovered that in the
ink of some of the sumi-e works by great masters, the carbon
particles show distinct patterns depending upon the energy
expended at the moment the strokes were executed. (In
English, a good summary of this study is found in Zen and
The Art of Calligraphy by Omori Sogen and Terayama Katsujo,
translated by John Stevens [Routledge & Kegan Paul, London],
1983.)
Simply stated, if it has been painted with chi, a line created
in sumi ink (which is made up of carbon particles) shows a
particular alignment of electrons, compared to the alignment
of electrons in lines not painted with chi. Stick ink which is
ground on a grinding stone must be used for this interesting
alignment of carbon particles to occur. During the process of
grinding the ink stick, the friction activates the electrons.
When a person loads a brush with freshly ground ink and has
the proper physical and mental preparation, that energy
affects the electrons in the ink. The line created in calligra-
phy can record the energy of the artist. This “recording” of the
Wa in sosho style
electrons’ alignment will last for many centuries.

18 SUMI-E
Similar to being equipped with “antennae,” some artists,
Zen priests, and other people with acute sensitivity are able
to sense and respond to these unseen electron alignments. A
common comment used to describe this sensing of traces of
energy is, “I am moved by that work.” It is only recently that
this scientific information was documented. But great artists
of past generations seemed to intuitively understand that this
dynamic energy or force had an effect on their work. Students
were taught to open up their senses and receptivity so that
they could “tune in” to these great works of art when viewing
them.
Today science continues to be used to better quantify and
qualify the energy in other ways. A new training system was
developed in Japan for younger students to help teach how to
recreate the energy of chi or ki. Sensors are attached to vari-
ous parts of the body to measure brain waves and the
physical state of the body. By seeing the changes made visible
on a monitor, a student can more immediately understand
how controlled breathing and concentration used as physical
preparation can bring about a meditative condition, a state of
chi or ki.
A famous Zen saying states, “The way of art is the way of
the Buddha.” This basically means that at birth the mind is
innocent and pure but as the years go by, our minds accumu-
late desires and trivia of all kinds. Zen meditation purports to
remove those countless interferences, bringing one back to a
clean slate, so that one is ready to face the world again. In any
creative act, when a person is totally focused on that process
or performance with heart, mind and soul, it is similar to the
Buddhist zazen process; the mind is completely cleared of
extraneous thoughts. This is the wonder: that over the ages,
ink particles can convey artistic impact with depth and feel-
ing when created in such a state.

Right: In this calligraphy by Zakyu-an Sensho, notice the nijimi effect (nijimi
= ink spreads beyond the original lines) of the beginning brush “dot” in
the first (top) ideogram. When arriving at the third ideogram, the brush
movement is somewhat slower so that the paper will absorb the remaining
ink. The brush is then reloaded with ink and writing is resumed with the
fourth ideogram, “Buddha.” Note that the second and fifth ideograms are
the same word and mean “way.” In the art of calligraphy when writing in
semi-formal style, it is common practice to vary the visual image if the
same word should appear in the same phrase. Word for word, a direct
translation of this would be “Art way is Buddha’s way.”

LEARNING FROM CLASSIC MASTERPIECES

One vast change in our society since the beginning of the

twenty-first century is how very tight security has become.
These safeguards apply to transportation, mail of all kinds,
even e-mail; and to many buildings, including museums.
When you enter a museum in most countries, you will go
through security and your bag will be searched, or you may
even be asked to check it. But there was a time in the past
when it was a common sight at museums to see art students,
with a complete set of equipment such as oil paints, setting
up an easel in front of a well-known painting and proceeding
to make a copy as a study in the craft of a particular artist.

THE ART OF BLACK INK

This practice of copying has been used in art education for
ages. Although copying masterpieces in a museum today has
become a near impossibility, on the other hand because print-
ing techniques today have become so technically advanced,
one can easily obtain remarkable-quality reproductions for
copying and studying at home.
But copying correctly may not be as simple as it sounds.
As an art student when I was young, I experienced such copy-
ing studies in Tokyo. And in the late 1980s, I traveled to
China to study and compare the Chinese methods in art edu-
cation with my own approach at the university level. While
there, I attended the Zhejiang National Academy of Fine Arts
in Hangzou. There the professor of painting in charge of
instructing “visiting students” gave me his work of a sumi-e
landscape to copy. I set about to faithfully copy his work and
awaited his return to the studio for his critique. He told me,
“You have copied the work well and the paintings look so
much alike. However, your method of copying is not correct.”
Unsure of his methods and wishes, I had taken his recom-
mendation to “copy” as meaning to reproduce an identical
version of his work.
But when artwork is to be reproduced for the painter’s edu-
cation, the first task is to study the brush techniques. These
details in brush strokes should be studied and then internal-
ized. Secondly, when recreating a work of art, a personal
quality of the student or copier should remain.
As a professor in fine arts in universities in the United
States, I have not used copying as a teaching tool. However,
during one of my intense summer sumi-e workshops, we did
focus on making copies of two masterpieces, in this case
works by Sesshu. Toyo Sesshu (1420–1506) has often been
called the “saint of suiboku-ga.” Sesshu traveled to China in
1467 to study techniques and styles of the Sung to Ming
dynasties. These works are in the style of the Northern Sung
paintings which were very popular in China during that time.
Upon his return to Japan, Sesshu blended what he had
learned in China with methods and techniques he developed
on his own, and crystallized these into his own style. Many
great masterpieces of his work in both Chinese and Japanese
landscapes still remain today.
This pair, landscape scenes of autumn and winter, are
replicas of Japanese National Treasures. The images shown
here are my own copy pieces.
Above: Studying the ink paintings of great masters by working to make Sesshu often used light transparent hues over his suiboku-
copies of them is a useful way to learn. This is my own copy piece of an
autumn landscape masterpiece by Toyo Sesshu, “the saint of suiboku-ga.”
ga, which we also used for the autumn scene in our workshop
reproductions. In addition, to add a sense of patina, I used tea
Right: This is my own copy piece of another Japanese National Treasure which had been steeped overnight, in some cases diluting it
done by Sesshu. The winter landscape is enhanced by leaving more white-
ness of paper visible, especially on the trees. In making study copies of
with water for a lighter stain. This method of using tea is com-
masterpieces, the original artist’s signature may be copied; however, one is mon when recreating ancient masterpieces. (Counterfeiters
not permitted to copy the original artist’s seal, which holds much signifi- and forgers of old artworks also use this technique.)
cance in Japanese culture.
In my copy of the winter landscape, the snow is enhanced
by leaving more whiteness of the paper visible, especially on
the trees.

20 SUMI-E
21
CHAPTER 2
Four Treasures in the Studio
China, from its earliest days, has revered its four treasures: the brush, sumi ink, the
grinding stone and paper. However, since the Ming Dynasty, additions have been made to these
four treasures. Other necessary equipment for calligraphers and painters includes items like a
stand on which to hang brushes; some sort of “rest” for the ink stick; a suiteki which is a special
small water container; a small spoon for adding water to grinding stones; paper weights; and a
seal and stamp pad.

These objects can range from simple utilitarian pieces to of these can function to create a painting or work in calligra-
highly decorated pieces which themselves become art. In phy. But the brush is where to begin.
more recent times these craft pieces have become items of
interest for antique collectors. In their travels to China for T ypes of Brush Hair
study, Buddhist monks brought the four treasures of equip- Brushes for calligraphy and sumi-e are constructed from the
ment back to Japan. Especially during the Edo Period in Japan hairs and whiskers of weasels, squirrels, martens/sable, rac-
when the arts and crafts flourished, artists and calligraphers coons, wild boars, horses, sheep, cats and humans. The
reverently collected these Chinese objects. In juxtaposition, specific use for the brush will determine the kinds of hair
the Zen philosophical influence on writers and painters was
that the studio reflect minimalism and simplicity instead of
highly decorated antique objects. A Zen-oriented artist endeav-
ors to develop a refined spiritual element in his work which
an over-decorated studio will not inspire.

BRUSHES: TYPES, EFFECTS AND CARE

A saying in Japan over the centuries has been “Kobo does not
choose a type of brush.” This maxim is used to teach young
students of art that it is not the expensive tool that matters,
but having a true desire for study. Kobo Daishi (774–835
A.D.), also known as Kukai, was a famous Buddhist priest who
traveled to China and studied Chinese Buddhism. However, A front view (right) and cross-section view (left) of a sumi-e brush. The
cross-section view shows where the hairs have been glued, bound and
maxims aside, historical documents reveal that Kobo himself, wrapped tightly with string before being anchored in the brush’s stem.
while tutoring the emperor in calligraphy, remarked that the
choice of brush was very important depending upon whether and/or whiskers used and the location of these various hairs
one is writing in formal, semi-formal, or informal “grass” style. within the bristle. The knowledge required for the blending of
Besides his accomplishments as a priest, including establish- the hairs in specific brushes takes years of apprenticeship,
ing the Shingon Namikkyo Sect of Buddhism, Kukai was very training and creativity on the part of the brush maker. To
versatile in talent and is still considered one of the three all- know whether to take the hair from the tail, body or whiskers
time best calligraphers of Japan. Later the emperor bestowed and how to create a skillful combination is the work of a mas-
the title of Daishi (“great master”) on him. Throughout the ter craftsman. Some artists have been known to have had
ages he has been considered one of the “saints” of calligraphy. very personal brushes crafted from human hair, with hairs
Another Japanese proverb that references him is “even Kobo lovingly gathered from the artist’s child for example. Today it
Daishi makes mistakes with a brush,” indicating that no per- is becoming increasingly difficult for brush makers to obtain
fect human being exists. hairs and whiskers from wild animals, so a wide variety of
The student of sumi-e must recognize the various types of domestic animals’ hair, such as horse, is used. In addition to
brushes and how they are constructed. If you purchase those the horse’s mane and tail, all its other hairs from soft to
mass-produced inexpensive brushes, you will become disen- coarse are used and 90% of most brushes today are made of
chanted because the brush will not perform as expected. A horse hair.
disillusioned person will eventually give up on training. For Once when I was in Beijing, I was shopping for a large
this reason, even a beginner should start with a quality (and mountain horse hair brush. The brush shown at right came in
more expensive) brush as an investment. Such a brush will a large beautiful box covered with cloth brocade. Written on
last for several decades. After the basics of brush usage and the cover of the box was “this is a sacred mountain horse hair
techniques have been mastered, a creative artist can produce brush.” Once I had my new purchase back home in my studio,
work without the use of a brush but instead with fingertips, a I set to work with great expectations. The bristles were heavily
long beard, a sponge or even rolled-up or crushed paper. All glued and it took considerable effort to loosen them (a process

24 SUMI-E
This is a typical example of the brush commonly This brush is in the mid-range for resiliency (or This brush is made from soft sheep or rabbit hair.
known as a mountain horse hair brush. It is com- “spring”) in the bristles. The bristles of this example Depending upon how the brush will be used, even a
posed of hairs from the tail and mane of a horse, are made of weasel hair, but squirrel and sable hair sheep hair brush may include the coarse white hair
combined with wild boar hairs. are also used for this type of brush. of a horse in the center.

This brush is used for calligraphy or painting. Brushes are sold with the bristles starched together. This brush is similar to a mountain horse hair
Weasel hair is used for the bristles, but the very This is the same brush shown in the photo at left, brush, but its bristles are of raccoon hair.
center contains whiskers of small mammals. When now viewed after the bristles have been loosened.
you paint bamboo leaves, for example, the
whiskers help to bring the bristles back to a point
to make the leaf tip.

The same raccoon-hair brush seen at above right,

after the bristles have been loosened.

This brush is not a mountain horse hair brush after all: horse hair is used only on the very outer skirt,
and the inside of the brush is made up of plant fibers. The metal comb shown here is made especially for
the care of brushes.

FOUR TREASURES IN THE STUDIO 25

you will learn on the next pages). Finally when about a third of
the brush was relaxed, I dipped it in sumi ink and tested it.
Strangely, after the ink dried, there was a red outline around
the black ink. Somewhat mystified, I again worked to loosen
the bristles and washed out more glue. The water became red
and even more peculiarly, the red intensified as I continued to
wash the bristles with frequent changes of water. When the
brush was dried again, I discovered that horse hair was only on
the very outer skirt and that the inside of the brush was made
up of plant fibers. Moreover the center fibers were cut, as you
can see in the photo on page 25.
It is difficult to assess the quality of brushes that are con-
structed of an assortment of hairs and that also vary in
thickness simply by looking at the finished product. Quality
brushes usually use natural hair with natural point. Some
manufacturers will use a technique that abrades the cut hair
to a point like natural hairs. Some manufacturers may just use Left: White sheep hairs form the outer layer of the choryu brush.
Right: The choryu brush with its bristles tied open to reveal the several
longer hairs cut short in a blunt cut in the center. If the cut types of hairs that compose its center.
hair is not properly abraded to a point like a natural strand is,
the brush will not come to a point when used.
During my study trip to China, I stopped at a brush spe- example. This brush is made for sumi-e artists. If you possess
cialist’s shop. I picked out a few brushes and then the only one brush, this is the brush to have whether you are a
shopkeeper brought out another brush, suggesting that it was beginner or a professional sumi-e artist. The outer skirt of the
an inexpensive but good quality brush. I told him that if it was choryu brush is sheep hair, wrapped around coarser hairs
indeed a good brush and inexpensive, then it would be ideal inside. By opening up the brush, you can see that the inside
for my classes so I would likely plan to buy a quantity of them. hairs of the bristle are composed of very coarse hair, like
I then added that I would pay for the one brush, but first whiskers, along with other types hairs ranging from medium
wished to open it up to see the hairs inside. The shopkeeper hard to medium soft, carefully placed to give greater flexibility
whisked the brush away, and gave me another brush which so that the brush can also be used for painting bamboo or
was several times more expensive. The first brush must have pampas grass leaves. Each time you complete the painting of
been mass-produced with cut hairs in the center which he did a leaf, the tip of the bristle returns to a straight point.
not wish to expose. The flexibility and resilience of the choryu brush is impor-
In a quality brush specialist’s shop, within each category of tant. Brushes constructed solely of sheep hairs will not spring
brushes on display, one brush is already loosened so you can back so are difficult to use sideways, but when the choryu
see the composition and hair combination of the bristles. brush is used sideways, the bristles will not spread and will be
Shopkeepers may also suggest that you test the brush you’re easier to manipulate. By holding the brush at the perpendicu-
considering; this may be done by using water, which turns lar, either very thin or very wide lines can be drawn. Choryu
black on a chemically treated gray paper. This will help you means “long flowing stream,” and perhaps the name was cho-
determine which brush you should purchase. Quality brushes sen because once ink is applied, long lines can be painted with
are expensive, often exceeding more than several hundred this brush.
dollars, but the investment is well worth it and provides use The mountain horse hair brush is made of very coarse
and enjoyment for many years to come. hairs. Originally these hairs came from a type of Asian deer,
For a practitioner of sumi-e, having a few quality brushes but today the mountain horse hair brush is composed of horse
should be sufficient. Among them should be a large and a hair combined with bear or other coarse bristles. It is used
small choryu brush; a large and a small mountain horse mainly for the dry brush techniques (see page 57); its coarse
hair brush; a wide flat brush, called a hake; and/or a ren- bristles give lines unique qualities, and allow you to create
pitsu brush (these consist of small brushes lined up and multiple line types with one continous stroke of the brush.
joined together to make a wide flat brush). Artists have a ten- Menso brushes come in a variety of sizes to meet special
dency, when traveling, to automatically stop into art supply needs. A small menso brush is ideal for painting human
stores and often they end up buying brushes as souvenirs. hair, strand by strand, or eyebrows one hair by one. The
These brushes, when used, can give unexpected pleasure, but slimmest of these brushes is composed of only five or six
they may also end up simply overfilling your drawers. whiskers. The eyebrows of the Noh masks used in Japanese
Brushes are given various names by the companies that drama and also those of Japanese dolls are painted on with
produce them or the specialty shops that sell them. There are this type of brush. Because these brushes are extremely
some brushes that carry the same name consistently regard- slim, the slender “head” is first inserted into a small bamboo
less of the company which produces or sells them, whether in tube, stabilized and then set in the second handle. It looks,
China or Japan. Choryu, the long “flowing” brush, is one in fact, like a brush with a double handle.

26 SUMI-E
B RU S H T Y PE S

17

16

2 14 15

12 13
11

3 6 7
9 10
4 5 8

Brush #1 is for formal to semi-formal calligraphy; however, in hair compo- Brushes #11 & #12 are used in sumi-e for making outlines, and for adding
sition, it is primarily coarse, so I often use it as a large mountain horse hair signatures or other formal-style writing at small sizes.
brush, because the bristles are resilient and springy, useful for painting Brushes #13 & #14 are menso brushes; their bristles are made from small
large forms such as rocks and mountains. mammal whiskers and are used to create extremely fine lines.
Brush #2 has bristles of bamboo fibers which are the extension of the Brush #15 is called ita hake (ita = board; hake = flat brush) in Japan.
bamboo handle. These brushes continue to be made with the same method These large or small brushes are used for wetting the paper with water or
used since ancient times; one end of the bamboo stalk is softened by soak- to smooth the paper out. They are also often used to produce a gradation
ing, then pounded with a small wooden mallet to separate it into fibers. in ink tone.
This brush is used for certain effects in calligraphy. I also use it as another Brush #16 is called a renpitsu and is used in ways similar to Brush #15.
mountain horse hair brush. Renpitsu brushes can be found in many variations, with differences in the
Brushes #3 & #4 are mountain horse hair brushes with hairs taken from number of brushes connected for width. Holes are drilled through the han-
the mane and tail. The coarseness of the hair allows the creation of unique dles and the brushes are held together with a thin piece of bamboo. You
qualities in lines. In addition, when it is used sideways, multiple textures can divide a wide renpitsu brush to the desired width by cutting the skew-
can be created which makes it an effective brush in creating the rough sur- er that holds the brushes together. The major difference between the hake
face of rocks, etc. (#15) and the renpitsu is that the renpitsu has more density in the amount
Brush #5 has bristles made from coarse raccoon hair, so it has some of hair, and therefore it can hold more ink. For instance, with one applica-
resilience and flexibility. I use this brush for calligraphy and landscape tion of ink, you can make a series of sections in a bamboo stalk without
painting. running out of ink. See techniques on page 126.
Brushes #6 & #7 have bristles made from soft sheep hair. These brushes Brush #17 is made for stenciling and painting designs on kimono fabrics.
are good for adding a color wash or for painting flower petals. However, it is very effective in making gradations from dark to light. There
Brushes #8 & #9 are large and small choryu brushes: These brushes are are times when a brush which is not made specifically for calligraphy or
made for sumi-e. painting can be used creatively to produce unique effects. I may add differ-
Brush #10 has bristles made of weasel hairs and is used for calligraphy ent tones of ink to the bristles of this brush to create leaves on distant
and sumi-e. trees, or when I need to create graduated tones of ink.

FOUR TREASURES IN THE STUDIO 27

How to Loosen the Brush’s Bristles
When you purchase a new brush its bristles are starched to
hold them together. But for use in sumi-e, the bristles must be
loosened.
It is extremely important that the brush is not dipped in
water to loosen the bristles. If you dip the brush in water to
loosen it, the starch will be revitalized and the brush will
become “gooey.” The moisture will be drawn into the center of
the brush and it will take a long time to get it out.
The proper process for loosening a brush’s bristles is
shown on the facing page.

How to Care for the Brush

Artists who have worked in oil, acrylic paints or watercolors
These brushes are made to use in “formal” style calligraphy and as an out- are accustomed to using brushes with bristles compressed in
line brush for suiboku-ga. White sheep hair forms the outer skirt and the metal. Often these brushes are left in water or cleaning fluids
center is composed of whiskers and other hairs which are flexible, yet
strong. (Actual brush head size, larger brush: L = 3cm/1.25“, D = 7mm/0.25“. for a long period of time. It is highly important for a person
Smaller brush: L = 2.7cm/1.0625”, D = 7mm/0.25”) who is instead using brushes of the Far East to understand
how they are produced and the care they require. Animal
glue, which is used to stabilize the bristles in the handle, is
very much like gelatin and will eventually dissolve in water. If
a brush for sumi-e is left in water over a period of time, the
bristles will fall out.
Each time you use a brush, moisten it first with cold water
to bring life back to each hair.
The care of a brush after you have finished using it is very
important also. Carefully wash out all of the ink. You may use
a gentle soap to assist in this process. (Special soaps have
been created expressly for brushes.) Never use warm to hot
water; that will dissolve the brush’s animal glue and eventu-
ally the bristles will fall out.
Special care must be given to washing the base of the bris-
tles. Otherwise, after years of use, the accumulated ink dries
around the individual hairs at the base and the brush will not
Menso brushes come in a variety of sizes. The menso has many uses and so form a point again. The best policy is to never let ink collect at
is a convenient brush to have. (Actual brush head size, larger brush: L =
2.5cm/1”, D = 4mm/0.125”. Smaller brush: L = 6cm/2.375”, D = 1mm/0.03”) the base of the bristles. Press, squeeze and gently twist sev-
eral times, then extract the moisture with a paper towel by
pressing very firmly at the base of the brush. If traces of ink
come out on the paper towel, wash the brush again.
The correct drying process is to place the wet brush on a
cloth and gently squeeze; then move the brush to another part
of the cloth and brush down to comb the bristles into a point.
Do not pull the bristles away from the handle. If as you are
pressing down you were to continue pulling the brush
through the cloth, your incorrect drying process would even-
tually make the hair fall out of the brush.
There is a special comb available that helps to remove the
accumulated ink at a brush’s base as you wash it. Big brushes
are especially vulnerable to ink buildup, and the individual
hairs can also become entangled during the process of wash-
ing, making the brush bulge out. Use the comb during
washing and again after the brush is dry.
Brushes in art supply stores are usually covered with a clear plastic tube
which serves expressly to protect the tip when the brush is being handled
during its journey from the manufacturer to wholesalers to retailers. Once
the hairs of the brush have been loosened, the bristle will not go back into
the cap and you have no further use for it. When the bristles are wet and
form a point, if you put the cap back on, moisture cannot escape and often
fungus will start to grow; eventually the hair will begin to fall out.

28 SUMI-E
A sheep hair brush. The same brush after the bristles have been loosened. Depending on how
the brush will be used, even a sheep hair brush may have the coarse white
hair of a horse in the center.

H OW T O L O O S E N T H E B RU S H ’ S B R I S T L E S

1. Hold the brush in your hand; the tip of the bristles should be between 2. Repeat the press-and-release of your fingertips as you continue to rotate
your thumb and index finger. Press the tip gently between them, then the brush. Move down, gradually loosening each section of the brush head.
release. Rotate the brush.

3. It takes several minutes to completely free the hairs. Here, about half of 4. Finally the entire brush has been loosened. Next, dip the brush in water
the bristles have been loosened. Be patient. I recall an incident where a and swish it around to wash out the starch. The water will turn milky.
student did not heed directions and tried to loosen the whole head by Repeat, changing the water several times. Each time you take the brush
forcefully bending the bristles, and the unit came out of the handle. out of the water, remove as much water as you can by pressing the bristles
on a cloth or paper towel. Your new brush is now ready to use.

FOUR TREASURES IN THE STUDIO 29

Brush Hangers The example below is a standard brush hanger. These have
Many different types of brush hangers are available in art either hooks or pegs on both sides for hanging brushes. Some
supply shops. Depending upon their style, they hold various brushes have a string loop already attached to the end of the
sizes and lengths of brushes. They are an ideal way to store handle; if the brush does not come with a string loop for
brushes because moisture on the bristles will drip down and hanging, you can easily put one on yourself.
evaporate.

J
J

F
C J
D
E H
A I

A. This large brush is composed of coarse white horse hairs, and its springy fore, it is used for large ideograms but also works well for semi-formal
and flexible traits make it well suited for writing large calligraphy. calligraphy.
B. This brush has a bamboo handle with joints, and its head is composed G. This brush has a long handle and the thick short white hair of sheep. It
of bird feathers, preferred by some contemporary calligraphers. is convenient for painting flower petals, for example.
C. The white hairs of this brush have a springy effect that can be used for H. The versatile choryu brush.
many different purposes. I. A mountain horse hair brush, for which there are many uses.
D. The long sheep hairs make this brush good for semi-formal to informal J. The three beautiful brushes on the far right were purchased during a
calligraphy. visit to China. The red cloisonné probably has weasel type hair. The one
E. This brush is composed of long horse hairs. with the green stone handle is most likely raccoon hair. (That the green
F. This red lacquer brush of sheep hair has whiskers in the center; there- is jade is just wishful thinking!)

30 SUMI-E
PAPER: THE FOUNDATION

Sometime around 2,000 years ago, archaelogical evidence has

shown, hemp and linen fibers from old rags and the plants
themselves were used to make paper in China. Before that
time silk had been used as the writing surface; silk served
the purpose well because in its original state, it is very stiff
due to the glue-like substance the worm puts on the threads.
Thin slats of bamboo strung together were also used to write
upon. Before the time of paper and silk, archaeological find-
ings show that clay tablets were used for writing and keeping
documents. A wet cloth was placed upon the tablet to keep the
clay moistened until the writing was completed. The tablet
was then dried and fired. The earliest writing was words chis-
eled on stone or bone. Of course, far from China, in ancient
Egypt, it is well known that Egyptians developed papyrus
more than 5,000 years ago.
The hemp fiber paper produced in ancient China was
exported on the Silk Road to the Middle East. Around the
Persian Gulf, hemp and fibers from mulberry trees were
made into paper. The first known paper factory was estab-
lished in Baghdad in 793 A.D. Until then, Europeans had
been dependent upon parchment which was made from ani-
mal skins. Papermaking was introduced and transported to
Europe from the Middle East.
By this time, the papermaking process had been brought
by Buddhist monks to Korea and Japan. By 780 A.D. the
Japanese had perfected the system of papermaking and it is
recorded that they produced 233 types of paper. Japanese
paper is still handmade today using the traditional methods. Among the specialized papers made for sumi-e, some have
A major difference between western papers and Japanese finely processed clay added into them to enhance the light ink
papers is in the length of the fibers. Western paper is generally tones. (Contemporary magazines which carry fine photographs
made from plant fibers which have been crushed and ground in color, such as fashion magazines, also use paper which has
into pulp. In Japanese paper, the natural strength of the fibers clay in it.)
is honored and the fibers are blended and interwoven like felt. Handmade papers are expensive. But in Japan, Korea and
It is for this reason that even thin handmade paper maintains China, the same materials are also treated in a similar
some durability when given moisture. process but via machine rather than by hand, so good manu-
Japanese papers are mainly produced from kozo (a type of factured papers are also an option. My suggestion is that you
mulberry); mitsumata (Daphne genus); and gampi (another check the Internet, focusing on Asian papers, to begin to
species of the Daphne genus). Gampi is said to be insect understand the range of papers available. In choosing paper,
resistant. It also the most durable in terms of the time it will your main concern should be what goals you have in mind for
last, so it is one of the most popular types. Ink will not spread your art. Then decide whether absorbent or sized paper will
out on these smooth white papers, so they are considered the best serve your purposes.
best papers for calligraphy and painting. Paper is absorbent (think of paper towels), and a drop of
Among the many varieties of paper made in China, a very water will instantly be soaked up. Sized paper, in contrast, is
popular one for calligraphy and painting is made from fibers treated to be more resistant and water does not permeate it as
of rice straw. It is an absorbent type of paper, and the various easily, which makes it similar to watercolor paper. (It is possi-
wet to dry effects of the brush can be obtained easily. Toshi is ble to create sized paper from absorbent paper by painting it
another Chinese paper that has been produced since the Han with liquid “dosa” as a sizing agent. See “How to Size Paper,”
Dynasty; it consists of bamboo fibers. Papers made from bam- page 189.) The major difference between the two is that sized
boo fibers are termed Shuan papers. Other papers commonly sumi-e paper is much thinner than watercolor paper.
found in most Chinese art supply shops in the U.S. are
Taiwan cotton and Taiwan linen. These papers are very
Above: The Mustard Seed Garden Manual of Painting is the sourcebook of
durable when wet, as is Chinese pi paper (pi means “skin” or sumi-e. It was first published in China in 1679, and it is still studied by
“leather”). Giao li is an inexpensive sized paper that is good learners today. This illustration is captioned: “To contrast movable water
with immovable rock in painting a stream or waterfall in sumi-e, place
for calligraphy or sumi-e. Jen ho paper is relatively thick and emphasis on the darkness and harshness of rocks rather than on the sur-
absorbent. face and direction of water. Overemphasis will kill the spirit of the water.”

FOUR TREASURES IN THE STUDIO 31

This thinness of paper is important to consider together The carbon for sumi ink comes from three sources. Rape-
with the manner in which you plan to display your sumi-e seed oil, when burned, produces soot that is so fine that it has
work. Most contemporary sumi-e artists will frame their work in-depth blackness. Pine sap, when burned, produces soot
in a western-style picture frame, in which case the thickness which has a quality of transparency, and the tone of ink when
of the paper really does not matter. But if the work is to be dis- thinned ranges from light black to bluish gray. Industrial oils
played in the traditional manner, that is, as a hanging scroll, it are used to produce inexpensive sumi that has a brown tone.
will be rolled rather tightly for storage, and therefore should Companies that produce sumi have used the same process
be done on thin paper. If a painting on thick paper is mounted for many centuries. Many small chambers are built, each hold-
as a scroll, when it is unrolled, cracks may appear across the ing small receptacles for the oil or sap, each of which contains
painting especially during the dry seasons. a wick. These are lit and smoke eventually deposits soot on
If there are art supply stores which carry Chinese or the walls of the chambers. When a certain thickness accumu-
Japanese papers within your traveling distance, when visiting lates, it is collected. The soot is then mixed with nikawa
them you can determine which papers are sized and unsized (animal skin glue) and kneaded until it reaches the consis-
by simply adding a small amount of moisture to the corner of tency of bread dough and is shiny black like coal. Small
a sample of the paper. The result can be seen instantly: If the pieces of this material are then pressed into molds of various
moisture leaves a gray mark, it is absorbent unsized paper. If forms and sizes, depending upon a company’s specifications.
the moisture does not leave a mark, it is sized paper. The sticks of sumi are then carefully removed from the molds
My personal preference is to use the sized torinoko paper and placed in ashes to dry slowly and naturally so that they
which is used for making fusuma (sliding doors) in Japan, will not crack or split. After the sumi sticks are completely
because it comes in large sizes. It is thick and is very suitable dried, they are removed from the ashes and polished accord-
for framing in Western fashion. This paper is available as both ing to company standards. Then they may be gilded or
handmade and machine-made, from Japanese art supply decorated, and labeled. Along with the company’s name, each
stores; Chinese art supply stores do not carry it. Torinoko or ink stick’s container will note the ink’s tone, such as blue.
“child of bird” (tori = bird, no = of, ko = child) can be trans- The ink may also be left to mature for years after it is made
lated as an egg, which has a smooth and durable surface, and into a stick; it is believed that sumi ink improves with age.
is slightly cream colored, an apt description for this paper. Consequently, old Chinese sumi ink sticks are quite expen-
Torinoko is made from gampi fibers, thus it is strong and the sive. Ink sticks which are very old, perhaps even several
smooth surface makes it easier to paint on. It is considered to hundred years old, may begin to crumble as the adhesive
be the “king of handmade paper.” becomes very old. The ink stick is simply pulverized again and
Papers which work well for calligraphy and painting, both reformed with fresh glue.
handmade and machine-made, are numerous, so it is impossi- The Japanese learned to produce sumi ink by the Chinese
ble to comprehensively list company and brand names here. method. Today, sumi manufacturers in Japan are creating new
Once you have determined the type of work you wish to pro- methods and now many innovations are available. Tradition-
duce, you should select the type of paper that is appropriate to ally nikawa was used but today contemporary chemicals are
use: absorbent or non–absorbent (sized) paper; thin but strong used to make an acrylic glue. You will still find the traditional
paper; thick heavy paper, and so on. All varieties are available. stick form of sumi, but in addition, liquid ink is available in
Today, most art supplies stores carry various sizes of tablets varying degrees of density which makes it convenient to use
with paper especially made for sumi-e. For practice purposes, for practice.
inexpensive thin paper is sufficient. For good results I recom- For some time now, there has been a growing interest in
mend thicker sumi-e paper and quality sumi ink. sumi-e and in both Chinese and Japanese calligraphy world-
Characteristic of the plant fibers from which they are wide. This has resulted in a wider assortment of sumi ink in
made, papers for sumi-e and calligraphy will expand when both jet black and blue tones being available. Some companies
given moisture, and will shrink when dry. This uneven shrink- have become so exacting that the degree of blue tone may be
age causes an unwanted wavy and bumpy surface on your designated in numbers. Others produce ink in many varied
painting. Most professional frame shops do not have the tones, so you may also find sumi with a hint of a purplish hue;
knowledge and expertise to stretch the paper smooth again, or jet black with a nice warm feel; or sticks that appear gray-
but you can learn to do it yourself; the techniques to stretch ish blue. Brown tone ink is fine for practice but a better
and dry these wrinkled papers to smoothness again are quality ink tone should be used for your serious work.
taught in Chapter 7. An aphorism states “sumi is black and yet it is not black,”
which means that black ink in a painting suggests many
BLACK INK: VARIATIONS IN TONE things including the whole spectrum of colors. A serious
sumi-e artist should explore and experiment with these new
In ancient times China developed a method of making perma- products and use the sumi ink that provides the best results
nent ink out of soot. Sumi is an achromatic ink which neither for his or her creative expression.
reflects nor transmits light. It is so permanent that if you get Soot (susu) is carbon and is a good conductor of electricity,
it on your clothes by accident and do not notice it immediately, including that found in human energy. Therefore, the brush
it is almost impossible to wash it out. and sumi ink can provide an imperceptible power and energy
Consider how, after many washings, an item of black cloth- to the finished work.
ing’s color fades. The faded black will now have either a brown A sumi-e artist should be prepared to use two sets of
tone or a bluish tone. Sumi ink shows the same characteristic: grinding stones and brush washing containers: one for blue
when the ink is thinned it will have a brownish or a bluish tone and one for regular black ink.
tone. The highest quality sumi ink will have a pure gray tone.

32 SUMI-E
Ink Sticks
Ink sticks vary greatly in price. One stick can cost as much as several hundred dollars while inexpensive ones can be purchased for a
few dollars. It is difficult to judge the quality of an ink stick by appearance because any ink stick can be given visual opulence. Ask the
shopkeeper for the tone of the ink in addition to the price. Blue tone inks are expensive, and the brown tones are the inexpensive ones.

1 6

4
5
3

Different types of ink sticks.

1. A large square block of ink. The ideogram in gold relief states the brand brand, literally “This Cannot Be Exchanged for Money.” (Measurements:
name: “Lion Dance.” Since the Han Dynasty and through the centuries, length 6.5cm/2.5”, width 1.2cm/0.5“, thickness 8mm/3.125“)
many famous calligraphers and painters have enjoyed using ink pro- 5. This is a Japanese blue tone sumi ink stick produced by Genrindo
duced by this company. This ink stick is encased in a brocaded box and Company. It is the same size as #3.
comes from a district in China known as a good sumi producing region. 6. This blue-toned black ink stick is covered with gold leaf. Its box offers a
(Measurements: length 14.5 cm/5.5“, width 6cm/2.25“, thickness 200-year-long history of its medicinal qualities, stating that its original
1cm/0.4”) purpose was as medicine. It contains eight different types of Chinese
2. This gorgeous ink stick has a dragon embossed in gold relief; the back medicines which counteract or neutralize poisons. It will also reduce
side has a tiger. It was produced by Genrindo. (Measurements: length inflammation and detoxify. It checks bleeding and so forth. Yet one can
8cm/3.125”, width 7.5cm/3.625”, thickness 1cm/0.4”) also use it as blue tone sumi ink for calligraphy and painting! It is
3. The ideograms in gold state the brand, “500kg of Oil”; this is a Chinese imported by a well known Japanese company which produces sumi ink.
ink stick. (Measurements: length 7.5cm/3”, width 3cm/1.25”, thickness 7mm/0.25”)
4. This ink stick was produced in China. The gold ideograms state the 7. An ink stick in the shape of a cicada, produced in China.

The brush strokes 1 through 5 are from ink that came from
1 the ink sticks of the same number.
Brush strokes from ink sticks 1, 2, 3 produce a rich con-
densed black. Note, however, that the diluted lighter ink at the
2 strokes’ end shows a somewhat brownish tone. When the
literati and other suiboku-ga artists started using light ink,
then the quality of the ink they used had to go beyond simple
3 jet blackness. Especially for sumi paintings, the sense of very
light coolness produced by blue tone ink was considered a
valuable effect within the category of black ink. Unfortunately
4
photo reproductions cannot fully capture the effects of light
ink, but ink sticks 4 and 5 are blue tone ink and blue can be
sensed in the gradient.
5

As these samples show, the ink sticks deliver different effects on paper.

FOUR TREASURES IN THE STUDIO 33

Ink Tones
Sumi ink was used for traditional calligraphy, an art form where a complete Zen statement or poem was written. When used in this
manner, the blackness of the ink is the important characteristic. When the literati and other sumi-e artists began to use lighter ink
tones in their work, then the quality of the ink they used became important because their art expressions needed to surpass a uniform
jet blackness. A gradient in tone of ink was necessary to convey subject, form and color. Especially in sumi paintings, the sense of very
light coolness produced by the blue tones of ink was considered a valuable effect within the category of black ink.

9
8

12 13 15
14
11
10

A variety of liquid inks.

Here we can see the tones of ink produced by the various ink
sticks shown above. 8

The sample liquid inks #8 and #9 are sold specifically for cal-
ligraphy purposes, thus their goal is a richness of jet black. 9
However, the boxes offer a bit more detail: #8 indicates on the
lower right that it contains nikawa (animal skin glue), and #9
states that it has a purplish blue hue category. 10
Samples #10 through #15 are different blue tone inks
made by different companies. This is just one small portion of
the range that is available for purchase. #10 and #15 are 11
made by the same company, Gochiku Sumi. Both boxes indi-
cate at left bottom the nikawa category. They also list a
12
number scale rating the degree of bluishness; a number 21
rating is “standard blue”, number 20 is lighter blue, and so on.
#11 is also made by Gochiku Sumi, and is categorized as a 13
number 6 blue tone. #12 is a blue tone ink by Kaimei Co.
meant especially for creating light ink effect. #14 is produced
by Bokuundo Co. and the box indicates to dilute it at a 20-to-1 14
ratio for a light blue effect. The label also states that this is a
natural nikawa blue tone ink for suiboku-ga with a number 32
degree of blueness. 15

As these samples show, the above liquid inks’ effects differ as well.

34 SUMI-E
SUZURI: THE STONE FOR GRINDING INK the suzuri. Move it slowly and smoothly back and forth
against the surface. After some time, the ground ink is then
When you visit specialty stores selling Asian painting and pushed into the “ocean” and more water is brought up. With
writing equipment, you will find a remarkable collection of great patience, continue this grinding activity until the neces-
grinding stones. They come in different shapes, ornamenta- sary darkness of ink is obtained. In the classroom, we take
tion, color and price. Most of these are natural slabs of stone advantage of the grinding time by using it for meditation.
from different quarries that are famed for producing beautiful Because grinding ink is time consuming, many artists buy
stones, and suzuri are typically named after the quarry dis- liquid ink for their everyday practice needs. When the time
trict they come from. For instance, the Tankei suzuri is made comes to paint a work, if you are using premixed liquid ink it
from a smooth, purplish stone from Tankei (Duanqi) in the should be poured into the ink stone and, with an ink stick of the
southern Chinese province of Guangdong, considered one of same tone, it should be ground to activate the electrical energy
the best sources. There are dozens of quarries and districts discussed in Chapter 1.
offering a dazzling array of suzuri. If the surface of a suzuri is too smooth, grinding ink will
The most basic suzuri shape is a rectangle, carved to cre- take a much longer time. The best way to examine the quality
ate a gradual incline for the plain or flat section where the ink of the suzuri is to check whether the surface that will serve as
stick is ground. At the far end, there is a small deeper section the grinding plain shows the cross grain of the stone.
to hold water, which is commonly called the “ocean.” To use the Suzuri made from clay, ceramics and cast iron also have a
suzuri, you place some water in the “ocean” (filling it only long history. There are different sizes of suzuri for your needs,
approximately halfway) and hold the ink stick perpendicular to ranging up to about 25cm by 25 cm (10 by 10 inches).

Different types of suzuri.

This suzuri is the mortar-and-pestle type. A close-up view of the surface of a high-quality A high-quality suzuri which shows a pattern of stri-
suzuri. ations.

FOUR TREASURES IN THE STUDIO 35

OTHER STUDIO TOOLS

Brush Stands
Ceramic brush stands come in a variety of sizes and shapes
and it is easy to find appropriate containers of this sort to
hold brushes. It is also easy to locate the brush you wish to
use in such a stand. However, it is important to remember
that a wet brush placed in a container bristles-up is not advis-
able. Moisture in the bristles will collect at the base where
the hairs are tied together and fixed in place with a special
glue. If the base of the brush is kept damp for a considerable
length of time, two things may happen: the adhesive material
may dissolve, or fungus may begin forming at the base. Either
one will cause the bristles to fall out. It is best to let the
brush dry completely before it is placed in a brush stand.

Bamboo Mat Brush Holders

When brushes are taken from your studio for painting at
another site, or even just taken from the brush hanger or
brush stand to be stored in your drawer, this type of mat is
very useful. The very nature of the mat is that it has flexibility
in one direction with rigidity and strength in the other to pro-
tect the bristles.
Many different colors, designs and sizes are available. If
you cannot find one in an art supply store, you can find simi-
lar mats, meant for rolling sushi, in Japanese supermarkets. A
cord to hold the mat in a roll is a recommended convenience.
Air circulation within these mats is good.

36 SUMI-E
S U I T E K I , I N K S T IC K R E S T S , A N D O T H E R U S E F U L T O O L S

4
5
7

After the sumi ink stick has been used, the wet end should not develop, and a portion may break off. Next, place your ink stick
touch the table. An artist in sumi-e should develop the follow- in a safe place to dry; an ink plate or rest is one option.
ing procedures as a habit. The moment after the ink stick is During the grinding of an ink stick, often water must be
used, blot it on a paper towel or cloth, and wipe off the wet added. The suiteki (sui = water, teki = dropper), similar to a
surface and all the sides. If you do not dry the ink stick off, tiny teapot, is used for this. These utensils will provide water,
eventually moisture will seep in and cracks will begin to drop by drop, for grinding even small amounts of ink.

1. After the ink stick has been used, the wet end should never touch the 4. This porcelain suiteki has two small holes, one for water and one for air.
table. Small trays like these are handy for safely resting your wet ink Suiteki of this category should be submerged in water to fill them.
sticks. 5. This miniature teapot is carved from green stone and was purchased
2. When grinding an ink stick, often water must be added in small during my travels in China. It has a removable lid for adding water. Note
amounts. This stoneware suiteki has a small air hole to allow for pour- that most of the time, small suiteki will be sufficient for artists working
ing, and a spout. in sumi-e and suiboku-ga. However, when you do large sized work, all
3. At first glance this Hotei (one of the Seven Happy Gods) looks like the equipment should also be large and functional.
bronze, but it is stoneware. The bag opens up for pouring water. It is a 6. This bronze suiteki also has a spout, along with the small hole for air.
humorous and well-made piece. 7. This brush rest was made by a friend who works in ceramic art.

FOUR TREASURES IN THE STUDIO 37

A variety of ink plates, for mixing sumi and water to create different inten- A protective woolen mat and two paper weights. The upper weight is cast
sities of black. iron, and the lower one is wood with a lead bar inserted inside to provide
weight.

Protective Mats and Paper Weights

Sumi-e or calligraphy artists generally use thin paper through
which the ink seeps. This seepage will leave black marks on
the table underneath. So the mat provides protection for the
table, but also, better results can be achieved in the art when
a felt mat or some similar substitute is placed on the work sur-
face. This is because of the miniscule space created between
the paper and the cloth, which allows room for the ink to
expand. If you used old newspapers instead of such a cloth,
the ink would seep through your sumi-e paper and make
direct contact with the newsprint which in turn prevents the
ink from expanding.
My personal preference is to use a thick tightly woven fab-
ric of wool which is quite smooth. The popular inexpensive
fleece fabric is similar to wool in some ways but it is too soft
and lacks the firmness needed for your brush strokes. I like to
use a lighter color of cloth than black or dark blue. When wet
with light ink, the paper becomes semitransparent, and a
FEATHER DUSTERS dark color under it will interfere with seeing the true tone of
ink. If the mat is wool, one can wash off the ink marks after
During sketching or while doing creative artwork, it is use. For over forty years, I have used a woven wool mat of light
convenient to have feather dusters. I have been using the purple which I have washed many times. It is convenient to
duster shown in the center for over 60 years. have several mats ranging in size from small to large.
Obviously erasing is not possible when you are work- When you work with thick paper it is usually easy enough
ing with ink and brush. When one must erase during the to hold it in place by hand, but often sumi-e paper is very thin.
making of preliminary planning sketches, using a pencil A paper weight is necessary to hold thin paper in place.
would mean that eraser marks would impact your paper’s Depending upon the size of the work, a weight on the top and
integrity. So charcoals are best for sketches, because you the bottom of the paper may be required. Sometimes it may
can erase using a feather. The feather is useful for remov- be necessary to use weights on both sides as well. It is impor-
ing charcoal dust that accumulates on the page, and it tant in sumi-e to use weights that have a flat, even bottom.
can also erase a line completely if you choose. If you can- Often I see fist-sized stones used as paper weights, but that is
not find one to purchase in art shops, any other type of a mistake because of the cushioning effect of a mat beneath
feather will do just as well. One or two will be sufficient. the paper; the paper surface will be pressed out of shape by
the uneven weight.

38 SUMI-E
SEALS the surname is done in white with a red background, and the
given name is done in red with a white background.
In Japan, seals are nationally registered and are sometimes In traditional arts such as calligraphy, suiboku-ga and
more important than a signature. In Chapter 1 we discussed sumi-e, when a student reaches a certain level in proficiency,
the traditional Asian practice of making study copies of mas- in lieu of a diploma the teacher or mentor will bestow upon the
terpieces. In these cases, the student will copy the original student an artistic name called a gago (ga = grace, go = title).
artist’s name as it appears on the art. This act of copying origi- A gago is commonly composed of one ideogram from the
nal artists’ signatures is accepted in the world of art. However, teacher’s name and one ideogram from the student’s given
you are not allowed to copy the seal. If the art student puts name. Today in contemporary artistic activities, many profes-
down humbly the phrase “copy of study...” then that student’s sional artists use their own names instead. In my case, when
own name can be signed on the work also. I was young I was given a gago, but after I reached the level of
As a general rule when a seal is carved, the ideogram for tea master I began to use my tea ceremony title as my gago.

D
B C
A
E

The seal on the far left (A) is in an ancient writing style that is especially reserved for use on seals. It shows my artist surname, “Zakyu-an” (za = seated, kyu =
long, an = hut). The (B) seal reads “Sensho” (sen = sage, a name bestowed on me by my teacher; sho is taken from “Shozo”). The decision of which seal to use
on a particular work depends not only upon size, but also on other factors. In some cases, perhaps the red background of a seal such as (A) would be too strong
for the work, so a seal with a white background is selected instead. It is a good idea to have seals in several sizes and shapes, and with both red and white
backgrounds, to use as your official stamps. On (C), the red lines of my surname are slightly smaller than those of the (A) seal so more white space is shown.
(D) is a green jade-like stone which shows my surname as a white ideogram on red, and it is one quarter the size of (A). The (E) seal is a red ideogram of my
given name carved on a slender oblong piece of malachite. The seal made with an irregularly shaped piece of malachite, (F), uses red lines for my surname.

Stamp Pads
Stamp pads in Japanese are called shuniku (shu = vermillion,
niku = meat, signifying red). Traditionally, the vermillion pig-
ment was mixed with natural plant lacquers then used to
paint palaces, shrines and temples a brilliant red. This is why
many Chinese buildings from the past are red. The pigment
ranges between red and orange, so those variations in color
allow you a choice. Colors vary from red, to orange red, to a
red that is almost brown. Using a dark red gives the effect of
an ancient work. The most important characteristic for the
stamp pad’s pigment is that it be insoluble in water. In recent
years the vermillion pigment is being manufactured with
chemicals that replicate the original natural earth materials.
In making seal stamp pads, the vermillion pigment is
mixed with oil and soft sheep hair, then placed in different
types of containers. If, after many years of use, the stamp
becomes light, mix the contents of the stamp pad well using a

FOUR TREASURES IN THE STUDIO 39

small flat instrument with a square head, to reactivate the about ten sheets of paper. The seal will not come out well if
vermillion color. When new some stamp pads may be a little stamped over a hard surface.
oily; in that case, after placing the seal on the stamp pad, be When you find the right location for your seal, leave the
sure to stamp it on some waste paper to reduce the excess oil. sample seal in place and use the T-square to adjust it to the
This process may have to be repeated several times in order correct angle. Line up the T-square so that the perpendicular
to protect your work from the damage of oil spreading into it. and horizontal lines parallel your work’s edges.
Also test the stamp on another paper first to achieve the Once the T-square is set, remove the sample seal; press
shade you wish. If you desire a deep vermillion color on your your seal down on the stamp pad and ink it well, and place it
work’s seal, the first or second imprint will achieve that. If a in the correct position in the T-square. Then give pressure to
more subtle red is right for a particular work, you may need to the top, then to the bottom, then to the left and the right of the
stamp the sample paper several times before reaching the seal. A benefit of using the T-square is that just in case you
desired lightness. are not satisfied with the way the seal looks with the first
Once a seal is stamped on your work, it is permanent. stamp—for example if one corner is darker or lighter—it is
Remember not to touch your work for two or three days while easy to go back and stamp the seal again to even the print
the seal dries. After stamping, place a protective paper out. Without the T-square it is virtually impossible to return
beneath and above the seal to protect it from being smeared. the seal stone to the exact spot. It is an important standard
practice to examine the stamped seal very carefully; you
Using the T-Square to Add a Seal remove the T-square only after you are completely satisfied
When adding your signature and seal stamp to your finished with the result.
work, it is artistically important to place them where they do not Usually the T-square is made of wood or plastic, with its
detract from your painting. Find the space that is not active bars’ width matching the standard seal size. If you wish to
empty space. Since the seal is red in color, on monochrome it place two seals on your work (such as your surname and your
will jump out; thus the choice of size and choice of red line or given name), this allows you to do so without moving the T-
white line become important. Depending upon the size and square, simply by placing the second seal in the other angle
manner of work, it may not be appropriate to place both your of it. The spacing will automatically be correct. The standard
surname and given name on the same painting. You should custom is to leave a one-seal-sized space between the two
prepare samples of your collection of seals, printed and cut to seals, and your signature is placed one seal-sized space
size. These paper sample seals can be moved around on your above the top seal. From top to bottom, follow the pattern of:
work to help you determine where to place your actual seal. signature – space – surname seal – space – given name seal.
Cushion the area where you wish to place your seal with After using your seals, be sure to carefully wipe off the ink.

40 SUMI-E
A

A. A wooden vise is a good way to hold your

seal in place as you carve. (If you hold the
B stone in one hand while you carve with
the other, there is greater danger that the
knife will slip and cause you injury.)
Another method is to tape the stone firmly
in place on the edge of the table.
B. The circular stone container holds different
kinds and sizes of soapstone seals. Farther
below it are two more with “Fu dogs”
carved on top. Another common carving
C motif for seal stones is the Chinese zodiac.
C. Here are various sizes of inexpensive seal
carving knives made from square steel
rods. The handles are wrapped with cord
to create texture for a better grip and to
provide more maneuverability.

Make Your Own Seal

Carving your own seal is not difficult, but it does require great the surface of the soapstone. Often the area where you wish to
patience. That said, you will receive much pleasure from using carve the design may be uneven or rough. In that case, use
a seal of your own design that you have carved by yourself. sandpaper of #400 or higher to make the stone’s surface
Seal stones may look like marble or granite in appearance smooth. If you make a mistake in the process of carving, simply
because the stone varies in color and pattern, but they are all sand it down.
made of soapstone. These stones can be purchased in supply Easiest to make is a white line seal. This means that you
shops specializing in Japanese or Chinese art. Make sure also carve the design down into the soapstone. The carving depth
to purchase a special carving knife for the seal. should be about 1mm. If you wish to make a red line seal, you
After you select your soapstone, place it face down on paper must carve the background away leaving the design raised.
and draw an outline of it. Within that outline, draw the desired From time to time, lightly touch your seal to the ink pad to
design for the seal: your name or initials, or perhaps your zodiac see where the carving needs to be readjusted. Remember, to
sign or another symbol. When the sketch is completed, reverse obtain the proper printing effect, you should cushion the paper
the page to see the image front to back, and copy that design onto you are stamping with a pad of about ten sheets of paper.

Step 1. Once you have selected your seal stone, draw sev-
eral outlines of the base on paper.
Step 2. Draw in your design within the space. Your design
may be based upon the initials of your name, a flower, your
pet, etc.
Step 3. Often you will find that the carving surface of the
soapstone is not smooth. You can sand it smooth with
sandpaper (#400 or finer). If in the process of carving you
make a mistake, you can simply grind the stone back to its
original smoothness.
Step 4. The simplest seal stamp to make is one that prints
white lines on red. If you are using letters, remember that
your design must be reversed. During the process of carv-
ing, check your progress frequently with test stamps to
determine whether you wish to make a wider or deeper cut.
Step 5. If you wish your stamp to print red lines against a
white background, generally the design is framed in a red
outline. To provide imperfect beauty, you may deliberately
create a break in the line for more space. These are artistic
decisions. Above: These examples of seals were carved by students in my sumi-e class
It is highly important that you are aware of the dangers and at the University of Illinois, and have been enlarged to show the details.
The actual seals were carved on stones which were 1.9cm/0.75“ square. The
take proper care. A slip of the knife can cause a cut or punc- student who carved the swimming trunks and sandals was a graduate stu-
ture wound. dent from Hawaii so his carving was a very personal statement.

FOUR TREASURES IN THE STUDIO 41

CHAPTER 3
How to Use the Brush
Basic Brush Use

A brush is handled different ways for different purposes. The artists and literati in China
developed a system over the centuries for how to effectively handle a brush, and the same system
is used today. In calligraphy, the brush must be exactingly held perpendicular to the paper.

There are certain overall positions of fingers, arm and posture which will enable a person to hold the brush in that way, and
those positions also apply for sumi-e and suiboku-ga, especially when you are creating strong to supple wide or narrow lines.
However, when it comes to painting, especially in sumi-e style, it is common to hold the brush at a 45-degree angle so that the bris-
tles will have maximum contact with the paper from the tip of bristle to the base. Therefore, each artist must create his own rules
and very original ways on how to utilize the brush for bringing about the effects desired.
We will begin with a careful look at a few of the standard methods of holding the brush upright and at a perpendicular. Then we
will learn the positions and movements for controlling the brush correctly as you create different kinds of strokes. Set up your work-
space, and prepare your brush, paper, and ink. Then follow along with the below photos, and refer to the DVD as well. While looking
at the photos, pay attention to the grid lines of the shoji screen in the background; they help you to see the angle and position
changes from photo to photo.

Holding the Brush at a Perpendicular

For all of these methods, the elbow should be raised to a horizontal position throughout. When I became a student as a young boy
under a strict teacher, he placed a ceramic saucer on my elbow to ensure that I held my arm up in the correct position. (Under the
Chinese system, water is put in the saucer!) Notice how this position is very different from holding a ballpoint pen.

METHOD 1. Hold the handle of the brush lightly METHOD 2. The ring finger placed firmly at the back METHOD 3. Here all the fingers, with the excep-
yet securely in your hand, with primarily the of the handle will provide more stability. tion of the little finger, support the handle of the
thumb and middle and ring fingers providing the brush. This gives greater stability when you are
support. manipulating it.

METHOD 4. Now even the little finger is used for

securely holding the handle.

44 SUMI-E
Arm and Wrist Movement: Narrow-Wide-Narrow Line
Now we move on to arm and wrist movement. This demonstration shows not only your arm but also the wrist movement required for a cer-
tain line to be created.

1. The wrist bone serves as an “axis of a wheel” or 2. The tips of the bristles now make contact with 3. The hand is turning down below the wrist bone
pivot and remains stationary as the hand moves the paper. as the line is extended.
around it. The brush is lifted, hand above wrist.

4. Fingers and brush are now lower than the wrist 5. The hand is now under the wrist bone. Take 6. This narrow-wide-narrow line is a combination
with the brush under the wrist. The drawing of a note of the grid of the shoji screen in the back- of moving the entire arm in synchronization with
narrow-wide-narrow stroke is now completed. ground, as a marker to judge the arm position. the wrist and finger movement.

7. The narrow to wide portion of the line: Notice 8. Completion of the narrow-wide-narrow line: These 3 photos show how not to use the
the hand moving downward. Again, check the with movement of the arm and hand in unison, brush. The result will be an unsuccessful narrow-
shoji screen in the background. gently lift the brush up. wide-narrow line. Compare the background grid
between this photo and the next: incorrect motion.

How not to use the brush, continued: It is incor- How not to use the brush, continued: The line It is easy to see the differences in the painted line
rect to draw narrow-to-wide lines by moving the is drawn without turning the wrist downward and depending upon arm, hand and finger movements.
arm toward the body with a slight movement of without paying attention to the tip of the brush— The right-hand line, a successful narrow-wide-nar-
tilting the brush. which should be brought under the wrist without row line, was created with proper use of the entire,
use of fingers, as was demonstrated in Steps 6–8 coordinated arm/hand/finger movement (Steps 1–8
above. Look at the next photo, at right: its left- above). Notice the center line’s wiggle in the bottom
most stroke is the resulting unsuccessful line. tip; this never happened when I was young, but
with age and arthritis, using the wrist as a pivot
sometimes causes bone joints to protest.

HOW TO USE THE BRUSH 45

Directional Lines
After you understand how to control brush movements by controlling the wrist and finger tip movements, the next challenge is to
make the same stroke in eight different directions.

1. A narrow-wide-narrow stroke will be created by 2. A successful narrow-wide-narrow line has been 3. Starting again from the center of the paper, pre-
beginning at the center of the paper and moving up. created. pare to make a downward stroke.

4. A downward stroke has now been created. Be 5. From the center move to the left. 6. Complete the line...
aware that the wrist pivots when forming this
line.

7. Then move back to the center.

8. From the center now move to the left. Complete that fourth line, then move back to the center.

46 SUMI-E
9. From the center, move diagonally to the right 45 10. Keep your attention focused on the correct, 11. Again from the center, move up and to the left
degrees to paint the next line. unified movements of your fingers, hand and arm. 45 degrees.

12. The sixth stroke is now complete. 13. From the center, move to the right and down 14. Seven strokes are now complete.
45 degrees.

15. The final stroke is from the center to the left 16. Remember to turn your wrist to bring the brush 17. The final motion is of the arm and hand in uni-
lower portion of the paper. tip below it. son, gently lifting the brush up.

Here we see the completion of the radiating

strokes. The brush is a sacred tool for the painter
and can be compared to a samurai sword. If an
artist can master control of the movements in
every direction, he or she will become capable of
creating lines that reflect greater strength, grace
and beauty.

HOW TO USE THE BRUSH 47

Curving Lines
After the successful practice in drawing narrow-wide-narrow lines in different directions, we will now experiment with drawing
curving lines similar to those we’d use for Chinese orchids.

1. From the left bottom of the paper, move diago- 2. The second leaf will be straighter. Begin at the 3. ...and make a long version of a narrow-wide-
nally toward the right top with a narrow-wide- base of the orchid... narrow line.
narrow line. At the narrowing, lift the brush tip up
and curve, to show a twist in the leaf.

4. Beginning at the left top, make a curved nar- 5. The “new moon” line has been successfully 6. Complete the line.
row-wide-narrow line in the shape of a nearly- completed; now continue with a longer version of
new moon. the narrow wide line to the base of the orchid.

7. This time from the right, move your brush

toward the left in a narrow to wide stroke.

8. That creates the fourth leaf. This exercise in curved lines is a first step in practicing brush movements for painting Chinese orchids or
any other plant with long leaves, and you can also transform it to practice making twisted bamboo
leaves. More lines should be added to complete the composition. A large choryu brush was used for this
exercise; the combination of hairs in a choryu brush makes it ideal for painting these types of lines.

48 SUMI-E
Painting a Circle
This exercise is helpful in improving your level of brush control. Focus on the maximum use of your tool in synchronization with
your fingers, wrist and arm. Note that the handle of the brush in the photos below shows the word “Choryu”; the location of that
word will help you to monitor the turning of the brush. The word will always face outward.

1. The elbow must be held up and maintained on 2. As the circular line is a quarter of a circle com- 3. A half circle is now completed: notice the posi-
that level for the duration of the line. plete, the elbow must still remain high, but the fin- tion of the thumb. In the first photo you did not
gers move away from your body. Be aware of the see the thumb but now the thumb comes to the
relationship between the index finger and thumb. left.

4. The circle is three quarters complete. The thumb 5. The wrist and arm comes toward your body. The 6. The circle is completed. The ideogram on the
is now in full view: this means that the brush has circle is almost completed. Note the position of brush can be seen in the same place as when you
been rotated by the index finger and thumb. In fingers and thumb in relation to the palm. started. This means the tip of the brush, like the
addition, proper pressure of bristles against the hands of a clock, faces out during the entire
paper has been maintained. process. This exercise involves maximum use of
the fingers in working with the brush.

When you practice making a circular line, apply

ink to the entire bristle length, with dark ink from
midpoint to the tip and light ink from midpoint to
the base. When the circle is painted, dark ink is on
the outer rim and light ink remains on the inner
portion. Often this circle is compared to an enso, a
Zen circle. The enso represents the symbolic state-
ment for Zen monks which means “Subject and
object become as one. You and the universe
become one.” For sumi-e artists, the goal in mak-
ing this circle should be for the body, mind and
spirit to become as one during this creative act.

HOW TO USE THE BRUSH 49

Making Circles of Various Sizes
Using the same steps we learned for the circle, practice with different sizes. Experiment with various tones of ink. When making
circles, remember to apply ink to the entire bristle length: darker ink from midpoint to tip, and lighter ink from midpoint to base.

1. Smaller circles can be useful in painting small 2. These small circles can be created by simply 3. The motions are the same as for larger circles.
circular objects such as grapes. turning the brush with the finger tips.

4. Note the position of fingers and thumb in rela- 5. Now a slightly larger circle is created with a 6. This time the brush will be rotated with the fin-
tion to the palm. white space in its center. Apply lighter ink to the ger tips as previously but at the same time the
bristles and then darker ink at the tip. arm will simultaneously move in a small circle.

7. Continue the circular movement... 8. ...keeping your fingers, hand, and arm working 9. You can check your painted circle’s lighter and
together. darker areas to detect if there may be parts of the
circle-painting process that you need to work on
further, to achieve smooth and consistent form.

50 SUMI-E
10. The mid-sized circle is completed. 11. The next circle is created with the same appli- 12. Focus on carefully directing your fingers’ ener-
cation of ink: lighter ink on the lower half of the gy in conjunction with the brush handle and head.
bristles and dark ink on the tip.

13. The third circle will not include a white center. 14. A grouping of circles similar to the third one 15. By mastering making of circles in a variety of
could easily serve as a cluster of grapes, for example. ink tones you can create many images, from fruits
to suns.

A closer look at the resulting circles. The basic circle

can be modified in many ways to paint different
circular forms.

HOW TO USE THE BRUSH 51

Horizontal Use of the Brush
In this technique, the brush is held in a completely different way compared to the previous exercises in order to move it sideways.
The result will be a distant mountain peak. Begin with a clean brush, and apply light ink from the base to about two-thirds of the
way up the bristles. Apply dark ink to the remaining portion, all the way to the tip.

1. As you see, the bristle curves up at the tip. 2. The lower portion of the brush bristles, loaded 3. Move the curved bristles down and the tip will
Beginning from the far right of the paper, move up with the light ink, comes in contact with the paper. begin to come in contact with the paper as you
toward to the left. As the brush gradually moves to the left, begin to move to the left. The bristles must be in full con-
increase the pressure against the paper. The darker tact with the paper as you reach the portion that
and lighter ink tones begin to blend. will be the summit of the mountain.

4. Still moving left, gradually come down from the 5. In this example, the end of the stroke creates an 6. Simply use the tip of your brush to outline the
summit. Give pressure to the brush’s base. unexpected pocket of white. missing portion of the mountain slope’s line.
Another more distant peak is next.

7. Wash the bristles and load lighter ink onto your

brush. Add a touch of dark ink to the tip. On a
plate, tap the brush lightly several times to blend
the ink from dark to light within the bristles.
Create a second mountain peak at the right side.

8. Again wash the brush and apply lighter ink. This exercise offers helpful practice in holding the brush horizontally, and in experimenting with creative
Proceed to create a third distant peak. effects from the use of different tones of ink applied to the bristles. On the right bottom corner, a brush
mark demonstrates that gradient effect.

52 SUMI-E
Wide Strokes
This exercise teaches the technique for creating a line of maximum width with a brush that is ordinary in size.

1. This example shows how a beginner in sumi-e 2. For a more successful approach in creating a 3. The brush should be positioned so that the dark
attempts to maximize the width of a line by push- wide line such as a bamboo stalk, wash the brush, ink at the base of the bristles is facing down on
ing down too hard on the base of the brush. apply light ink to the bristles, add dark ink to the the paper. Hold the brush horizontally as in the
Consequently the tip of the brush then lifts up tip and with a separate small brush apply dark ink photo, with your pointing finger on the tip to
and a maximum width is not achieved. to the base of the bristles. make sure it is in contact with the paper

4. A successful wide-to-wide stroke with high-

lights and shadows. Now experiment with differ-
ent widths and ink effects in wide-to-wide lines.
Try wide lines with the brush held as normal,
without the added pressure from your finger tip.

The lines on the left resemble a stalk of bamboo

painted in light ink. To the left of that stalk is a
brush mark showing the tone of ink that was used
on the brush.

The center stalk reflects highlights and shadows.

The brush mark next to it shows the dark-light-
dark ink loading that was used on the brush.

The far right stalk results from a gradient of dark

to light. To its right, a brush mark shows the ink
gradient that was used on the brush.

In painting with colors, the lighter portions are

generally in the foreground. However, in black ink
paintings, dark ink will be seen as the foreground
and light ink will appear as the background. In
this example showing three stalks of bamboo, the
center stalk is in the foreground, the stalk on the
right is in the mid ground, and the stalk at far left
is the farthest away.

HOW TO USE THE BRUSH 53

Pressing with Vibration: The Stamping Technique
The stamping technique does not use a line in motion. On a clean brush, apply medium dark ink to two-thirds of the bristle length.
At the tip, apply dark ink. On the surface of a plate, wriggle the bristles so that the ink is blended to create a gradient tone.

1. Bring the bristles of your brush to a point again; 2. The first “stamp” is completed. 3. Repeat this same stamping process in a circle as
then hold the brush as shown in the photo and if you were painting flower petals.
press down.

4. Begin a new group of strokes, but first, reverse 5. Repeat the stamping process, this time stamping 6. This is a fun technique. You can adjust the applica-
the application of ink on the bristles: Wash the brush from the center out. tion of ink to make many creative variations.
well, then apply medium ink to the top two thirds of
the bristles, and add dark ink with another small
brush to the base of the bristles.

SPECIAL EFFECTS

The Nijimi Effect: Plum Blossoms

The nijimi effect means that ink spreads beyond the original brush lines. The stamping technique will work very well on absorbent
types of paper, where the nijimi effect can be easily seen.

Top left: The result of the stamping technique in

steps #1–#3.
Top right: Petals where the ink has been loaded in
reverse.
Bottom left: A distant grove of trees created by
stamping horizontally in an irregular line.
Bottom right: Stamping can be used to create
wider petals such as those of poppies or carna-
tions, as well as broad leaves like grape leaves.

54 SUMI-E
1. Apply light ink on the full length of the bristles. 2. Try the technique to create pink plum blossoms 3. Next, create a dark pink half-opened flowering
Touch the tip of the brush to the paper. The size of in traditional form. After making a large dot on plum blossom, with three dots.
the dot you create will depend upon the duration of the top, move slightly lower and add medium size
time you touch the paper. The longer the brush dots on the left and right, then a smaller dot at
remains in contact with the paper, the more bleed, the lowest point.
and the larger the dot will become.

Splash Technique
Another type of dot is formed by using the splash technique. This is another “fun” approach, but, as with any technique, this
requires practice if you wish to obtain the desired effect.

You can hit the brush handle with your hand to

create the splash, or you can swing the brush in a
certain way. Once you have mastered and can con-
trol the technique, if you wish to add a gust of
wind or sudden rain to a bamboo painting at the
last minute, for example, a few splashes can be
quite effective. (On the other hand, you may also
ruin the whole painting.) A good way to practice
is to use plain water on the brush and experiment
on a concrete floor. Use various types of brushes
and see what effects they create. Eventually you
will begin to understand how much force and
swing you should use for the desired effect.

Example results of the dot technique (left side of the paper) and splash Notice the dots with pale centers. Light ink was used for these. When the
technique (right side of the paper). In the five dots at top left (the plum ink was dropped onto the paper the ink formed a darker circle on the outer
blossom), the brush was loaded with a full amount of light ink; notice the rim while water remained primarily in the center. A darker ink was used to
nijimi effect. The lower three dots (the half-opened blossom) were created create the darker circles, and each dot retained a more consistent tone even
with a lesser amount of dark ink on the bristles, so the nijimi effect is not within its center. However, the nijimi effect can clearly be seen as radiating
as pronounced. lines extended beyond the rim of the circle.

The results of the nijimi effect are impacted by the paper’s absorbency, and
also by the brand of the ink and the amount of ink in the water. The exam-
ple image at left is on triple thickness absorbent paper from Japan. The
example image above is on double thickness absorbent paper from China.
In a sense, thicker paper will allow the nijimi effect to expand more. As we
can see, each paper exhibits individual characteristics, like human faces.

HOW TO USE THE BRUSH 55

Mist and Fog: Three Techniques
The choice of method to create mistiness or fogginess depends upon the skill of the artist. Adroitness in use of the brush is impor-
tant, but today, many other convenient tools are also available. Here are three techniques.

This brass screen with a handle, used together with the short hair brush The result of this fine spray, on dry paper. After you understand the effects
called a hake, is an inventive way to create a fine spray. which can be created on dry paper, then experiment on pre-moistened
paper. The individual fine dots will not be seen.

An old toothbrush is used to spray ink. Apply ink only on the surface of the The result is a fine but uneven cluster of dots, compared to using a screen
bristles, and with your finger, abrade the surface of the brush to get a fine and hake brush.
mist.

Using a brush you can create a similar treatment. After applying ink on the Because of the uneven length of the hairs on the brush, the dots become
tip, soak out the excess on a paper towel. Then with an abrading or more directional, which can be a useful technique for the splashing of fish
scratching motion, pluck the tip of the brush. or waves.

56 SUMI-E
Dry Brush Techniques
Brush strokes with a sense of texture add an enriching dimension, and painting with a dry brush is a way to create them. This
technique is exciting because one must be constantly be aware of the random location of each bristle tip and how it can be used to
create a certain type of line with its effects. A mountain horse brush, composed of coarse hair, is most effective for this technique; a
choryu brush will work as well. The amount of ink on the bristles should be minimal so that the bristles will spread out. When the
bristles are spread apart, many possibilities open up as you decide which of the bristles to use to create the desired effects. Often,
my explanation to my students is to think of the brush as the legs of an octopus. All eight legs each have their own mission.

Beginning from the left, let the open brush simply land on the paper. Then Beginning on the lower right side and moving upward, use one tip of the open
lift it up with only the tips touching the paper. Turning the bristles side- dry brush bristles to make the ragged outline stroke. At the midway point,
ways, move up; at the crest of the lines, come down using the full width of turn the bristles and use some of the other bristles (or “octopus legs”) to create
the bristles. Turn the brush again using the full width; and at the top, once the layered effect of the slope.This quick sketch is an example of how one can
more move sideways for the narrow ending of the stroke. This is a very dif- use the dry brush effect to create multiple lines of dramatic irregularity such as
ferent approach in comparison to the usual sumi-e brush strokes. you might find in rocks or mountains. (See page 74, After the First Snow.)

After ink is applied to the bristles of a mountain horse brush, soak up the A close-up view of the textured lines this creates. This technique is useful
excess ink in the brush using a paper towel. Then using the full length of for painting rain showers.
the bristles, move the brush in a light sliding motion to create small dots
and irregular lines.

The traditional Chinese manuals use the term “big ax cuts” in describing Smaller ax strokes are created.
how to create texture for rocks or craggy mountain surfaces. This “ax cut”
effect, from thin to wide, can be created with a dry choryu brush.

HOW TO USE THE BRUSH 57

White Out Techniques
When creating a painting in black ink, a challenge faces the artist if one of the main subjects is white, like snow, white caps of
waves, or white water in a stream. If an artist succeeds in creating such a painting, this of course provides great satisfaction. Today,
though, many different methods to assist in achieving this are available and are widely used. Watercolor artists use a resist sub-
stance in liquid form, which is commonly available at art supply stores. However, the paper used for sumi-e is very thin and becomes
semi-transparent when wet, so it requires different techniques from those used by watercolor artists. Milk has commonly been used
to reject black ink. (The fat molecules are the key, so skim milk will not work.) More recently, in Japan, sumi ink producers have cre-
ated a “white out” substance in powder form.

1. The outer box (the name of the producing com- 2. One level scoop of white powder is dissolved in 3. In this forest scene, rays of sunlight stream
pany is Boku Undo Co. Ltd.), the container of 15 scoops of warm water. This becomes a milky liq- through the darkness of the woods. To protect
white out substance, and a measuring spoon. uid. areas where white out solution is not wanted,
cover them with water-resistant or waxed paper.

4. Rays of sunlight are painted with white out. 5. Wherever the impression of light is needed, 6. After the white out is applied, the paper must
apply white out. be completely dried. The drying will cause the
paper to have wavy convolutions.

7. Next, paint in the surrounding deep forest.

Notice that where lighter ink was painted over the
areas of paper treated with white out substance,
the resist was successful and the ink does not
show. With darker ink some ink cover may some-
times occur. I have not used this chemical white
out method in my own paintings as of yet because
it is a fairly recent product. However, you might
like to explore its possibilities and experiment with
the effects that can be produced.

58 SUMI-E
There are more traditional techniques to use,
as well. For example, if you wish to paint bam-
boo leaves protruding out from behind the
bamboo culm, cover the culm with water-
resistant paper then paint the leaf over it.

Notice the leaves appearing behind the culm

without overlapping it. This same concept of cre-
ating “white out” areas can be applied by cut-
ting a shape from water-resistant paper, such as
a bird, and using it on the work in a reverse-
stencil sort of way, to result in a lighter bird fly-
ing against the background of a darker sky. In a
scene depicting a forest, trees such as white-
barked birches can be covered with cutouts and
their surroundings can then be painted in. These
are just a few hints. Creative artists will find
their own way.

HOW TO USE THE BRUSH 59

Wrinkled Paper Technique
Paper for sumi-e is flexible and thin, unlike the canvases used for oils and acrylics or the paper used for watercolors. This difference
opens up the possibilities for certain effects. Wrinkling or crinkling up the paper is becoming an acknowledged technique for sumi-
e. The technique serves as a good reminder of how certain challenges an artist must overcome will sometimes add unexpected and
wonderful effects. The accidental lines serve to spark the creative imagination.
When I was in China at the Zhejiang Academy for the Arts, I visited the studio of a well known Chinese calligrapher, Wan Dong
Ling (he painted the calligraphy in the painting After the First Snow, page 74). I was interested in purchasing some of his calligra-
phy so he invited me to his studio. He then proceeded to cover the entire floor with crushed newspaper and next he spread a large
sheet of sumi paper on top, so that it was “floating” on the crushed paper without the stability of a table or desk. In a standing posi-
tion, with a long-handled brush, he began to write his calligraphy. The instability and unevenness of the paper created a positive
effect on his work, which contained lines about “the wind blowing my sash.” He said, “I thought you might like to see how I create
calligraphy.” This was a lesson for me: to be able to make the uneven surface part of the overall process.
When using the wrinkled paper technique in sumi-e, the artist will be ruled by the unexpected folds and lines, but still should
form the crinkles holding in mind an idea of the finished work. For example, if you wish to create a painting of cliffs along the sea-
coast, you would crush the paper in a way that reflects similar forms. Below, the wrinkled paper technique is used to create the
famous Pali Cliff on Oahu Island in Hawaii. After the lines are added in Step 4, you must use a hair dryer to dry the fresh ink. Next
stretch the paper out using the mizubari or ura uchi technique (see Chapter 7) so that it is completely flat. The paper must be dry
before you continue on with Step 5. The contrast you create in Step 5, between the sharp lines formed by following the crinkled
paper folds and the softer lines of the shaded areas and vegetation, is key to the success of the technique.

1. Paint in the right side’s background mountains 2. Fold, crease and crinkle the left side of the 3. Note how the wrinkles and folds are done to
with a brush. Leave space at the left for Pali Cliff. paper to “form” the sharp upright cliff. connect with the form of the painting’s subject.

4. Open the paper again, to a semi-flat state, and

use a brush sideways to create certain lines for Pali
Cliff. The “accidental” lines of the folds join in. Dry.

5. Now, with a small mountain horse brush, begin 6. After the cliff portion of the painting is completed, add the distant mountain peaks to its right, and
creating the cliffs by connecting line to line. Then finish the back side of the cliff. Above is the completed Pali Cliff. Notice that accidental jagged lines are
lightly use a brush sideways on the crushed paper honored if they do not destroy the total effect. The back side of the peak is somewhat gentler with vege-
to create the rugged, irregular lines. Finally, use an tation to show contrast with the dramatically sharp drop in this volcanic peak. The face of the cliff is
upright brush to create the shaded areas. given some shading and vegetation in strategic places. (See Chapter 7, “The Traditional Hyogu
Technique,” to see how this painting was mounted and framed.)

60 SUMI-E
Application of Gold or Silver Leaf and Dust
Traditional architecture in Japan, primarily castles, palaces and large residences, featured large interior wall spaces, sliding doors and
folding screens; murals and paintings using gold and silver were often used to ornament them. These large residences could be dark,
even during the daylight hours, so when affordable, gold or silver used on the walls or in paintings would also often serve to reflect the
light of oil lamps and candles. Silver had the tendency to tarnish, so gold was the coveted choice. Techniques were developed to incor-
porate gold leaves in many of the fine arts, and even in monochrome painting, gold and silver leaves were often used. This continues
today in sumi-e.
Gold leaves are created from gold nuggets which have been pounded to a very thin layer. To achieve the desired thinness, these
are placed in handmade papers and layered in stacks. Then, mechanically, the stack is pounded to form the thin even layers.
Eventually the gold leaf is made so thin that if held up to light, you can see through it. When the pounding is completed, the excess
gold leaf that hangs out around the edges is cut off and collected. It is sold as another form of gold for painting, kiri mawashi (kiri =
cut; mawashi = round). Gold used to denote the reflection of sunlight, or other metals used as mist, serve as “artistic punctuation”
with careful placement.
The following pages show the basic techniques for applying leaf and dust. After the glue is completely dry on your work, remove
the excess gold (or whatever metal you are using) leaf or dust using a soft wide hake brush. Save the excess for future use.

2
1

3 5

1. A booklet of simulated gold made in Italy. This material is reasonable in price and is commonly used. It must be shellacked to maintain its gold color over a
period of time.
2. This envelope states that its contents are pure gold. As the sample on the square paper shows, the kira mawashi gold has the appearance of crushed paper.
3. Aluminum leaf in a silver tone. Since silver tarnishes easily, aluminum is a popular substitute. Under very special circumstances, platinum sheets can be cus-
tom ordered. Platinum leaf was used in some paintings created for the Imperial Palace of Japan.
4. This bright-hued gold has retained its color after some 50 years.
5. This especially beautiful contemporary creation is made of chemically treated aluminum. It is called period color because it resembles aged silver; although
the limitations of photography make it appear greenish here, the sheet reflects a collage of iridescent colors.

HOW TO USE THE BRUSH 61

A package of pure gold leaf. The brush’s long hairs are used to brush the leaf flat; These tubes are tools used for applying gold flakes to traditional Japanese paintings.
its hairs are so soft that if you touch the brush to your palm you will not feel it. The size of the mesh chosen depends upon the purpose and effect desired. The gold
shown is kiri mawashi, the excess gold that is cut off the sheet edges during the gold
leaf manufacturing process. These fine gold leaf pieces are placed in the tube, a small
stone is added, and the tube is shaken and agitated so that the stone breaks the leaf
into very small pieces that sprinkle onto the painting.

After the glue is completely dry, remove the excess

gold leaf or dust with a soft wide hake brush. Save
the gold for future use. Fine gold leaf dust creates a
certain effect. As you can see, the horizontal line of
gold on the left top edge is a sharp line

Gold leaves, whatever the brand, are impossible to handle with the fingers so special There are two types of gold powder and pigment available for purchase. The type
bamboo tweezers must be used. If you should wish to have small square pieces, of powdered gold shown here is mixed with nikawa (animal-based glue) and
crush the leaf and insert it into the tube as shown at the left side of the photo. In applied like paint. When dry, the painted surface will have a shiny gold effect. The
place of a round pebble, the specially crafted horse hair brush is used to push gold other type of gold powder creates a matte finish.
pieces through the screen. This method allows you precision in the amount and
placement of the gold.

62 SUMI-E
1. This dark blue torinoko paper works well to 2. If the glue is too thin it will soak into the paper 3. Aluminum flakes are sprinkled on by pushing
demonstrate because the application of glue and its and lose its adhesive power. For small areas, white them through the mesh.
effects can be clearly seen. At left is a plastic con- PVAC-based household glue will work. Here, wall-
tainer of glue and a hake brush. In order for the paper glue is painted on in the pattern of a cloud
gold leaf to remain on the paper or cloth, the glue common in Japanese decorative painting.
used must sustain its viscosity for a period of time.

4. Now crumpled gold leaf is placed on the desig- 5. Gold leaf is dusted on the surface by agitating 6. With a long-handled coarse hair brush, gold
nated area with the bamboo tweezers. the tube. flakes are pushed through the screen.

Notice that, running through the center of this

example, the gold dust’s edge forms a sharp hori-
zontal line. The glue was still viscous along this
edge when the dust was applied, but below it the
glue dried out while I was working, and less dust
adhered. Depending upon what you wish to
obtain, apply the proper amount of glue or you
may be disappointed with the effect.

This close-up shows the irregular shapes and random effects you can obtain by dropping the kiri
mawashi flakes on the wet glue. In some cases, these gold pieces are cut into different sizes or thin strips
and are painstakingly put in place individually with tweezers. In museums you may see Japanese paint-
ings that show gold applied in such a manner.

HOW TO USE THE BRUSH 63

CHAPTER 4
Landscape Painting Techniques
1. Indian Peaks
Size: L = 39.5"/100.5 cm x W 20.5"/52cm
Paper: Sized
Sumi Ink: Standard
Category: Suiboku-ga

The inspiration for this painting came from a

visit to the Indian Peaks Wilderness Area in the
Colorado Rockies where a rugged summit towers
over Long Lake. Long ago glaciers carved and
shaped the mountains with steep ravines and
crevices, where snowfields remain throughout
the summer. This was a setting of much
grandeur, but my strongest memories are of the
thousands of mosquitoes buzzing around. My
wife patiently fanned them away with a spare
sketch pad while I made my sketch.
This painting is large in size and is in the cat-
egory of suiboku-ga. After about 90% of the
painting had been completed, the foreground
appeared to need some focus so I put in an aged
pine tree which would increase depth in percep-
tion and enhance the height of the distant
summit. In the process, the top of the pine
blended into the distant spruce-fir forest so I
used the sticky side of transparent tape to lift out
the paper fibers surrounding the tree top. This
technique created a clear demarcation between
the tree top and the distant forest.
This painting was mounted as a traditional
hanging scroll by a superb craftsman, the late
Mr. Keitaro Aoki of Keiundo Co. in Asakusa,
Japan, a descendant of a long line of scroll
mounting craftsmen. Craftsmen of this caliber
take months, even years when mounting a scroll.
Before the final mounting on silk brocade, the
artwork will be exposed to various atmospheric
conditions from high to low humidity, and will be
wetted and then slowly dried many times. With
this kind of treatment, the scroll will always
hang flat and straight. (It is possible to have
scrolls mounted in a short period of time, but
they will have side edges that curve inward when
hung.) Scrolls are a convenient way to keep
paintings because after they are rolled they take
so little space for storage, and they are easy to
transport. The box for this scroll is made of
paulownia wood and is 25"/63.5cm long with a
width and height of 4"/10cm.

66 SUMI-E
In traditional sumi landscapes the sky is usually not painted. But in this work,
to enhance the whiteness of the remaining snow, light gray ink has been
applied for the sky. This type of absorbent paper will show every overlap-
ping stroke (because moisture forms a barrier for additional marks), hence,
the faint white outlines hint of summer clouds. To successfully carry this tech-
nique out, your brush movements should be swift, made before the previous
stroke dries out. Look back at the painting as a whole; notice how the light
gray sky combined with the dark ink outlining the rugged outcrops of rocks
augments the whiteness of the snow.

Painters working in oils, acrylics, and watercolors use color combinations and The rocky summit is created with a mountain horse brush using darker ink to
contrasts to communicate. Sumi-e and suiboku-ga artists must instead form the outlines of the summit. I often point the brush tip up and push
depend upon textures and tone to create their expressions in monochrome. upward forcefully in creating the rocky points. By doing so, the coarse hairs
So artists in this medium should be constantly aware of how their contrast- of the brush spread out, creating a texture that gives the feeling of the
ing brush strokes, from gentle to rugged, can convey powerful expression. rough and rocky scree.

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 67
1. After forming the first peak, the brush is again 2. Multiple ragged lines are formed for the craggy 3. Add additional lines in the same manner. Notice
pushed up to form the second peak. peaks. that the brush is at a 45 degree angle in relation
to the paper.

4. This photo and the next two show the painting 5. Press the base of the brush against the paper, 6. The cliff is nearly completed. Notice the gradi-
of the cliff and ravine. Prepare the brush with so that water will soak into the paper to create ent in ink tones. At this point, water can be
water at the base and dark ink on the tip. variations from dark to light. Additional water can applied with a small brush to the areas of light ink
be applied to the brush’s base with another brush tones to create further variations in them.
to further enhance variations in ink tone.

7. Separate the bristles at the tip of the brush and 8. Continue with additional slopes. 9. Continue adding lines for slopes.
move upright to give texture to the slopes.

10. Create the secondary peaks around the snow- 11. The direction of the brush is changed and 12. The tip of the brush is pointed up to get the
fields. comes downward. multiple line effect.

13. Shade the rocky slope with light ink. Then,

outline snowfields. In these samples, the shading
was carried out with the mountain horse hair
brush. One can use a regular choryu brush instead,
but it would give an effect of even tones.

68 SUMI-E
14. When examining the painting after I thought it was completed, I felt a 15. The forest at the base of the mountains was created by using the
need to insert some depth and drama to the painting so I added the aged stamping technique (see below). However, because it was an afterthought,
pines in the foreground, with one fallen tree dipping in the lake and creat- the foreground tree’s top blended into the spruce-fir forest so I used my
ing ripples to show movement on the water surface. I felt that the grasses, secret technique (see page 66) to make a clear demarcation around it.
ripples and aged trees would add a poetic element and complement the
grandeur of the distant mountaintop.

This is a common technique for creating the effect Apply ink along the bristles with dark ink at the tip, After the outline of the grove or forest has been
of a distant forest or grove of trees. light ink in the middle and water at the base. created, continue to provide density as shown. By
Press down from the tip of the brush to the base. adding strokes, density emerges.

Continue to add trees with the stamping technique

until you reach the desired size of your forest.

A closer view. (At the far right corner there is a sample dark-to-light brush mark, standing alone; for
details about the stamping technique, see page 54.)

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 69
70 SUMI-E
2. Collegiate Peaks
Size: H = 15.25"/39cm x W = 20.5"/52cm
Paper: Gasen shi (unsized paper)
Sumi Ink: Standard
Category: Sumi-e

In comparison to some of the more rugged glacier-carved mountains so often portrayed in

photographs, the Collegiate Peaks, located in the central Rocky Mountains of Colorado, have a
gentler formation as the terrain slopes down from the summit. All the same, these Collegiate
Peaks are still in the Rocky Mountain chain: they also feature rocky outcroppings with jagged
cliffs and steep ravines. It was my endeavor in this sumi-e painting to show the contrasts from
the gentle to the rugged.
In rendering the slope of the peaks as they reached the summit, the brush was used side-
ways as demonstrated in the following pages. Then, using a dry brush with darker ink,
holding it upright, I painted the rugged cliffs, the foreground trees, and distant groves. You
can see how contrasts in technique produce more clarity in the texture of the cliffs, trees,
and groves, as opposed to the surface of the gentler slopes. This painting is in the sumi-e
category.

The typical bokkotsu technique was used

for the mountain peak: in other words,
no use of outlines. Additional strokes
were used to add the dark and light
areas. Different tones of ink are first
applied on the bristles and then the vari-
ations can be created. This technique is
one of the basic skills necessary in mas-
tering the art of sumi-e.

Light ink is added in a gradient so that

the white spaces suggest fog or the cold
misty air. On the other hand, in the
above photo, distinct breaks were used
to show the whiteness of the remaining
snow. Within this light ink surface of the
summit and slope, while the paper was
still wet, slightly darker ink on the tip of
the brush was used to suggest the rocky
ravine on the slope. Dark ink was used
to show the rugged rocky outcrops. A
semi-dry brush held upright was used to
add the rough texture of the rocky crags.

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 71
1. For the bokkotsu style, dip the brush in water, 2. Slowly move the brush to the lower right, keep- 3. Complete the right-hand side of the peak.
then add lighter ink to the middle and darker ink on ing the total length of the bristles in contact with
the tip. Hold the brush sideways, with the brush the paper.
handle lower than 45 degrees.

4. Wash the brush then apply lighter ink to finish 5. While the paper is still wet apply darker ink to 6. The second peak is finished with a ravine.
the left side of the peak. the tip of the brush and create a secondary peak
on the side.

7. An additional peak is added on the right-hand

side.

8. The brush is washed and then darker ink is 9. Continue shading on the side of the secondary peak. In sumi-e, depending upon the effect you wish to
added to a drier brush to complete the slope out- create, commonly either a very wet brush can be used sideways or a drier brush can be used upright to
line where the snowfields and rocky outcrops begin. produce texture.

72 SUMI-E
10. After painting the rocky outcropping,
wash the brush. By this time, the water
will be light gray, a good color for shad-
ing in the sloping surface of the snow.

When painting trees, I usually begin with the foreground trees, then move on to the background trees. By controlling the tone of ink, perspective can be
obtained with darker ink in foreground and ink becoming increasingly lighter toward the more distant trees. The path is exaggerated by adding small plants
along the S-shaped curve; this adds perspective.

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 73
3. After the First Snow
Size: H = 55"/140cm x W = 17.25"/44cm
Paper: Sized
Sumi Ink: Standard
Category: Suiboku-ga

This work was painted while I was visiting in

China, but it was composed from sketches made
on site of a waterfall in the rugged Uncompahgre
Mountains of Colorado the year before. The new-
fallen snow in early autumn covered the high
peaks and yet, the snowmelt from the lower ele-
vations enhanced the volume of the flow in the
waterfall, while late summer sub-alpine flowers
were still in bloom along the river banks. We
were traveling by Jeep with friends toward the
glacier-carved Uncompahgre Peak which soars
upward some 14,000 feet. After an exhilarating
tour, we stopped by the waterfall for lunch and
rest. Inspired by the grandeur of the scenery, I
made a few sketches.
This painting was to be mounted as a tradi-
tional hanging scroll so I used the wisdom of the
classic Mustard Seed Garden Manual, first pub-
lished in China in 1679, as a guide in composition;
it states that “whenever a stream and/or waterfall
are in the painting, an indication of the source
should be clearly suggested.”
To provide contrast in the whiteness of the
waterfall, dark ink was used to create the fore-
ground rocks as a frame. Dark ink was also used
for the spruce trees but at mid-ground, ink tones
were lighter to give the effect of sunlight, depth
and a sense of distance. Then the viewer’s eye is
carried on to the tree line that follows the
“zigzag” of the stream’s ravine, to its source at
the snowfields. Ancient Chinese landscape works
used this schema to create an instant journey
through the painting.
To assist in this work’s mental journey, a
more realistic style in technique was used, with
the addition of greater detail. One can imagine
beginning at the waterfall, moving through the
forest and hiking along the river bank upwards
to the rugged glacial carved peak.
The text was done by the expert Chinese
calligrapher Wan Dong Ling (my visit to his stu-
dio is described on page 60). The four main
ideograms may be translated as "Fresh snow,
opening of new season." The smaller calligraphy
lines read, "Painted by Shozo Sato, 1988, October.
Wan Dong Ling gave text to this painting."

74 SUMI-E
To highlight the freshness of the snow, the snow clouds in the sky were The rugged glacial cirque is reinforced with the use of darker ink to empha-
made a bit darker. size the precipitous glacial carving of the peak.

Forests grow along the mountain’s sides and along the gorges. To create To express this water’s tremendous force in a painting, begin by using very
texture and depth for the gorge, I began with dark ink and moved on to light ink. In dots, not lines, outline the movement of the water. Then gradu-
using lighter ink in gradation which eventually faded into very light ink to ally begin to sculpt out the fall’s outline. When you watch a young child cre-
show depth and the effect of the sunlight. A dry brush should be used to ating images with crayons, notice that while drawing, for instance, a jet
create texture and contrast for the rocks and for hints of mist from the plane, he or she literally becomes the jet and (if allowed) will “roar” with the
splashing water. jet as he or she draws. The same approach should be taken in painting a
waterfall; one must literally become the waterfall.

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 75
4. Murmuring Surf
Size: H = 40.5"/103cm x W = 20"/50cm
Paper: Unsized, pre-mounted on a board
Sumi Ink: Blue tone
Category: Suiboku-ga

Along a rugged sea coast, it is not unusual to

see a few trees growing on rocky outcrops which
protrude from the ocean to form small islands.
Depending upon the time of day, the weather and
the season, such scenes can be a poetic and
deeply moving spiritual experience. A gentle rain
under misty conditions with muted colors, when
the seas are tranquil, makes them classic sub-
jects for sumi-e and suiboku paintings.
My intention in this work was to have light
coming out from behind the rock to create the
sense that sunlight would soon break out
through the veil. This light also strengthens and
enhances the presence of the rock. One can
sense the muted sounds of the waves which
helps add to a sense of tranquility.
To paint this type of work requires patience.
The gentle rain is created by repeated brush
strokes in upright lines. This is a typical sui-
boku-ga approach in creating a painting: Instead
of a few minimal strokes to capture the image,
as in sumi-e, suiboku-ga uses multiple strokes
and a longer duration of time to complete the
work.
In this painting, the rain clouds on the upper
part of the painting were created by using a
tarashi komi technique with light ink and water.
In the tarashi komi technique, apply light ink
and then immediately, using a separate brush
which is loaded only with water, add a drop of
water to the surface so that ink is pushed by the
water. When dry the outlines appear like natural
cloud formations. The tarashi komi technique is
very useful for creating certain effects.
This work is unusual in that it does not use the
standard and rhythmical sumi-e brush strokes
rendered with strength; the total atmosphere is
one of a sense of tranquility in misty haziness.
The final touch is the swift movement in the
outline of the waves: with dark ink, a calligra-
phy-like line imbues the painting with
unexpected vitality and accent.

76 SUMI-E
Rain clouds were painted with a renpitsu brush (see Chapter 2) loaded with When painting misty or light rain it is important to hold the brush completely
light ink. The brush should be in contact with the paper at a 45-degree perpendicular to the paper, with bristles spread apart. A minute amount of
angle. It is moved left to right to paint the cloud formation. Immediately, light ink should be on the brush as it moves from the top to bottom. With
with a separate brush loaded with water, add drops of water in the center each stroke, wait until the stroke lines are completely dry before applying the
of the cloud formations. Do not move the paper. In the drying process, the next stroke. Otherwise individual lines will merge and the painting will
darker ink is pushed out to form the cloud patterns. Then the up-and-down become flat. A hair dryer will help to speed up the process. Careful attention
of the misty rain is applied with a renpitsu, because the bristles are flat, should be given to the tone of ink for each stroke and artistic judgment
and multiple fine lines can be created. A painting like this one requires the should be exercised for the number of strokes to apply to create depth in the
use of much water and light ink. Consequently, if the paper is not stabilized rainfall. To suggest that sunlight will soon break through the clouds from
it will become uneven and wavy when dry. So I usually mount the paper behind the rock, use light gray ink to create dots to outline the trees and rock.
onto a board first. Use acid free or handmade paper, and glue two or three Gradually intensify the tone of ink to a darker gray to create the texture of
layers on birch plywood which has been given a water-resistant finish. the rocks. When using absorbent paper, once ink is applied it is difficult to
Foamcore can be used instead of plywood. make readjustments; therefore, increase to darker ink tones very carefully.

This close-up view of the rock shows in detail how a sense of texture for the The final touch is the outlining of the water in swift lines like a piece of cal-
rock is created. Similar to a digital image’s pixels, dot-like movements are ligraphy in “grass writing” style. The following is my “tip” to you: When
used. This way of using dots in various tones of ink to create the “three- mounting the paper onto the board, I applied the glue using the glue brush
dimensionality“ of the rock is not a traditional technique; the standard style in an up-and-down motion that created undetectable ridges, which became
uses outlines. It will take time to complete this work. Throughout, remember functional after the paper was dry. This preparation created a strong direc-
to remoisten your work so that dark tone of the ink remains accurate. tional sense to the strokes.

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 77
5. Islet with a Pine Tree have to rely on sample sketches or photos; so this was a direct
expression from my creative spirit, without the need to think
Size: H = 12.25"/31.5cm x W = 17"/43cm about how best to control the brush and ink.
Paper: Unsized The treasure of sumi-e artists is that after many decades of
Sumi Ink: Blue tone constantly pursuing and practicing the painting methods, the
Category: Sumi-e nature of a theme or object, the technique, the kinds of brush
strokes to use, all these elements are accumulated and stored
in the mind. Whether it is for flowers, trees, landscapes, or
After the previous suiboku-ga painting, Murmuring Surf, had water surfaces ranging from rivers to oceans, the painting
been completed, in my mind the details of the scene were still vocabulary is installed within one’s memory system.
very vivid. This remembered image was transferred to a work in Often I am asked during sumi-e demonstrations how I can
sumi-e with simplified and minimal brush strokes. In this paint so swiftly without having a visual image to refer to, such
painting, the brush is used in quite an active way in compari- as a photograph or sketch. I am asked, “Is it so easy to paint
son to the previous painting. The waves, which were totally something in sumi-e?” My answer is that it has taken over fifty
tranquil in the previous painting, are lively here. These two years to develop a memory system which carries the essential
paintings are good examples for comparing the suiboku-ga cat- technical information about a subject, a system that can now be
egory and the sumi-e category. Both use the same materials, yet accessed to bring that subject to life on paper with black ink.
the techniques separate the two into totally different categories From years of experience, the sumi-e artist learns that once
of painting. you draw a line, it cannot be readjusted or eliminated. And
This work took about five minutes or less to paint and the after years of experience and practice in creating certain sub-
previous required a few weeks of dedicated effort to complete. jects, the image that you have installed in your memory system
Once the image was deeply ingrained in my system, I did not can be brought to life in sumi-e again almost instantly.

78 SUMI-E
The brush is prepared with the basic three tones of ink: dark ink on the tip, medium ink at mid-point, light ink at base. Then use the brush sideways to com-
plete the background rock and the the foreground rock outline. Next, almost as if you are dropping the ink, add pine needles. Then remove moisture from the
brush and with the tip, apply dark ink to suggest the trunk and branches.

The foreground rock outline is darker and the To create a sense of color in the pine needles, after To add a sense that light is breaking through, the
background rock is lighter, which helps to create a you have applied groups of dark ink, immediately sky is left clear; use semi-dark ink with brush held
three dimensional sense. After the painted surface apply lighter ink to blend the groupings. This adds upright to form the waves. Then using only the
has become semi-dry, separate the bristles of a dry depth and coloration. To the lower part of the tree brush tip add a few dots where necessary to
brush and use it to add the feel of texture in the and on the rock surface, apply light ink to suggest enhance the sense of splashing waves. Finally,
rocks with dark ink. If the paper is still too wet the growth of vegetation. with lighter ink, paint foreground waves and
from the previous strokes, the ink will spread and seashore, and with light ink paint the background
the textured effect will be lost. headland.

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 79
6. Navarro River in
Moonlight
Size: H = 36"/91cm x W = 20"/56.5cm
Paper: Sized paper, pre-mounted on a board
Sumi Ink: Blue tone
Category: Suiboku-ga

Northern California, well known for its fog and

mistiness, provides scenes which are optimal for
suiboku-ga. This scene, the estuary of a river
flowing into the Pacific Ocean, is densely
forested with redwoods and displays very little
contrast during the day, so it is not an especially
inspiring scene for a painting. But after a rainy
day, with mist and fog drifting through the forest
and surface of the water, suddenly it transforms
into an ideal subject for a monochrome painting.
One evening, while driving through the for-
est, I saw the breathtaking beauty of the mist
along the river under a full moon. Here was the
challenge that has been faced by sumi-e artists
throughout the centuries: how to use black ink to
express the moonlight in mist—in all of its
whiteness and softness.
To paint this subject matter on highly
absorbent paper is an impossibility. I used sized
paper stretched on a board, because this type of
painting requires the use of water, applied time
and time again, so stability is needed.
Since very light ink will be used, it is best to
make an actual-size sketch on a separate piece
of paper (see page 38 for more information about
sketching with charcoal), then transfer it to the
mounted sized paper. Begin with the use of very
light gray ink and the smallest brush you have.
The individual heights of the trees were marked
with dots.
In Japanese aesthetics, a full moon is beauti-
ful to see but in its perfection is not especially
poetic. Adding a few drifting clouds across its
face makes it more bucolically pleasing and
gives it what is commonly called imperfect
beauty.

80 SUMI-E
A moon shape was cut out of water-resistant paper and placed at the precise In painting the trees, begin with the lightest tones of ink and gradually add
position where I wanted the moon; then with the lightest gray ink I outlined darker ink toward the center of the tree. Leave open the spaces where the
the circle. Gradually the width of the outline was increased, and with anoth- trees overlap. The effect of the moonlight upon the mist and fog must be
er brush loaded with water I blended the outline’s edge into the sky. At the well coordinated with the direction of the moonlight. You are dealing with
same time the excess light gray ink is extended horizontally to the left and 1) mist that is reflecting the moonlight onto the outlines of the trees in the
right to create the stratified layers of clouds. During this process it is impor- moonlight; and 2) the glistening effect of the mist through the trees and on
tant to add moisture to the paper, so that the light gray horizontal strokes the river. Close to the ground, the effect of the heavy rising mist is created.
will not also show harsh and unwanted lines.

When painting a tree, regardless of the circumstances, pay attention to the The foreground of this painting focuses on the surface of the running river.
movement of the branches and the direction and height of the tree relative While it may be a misty night, there are still reflections of moonlight on the
to the other trees. Most importantly, the artist must be aware of the rhythm water. The surface has, though, a different appearance due to the soft mist. So
the tree branches create. In this type of painting, it is best to prepare at least the activeness of the running water is expressed by the ripples, but is much
two extra brushes: one for water, and the other to be kept reasonably dry to softer than a normal daytime view. At the end, foreground grasses were
soak up excess water. This allows you to have better control over the added. I felt the need for a “punctuation” somewhere in the center so the
amount of ink used in the painting. twisted blade of grass was used to create an additional sense of depth.

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 81
7. Pine Breeze in the Moonlight
Size: H = 16.5"/41.5cm x W = 17"/43cm
Paper: Sized
Sumi Ink: Standard
Category: Sumi-e

Quite opposite from Navarro River in the Moonlight, which

was painted using the concepts of suiboku-ga, this work is in
the minimized and simplified techniques of sumi-e. They
were employed here to capture another kind of scene of pine
trees and wave action under bright moonlight.
The previous painting reflects a central pattern in compo-
sition. This composition, though, uses a right-side pattern. The
diagram below shows how triangular composition works.
The use of triangular composition greatly influenced the
theory of composition in Japanese and Chinese art (not only
for painting, but also for other arts like flower arrangement). It
was originally developed in the east in religious art; the paint-
ings focused on religious figures and consisted of three
separate images which, when placed together, related to each
other to compose a triptych. The central pattern was of some
religious figure—clearly the dominant figure—accompanied
at its sides by two attendant figures.
This traditional form for a triptych in composition was
eventually secularized, and can also be applied to the compo-
sition for a single painting. Notice how Pine Breeze in the
Moonlight, following the right-side pattern, has a wide active
empty space to its left. That active empty space would serve to
give emphasis to a central painting, if three works were dis-
played together.

Subdominant Dominant Subordinate

A B C
Left-side Pattern Central Pattern Right-side Pattern

The triangular composition scheme can be used for a single work of art, or
for a triptych. When painting using either the left- or right-side pattern,
ensure that the composition incorporates the space to transform it into an
active empty space, which is an essential aspect of sumi-e.

82 SUMI-E
L A N D S C A P E PA I N T I N G T E C H N I Q U E S 83
After the outline of the moon has been created with light ink, quickly add Splashing waves against the rocks are handled with the same treatment as
moisture around the moon and across the space of the sky. Then apply light the clouds. First pre-moisten the surface of the paper with water, then use
ink to create light clouds around the moon, emphasizing its whiteness. While light ink on the brush to create the activeness of the waves. In this case, you
the light gray ink for the clouds is still wet, take a dry brush (bristles open need to show the formation of the waves, so do not use the additional dry
and spread out) and guide the light gray to the desired formation of the brush technique to disperse that brushwork; the lines are necessary to show
clouds. It is important to do this while the surface is still wet, thus eliminating wave action. Although light ink has been used, in the process of drying, the
definite brush marks from the clouds. ink particles will begin to move to the outer edges of the strokes to create
the natural outline of crashing waves.

When painting pine needles, first apply light ink and then immediately use
darker ink to create shadow effects in the moonlight. It is important to main-
tain moisture on the surface of the paper so that the two tones of the ink will
blend naturally. In this painting, I dropped clear water on one of the top
branches to give the effect of glistening pine needles, a common technique
called tarashi komi.

After the paper has dried, use darker ink to suggest tree trunks and branches.
Dark ink is also used to outline the cliff reflected in the moonlight. For this,
the use of forceful strokes with a dry brush is important to keep this painting
from becoming mundane. This one section of activity, in dark ink, gives energy
to the open space and creates a yin-yang contrast.

Right: This work, Moon and Clouds, was painted on white torinoko paper to
assist in enhancing the sense of moonlight. The white clouds are the domi-
nating subject, the moon is subdominant, and the trees and surface of Lake
Michigan are subordinate. Near the top of the clouds, notice the dark irregu-
lar outline; this is the honored tarashi komi effect, but here it should have
been avoided. In a painting of clouds in thunder and lightning, perhaps
drama would be appropriate, but in this tranquil painting under moonlight,
the softness of the floating clouds should ideally not have definite outlines.

84 SUMI-E
L A N D S C A P E PA I N T I N G T E C H N I Q U E S 85
8. Dragon Pine
Size: H = 24"/61cm x W = 40"/102cm
Paper: Unsized
Sumi Ink: Blue tone and standard
Category: Suiboku-ga

Forces of nature over the centuries have carved and created

rocks and trees into shapes and forms beyond imagination.
This is the drama of nature, the theme which has inspired
and provided the base for my paintings.
There is a small cove in Northern California that shelters
one lone rock protruding from the base of the rugged shore-
line and on the top is a gnarled and twisted pine tree with
roots lodged in the crevices of the rock. It appears to have
been there for centuries. While this cove is somewhat shel-
tered, the storms of the Pacific can produce tremendous
forces at times, hence the stunning double twist or corkscrew
in the trunk of the tree. Yet the tree roots clung on with tenac-
ity, and even today the pine’s branches display the vitality of
life by continuing to produce new growth in its needles.
In my imagination the tree resembled a dragon about to
take flight. The side facing the Pacific shows only tree roots
clinging onto the rocks, but the sheltered side facing the cliffs
shows branches verdant with pine needles. Artistic license
was taken and I dramatized the position of the base of the
tree on the upright rock.
I used black ink with a brown tone for the rocks and black
ink with a blue tone for the tree. Blue tone ink was also used
for the distant rocks. In composition, the rock and tree are
dominant, the mid-ground rocks are subdominant and the dis-
tant rocks are the subordinate subjects. Like the previous
painting Pine Breeze in the Moonlight, this painting also fol-
lows a right-side pattern.

86 SUMI-E
One dead branch sticks up from the pine tree to dramatize and exaggerate To roughen the surfaces of the rocks, a drier brush with brown tone ink was
the years of hardship in survival. The pine tree and needles were painted in used to create the multiple fine lines which follow the main line brush move-
the traditional method (see Chapter 5), with the needles painted one by one. ments to give texture.
Then lighter ink was applied to give the sense of density.

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 87
9. Fury of the Pacific
Size: H = 19"/48cm x W = 50"/127cm
Paper: Sized; pre-mounted on a board
Sumi Ink: Blue tone and standard, and silver pigment
Category: Suiboku-ga

The creative process for artists comes through many different ways was minimal and I was completely in sync with this tree
avenues. One common situation is that an artist has a certain standing against the powerful wind, leaves straining, the occa-
image in mind and, according with that image, gradually accu- sional view of rocks seen when the water crashed against any
mulates sketches and then eventually uses this information to object in the way.
develop a composition for a painting. Step by step, while the It required enormous inner energy to create this painting
artist uses carefully-judging eyes, the composition of the paint- of hurricane force winds. If a stranger had entered the studio
ing begins to grow. while I was working, I would, no doubt, have appeared to be
The contrasting situation is that the artist’s mind is so insane. This is a once in a lifetime creative experience.
possessed with images and situations that, without prior prepa- During 1994 on the coast where I live, there was a great
ration or sketches or compositions, he or she “dives” into the Pacific storm. Close to the beachfront, trees appeared to
creative process. This work, Fury of the Pacific, fits the latter cat- almost take flight as I attempted to sketch against the power
egory. I was almost in a state of frenzy as I made this painting. of the wind. My endeavor in this painting was to portray the
In this work, the use of the brush as a tool in the traditional great forces of nature through the immediacy of sumi ink.

88 SUMI-E
Powerful brush strokes were made directional to show the gale the left and right. Along with adding that black area, I enhanced
force of the wind and rain. Other parts of the painting, such as and enlarged the leaves on the branches, which helps make them
wave action, were mainly created using the tarashi komi tech- look as if they would be blown off.
nique in maximum effect. These additions brought balance to the painting. Thus, the
After I had finished painting the left-hand side’s wave pat- right-hand side’s trees and ground are the dominant subject, the
terns, I moved on to add the trees that were forcefully bent by the left-hand side’s wave movement is subdominant and the rock in
wind. Then the related headland “terra firma” and the rocks were the center is subordinate.
completed. But when I stepped back and re-examined the paint-
ing, I became aware that the painting was divided into two parts:
wave activity to the left and tree activity to the right. I had over-
looked my basic principle in composition, that of dominant,
subdominant and subordinate elements. A few days later, I
decided to add the very obvious black rock in the center to bridge

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 89
To confine and secure the outline of the crashing
waves’ whitecaps, first very light ink was used to
dot the outline. Then, I prepared one brush with
water and one with light ink. With these two
brushes held in the same hand (like chopsticks), I
tattooed the water and ink alternately onto the
paper. Contact was first made using the ink brush,
then a tap of the water brush immediately fol-
lowed to spread and push out the ink to create
whiteness. During this stage it is also important to
guide the whiteness in the proper direction. The
enlargement at right allows you to see the result.
After the waves were basically completed, the
necessary outlines were added to them.

The result of the unorthodox brush use: water and light ink blended to express frenzied creative energy.

Splashing waves are almost impossible to paint

with a brush. To create this effect, I loaded a large
brush with water and another brush with light ink
and they were used simultaneously for a splash
technique (see page 55), in a manner almost as if
the brushes were colliding with the surface of the
paper. The force of spraying water pushed the
light ink to the outer edges. I then immediately
used a hair dryer with maximum force to stabilize
the ink at those edges, before it seeped back into
the white. Once the surface dries, touch-ups can-
not be made. Therefore, during this splash tech-
nique you literally hold your breath and move
with coordinated speed. You must pay attention
to the moisture content on the paper. If necessary,
before the surface of the paper completely dries,
you may go back with light ink to enhance the
effects desired, and then dry the section.

Here the result of the splash technique used for the waves can be seen in more detail.

90 SUMI-E
Top: After most of the painting’s sections were com-
pleted, I used a brush to refine certain areas. Here,
beginning at the center bottom of the wave, I
moved my brush upward with a swift stroke to
enhance the force of the wave. Above: The wild gale
force winds created an unforgettable sound. To
recreate it, I vibrated my brush as I executed the
lines showing the rain and wind.

Here is a closer view of the wave stroke that was added to enhance the three-dimensionality.

Splashing ink with a brush is a common technique

with many variations (see Chapter 3). In this paint-
ing, to intensify the brush strokes’ force, the
splash technique was carried out with a mountain
horse hair brush.

The splash technique adds energy to the painted strokes.

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 91
It is difficult to create the violent and turbulent wave energy underneath the surface of the ocean in a painting. The power of sumi paint-
ing is that the immediate energy or chi of the artist (see pages 18–19) can be transferred onto paper.

The trees of the headlands have been shaped by years of storms coming in from the west and have grown into unique shapes. In this
painting the forms were highly exaggerated to show the painfully bent branches. They were drawn using the traditional outline technique.

92 SUMI-E
First I created the tree trunks and branches with light ink then went back with darker ink to outline and give shading and texture to the
trunks. With each stroke, I was hoping to capture the intense feeling of pain which such force can cause. Using a mountain horse brush
with dark ink on the tip I added the leaves blowing in the direction of the raging wind.

The final touch—adding the force of rain and wind—was impossible to paint over the dark ink section but very much needed. Therefore,
using a mountain horse brush, I applied Japanese silver pigment over the dark ink. Traditionally, both gold and silver leaf or pigments are
permitted in suiboku-ga.

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 93
10. Arches National Park
Size: H = 27"/69cm x W = 39.25"/100cm
Paper: Unsized, pre-mounted on a board
Sumi Ink: Blue tone
Category: Suiboku-ga

The history of suiboku-ga shows that deviant shapes in nature

have been the subject of many a masterpiece, from mountain
peaks half concealed with clouds, to the unusual towerlike
mountains of Guilin, China. When the focus is moved away
from Asia, toward for instance the continent of North America,
other kinds of exotic shapes can be found.
The desert southwest of the United States is filled with
strange and colorful rock formations, and during the 1980s I
was privileged to spend a few months on a sketching tour to
some of these remote and exotic places. Growing up in Japan,
I had never experienced grandeurs of nature like this, other
than the ones shown through the eyes of Hollywood of course.
I sketched from morning to evening, marveling at the shapes
and colors sculpted by natural forces. Places such as
Canyonlands, Canyon de Chelly, and Arches National Park may
be familiar sights to many readers of this book. For me they
were a novel experience.
Arches National Park was done using the outline technique.
Whenever the outline technique is employed in a painting, one
must be aware of the effect of every line. Each individual line
must lend some meaning to the image, must add an expres-
sion that defines the subject, such as depth, the flatness of a
surface, the roundedness of it, and so forth. Therefore, most
especially during work on outline paintings, with each brush
stroke a part of your body and soul must be poured into the
painting. The tip of the brush serves only as the channel.
During such a creative process, it is as if through the brush’s
bamboo handle your creative energy and blood pours out. This
is a dramatic metaphor but sumi-e and suiboku-ga artists who
work with sumi ink and brush should maintain this level of
intensity and concentration.
For this work, the brush was held upright for drawing fine
lines, but it was also used sideways to provide the shadow
effects. This is a vast country so to create that sense, the wide
open spaces of sky were left above the distant cliffs. I enhanced
the winding roadway with diminutive shrubs growing along-
side, to give balance to the composition and to create the effect
of distance and space.

Original owners: Dr. & Mrs. Saburo Muroga. Present owners: Mr. & Mrs.
Richard Burten.

94 SUMI-E
L A N D S C A P E PA I N T I N G T E C H N I Q U E S 95
96 SUMI-E
11. Canyonlands: Anasazi
Towers
Size: H = 26.5"/67cm x W = 54"/136cm
Paper: Unsized
Sumi Ink: Blue tone
Category: Suiboku-ga

One can drive across hundreds of miles of flat

semi-arid desert in the Southwest along the inter-
state highway, then turn off a side road to
Canyonlands National Park and suddenly be
greeted with remarkable structures carved by the
natural elements over timeless ages. These
panoramic and incredible sights are something to
behold. That natural erosion created formations
with such artistry is nearly beyond belief. Standing
among them, all sense of time dissipates.
To capture this grand and rather surrealistic
scene in sumi was a challenge. I camped out in
my van for a week, working with my sumi lines to
describe the details, hoping that I could capture
something of the spirit of the place.
Notice the sandstone layers of the main tower of
this composition; they were a maze of seemingly
jumbled lines. As I was painting each line in
them, my mind was continually wandering back
through the geologic history these layers con-
tained.
Surprisingly, the tenacity of life in such an
inhospitable setting is evident: it is possible to
find vegetation such as trees and bushes in this
land of rock and bright sunshine. Including it adds
a note of contrast to the image.
Compare the line quality used for the rocky
tower, in contrast to that used for the dead tree,
and then the lines used for the living tree. Each of
these forms requires a completely different brush
technique.

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 97
12. Monument Valley
Size: H = 27"/69cm x W = 39.5"/98cm
Paper: Unsized
Sumi Ink: Standard
Category: Suiboku-ga

The vast open sky and sand colored desert in a

natural valley with a formation of many towers is a
wonder. It is said that some of the early Spanish
explorers once thought these were the remains of
a great civilization. At first glance this barren area
appears to belong to another planet; yet upon
scrutiny, there are grasses and shrubs growing
next to ancient looking weathered wood. Life and
death do coexist in the desert.
A brush pointed upright was used for creating
the details of the upright towers. The brush was
used sideways, in a 45-degree angle, for the sur-
face of the sand hills.

98 SUMI-E
L A N D S C A P E PA I N T I N G T E C H N I Q U E S 99
13. Chillon Castle on Lake Geneva
Size: H = 27"/69cm x W = 30.5"/77cm
Paper: Unsized
Sumi Ink: Blue tone and standard
Category: Suiboku-ga (tarashi komi)

“Lake Lehman lies by Chillon’s walls, / A thousand feet in

depth below” wrote Lord Byron in his poem “The Prisoner of
Chillon.” The waves constantly lap along the castle walls, and
this creates a mysterious ambience. This painting of the cas-
tle takes a realistic approach, but the rising mist from the
lake and the black clouds behind the castle are my additions
to add a sense of Chillon Castle’s legendary atmosphere.
The angular man-made structure is in direct contrast to
the softness of the natural elements of rising mist and dark
trees. To create the surface of the rooftops and stone structure
of the castle, a drier brush is used sideways to give the texture
of aged stone.
Details on the castle—the flat and even stone walls, the
many small windows facing downward—were faithfully
recorded to show their contrast to the massive structure of the
walls. The upper part of the castle was completed first, then
dried to stabilize the ink before moisture was given to the
lower part of the painting in preparation for the tarashi komi
technique used next for the mist and trees.
In this situation, for the tarashi komi technique I used two
brushes, holding them like chopsticks: one for light ink and
one for water. At the base of the castle, water was applied first,
then light ink so that the light ink would keep moving to cre-
ate the effect of rising mist. To create the effect of rolling fog,
circles in light gray were painted, then water was added to
blend and push the ink out. When the rolling mist forms the
size and shapes you desire, use the hair dryer to stabilize the
pattern. Otherwise, the ink will keep on spreading and you
will lose the forms you wish to capture.
The total time for creating this mist was only a few min-
utes. However, the mist is created by the ink and water
expanding and blending and the key is to know how to control
it. Once it is dried in undesirable formation or tone of ink, it is
almost impossible to touch up.
Trees were created in a similar way, with the water this
time used to create lighter tones so that lines for tree trunks
and branches could be added. With this tarashi komi tech-
nique, we see that there are two different effects which can be
created: the mist on the left-hand side is much lighter and
softer and conveys a feeling of rising. In contrast, the right-
hand side’s tree is more dense and massive with branches
hanging down.

100 SUMI-E
L A N D S C A P E PA I N T I N G T E C H N I Q U E S 101
102 SUMI-E
14. Salzburg Castle and Bishop’s
Residence
Size: H = 27"/68cm x W = 35.5"/91cm
Paper: Unsized
Sumi Ink: Blue tone
Category: Suiboku-ga

The city of Salzburg, nestled in the Tyrolean Alps of Austria, is

internationally known for its acclaimed annual Mozart
Festival. It is also the setting for the perennially popular musi-
cal, The Sound of Music. This picturesque city is both an
inspiration and challenge for a painter.
Set in the verdant green of the Austrian Alps is the mas-
sive fortress of a castle built on a hill, and below it are the
imposing domes of the Bishop’s Residence Castle along with
many church bell towers. Both castles look down upon the
Salzburg river with its wide flood plain planted with willow
trees.
To create the trees along the river and on the slopes sepa-
rating the two castles, the tarashi komi technique was used to
its maximum to help express the contrast between the geo-
metric structures of the castle and the surrounding natural
elements.
Along the river, the “weeping” willows’ branches and the
bridges were not painted in detail but were merely suggested
so they would not detract from the dominating subjects of the
Bishop’s Residence and the church towers, nor from the sub-
dominant castle on the hill.
To “secure” the outlines of the towers from the seeping ink of
tarashi komi, I first used very dark ink to paint around the white
space of the towers. Ink has an adhesive in it and once it is com-
pletely dry (a hair dryer comes in handy), it will act as a barrier
so that additional moisture or ink will not seep in. You will notice
that the spire on the left dome got lost because the ink was not
completely dried.
In the background, in light ink, the high peaks of the Alps
are shown. At the lower right-hand side, very active tarashi komi
is used to suggest the forest beyond.

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 103
104 SUMI-E
15. Mountain Cascades in Suiboku-ga
Size: H = 30"/76.5cm x W = 20"/51cm
Paper: Sized
Sumi Ink: Blue tone and standard
Category: Suiboku-ga

The turbulent cascades of water in a rushing mountain

stream are captured here using a stylization technique
unique to the Japanese arts. It combines the exaggerated
methods of the rich and decorative paintings of the Rimpa
School with the outline techniques of suiboku-ga, to capture
the detailed forms in water movement.
Stylization and some exaggeration are necessary ele-
ments in making successful suiboku-ga and sumi-e. In both
forms, the simple whiteness of the untouched paper leaves
the viewer to complete the scene in his or her imagination.
The viewer thus becomes personally involved in the paint-
ing. This suggestiveness is the key to sumi art. However, in
this suiboku-ga painting, the tumbling force of water is the
main subject, so the sense of turbulent motion and direction
is suggested by lines in light ink to show direction and for-
mation in the torrents of water falling down over the rocks.
Each time ink is applied in an overlapping stroke, the surface
of the paper must be dried. This technique would be difficult to
achieve on ordinary sumi-e paper; Mountain Cascades in
Suiboku-ga was painted on thick torinoko paper which is sized.
As always, selecting the right type of paper is very important
based on the subject and method of your painting.
This scene was sketched on site, then re-created in the
studio. There were many more trees, shrubs and grasses at
the actual site, but because the painting’s focus was to be
on running water and rock formations, I chose to reduce
those plants to a minimum. During the sketching many ele-
ments came to my notice, such as the rocks at this site
being very dark from the wetness of the splashing water,
and the fact that each section of the cascade had its own
harmonious activity, joining to form a sort of symphony with
pools of calmness interjected.
The following pages show the process and progress of
translating this to paper and sumi. The final challenge was to
re-balance the texture of activity in the rock formations with the
activeness of the water.

Right: Without basic practice in sketching, you will find that when you
attempt sumi-e, the brush movement does not capture the forms you intend.
Your sketchpad and pen or pencil are essential to your fundamental training
in ink painting. This is one of my sketches, done decades ago in felt-tip mark-
er; it served as a reminder to me of how water tumbles in cascades down the
rocky slope of a mountainside.

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 105
1. Torinoko paper was stretched and glued on a board. Now, 2. Using light ink, the surface of the rocks is slightly darkened.
with light ink, the outline positions of the rock formations are In the far background darker ink is used for the vegetation to
put in. define the beginning of the cascades.

3. Working from the top of the painting, gradually three-dimen- 4. Dark ink is used to create a frame of rocks to surround the
sionality is added to the surface of the rocks, especially where water. Then a thin brush loaded with very light ink is used to
lichens and mosses are growing. Special attention is given to begin creating the movement of water at each level.
places where running water tends to splash against rocks.

106 SUMI-E
The formation of rocks underneath water creates The sound of a mountain stream, a very special To catch the movement of eddies in the pool, I
the distinct movement as the currents collide and thundering “symphony,” is abstracted into a visual used the tarashi komi technique: first each line of
splash. The tumbling and converging as it plunges reality in light ink. Water cascades down over the an eddy was painted with light ink, then before it
downstream lends the running water its poetry rocks and when reaching a level place it forms dried, I applied a drop of dark ink on the wet sur-
and music. small pools of temporary calm. face of the line to emphasize the effect.

When the outlines of tree trunks, branches, leaves or

needles are painted in, certain areas must be left
white, such as the bodies of the tree trunks. But
by accident or mistake, sometimes the white areas
might end up with ink. When this happens, you can
use tape to gently lift out the fibers of the acciden-
tally-inked paper to lighten the area. Because tori-
noko paper is thick, its surface can take this treat-
ment. Lifting out fibers will leave a rough surface,
so use your fingernail or some other hard-surfaced
object to smooth over the spot.

After I completed the painting and re-examined In order to help the water stand out as the dominant subject, I toned down the rocks by making them
the total effect and results, I felt that the texture darker: the contrast with the white surface of running water is now greater. Refer to page 104 to see this
of the individual rocks was competing with the in more detail. When such touch-up work is required, the paper surface must be re-moistened. Depending
movement of the water, so I added contrast. upon the dryness or wetness, the sense of depth in the sumi changes.

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 107
16. Mountain
Cascades in Sumi-e
Size: H = 25"/89cm x W = 18.75"/48cm
Paper: Unsized
Sumi Ink: Blue tone and standard
Category: Sumi-e

After completing the previous painting of

Mountain Cascades in suiboku-ga, I used
the same sketch to paint the cascades
again with the use of minimal strokes.
The paper was not pre-mounted and
was highly absorbent, so it was impossi-
ble to add or retouch a stroke. Each
stroke was a final expression so the
energy of brush strokes is more readily
sensed. Brush strokes in suiboku-ga and
in sumi-e both require great energy, but
that is more easily discerned in sumi-e.
While it is in the sumi-e category,
because creating the rock formations
entailed more detail I used the standard
brown tone sumi ink for the rocks and
blue tone sumi ink for the water. The bris-
tles of the brush were somewhat flattened
to form the flow of the water, with the
attempt to recapture the sense of move-
ment in direction and force of water in a
single stroke.
Historically, combining standard
brown tone and blue tone sumi inks was
not done in the same painting. However,
as sumi-e has become an international
art in contemporary times, I sometimes
use these combinations to enhance a
sense of color.

108 SUMI-E
This sumi-e painting also captures cascades. It is done on unsized handmade paper, and like the facing image, it uses blue tone
ink to accent the running water.

L A N D S C A P E PA I N T I N G T E C H N I Q U E S 109
CHAPTER 5
Trees, Bamboo, Flowers and Grasses
The sourcebook for sumi-e artists has long been the Mustard Seed Garden Manual,
originally published in the 1600s. The book collects the expertise of generations of great mas-
ters of ink painting. The technical guidance and inspiration it offers covers almost every aspect
of painting traditional subjects including trees, bamboo, flowers, and grasses.

The countries in the Far East have

also long revered three plants as sym-
bols that have philosophic significance.
In the Mustard Seed Garden Manual,
these are referred to as the “Three
Princes.” The pine is the “prince” of the
evergreens. It is symbolic of unchanging
happiness and longevity, because in most
species pines are long-lived and have
endured under the harshest conditions.
The flowering plum is the “prince” of
the flowering trees; it is symbolic of brav-
ery since it is the first to bloom in very
early spring, and while the form of its
flower is simple, its fragrance can travel
for miles. (Some species of plum in the
West do not have fragrance, but the flow-
ering plums in Japan are very fragrant.)
Bamboo is the “prince” of the grasses,
and it symbolically represents endurance
and flexibility. When the wind blows, the
bamboo bends along with it and when
laden with snow or ice, it can bend down
and touch the ground, but when the snow
or ice melts and drops away it will spring
back to its original form.
Generations of great masters have
used these subjects in their master-
pieces. Uniquely some of the artists have
dedicated their creative life solely to
painting one or two subjects. For exam-
ple, it may be the flowering plum an
artist focuses on, studying it and paint-
ing it under very different conditions,
modes, styles and at varied sizes.
The techniques for painting these
three plants are also used as teaching
tools for mastering brush strokes in sumi
The caption on this page from the Mustard Seed Garden Manual reads “Li (Ch’eng) Ying-ch’iu paint- ink. Along with the “Three Princes,” we
ed pines with the sinuosity of a coiled dragon or a soaring phoenix.”
will also focus on works that feature
some other traditional subjects: lilies, iris
and grasses.

112 SUMI-E
Painting Trees

In “The Book of Trees,” one section of the Mustard Seed Garden Manual, there are pages
containing examples of various master artists’ trees (an example is on the facing page). Also
covered in detail is advice on how to paint a single tree, how to paint groups of two to three
trees, and how to paint entire groves of trees.

There are pages on how to paint leaves, the outlining tech- On the next pages are the techniques for painting trunk,
niques to be used on each leaf, the different formations and leaf branches, needles and other details for a basic style of pine
groupings that should be on different branches, and so forth. It is tree. The method described for needles is a standard one that
easy to see how one’s entire life could be spent on ink painting. is useful to have in your repertoire. When I am painting a pine
Because trees are so essential to the composition of land- tree, the method with which I paint the pine needles depends
scapes in suiboku-ga or sumi-e, there is indeed much to learn upon whether I am working in suiboku-ga or sumi-e style.
about them. Since it is the “prince of the evergreens,” the pine Sometimes, I do paint them individually.
is a suitable place to begin.

TREES, BAMBOO, FLOWERS AND GRASSES 113

BASIC TECHNIQUES: PAINTING A PINE TREE

1. To prepare the brush, put dark ink on both ends 2. Turn the brush sideways to create the first 3. Continue to paint the main trunk, gradually
of the bristles, and light ink in the center area. branch, ending with a narrow-wide-narrow line. moving up, then turning the brush sideways to
While holding the brush upright, flatten the bris- Then readjust the tips of the brush’s bristles and create another branch to the right. Again readjust
tles. From the right begin the base of the tree; spread them open again. the brush as previously to work on the rest of the
keep the bristles spread in full contact with the main trunk.
paper, and move upward to create the trunk.

4. Proceed to the left. Whether the pine tree has a 5. It is important that the base of the tree with its 6. Next begin adding small accents to give the
straight or twisted trunk, you can use this same extension of the roots be recognized. Add the roughness of pine bark to the tree trunk.
method to create any form you wish. base and the suggestion of the exposed roots.

7. Expand the number of branches to give the tree

form.

8. The brush should be reasonably dry and spread 9. Remember that the branches of evergreens must be created to look as though they can adequately
out flat, as shown here. carry the weight of the needle groups they’ll support. The lower branches usually grow sideways, often
sloping down. At the very top the younger branches grow upright. At this point you may choose to read-
just the width of the tree’s trunk by adding lines, as this image reflects.

114 SUMI-E
10. Use the multiple tips of the brush to create 11. Then begin with darker ink for the second 12. In this method of painting pine needles, at the
forbs and grasses. Then begin painting pine tree grouping. Using this method you will create the center of the group the brush simply comes down
needles in groups. A common practice is to first foreground groups in darker ink first, and as the straight. On either side of the group, turn the
use lighter ink; then flatten out the brush and ink is used, lighter background groups will auto- brush slightly toward the center of the group so
remove excess ink; last, add darker ink to the tips. matically follow. that the multiple lines will form a fan shape.

13. You will notice that the needle groupings form 14. After completing the pine needles, double check 15. Many aged evergreens, especially pines, have
the shape of an opened fan. Overlapping with the composition to see if there is a balance in the old branches without needles, sometimes with
slight difference in tone of ink will give a sense of dominant, subdominant and subordinate relation- pine cones. With the smaller brush, reasonably
density. ship. Use a similar brush to add more groundcover, dry, add jagged lines in dark ink to create these
then change to a smaller brush to add details. aged branches.

16. Dots on the bare twig branches are the

attached pine cones.

17. Pay close attention to each grouping of pine 18. The results of this quick method of painting a pine tree. The top groupings of pine needles are domi-
needles. Using different tones of ink helps to dis- nant; lower groups to the left, right and back are subdominant; and the branch at the midpoint of the
tinguish the various masses. tree trunk on the right is subordinate.

TREES, BAMBOO, FLOWERS AND GRASSES 115

PAINTING TREES WITH A UNIQUE BRUSH

A common practice among artists is to create one’s own custom brushes for special needs. For example, it may be useful at some point
to adjust an inexpensive watercolor brush by cutting the tips of the bristles with scissors to make them uneven, for painting distant
leaves in various tones of ink. Here are a few ways of painting trees with special (or specialized) brushes and techniques.

1. This brush is normally used for fabric and textile 2. Then with a stamping technique you can easily 3. This is the result. This technique can be used to
painting. It works well to make strokes from dark create the effect of groups of leaves. By moving create a distant grove of trees on the slopes of a
to light in a smooth manner. Apply lighter ink on the brush in a slight curvature during each stamp- peak or on hillsides.
one end of the tips and darker ink on the other. ing, you can give the tops a rounded curve.

4. A common sumi-e brush such as a choryu brush 5. Using the brush in the same way as above, 6. Move the brush left to right to extend the pat-
can be used too. Apply a minimum amount of ink instead of painting, stamp out the shape. tern. After you have done the desired amount of
to the tips of an almost dry brush. Open the bris- branches in darker ink, use a lighter ink to fill in
tles and spread them apart in a slight curvature. the central part, giving a sense of density.

7. Although they were employed in the same way,

these two different brushes offer two different
results. This can be helpful when creating the
leaves of several species of trees, for example.

116 SUMI-E
8. In case you wish to create distant tree leaves in 9. With a paper towel, soak up the excess mois- 10. Now repeat the same technique used in Steps
a misty atmosphere, after the ink is completely ture from the painting. 1–6 to paint more leaves with either darker or
dry, gently mist water over the painting with a lighter ink. Whichever tone of ink you use, the
handheld sprayer. added moisture on the paper will cause spread.

11. Compare the crisp groups of tree leaves on the 12. After the sprayed section is dry, create tree 13. After completing the trunk, branches and base
lower two examples with the misty effect of the trunks for the groups of leaves in the foreground. of the tree, add the ground cover.
three upper trees.

14. Here is the completed, simplified version of a tree. It is important to study nature: although you may think an evergreen is an evergreen, the various species
differ widely—pines are quite unlike spruce or hemlocks. Also study the tree you plan to paint in relation to the other objects around it and in the background.
Whether it’s in high mountain terrain, meadows or along the sea coast, you should place a tree within its proper environment.

TREES, BAMBOO, FLOWERS AND GRASSES 117

1. Two Pines
Size: H = 19.75"/50cm x W = 43.75"/110 cm
Paper: Sized and pre-mounted on a board
Sumi Ink: Standard with gold dust
Category: Suiboku-ga

This pine tree combination was found in the Rockies of harsh conditions and perform unexpected feats.
Colorado. I was amazed to discover that these two pines were It also fits with the tradition of ink painting. From the ear-
joined at the roots and in their combined power over many liest times in the history of ink painting, Chinese masters
years of growth were able to push up a great boulder. This have selected elements of nature such as a tree, a mountain
was a revealing study on how plants in nature brave or rocks and used these to make a statement about human

118 SUMI-E
character. What appears to be a painting of a pine tree in the together, with their combined energy, can lift a monumental
foreground combined with a waterfall in the background, for weight over time even while facing the sometimes brutal con-
instance, may be a philosophic statement concerning the pas- ditions that nature wields.
sage of time in life.
Likewise, in this simple landscape is a message that two Collection of Dr. and Mrs. Richard Morimoto.

TREES, BAMBOO, FLOWERS AND GRASSES 119

The taller pine tree was painted to symbolically show strength and masculinity. Its needle groupings were given more mass, and by adding
some branches with pine cones, the tree gained a more realistic touch. When painting plants that have many branches with needles or
leaves, you should always remember to maintain a rhythmical balance in the composition.

It is quite common to use the outline technique in black ink painting, especially in suiboku-ga. While painting this outline for the branch,
the artist must use inner energy to result in lines that have the strength to carry the heavy load of needles. In this section of the back-
ground, the massive grouping of needles is done in the tarashi komi technique, without the painting of the individual needles. After the
ink is almost dry, use a mountain horse hair brush without ink to extend that area in the manner of pine needles growing out.

120 SUMI-E
Notice the horizontal composition of the pine branches with boulder behind, and the differences in texture between the tree’s trunk and
the boulder.

In creating the texture of the boulder, I used a dry brush. The bristles were held horizontally (see Chapter 3). The two trees’ barks were
painted to intentionally show a difference. The taller tree is more textured and rough, signifying yang, while the accompanying tree has
bark which is smoother, symbolically representing yin.

TREES, BAMBOO, FLOWERS AND GRASSES 121

2. Pine Breeze: Screen for the Tea Ceremony
Size: H = 15"/38cm x W = 71.5"/182cm
Paper: Sized
Sumi Ink: Standard with gold dust
Category: Suiboku-ga

The traditional way of life for the Japanese has incorporated Japanese tea room includes an alcove called a tokonoma, cre-
many categories of the arts into daily living. Tea ceremony is ated specifically to display calligraphy or a painting in black
the epitome of this. In fact, it has been said that the tea cere- ink. Folding screens were created to identify the special space
mony aesthetic represents a crystallization of the best of the in the room where tea equipment is set up. These folding
Japanese traditional arts. For centuries, tea masters dedicated screens are often painted in sumi-e or may display calligraphy
themselves to selecting tea ceremony articles which met cer- of a Zen statement or poetry. The subject of the painting or
tain criteria in craftsmanship. This keen scrutiny and hanging scroll often denotes the season, and in Japan there
selection among the common crafts, such as ceramics, has led are four distinct seasons. Therefore, connoisseurs collect spe-
to the upgrading of the craft arts into fine arts in Japan, and cific tea ceremony utensils and tools to enhance each season.
now they receive international recognition. An important part of the tea ceremony is that all of the
Sumi art plays a role in the tea ceremony as well. The senses are involved. Tea rooms are mostly quiet, but the

122 SUMI-E
sound of the water simmering in the cast iron kettle (the an atmosphere of tranquility and harmony. The tree trunk is
kama) is an enjoyable sound and is commonly called “pine the dominating subject on the left panel; the small branch at
breeze.” In order to create this unique and pleasurable sound the top of the left panel is subordinate and the right panel
from the rising temperature of hot water, craftsmen who make branch is subdominant. The active empty space on both of the
the kama place an additional three pieces of metal at the bot- panels gives the composition balance.
tom of the kama during the casting process. How this is
carried out is a special craft secret. As the water temperature
rises, hot water causes these pieces to begin vibrating.
Accordingly, a kettle’s value is determined by the quality of
the sound produced, just as in a musical instrument.
The screen is folded in a 90-degree angle when it is in use, and designates
This screen depicts a literal “pine breeze” by reflecting the the area in the tea room where the tea equipment sits. Meant for use in
romanticized sound of a gentle breeze in the forest, providing the summer, it prevents heat from reaching the guests.

TREES, BAMBOO, FLOWERS AND GRASSES 123

Because this painting will be viewed up close when in use as a tea ceremony screen, on this left-hand side of the panel, the pine trunk and branches with needles are
painted quite realistically. The rough thick trunk is done with a drier brush, and is created in a similar way to painting bamboo culms (see Chapter 3, page 53). Apply
dark ink at the base and tip of the bristles, with very light ink at the midsection. The excess ink should be soaked up from the brush using a paper towel. To paint the
secondary branch extending to the right, wash and reapply ink to the brush and as you move to the right, at the halfway point of the branch, leave a space then
complete the broken end of the branch. At that juncture of space, create the sweeping sub-branch with pine needles. Before the ink dries out, using dark ink on the
tip of the brush, give “definition” to certain parts of the branches. It is important to make these darker lines while the paper is still wet. The dark ink at the base of
pine needles in groups of 2, 3 or 5 marks the source of energy for the needles: use a small brush to make these dots. Then with the thinnest long-bristled brush in
your collection, paint each pine needle from the base to the tip. Each line should have lifelike energy. After completing a group of pine needles, shade the lower
part of the needles with very light ink supply a certain sense of density to each group. It is important to use darker ink for foreground pine needles and lighter ink
for the background pine needles. When the tree is completed, apply gold dust (see page 61 for techniques).

While the left-hand panel shows the foreground, the right-hand panel is meant to give the sense of height and a distant feeling. Use lighter ink to create these
branches. The individual groupings of pine needles are painted to create different rhythms. On the bracts, add dark ink as dots to balance the left and right sides
of the composition.

In black ink painting, dark ink shows strength: from a perspective point of view, The right-hand panel’s groupings of pine needles are much less dense.
dark ink comes forward and light ink moves toward the back. With careful appli- Therefore, the bracts are made slightly longer. The active empty space on
cation using different tones of ink, perspective can be achieved. both of the panels provides balance to the composition.

124 SUMI-E
In a tea ceremony room the folding
screen serves as a backdrop for the tea
equipment, set up in summer style. This
is the view that faces the host. From this
vantage point, one can see the use of
active empty space in the painting. The
cast bronze brazier and cast iron kama
are placed underneath the large pine
branch. Notice that the utensils reflect
the groupings of pine needles in the
painting: Five groups of pine needles
complement the five groupings of tea
utensils (including the waste water bowl
with dipper, partially shown at far left).

The large empty space on the left panel

was intentionally created for the kama
(cast iron kettle). Underneath the tree
trunk is space for the dipper and waste
water container. The gold dust comple-
ments the bronze brazier.

This is the overall view which the guests will see while seated in the tea room. The equipment for tea now becomes a part of the painting on the folding
screen. The concept of dominant, subdominant and subordinate is a useful arrangement in all kinds of design organization. On a smaller scale, the celadon
water jar has mass so it forms a group in the foreground with the water jar as dominant, the tea bowl as subdominant and the black lacquer tea caddy as sub-
ordinate. When the host is seated in front of the guests, a larger group in composition is formed. This concept of composition can be used to bring art into your
everyday life in many ways.

TREES, BAMBOO, FLOWERS AND GRASSES 125

Painting Bamboo

My experience in teaching university classes, especially in the Midwest, has been that
most of the students have never seen a living bamboo plant, much less bamboo growing in
groves! Therefore, in class their compositions of leaves have no life and look more like wet
socks hanging on a clothesline. The beginning of a bamboo stalk should convey the outward-
pushing energy of growth and it follows that the leaves should share that same lifelike feeling.

Since painting bamboo requires wide-to-wide strokes for ping brief spaces to create the individual joints. The artist may
the culm (or stalk) and sub-branches, and narrow-wide-nar- begin at the bottom segment’s top joint and move the brush
row strokes for the leaves, along with perhaps a few wide-to- downward to the bottom, then from the second joint move
narrow strokes for certain branch sections, it is a relatively upward to paint each higher segment of the culm. The direc-
easy subject for beginners in sumi-e. Along with learning to tion choice also depends upon the type of paper you are using.
master three basic strokes, students can learn basic elements If the paper is very thin, it is difficult to work from the bottom
of composition: how many leaves to use for a mass, how to rec- up because the bristles will catch the edge of the paper.
ognize active empty space, and so forth. At the same time, In the painting of bamboo on the facing page, you will
what appears to be a simple subject is one which a serious notice that the culm on the right has highlight and shadows
artist may spend a lifetime painting. Growth patterns, climatic all incorporated in one stroke. (See Chapter 3 for this basic
conditions . . . the variations and possibilities to be captured technique.) The bamboo culm on the left is without highlight
in sumi are endless. and shadows. Depending upon the application of ink, however,
There are over three hundred species of bamboo. Some when the brush is moved swiftly, often you find these white
species have many short sub-branches of about a foot (0.3m) sections left in your strokes. This is a desirable effect; do not
long, while other bamboo species can grow to a height of over go back and paint them black. Accept this highlight as an acci-
twenty feet (6m), with sub-branches as long as five feet (1.5m). dental gift. If your brush is overloaded with ink it will not
This wide variation in nature means that you can paint your happen, so use a dry brush. On unsized paper this effect will
bamboo freely depending only upon your composition needs. happen more naturally but on sized paper you may have to use
Bamboo can grow very quickly, sometimes as much as two a drier brush.
to three feet a night. To show this energy that emanates from If you decide to compose piano music using only the black
the joints, each brush stroke for the culm should be forceful keys, you work within the limitation of those five keys. Likewise,
and smooth at the beginning and the end. when you paint bamboo, you use only a few kinds of strokes.
It is your choice as the artist whether the culm sections The comparison between music and bamboo painting is a sim-
will be painted as successive strokes, or as a single brush ple one, but it is true that while being composed of very few
stroke beginning at the bottom and going up all the way, skip- elements, bamboo expresses many themes and moods.

B
A

To create a wide bamboo culm with highlight and shadows the renpitsu Leaves grouped in various numbers and formations are given names in the
brush, shown at bottom, will work very well. When you use a standard Mustard Seed Garden Manual. These examples often show how closely the
sumi brush, as shown at top, flatten the bristle tips, then apply dark ink at classic Chinese teaching methods for painting relate to the use of a brush
the sides to create a highlight and shadow effect. In the white spaces in writing ideograms. In A, the form of two bamboo leaves together
shown between the individual culm strokes,you will add small wide-to- resembles the “tail of a swallow in flight.” B shows three leaves in a pat-
wide lines to complete the joints (see pages 16–17). tern resembling the Chinese or Japanese ideogram kai which means “sup-
porting.” C’s leaf formation is like the sudden “take-off of geese in flight.”

126 SUMI-E
PAINTING BAMBOO LEAVES

This will give you practice using the wrist and fingertips to
make the bottom leaf point in a precise form. It may be done
1
with wrist movement, or the entire arm may go up for the final
point. (Review page 45 to see how wrist action is used for this
stroke.) Success also depends upon the type of paper you use.
For example, newsprint as practice paper is useful for getting
familiar with forming the strokes. But because its fiber content
will not show the fine variations you will be exploring below in
Row 2, you should use sumi-e paper for these.

2
Row 1: To paint the top row of leaves apply dark ink on the brush and begin-
ning at the far left, paint a continuous line of leaves. As you reach the far
right, notice the effects as the ink begins to run out.

Row 2: Wash the brush, remove the excess water, then apply light ink on the
bristles with dark ink on the tip. Beginning at the left, paint a bamboo leaf;
examine the slight variation in tone of ink that this gives the leaf.
For the next leaf in Row 2: Wash the brush, apply lighter ink and remove
excess moisture on a paper towel. Touch the point in dark ink. Hold the brush
completely upright and paint a leaf. The dark ink spreads to create the veins.
3 For the third leaf in Row 2: Use the same application of ink as for the previ-
ous leaf. Begin as usual but as you move the brush down the leaf, move the
tip along the lower edge of leaf to create the darker edge.
Far the rightmost leaf in Row 2: Use the same application of ink, but this time
gradually turn the tip to the upper edge to create the darker edge.

Row 3: Practice making a variety of bamboo leaves by applying ink in a simi-

lar range of methods.

Practice painting bamboo leaves growing in different directions. At the center Practice making bamboo leaves in groups. Whenever you paint three leaves
top is a young bamboo leaf still formed in a roll. The leaves to its left and in a group, begin with the center leaf. Then add the left and right leaves. If
right are semi-opened, and the following leaves are bent leaves. The bent you have a brush such as a choryu which is ideal for bamboo leaves, as you
leaves are, in essence, two short leaves put together: create a short leaf, lift complete the leaf the bristles will automatically return to a point.
the brush, then begin another short leaf. The key to painting a bent leaf suc-
cessfully is that the underside should show a continuous arc.

128 SUMI-E
PAINTING LEAVES ON SUB-BR ANCHES

1. First, paint a sub-branch. (Because the leaves’ 2. A common mistake is to connect every leaf with 3. Now four more leaves have been painted on
placement is crucial to the composition, once you the branch. Instead, paint leaves with a space the right side.
are accustomed to painting bamboo, you can paint between them and the branch so that you are not
the leaves first, then insert branches at the end.) limited if you wish to expand your composition.

4. Four leaves and then three leaves have been 5. Paint the background leaves in lighter ink. 6. Notice how the narrow stems connect the
painted in. leaves to the sub-branch.

7. Individual leaves are now securely connected to the branches. Remember, however, that your creation is not meant to be a detailed botanical study of bam-
boo. This is sumi-e, which uses the art of suggestion. What is important is that you have successfully suggested that this is bamboo, along with conveying the
larger message you wish to state through the painting. The artistic message is the essence, rather than realistic detail.

TREES, BAMBOO, FLOWERS AND GRASSES 129

1. Morning Breeze
Size: H = 17.75"/45cm x W = 14.75"/38 cm
Paper: Shikishi board, unsized
Sumi Ink: Standard
Category: Sumi-e

Morning Breeze is a simple composition with a stalk of bamboo balance and enhances the active empty space.
in dark ink going straight up and another stalk of bamboo at an Shikishi board is paper (either sized or unsized) pre-
angle behind in light ink. mounted on a board. It comes in various sizes, and is
The background branch of bamboo on the lower right, convenient for displaying in contemporary-style picture
painted in light ink, gives a sense of morning light, provides frames (see page 179).

130 SUMI-E
2. Hope
Size: H = 17.75"/45cm x W = 14.75"/38 cm
Paper: Shikishi board, unsized
Sumi Ink: Standard
Category: Sumi-e

Bamboo is so flexible and strong that it is almost impossible for strength of the bamboo, despite heavy damages due to the force
one powerful person to break it. But I have seen a few broken of nature; therefore the leaves are quite secondary. The open
bamboo stalks after a typhoon in Japan. From the break at the space at the right top is reserved for the future new shoots.
joint, new life in the branch will begin to grow.
In this painting, my attempt was to convey the vitality and

TREES, BAMBOO, FLOWERS AND GRASSES 131

3. Gust of Wind and Rain
Size: 17.75"/45cm x W = 14.75"/38cm
Paper: Shikishi board, unsized
Sumi Ink: Standard
Category: Sumi-e

It is an accepted fact that nature is not always peaceful and anger or distress. The branches are being blown to the left and
tranquil. Our human emotions can also change as readily. This the direction of the wind is enhanced with splashing of ink
bamboo painting symbolically expresses such emotions as across the painting.

132 SUMI-E
4. Summer Rain
Size: H = 17.75"/45cm x W = 14.75"/38 cm
Paper: Shikishi board, unsized
Sumi Ink: Standard
Category: Sumi-e

A summer thunderstorm beats the bamboo leaves down, but conveyed by borrowing bamboo as your visual vocabulary. This
when the rain stops, the branches begin to spring back to their work and the others here are only a few examples; it is clear
original positions. The complete range of emotions can be how an artist can spend many months and years using bamboo.

TREES, BAMBOO, FLOWERS AND GRASSES 133

5. Tarashi Komi Bamboo
Size: H = 19"/48cm x W = 50"/127cm
Paper: Sized, pre-mounted on a board
Sumi Ink: Blue tone and standard sumi ink, and silver pigment
Category: Suiboku-ga (tarashi komi)

One unique characteristic of this species of bamboo is that Up to this point we have used the basic technique, with
each section grows about 0.75" (2cm) in diameter and about 3 common brush strokes. Painting bamboo in the tarashi komi
feet (0.9m) in length. So from ancient times this species was technique is another kind of experience. It produces a very
important for archery because the length was ideal for con- different effect in atmosphere from the previous examples.
structing arrows. The leaves are much larger than those of The tarashi komi technique works only when highly sized
most of the other bamboos, and the husk-like sheaths at the paper is used.
joints remain on the culms.

To paint using the tarashi komi technique, you must know exactly where to The leaf has a distinct vein in the center and care must be taken to keep it
move your brush. Therefore doing a sketch of the painting beforehand, in white. First prepare a small brush with dark ink. Paint the leaf with light
very light charcoal, is necessary. Next, the outline of a form—a leaf or a ink, and while its surface is still very wet, touch the surface with the black-
stem—is painted with water or light ink to create and hold that form’s ink-loaded brush tip, almost as if you are tattooing. The black ink will
edge. Then the inner surface is painted in light ink. Finally, darker ink is immediately begin to spread on the wet surface. To control the area where
dropped on your form’s wet surface, and guided to flow to the desired the black is spreading, have another slightly moistened brush prepared to
areas. soak up the excess ink. And with another brush, gently guide the ink to
the curve on top. Continuously add dark ink along the leaf’s right edge,
then the left edge. Make sure you do not wet the center vein, even with
clear water, or it will be obliterated by the darker ink. Notice another
example of where a white line must be maintained: on the back side of the
this leaf, where the center vein connects to the bamboo stalk.

TREES, BAMBOO, FLOWERS AND GRASSES 135

Painting Flowering Plum

The flowering plum has been known as one of the “Three Princes” in the paintings of China,
Korea and Japan since ancient times. While it has been celebrated in countless paintings in the
Far East, it also has symbolic meaning and has influenced these cultures in their poetry, litera-
ture and fabric design. Although botanically it is categorized as an apricot, “plum” has been the
common terminology used for this flower for so many years that we will refer to it that way.

While the flowering plum tree’s branches begin growing symbolism for the arts: such as poetry, painting, ikebana and
in straight lines, the aged trees have a tendency to develop so on. In Ikebana, the art of arranging flowers, the flowering
gnarled and twisted shapes. It is a hardwood. The blossoms of plum is masculine and the peach feminine so they are given
five petals are simple in shape and come out before the leaves distinctively different treatment in a creative work. The flower-
in early spring. They have a heady fragrance, which can ing plum has been featured in many masterpieces in the Far
spread out for miles from a grove of trees. While the petals East. In Japan, artists in the decorative art of the Rimpa school
are still in their prime, they fall making a carpet of perfumed have used the white and pink plum trees in blossom as a
beauty. These characteristics make the “plum” symbolic for common theme on the gold background of a folding screen.
masculine beauty especially during the age of the warriors. For persons acquainted with reproductions of the highly deco-
As a counterpart, the flowering peach which blooms after the rative and stylized paintings of flowering plum on a gold
leaves have come out later in the season have similar blos- background, comparisons with the monochrome paintings in
soms in dark pink and symbolic for feminine beauty. suiboku-ga and sumi-e cannot be made. Therefore, each type
Branches are different in curvature so the trees, while hav- of art whether Rimpa or monochrome should be evaluated dif-
ing similar looking blossoms, are treated very differently in ferently, each on its own merit.

1. Pink and White Flowering Plum

Size: L = 31.5"/79cm x W = 21"/52cm
Paper: Unsized; pre-mounted
Sumi Ink: Standard
Category: Suiboku-ga

For centuries it has been said that “Sumi ink is black; yet it is emotional sensory experiences of the viewer must be awak-
not black.” While it may seem that black ink has limited capa- ened. That is the challenge that faces the creative artist in
bilities, there is a wide range in the ink tones and can give a working with sumi ink.
sense of color. In the art of monochrome, the visual color has In this first painting of the Flowering Plum, a corner of a
been eliminated, consequently it moves closer to abstraction. grove is shown. From the dark close-up branches and blos-
By stepping in the world of abstraction, the hidden awareness soms in the foreground, successively the tree limbs and
of the viewer is tapped. The color may be absent, but a sensi- blossoms fade into the background to suggest the abundant
tive viewer will discern the color. Tapping into human proliferation of white and pink flowers in a grove. This leads
capability in awakening remembered sensory responses is to the suggestion of the fragrant scent such a grove provides
unique to this art form. In a successful monochrome painting, for anyone who has experienced the luxury of being present
a sensitive viewer becomes a participant and a totality of the just at the right time.

Collection of Jerry Proffit.

136 SUMI-E
TREES, BAMBOO, FLOWERS AND GRASSES 137
When flowering plum trees grow wild, the
branches will generally grow straight; but, in an
orchard with constant pruning, the branches
eventually create unique formations. Masterpiece
paintings of the flowering plum often show these
gnarled branches, which are produced with
dynamic calligraphic strokes. In this painting, the
white blossoms are dominant and are the main
focus so they are painted with dark outlines, and
the pink blossoms are indicated by the grouped
dots. If, in your own composition, you wish to
suggest pink blossoms, paint the individual petals
with darker ink. When absorbent paper is used,
the spots will run (the nijimi effect) and have a
soft outline, but on sized paper the five dots will
be more rigid.

These blossoms are on a second year branch of

the tree (the newest branches of the season do
not bear blossoms). With sumi ink, dark tones
come to the foreground and lighter ink recedes
to the background, which helps in suggesting
perspective. Here a darker outline was used for
the foreground white blossoms and a lighter ink
outline for the background white blossoms. The
tip of this branch is very important for making
the space beyond active; notice this aspect in
the complete image on page 137.

138 SUMI-E
The direction of the blossoms should be varied, with some shown full face and others painted as side or back views. Also include buds, which
help to create a sense of rhythm in the composition.

TREES, BAMBOO, FLOWERS AND GRASSES 139

140 SUMI-E
2. Aged Flowering Plum The unusual composition for this painting came from a find in
my sketchbook, an image which I had drawn years ago in a
Size: 31"/79cm x W = 20.75"/53cm plum orchard in Japan. This amazing aged branch caught my
Paper: Unsized, pre-mounted on a board attention as I noticed its gnarled scars from decades of struggle
Sumi Ink: Standard with the elements, with its two flowering branches and even
Category: Suiboku-ga new and tender young shoots in close proximity. The scene
seemed to capture the trials and beauty of life.

Collection of Dr. and Mrs. Richard Morimoto.

Close examination of older branches shows that A dynamic calligraphy-like stroke is used to create For the two young shoots, use darker ink for the
they develop sharp thorn-like extensions. These the aged but living branch. When the background shorter one in front and lighter ink for the taller
extensions provide a wonderful visual contrast to tree limb was formed, a space was left for the one. After the lines are completed, use a thin brush
the circular flowers. blossom cluster on the larger foreground branch. with dark ink to add the supporting outlines, sug-
gesting new leaf buds.

The toughness of the old branch is first painted

with a drier brush to provide texture with each
stroke. Yet it is from this brittle and seasoned limb
that new shoots will break through the bark. So to
enforce the compelling energy there, dark ink is
added at the base of the new growth.

TREES, BAMBOO, FLOWERS AND GRASSES 141

142 SUMI-E
3. Fragrance of Plum under the Moonlight
Size: H = 31"/79 cm x W = 21"/53 cm reflected sparkle of the dew, I used light ink to surround the
Paper: Unsized, pre-mounted on board flowers, then gradually intensified the darkness of ink, while
Sumi Ink: Blue tone at the same time remaining fully aware of direction of the
Category: Suiboku-ga moonbeams.
The moon that evening was full and the sky was clear, but I
felt that mistiness and drifting clouds were a necessary addi-
A mysterious force almost seems to beckon when the flower- tion to this scene. The traditional Japanese sensibility often
ing plum is in full bloom, especially at night. Dew-covered defines “true beauty” as that which surpasses perfection. In
and glistening in the stillness of moonlight with the higher the Zen-related arts this type of beauty is called wabi-sabi, a
humidity in cooler temperatures, the blossoms release a fra- term that means imperfect or rustic beauty, including beauty
grance that permeates the atmosphere. Who can resist the in simplicity. Correspondingly, instead of the full moon being
call of such resplendence! This is the scene which enticed me painted with clarity, here it is partially covered with drifting
out to a moonlit garden to sketch this painting. How does an clouds and symbolically refers to the evanescence of all life.
artist capture and present all of these in black ink—the deli- Studies have shown that scent is one of the most vividly
cate moonlit beauty, the ambrosial scents and the depth of retained sensations in our memories. My intention was to
feeling that such a scene evokes? have the profusion of the blossoms gradually fade in the back-
Without the tool of color to create the depth that moonlight ground to expand their aura, and hint of their abundant
produces, a depth that almost seems to lift the flowers in the fragrance.

Because here the blossoms are painted more as a

suggestion in formation, compared to the more
detailed flowers in the previous flowering plum
paintings, the tree trunk is given more emphasis
in contrast, with the glow of the moonlight on
the upper side and a darker shade underneath.
The broken branch adds compositional contrast.

In order to evoke a sense of fragrance with this

painting, each blossom is shown as fully opened,
using very light ink. The length of the stamens
and pistils signifies that these blossoms are clearly
matured. Forming the blossoms themselves is less
important in this work.

The Mustard Seed Garden Manual, first published

in China during the seventeenth century, describes
how to paint the form of a blossom from every
angle. Knowing this level of detail about a subject
is important, since it allows you to hold a clear
image of your subject in your mind even if in your
actual painting (as here) it will only be vaguely
suggested. A total and clear understanding of the
subject is important before moving on to simplicity
and abstraction.

TREES, BAMBOO, FLOWERS AND GRASSES 143

Painting Lilies

Beautiful flowers abound on this planet, but among them the stargazer lily is outstanding
for its size, rich color and fragrance. The stargazer lily is a good subject for us to focus on to
explore the age-old question: Color or monochrome? There are two schools of thought on how to
approach the study of painting in the traditional arts of Japan.

An artist may spend a lifetime creating solely in one media My own training began with the very traditional outline
or the other. However, if an artist should make a transition system and with using color; later I moved into the world of
between the two, should he/she begin artistic activity in color monochrome. It is for this reason that I am including some
first, then move over to sumi as the next stage in creativity? color painting in this book. The first example of the stargazer
The reasoning behind this approach is that unless one has lily as subject, at right, is painted in traditional Japanese style.
full capacity in sensitivity to color, it would be difficult to proj- My Buddhist philosophical background is that all life is evanes-
ect or suggest color in monochrome painting. The other school cent and all forms continue to change. The brief glory of the
of thought is that monochrome artists should begin with the stargazer, too, passes in a few days and the black mist is the
use of sumi and should not be involved with color. message that life and death are very much parts of a brief cycle.

1. Stargazer Lily in Gold Paint

Size: H = 19"/48.2cm x W = 19"/48.2cm
Paper: Sized, mounted on board
Sumi Ink: Standard, with Japanese color pigments and gold
pigment
Category: Traditional Japanese painting

After painting this stargazer lily using the tarashi komi technique As we explore the following pages, you will note a difference
(see page 148), I was still haunted by the flower so this time I here in the fully opened flower on right bottom, compared to
decided to focus on its color and the formation of the blossom. I its depiction in the tarashi komi painting for instance. The
used traditional color pigments, gold pigment and black ink. The individual petals in this painting are now beginning to reach
background is painted with gold pigment, an aspect often seen maximum fullness with more curves. The blossom is now
in Japanese decorative art. The flowers were outlined in light past its prime; the side view represents the present and the
ink, then filled in with color, which is a common technique for bud above is the future.
this art form. As a final touch the outline was reinforced.

Collection of Don and Naida Disney.

144 SUMI-E
TREES, BAMBOO, FLOWERS AND GRASSES 145
2. Stargazer Lily in Traditional Japanese Style

Size: H = 34"/88cm x W = 23.5"/60 cm

Paper: Special handmade paper stretched on board
Sumi Ink: Japanese traditional pigments, black ink and gold
pigment
Category: Traditional Japanese painting

Like most artists working in color, during my initial training

in painting I was taught to use sumi techniques simply to
make outlines in my paintings. But in this painting, the influ-
ence of sumi techniques is obvious both in the foreground
and the background.
The black mist was created with traditional Japanese pig-
ments, applied after the rest of the painting was completed.
Japanese pigments are made from natural materials of various
kinds, such as seashells and minerals, which are ground into
various grades from the roughest to the finest. By using pig-
ments which are rough as sand, you can achieve effects of
transparency and layering. For this black mist, sand-like parti-
cles of obsidian were mixed with animal glue, and the
pigment was then painted over some areas. Sumi ink cannot
be used to create such overlapping effects; the result would
not be transparent.
This flower stem came from my garden, where it dominated
the scene with its rich beauty while its fragrance permeated
the entire area. As many as ten blossoms could be found on a
single stalk. The power of the stargazer seemed to urge me to
paint it, and I studiously began to sketch the formation, the
angles at which the blossoms faced and the stage in maturity
for each blossom. As I meticulously sketched, the flowers them-
selves became deeply ingrained in my memory system.
Relying upon a Japanese sense of beauty, I limited the number
of blossoms to cover the whole range of color that I found among
the stargazers. Because each flower itself is so rich in color, more
than one blossom in full color would be overwhelming. Therefore
only one flower actually faces the viewer. My philosophical belief
that a painting should express the concept of the past, present
and future creates the foundation for my composition. The tight
bud is the future, the half-opened flower is the present and the
fully opened blossom represents the past.
The fully-opened flower suggests the richness in color of the
stargazer; a few petals are in red so that the viewer’s eyes will be
drawn toward the center of the blossom where they might sense
the remarkable fragrance of the stargazer. As described earlier
concerning Fragrance of Plum under the Moonlight, my challenge
was how to present the stargazer in totality so that even the fra-
grance was a part the painting.
My mentor always said: “Anyone can paint an apple, but a
true artist offers the taste of the apple as well. Anyone can
paint flowers, but can the artist capture the sense of fra-
grance?” This has been my challenge of a lifetime.

146 SUMI-E
Sometimes the rich gold (or silver) of pigment cre- In contrast to the full light on the blossoms, parti- When you purchase lilies from the florist, their
ates a quiet background, until the source of the cles of fine obsidian pigment are used to cast the pollen-loaded anthers have likely already been
light or its angle changes, when it can suddenly shadow of impermanency. The nature of the pig- removed. But in a painting on the subject of lilies,
dominate the painting. Here we see full light cast ment allows for the creation of unique effects the stamen is an important source of information.
on the gold background. which cannot be obtained with sumi. The color of the anthers and the direction, length
and angle of the stamen convey the age of the
blossom.

The surface of the stargazer’s petal has a vivid and

an almost bewitching color which seems to seep
through to the back of the petal. As the flower
matures and is fully opened, small “obtrusions” of
black add to the color.

TREES, BAMBOO, FLOWERS AND GRASSES 147

3. Stargazer Lily in Tarashi Komi Technique
Size: H = 18.5"/47cm x W = 13.5"/34cm
Paper: Sized, pre-mounted on board
Sumi Ink: Standard
Category: Suiboku-ga (tarashi komi)

After completing some works of the stargazer in

color, we now turn to monochrome, and this next
painting has fewer flowers on a stem. While this
painting is in monochrome, I again hoped to cap-
ture the full essence of the flower. My decision
was to use a combination of the traditional sumi
techniques with the tarashi komi technique.
The blossoms and buds were painted first in
the traditional manner. Then, to create the total
essence of the lily including scent I used the
tarashi komi technique for the background and
the leaves, hoping that the variations especially
in the leaves would add a very organic feel. I wet
the surface of each leaf, carefully avoiding the
white rib, and applied the darker ink to result in
tarashi komi’s marbling effect. Then, for the
background, keeping the flower, buds, stems and
leaves from getting wet, I began by painting light
ink around the buds and blossom. Darker ink
was then gradually applied.
Without use of color, it is difficult to recreate a
sense of the vivid colors of the stargazer. Suiboku-
ga and sumi-e do have limitations and this
stargazer looks more like a white Casablanca lily.

Collection of Harry and Diane Breen.

Left: To create the total essence of the lily including scent in black ink, I used the tarashi
komi technique, hoping that the variations especially in the leaves would add a very organic
feel.

148 SUMI-E
4. Stargazer Lily in Sumi-e
Size: H = 13.5"/34.5cm x W = 16.5"/42cm
Paper: Unsized
Sumi Ink: Blue tone
Category: Sumi-e

After completing the series of several stargazer paintings, I minimal strokes of sumi-e. It took less than five minutes to
cleared the blossoms and the sketches from my studio. I also complete, and serves as the summation of my artistic journey
cleared my mind of all those images of the stargazer. This with the stargazer.
painting is my creative expression of the stargazer done in the

TREES, BAMBOO, FLOWERS AND GRASSES 149

5. Calla Lily in Tarashi Komi Technique
Size: H = 14"/35 cm x W = 8.5"/21.5cm
Paper: Sized, pre-mounted on board
Sumi Ink: Standard, with gold dust
Category: Suiboku-ga (tarashi komi)

Calla lilies with thick petals in immaculate white are shaped and to use it to full advantage, you must have a clear vision
like conch shells. A large yellow stamen protrudes from the when beginning on how you wish to compose the painting. If
center and the blossom is supported on a long succulent you have this solid foundation, you can enjoy and incorporate
green stem. The curvaceous and irregular forms of the leaves the unexpected results as enhancement.
provide a dramatic contrast to the flowers, making them an When the flower and the leaves were completed and the
intriguing subject for painting. painting was dry, the background was moistened with water
This calla lily composition was first sketched onto the and then painted with medium ink. This technique was used
board. For the technique for transferring an outline of the to make the whiteness of the calla stand out. Note the curved
final composition onto a mounted board, refer to Steps 1-3 on tip of the blossom. It is very important to carefully protect the
page 158. tip from contact with any moisture during the process.
Because the flower petal is so smooth and white, only a As the final touch, gold dust was applied to the petal tip
slight texture was added. (Be aware as you work to keep it and the veins of the leaf for an added accent. (See Chapter 3
slight.) Paint the leaves with water, then drop dark ink in the for techniques for application of gold.) The gold for the stamen
desired places. It is very important to control the spreading of was applied using a dotting technique, to help suggest pollen,
dark ink so the white outlines of the flower will remain intact. and it provides contrast with the smooth surface of the petal.
The tarashi komi technique is marked by unexpectedness,

During the tarashi komi technique, it is important to ensure that crisp details,
like the curved tip of the blossom, remain moisture-free.

150 SUMI-E
6. Calla Lily in Suiboku-ga
Size: W = 35.5"/91cm x W = 26"/66.5cm
Paper: Unsized, pre-mounted on board
Sumi Ink: Standard with gold pigment and gold dust
Category: Suiboku-ga

After completing a series of sketches of calla lilies, I reassem- Reapply dark ink on the bristles’ tip and complete the
bled different leaves, flowers and buds into a composition for lower part of the first leaf, again almost as if stamping. To fin-
this painting. I made a sketch of my composition in the size ish the first curve, bring the tip of the brush up to complete
that the finished painting was to be. This was transferred to the leaf. For the next leaf up, showing the side view, begin at
the unsized paper, mounted on a board since the added sup- the tip and complete it in one continuous stroke. In painting
port would allow the brush to be moved more freely as I the leaf pattern, the brush moves up and down.
worked to capture the sense of the life force of the flower. (For The leaf stems are created in much the same manner as
the technique for transferring an outline of the final composi- painting bamboo. Wash the brush in water, flatten it, then
tion onto a mounted board, refer to Steps 1-3 on page 158.) apply dark ink on either side of the flattened tip; beginning at
Begin with the lowest leaf on the right, using a large brush the bottom, move up and when reaching the leaf blade, lift one
about an inch (2.5cm) in diameter. Apply ink to the brush in side of the brush so only one line shows the support for the
the traditional manner: rinse it in water, then apply light to leaf. While the ink is still wet, add the additional protrusions
medium ink at midpoint and dark ink at the tip. Using the tip on the stem. If necessary, some of the outlines can be rein-
of the brush, begin at the tip of the leaf, then gradually flatten forced with a smaller brush. If the painted surface dries, it is
the brush, moving to the left almost as if you were stamping important to add a little moisture by misting with a spray bot-
the leaf pattern. Toward the end of the stroke, the dark ink tle, then removing the excess moisture with a paper towel
will fade out and light ink and water take over. before you make any additional strokes such as leaf veins.
The stems for the flowers are painted in a similar way to
the leaf stems. The budding flower stems have side-view
flower petals in front of them, so these must be covered with
protective paper. (To see how this is done, refer to page 59.)
The outline technique is ideal for painting the single petal
of the calla; I used a gray outline. Notice that the petal has
been outlined with a line that varies in thickness to give a
better sense of a three-dimensional effect.
After all of the leaves and flowers have been completed the
gold centers are applied. (See Chapter 3 for techniques for
application of gold.) Traditionally, color is avoided in sumi-e or
suiboku-ga but gold or silver are acceptable. In this case gold
dust is used to add richness in the painting.

Calla lilies have broad succulent stems, so it is important to suggest that

characteristic with sumi.

152 SUMI-E
Painting the Shobu Iris

There are many species of iris in Japan, but the two species most commonly used
in the arts are the ayame and the shobu. The ayame iris has smaller blossoms, between two
and three inches (5 and 7.5cm) in diameter with a color range from deep to light purple. The
leaf blades are wide, and are curved and short. The other frequently used iris is the shobu,
which is often referred to as the Japanese iris. It is a tall iris with leaf blades and stems that are
over three feet (1m) in height and it bears large flowers. Because the stiff leaf blade’s form
resembles a Japanese sword, the shobu iris is a traditional symbol for masculinity.

it, paying close attention to the tip of the bristle to see how it
1. Shobu Iris in Sumi-e is forming the outline of the petal. Then, beginning on the
right side, finish the petal by moving downward in a second
Size: H = 10.75"/27cm x W = 8.5"/24cm
stroke. Because the shikishi board for this painting is small
Paper: Unsized, on shikishi board
and the blossom dominates, notice the way the leaf blades are
Sumi Ink: Standard
not given emphasis.
Category: Sumi-e
This painting was completed in less than two minutes,
formed from a crystallization of the shobu image held in my
memory. Strokes were minimized so the active empty space
Most flowers in their bud stage have petals which are tightly
could be enjoyed.
overlapped. The shobu iris is unusual in that when it is in bud
state the petals are crushed together within the sepals, and
when the petals break out of the covering, similar to the wings
of a cicada, the crinkled petals begin to unfold. Once they
unfold, the petals become completely smooth. But the outline
of each iris petal is not a smooth circular line (like a rose
petal’s for instance) until the flower is completely mature;
until then jagged edges can be seen, so while the brush is
moving, be sure to add vibrations to show this.
Load the brush with water first, then apply medium dark ink at
the bristles’ midpoint and dark ink at the tip. Each time the brush
is loaded with the three tones, it is best to press the brush head
on a plate or palette and vibrate it a little, so the tones within the
bristles will blend.
Each petal should be painted in a two-stroke movement.
Begin with one side of the petal, holding the brush with the
The crown petals are given additional strength and prominence by flatten-
water-loaded end in the center, and move down to create the ing the bristles and using them in a “pressing down” manner, so it is crucial
first half of the petal. Vibrate the brush slightly as you move to apply the proper amounts of water, light and dark ink.

154 SUMI-E
TREES, BAMBOO, FLOWERS AND GRASSES 155
2. Shobu Iris with Silver
Background
Size: W = 31"/79cm x L = 22"/55 cm
Paper: Unsized, pre-mounted on board
Sumi Ink: Traditional Japanese pigments, with
standard sumi ink in background; silver paint
sprayed on background
Category: Traditional Japanese painting

This painting of a shobu iris which grew in my

pond symbolizes opulent masculinity.
Before the flower was painted, I used a hand
sprayer with light sumi ink in blue tone to spray
the background. Then I immediately remoistened
the surface by spraying on clear water, thus cre-
ating the texture.
A spray of silver pigment was applied with the
use of mesh and a toothbrush (see page 56). Gold
or silver pigments require specific directional light
rays for reflection, but when conditions are right,
they can give unexpected pleasure. Under certain
light conditions, horizontal lines in the lower part
of this work suggest mist above the water surface.
The basic difference between western water-
colors and traditional Japanese pigments is that
the Japanese pigments have a more pastel effect
in color. Western watercolors are transparent and
are more vibrant. However, adding Chinese
white to western watercolor paints makes them
opaque, and more similar to traditional Japanese
pigments.
Even though I was using very fine traditional
Japanese pigments instead of black ink, the
brush was loaded in the same way as for the previ-
ous sumi-e painting (page 154). Instead of water,
white pigment was used; instead of black ink, pur-
ple pigment was used. With light purple at
midpoint and dark purple at the tip, I painted the
large center petal with two strokes, as described
on page 154. All of the other petals were created
by using one continuous stroke. After completing
three of the major petals, I added the back sides
of the petals with light purple. The crown petals
were created by using a “pressing” technique. In
creating the petals, remember after making con-
tact with the paper to vibrate and jiggle the Above: A characteristic of the shobu iris is that the petals
brush as you move, to create the petal patterns are very thin and the three outer petals drape out. The
three center petals remain upright and are accompanied
which are finely wrinkled just after opening. by three smaller “style” arms.
After the petals are completed, add yellow to
Right: The green buds and stems were created in basic
the bases. Finally, after the petals are dry, use
sumi brush strokes. An orange tint was added to the
opaque white to paint in the veins of the petals. edges of the leaf blades.

156 SUMI-E
3. Shobu Iris in Tarashi
Komi Technique
Size: H = 23"/58.5cm x W= 17.25"/43.5cm
Paper: Sized, pre-mounted on board
Sumi Ink: Blue tone with gold dust and gold leaf
Category: Suiboku-ga (tarashi komi)

As we have seen previously, the tarashi komi

technique can give the effect of ornateness
because it is not painted in a one-stroke style. It
is as if the artist is “tattooing” a variety of tones
of ink to the surface water floating on the paper.
Plenty of time can be taken to contemplate the
effect of the dark or light ink. This composition,
similar to Stargazer Lily in Traditional Japanese
Style (page 146), has blossoms that represent
the past, present and the future. The center
flower is semi-opened, so its crown is still unde-
veloped and the petals have not fully opened.
The fully opened blossom was accented with
tarashi komi to enhance the sense of dark pur-
ple. After it was semi-dry, a few darker lines
were added to the edges of the petal and in the
center. On the back sides of the petals, light gray
was added along with light gray lines. The
tarashi komi technique provides interesting
organic patterns in dark and light ink, so veins
were omitted because they would disturb the
patterns.
Standard ink gives a brown tone when
diluted—not so suitable for an iris. One of the
advantages in using high quality inks, whether
in liquid or stick form, is that they are sold
labeled with their special tones. This means that
when very dark ink is used, the ink will convey a
sense of, in this case, purple. The ink tone adds
a new dimension to a painting in monochrome.
In this painting, the gold leaf and texture
echoes the tarashi komi effect. (See Chapter 3
for techniques for application of gold.)

Right: The bud hints of growth day by day. This bud is just
about ready to open up. Because the tarashi komi tech-
nique is used, the jagged lines of the folded texture
become secondary here; thin lines simply suggest them.

Far right: Incorporating the natural formation of your sub-

ject is important. Shobu iris usually have a group of five or
six leaf blades to form a base in the water, but the main
blades are assembled three in a unit. These blades grow
straight up to about three feet (1m) long and they have a
claw-like tip that turns inward.

TREES, BAMBOO, FLOWERS AND GRASSES 157

1. The first step is to make a sketch with your 2. The back side of the original sketch is smeared 3. Then with a glass pen or a soft number 4-B pencil
brush. Notice that here the crown petals of the with a stick of artist’s charcoal so the sketch can (do not use ballpoint pen because it might cut
lower blossom are already past their prime, while be transferred. Place the sketch very carefully through the paper, and it also leaves a permanent
in my final sketch (see Step 3) the crown petals down on the pre-mounted paper with the charcoal mark) trace the entire sketch onto your prepared
are upright—I switched to a younger blossom. side down. board. Once you have gone over the entire sketch
with the glass pen, lift your sketch off the board:
you will see your sketch marked in charcoal. Proceed
to make a complete outline in light ink.

4. With water on the brush, wet the paper where 5. Immediately add the darker ink; it will start to 6. Add water to the dark ink section.
you will paint with ink. Stay within the outline, run in any area where the paper is wet.
leaving a small dry space between each section.

7. Notice the ink’s flow into the wet area. 8. To the right side of the petal, add dark ink. 9. Dark ink has now spread over the entire right
side of the petal.

10. Extract unwanted dark ink with a paper towel. 11. After the ink is extracted with a paper towel, 12. In that way, wherever it is needed, a brush or
By touching the corner of the paper towel to the the leaf will show highlights of the petal. paper towel can be used to soak up unwanted ink.
area, the ink will be soaked up. Continue by adding water to the crown petal.

158 SUMI-E
13. Dark ink is added from the outline side and the 14. The other side of the crown petal is treated in 15. Continue the same process: water first, then
ink seeps in. the same way. dark ink on the crown petals.

16. Paint the petal on the left with water. 17. Add dark ink. A small and dry mountain horse 18. Add water to the underside of the petal on the
Remember to always leave a small dry space hair brush with bristles spread apart is being used left.
between each area. to guide the ink.

19. Repeat the same process with dark ink. 20. The petal to the right follows the same treat- 21. In the tarashi komi technique you are “enjoy-
ment in steps. Remember: the back side of the ing” the interplay of water and ink and the effects
petal remains white until later. Because the back that are spontaneously created, so you should not
side will be done in light ink leave a thin dry strip use a hair dryer to hurry the drying process. That
along the border or the dark ink will seep into it. may make the ink run in the wrong direction.

22. Instead, be patient. While waiting for one sec- 23. Once a leaf has been moistened, immediately 24. Repeat the same process on the next leaf.
tion to dry, begin working some other section, drop dark ink in selected places. Guide the ink
such as a leaf. with another brush to create the effects you wish.

25. When the paper is dry, it will be safe to add

dark lines to the petals to complete them. Add dark
ink to identify the veins and the creases in the
petals.

If your hands touch the surface of the paper, the

oils left behind will affect the spreading ink.
Always use protective paper wherever you place
your hands on your work.

Continue the tarashi komi process, step by step, to

complete the painting.

TREES, BAMBOO, FLOWERS AND GRASSES 159

Painting Grasses

Unlike the usual subjects that are given dominant positions in paintings—trees, flowers,
mountains, rocks, water—grasses most often are painted to give accent and flavor to a work.
This project shows how to paint pampas grass in a simple way that suggests the gradual change
of summer to autumn.

When painting narrow-wide lines for grasses, the length of This is a painting on a door with stainless steel handles. The
the grass blade you plan will determine the amount of ink to top of the door shows a large sun low in the horizon as evening
load at the tip of your brush. As the brush moves down, the approaches. The rolling meadows at the bottom are made using
ink will become lighter; a very useful result, especially if the three different tones of yellow-beige paper. Ornamentation with
blades are overlapped at the base. Creating a leaf bend or traditional gold leaf and dust was the final step for A Setting
twist (see page 128) is useful at times. You must use your dis- Sun in Autumn.
cretion to avoid monotony.

A Setting Sun in Autumn: Painted Door

Size: W = 36"/91.5cm x H = 80"/203cm very light distant blades of grass were added to hint of mist in
Paper: Sized, mounted on birch hollowcore door; beige papers an autumnal sunset.
Sumi Ink: Standard, with gold dust and gold and silver leaf The two lighter yellow-beige background papers were glued
Category: Sumi-e inspired on next: a “line in water” was created on the beige paper in
the desired contour, and it was torn along the wet lines, then
glued onto the door. After the paper dried completely, the fore-
First, white butcher paper, which is sized, was glued on a reg- ground pampas grasses and the plume were painted. When
ular door of birch wood with a hollow center, using wallpaper the painting was completed, the final darker beige paper was
glue. (Unsized paper can also be used, but the glue will auto- glued on, to cover the base of the grasses.
matically size it, unless it is very thick paper such as double The oldest blades in the foreground are the most mature, so
or triple weight. Then some of the effects of unsized paper will they should portray toughness and strength. These are wide-
remain, such as nijimi.) narrow strokes. Brush movement begins at the bottom, with
Before painting the foreground, a wash of very light gray was proper control of the ink. This control—of the amount of ink on
applied with a wide renpitsu brush (see Chapter 3, “Brushes”) to the bristles based on the stroke length required—is very basic
provide a sense of depth. While the surface was still wet, the in the study of sumi-e.

160 SUMI-E
Gold dust was applied on the center right, and
aged silver combined with aged gold leaves were
used on the foreground paper to hint of the reflec-
tion of sunlight on the mist.

Because the gold dust is a suggestion of mist on

the ground reflecting the sunlight, it is applied in
horizontal strata. Darker gold and silver were used
to suggest shade.

Since this is autumn, the plumes are feather-like

and soft.

TREES, BAMBOO, FLOWERS AND GRASSES 161

CHAPTER 6
Innovative Uses for Sumi-e
Recently in architecture, the flexibility of the traditional Japanese home is being recog-
nized anew and is making a comeback in today’s homes. As many generations of Japanese can
attest, having “walls” that can be removed to create a larger space is a convenient alternative.

Using movable walls to provide a larger room when needed paintings on the large surfaces that screens or sliding doors
is an idea that stands the test of time. Many Victorian style provide. Depending upon the tastes of the owner, the paintings
homes in the U.S. also have sliding doors between rooms; might be in monochrome or color; they were sometimes gilded
however, they are usually made of heavy wood. The traditional in gold or silver.
Japanese screen, on the other hand, is a lightweight frame with For creating adjustable space in a house, office or apart-
a grille covered with paper. On occasion, these screens called ment, incorporating Japanese style screens or sliding doors
fusuma, light in weight and large in size, may even be com- might be an answer. Lightweight, sturdy sliding doors and
pletely removed. screen surfaces can be made out of plywood backed with a
Throughout the centuries, it has been the custom to have frame to stabilize and strengthen them.

1. Creation of the Universe: Sliding Doors (Fusuma)

These sliding doors, or fusuma, were created for a tea cere- wood. Ornate metal handles serve to open and close the
mony room in which a table and chairs would be used instead doors.
of the traditional practice of sitting on the floor. Behind these The basic patterns of the entire work were completed in a
sliding doors is a closet to hold tea ceremony equipment. few hours with water and sumi ink. It is highly important that
The main focus for the tea ceremony guests should be the the surface of the paper have a thin layer of water on it so that
equipment displayed on the table, like the tea bowl, the lac- the movement of light ink can be manipulated in the desired
quered tea caddy, the porcelain water container, and so forth. directions. Also the panel must be completely level, flat hori-
Since the fusuma doors are to serve as a backdrop for the tea zontally, so that the ink will not move by itself in undesired
ceremony, a realistic painting of nature would pose a distrac- directions.
tion. Instead, a more abstracted, nebulous image was created Remember that the artistry of the tarashi komi technique
with the use of the tarashi komi technique. After the painting is an attempt to control an uncontrollable situation. The test of
was completely dry, gold dust and crushed gold leaves were your success is this: when the painting is completely dry, how
added to complete the work. natural does the effect appear to be? Although tarashi komi
Sized paper in a light beige color was stretched on birch results from a random process of movement, the work is suc-
plywood upon which butcher paper was glued first as a base. cessful if it appears as if it was planned 100%. That is the Zen
Gold brocade acts as a border, framed in black lacquered way of painting sumi art.

164 SUMI-E
C O M P O S I T I O N O F L A RG E WO R K S
The large spaces that doors and folding screens offer—perhaps as large as seven feet (2.1m) in height and four feet (1.2m)
in width—allow an artist to savor the challenge of creating large works of art. Just as with monochrome paintings of
smaller size, planning the composition is essential. The function of the screen and the room should be a consideration in
determining both the composition and subject matter for the painting. In this case, the screen was to serve as a backdrop
to the tea ceremony. With the many tea equipment items on display in front of it, a realistic painting of nature, for instance,
would be a distraction. This more nebulous composition serves the purpose well.

I N N O VAT I V E U S E S F O R S U M I - E 165
First a background of clouds and smoke-like atmosphere is created. Next the When the tarashi komi technique for the background has dried, horizontal
sun is painted with 24 karat gold powder mixed with animal glue, and after patterns are created with the use of crushed metallic leaves, accented with
that, the golden mist of crushed gold leaf is added. red-gold leaf. (See Chapter 3 for gold dust and leaf application techniques.)

To create the effect of exploding gasses, light ink is sprinkled over the wet To create the lower part of the same scene which shows the nebulous clouds
surface of the paper and a cool hair dryer is used to move the ink in the of exploding gasses, reddish metallic dust is applied to highlight the lower
desired direction. If necessary the ink can be directed with a dry brush. right side. Diluted Chinese white pigment is used with a touch of glue to
Because the background paper has some color, the light ink, although gray, bring emphasis to the lower section. The very dark ink floating on the sur-
provides a completely different effect. face of the water is guided with a dry brush to create patterns.

166 SUMI-E
This is the very top center of the right panel. After the background is dry, the This is a detail of the panel on the right. Motion of gasses is created by using
secondary sun is painted with gold powder mixed with animal glue. The hori- tarashi komi.
zontal clouds are created with gold dust and a touch of watery Chinese white.

The nebulous atmosphere is created, while there is still water on the surface At the left bottom corner of the right-hand panel, on very wet paper, light
of the paper, by applying light sumi ink. Then dark ink is splashed down sumi ink is splashed quickly; then a cool hair dryer is used to move the ink
forcefully and the shock vibrates it to create the explosive effect. After the from right to left in one direction. After the motion of gasses is created, dark
surface is completely dry, again use watery Chinese white with glue to give ink is added for gasses at the lower part. Metallic dust is then applied. Finally
added accent. watery Chinese white mixed with glue is added.

I N N O VAT I V E U S E S F O R S U M I - E 167
2. Flexibility in Composition: A Four-Panel Door
Space in traditional Japanese homes was divided into smaller The fundamental concept in composition is to have domi-
standardized spaces with sliding walls. These convenient nant, subdominant and subordinate components in a painting.
walls, or fusuma, provided an ideal “canvas” for paintings. This design concept must be honored in fusuma whether the
The four panels of the fusuma form a unit. Each panel has panels are closed or open. When all panels are closed, as
gold-rimmed handles to move the panel left or right. Usually above, the spiritual mountain in center right is the dominant
the handle is placed lower than midway, so that it will slide subject, the mountain on the left panel is subdominant and
more easily. The handle must be incorporated as part of the the pagoda is the subordinate subject. Normally the two cen-
screen’s overall composition. ter panels are the ones used for opening and closing.

168 SUMI-E
When the center right panel is opened and is hid- When both center panels have been opened, the When the left center panel is opened, the moun-
den, the mountain becomes the dominant subject; composition remains the same as in the configura- tain on the left is dominant because it is combined
the pagoda is subdominant and the rock island tion we saw at left. with a dark hill, the spiritual mountain is subdomi-
becomes the subordinate subject. nant because it no longer has the supporting low-
lying hill and the pagoda is subordinate.

I N N O VAT I V E U S E S F O R S U M I - E 169
3. Sliding Doors to Hide Utility Area

Because the utility area includes a sink and a washing

machine, the materials for this painting must be water-resist-
ant; sumi will not do. In place of sumi ink, which is
water-based, a black lacquer paint in an oil base was used.
Turpentine was used to dilute the lacquer. The painting was
done not on paper, but directly on the white birch plywood.
First the plywood was treated with an off-white weathered
wood stain. Because the plywood has a beautiful grain, the
whitewash was used to stabilize the natural wood’s color so it
would not turn to a darker color in a few years. The whitewash
is minimal enough to allow the beauty of the natural wood
grain to show. To give greater stability, the plywood was
mounted on frames with crossbars behind.
This three-panel sliding unit can pushed right or left
according to the need of the hour, so the composition was
designed to be interchangeable. Panel A is dominant, Panel C
is subdominant and B is subordinate. Usually, when seen from
the other room, it is Panel A that is in view.
The theme is one very traditional in Japanese paintings,
that of morning mist reflecting sunlight. The painting’s sub- A
jects all came from sketches of plants growing in my garden:
bamboo, calla lilies, day lilies and astilbe. There is a skylight
in this small space and sunlight reflects on the gold leaves to
give vibrant energy to the painting depending upon the
weather and time of day.

170 SUMI-E
B

I N N O VAT I V E U S E S F O R S U M I - E 171
A

B
C

This three-panel sliding unit can pushed right or left, so the composition was designed to be interchangeable no matter what the relative
position of the three panels is. Above is the second possible configuration of the panels.

A
B
C

The panels in the third configuration. Notice that Panel A is dominant, Panel C is subdominant and Panel B is subordinate.

172 SUMI-E
The sliding doors are for a utility area, so they White lacquer colors the calla lilies and astilbe, While the lower part of the bamboo is totally
must be waterproof. Plywood is the base, and and yellow lacquer is used for the day lilies. exposed, the upper part is covered with mist.
rather than sumi, lacquer is used for the art. Although bamboo is a popular subject for sumi
work, rarely is the entire plant painted. If you wish
to paint it in its entirety, note that bamboo is usu-
ally 15 to 20 feet (4.5 to 6m) tall.

Each section at the base of the bamboo is much The bamboo were painted with the technique of To paint bamboo shoots, begin at the very top;
shorter; as the stalk grows, the sections grow using dark ink on both ends of the brush (see page lower the bristles to gradually make the shoot
longer. At the very bottom, notice the roots extend- 53). This close-up of the lower part of the bamboo wider. Use a brush prepared with dark ink at tip
ing out into the ground. In the section above that is from Panel C. Instead of smooth upright lines and lighter ink at the bristles’ base. The very bot-
you may not see roots, but will see the small begin- for the bamboo culms, notice that many irregular tom husk is painted in the darkest ink to create a
nings of roots emerging. That is why the black dots joints in the stalk were made. If you visit a bam- sense of stability in the shoot. For the final touch,
are added. After five or six sections, each section boo forest, this is quite a common sight. (See page use only the tip of your brush to create the very
becomes longer and more stable in length. 126 for basic techniques for painting bamboo.) ends of the husks for each section.

I N N O VAT I V E U S E S F O R S U M I - E 173
4. A Folding Screen

Folding screens have been part of the traditional Japanese

way of living for centuries. In earlier times, before the advent
of central heating, large rooms in residences would often be
cool and breezy. It was common practice to use screens to
enclose a smaller, more intimate space, such as sleeping quar-
ters. Screens were often covered with gold or silver because
those metals would amplify the reflected light from oil lamps
or candles. They were also used as decorative backgrounds for
special occasions. This practice continues today in Japan; for
governmental and public festive occasions, for instance, plain
gold screens are used as a backdrop.
Folding screens, whether large or small, provide an ideal
space to challenge the artist. This example of a folding screen
is a copy of Shukei Sesson’s original, which was painted in
approximately 1560. Sesson lived from c. 1490 to after 1577,
and his two folding screens titled Landscape of the Four
Seasons belong to the collection of the Art Institute of Chicago.
(One screen is a winter scene and the other is a summer
scene. Each screen measures 36"/92cm x 74"/188cm.)
I painted this sample copy expressly for the special exhibi-
tion on Japanese folding screens held at the Art Institute of
Chicago. For this show, in a room adjoining the main
Exhibition Hall, I presented a workshop for the general public
on how these folding screens were constructed, helping them
to understand the special double hinge technique which
allows the screen to fold in either direction; the concept in
composition for folding screens; and the manner of display.
Often when I visit the homes of people who happen to own
a Japanese folding screen, with great pride they show me their
screen which is usually displayed as a centerpiece against a
wall in their living room. However, the screen is usually dis-
played in the manner shown at the bottom of the facing page,
where the left and right edges are toward the wall. (When I
ask the reason, the reply is generally that it keeps pets from
going behind the screen and it stays cleaner.) The composition
of a screen’s painting, however, is usually designed to show
perspective with the foreground and the background carefully
planned, so the placement of the screen is very important.
Right: This manner of displaying the screen, with the side edges bent back
Folding screens are traditionally placed in the manner toward the wall, is incorrect. In all forms of ink painting, composition is vital,
shown in the larger image here. In this screen’s case, the and this is true with folding screens. The waterfall, cave and tree should be
in the foreground with the distant mountains in the background.
waterfall, cave and tree are meant to be in the foreground and
the distant mountains in the background.

174 SUMI-E
175
5. The Tokonoma: Mounting Your Paintings as Scrolls
Formal-formal Formal-semiformal Formal-informal
Tokonoma alcoves have been regarded as the most honored
space in traditional Japanese architecture. Alongside this space
is a built-in desk and above it is a source of light through a
shoji screen. On the desk is kept traditional writing equipment:
A
a lacquered box with ink stick, a grinding stone, a brush and
writing paper. On the tokonoma wall there are special nails to
hang one, two or three hanging scrolls, and in the center of the
wall is a retractable hook for hanging a flower arrangement
when a scroll is not on display. The left corner also has a special
hook for hanging a flower vases
The express purpose behind creating a tokonoma is to allow
the appreciation of both hanging scrolls and flower arrange-
ments. On display in the tokonoma on the facing page are scrolls
which are reproductions of Sesshu’s autumn and winter land-
scapes (see page 19). These are my freehand copies for study
purposes, mounted in traditional style.
Notice that beneath the desk are cushions for use on the B
tatami-covered floors. The viewer will usually be seated on the
floor about three feet away, and will look up at the artwork. For
this reason, Japanese proportions in the placement of artwork
and its relationship to the mat are different from the western
concept of picture framing. For instance, as you can see in this
display, the matting in the lower portion, below the painting, is
shorter than the upper portion.
The art of mounting paintings as hanging scrolls developed Semiformal-formal Semiformal-semiformal Semiformal-informal
in ancient China and the practice spread both to the east and
west. To the west, paintings in the Tibetan Mandala style were Rows A, B, and C show examples of Japan’s system of traditional mounting
styles for hanging scrolls. These very defined styles have existed for millen-
on silk fabric without paper backing. To the east in Korea and nia. Today, contemporary scroll makers have begun to break with tradition,
Japan, the original Chinese methods were used. In Japan, selecting colors, fabrics and designs in new ways.
influenced by tea ceremony aesthetics and the discerning
Row A shows three categories for the formal style. In A1, Formal-formal,
tastes of the connoisseurs, every attempt was made to maxi- the work is completely surrounded with three different kinds of contrasting
mize the harmony and beauty of the artwork. Even today, when gold brocades (represented by the frame lines around the center painting’s
space). Examine the A-2, Formal-semiformal arrangement and notice how
for example a scroll from the fourteenth century is being the brocades are used differently there, and finally how A-3, Formal-infor-
remounted, every effort will be made to match the patterns of mal, varies from the others.
that age to the greatest extent possible in contemporary fab-
Row B’s B-1, Semiformal-formal, looks very much like A-3; the major differ-
rics. (It is almost impossible to find original fabrics of the age ence is that the top and bottom are plain without patterns, with the inner
still in reasonable condition.) mat being gold brocade. B-2, Semiformal-semiformal, is more familiar
because it is the most popular style. The hanging scrolls of Sesshu’s copies
There are rules to follow when mounting paintings: for are in the B-2 style. This style has thin strips of gold brocade immediately
instance, paintings of flowers should not be mounted on fab- above and below the artwork.
rics which have flower patterns, because that is redundant.
When two hanging scrolls form a unit, commonly the two are F E D
mounted with the same fabric, or at least the colors are com- Bag Chinese Window

plementary. The hanging scrolls shown in this tokonoma

(which, by the way, are usually displayed singly rather than as
a unit) are mounted on the same kind of damask in two differ- C C

ent colors to complement the scene: the winter landscape is

mounted on dark blue and the autumn landscape is mounted
on green. The colors support the paintings but the fabric pat-
tern is the same.

Informal-semiformal Informal-informal

C-2 appears to be similar to B-2. The major difference is that formal and
semiformal hanging scrolls have free-hanging wind belts. Commonly the
wind belts are of the same fabric as the gold strip above and below.
However, in C-1 wind belts are symbolically displayed by white paper glued
On display in the tokonoma are my Sesshu copies mounted in traditional style. on the proper place. D, E and F are more reflective of the Chinese style.

176 SUMI-E
For both calligraphy and painting, hanging scrolls are still
popular in Japan, simply because they save storage space. The
work can be rolled up and stored compactly.
The kind of mounting used for a hanging scroll, whether it
is of calligraphy or painting, depends upon the subject matter.
If the painting or calligraphy is related to religion, then the
mounting is usually more formal in style.
The system of categories shown on page 176 is based on
traditional mounting styles, but contemporary artwork
requires its own style. Today, contemporary scroll-making
craftsmen have started to break with tradition. Their use of
artistic and creative sense in selecting colors, fabrics, and
styles for mounting is a new path in the long history of sumi
painting.

Paintings mounted on a board in the style of a hanging scroll. This

painting, my study copy of a Sesshu landscape, is mounted on a board and
matted in the style of a hanging scroll. When a scroll is unrolled under very
dry weather conditions, often the paper cracks and remains in a half-circle
shape until moisture relaxes the paper again. After years of rolling and re-
rolling, the painting may also split horizontally. In such situations, museum
staff will often soak the scroll in water to soften the glue; separate all the
parts; and then reassemble the painting on a board and finish it in the style
of a hanging scroll. It is then placed behind glass in a picture frame. This
common practice protects the work and maintains a traditional effect.

178 SUMI-E
Contemporary picture frames for tra-
ditional paintings. Shikishi are commer-
cially available art boards with pre-
mounted paper; they come in various
standard sizes. In Japan, commercial
frames are designed to hold a specific
size of shikishi. This is typical of such
frames. On the back are special clips to
release the backing so that the shikishi
can be interchanged. Paintings or calligra-
phy can be easily changed to complement
the season.

This is a custom-made frame from a

frame shop in the U.S. This frame also is
designed for changing the painting easily.

I N N O VAT I V E U S E S F O R S U M I - E 179
CHAPTER 7
Mounting Your Paintings

Most papers used for suiboku-ga or sumi-e are made from the natural fibers of plants, and
therefore, they will react to humidity and moisture from sumi ink and water. When the painting
is completed, the sections that were once wet will shrink and the areas which were untouched
by moisture will maintain their original state.

The painting will be wavy and uneven. Usually, the painting principles of how to make a work in sumi-e smooth again.
is taken to a frame shop for mounting and framing. However, There are several simple ways to do this quite easily at home.
the staff in most frame shops generally are not accustomed to The mizubari and ura-uchi techniques explained in this
dealing with handmade paper of the sort used in sumi paint- chapter will allow you to ensure that your works are properly
ing. So these framed sumi-e works, upon close examination, prepared. Then, you will be ready to mount them yourself as
have fine spiderweb-like wrinkles because the hot press which scrolls if you wish, using the traditional hyogu technique.
is typically used by frame shops will not correctly stretch out Another useful skill is to be able to make sizing formula and
the painting. A practitioner in sumi art should know the basic to size your own papers, and we will cover this also.

THE MIZUBARI TECHNIQUE

Since sumi ink is water-based and contains some animal glue Step 5: Remove the protective paper, then move your work to the
as the adhesive material, once it is completely dried, the ink wet section of the surface that you sprayed earlier. Place a clean
on the painted surface will not run when remoistened. It is white paper over your work and brush it again to make sure your
very important to ensure that your work is completely dry and work is smooth and in full contact with the table. Remove the
seasoned, before you apply moisture to carry out the stretch- protective paper.
ing process. In Japan, professional hyogu craftsmen mount Step 6: Using any weight that is clean, straight and heavy,
and repair scrolls, folding screens and sliding doors. A hyogu completely cover the work’s edges on all four sides. Metal
craftsman will always ask how much time has lapsed since rulers or paper weights are ideal. The weights will help keep
the work was completed. Depending upon the elapsed time, he the paper from peeling off the table by itself during the drying
can determine the state, condition and stability of the ink. process. Beware: The power of shrinkage in paper is unex-
In earlier days, before the convenience of electric hair dry- pectedly strong, so your work should be heavily weighted for
ers, the work was simply pinned up in the studio for a long the best results.
period of time to dry and stabilize the ink. However, using a Wait until the work is completely dry. Because no glue has
hair dryer will speed up the process. been used, the painting will peel off from the Formica surface
The mizubari technique (mizu = water, bari = stretch) is very easily. Now you are ready to take your smooth work to the
done as follows: frame shop.

Step 1: Use a very hot, but not scorching, hair dryer for a few A Variation
minutes to completely dry the work. After your work has been moistened with the water spray and
Step 2: On a clean and smooth surface like a Formica tabletop, stretched, as described above, move it to a clean dry surface of
spray your work with water. Because handmade paper has a the smooth (Formica) surface. Place strips of adhesive tape,
minute amount of glue incorporated to hold the fibers together, such as transparent or masking tape, securely along the four
the paper will hold together. You will also need to spray a bare edges and let it dry. Be very careful when you remove the
section of the tabletop, an area large enough for your work. tape, so that you will not end up by tearing your paper.
Step 3: Moist paper, especially single-weight paper, is very By giving moisture to the entire paper during the stretch-
fragile, so handle it with care. On the moistened work lay a ing process, the sumi ink section and the formerly-dry section
dry clean sheet of paper the same size or larger. of your work are now both in the same condition. Therefore, in
Step 4: With a dry soft hake or wide brush, gently brush the the drying process when the tension of shrinkage is even
dry paper from the center out. This is very much the same (due to the tape), the paper becomes completely smooth. To
technique you would use to hang wallpaper. The process will view this process step by step, see page 189, “How to Size
make your work very flat and smooth. Paper”; the basic procedure is the same.

180 SUMI-E
THE UR A UCHI TECHNIQUE, CATEGORY A (FACE DOWN)

Ura uchi (ura = back, uchi = additional paper for support) is another basic technique for making your work in sumi-e smooth. In
addition, if the work is on single-weight paper, the backing paper will add both support and strength to it.

You will need: 1. The work surface should be smooth. Formica 2. The paper on the far left is the work to be mount-
Glue (rice glue, if available; wallpaper glue from a works well. This work table is made from a tabletop ed. Next is highly absorbent paper cut the same
local hardware store will also work). which has had several coats of polyurethane applied size as the work; it is used to protect the paper by
A large container of water. to make it water-resistant. absorbing excess ink, in case any ink should run.
A handheld compressor sprayer, if available. The largest paper is for backing your work. Place
Soft wide hake brushes. (Use separate brushes for the work on the highly absorbent paper, face
glue, for water, and to brush the work.) down, and then spray the back with water.

3. If a sprayer is not available, use a brush instead 4. This is the proper method, with protective paper 5. Next, use the other brush to begin to stretch
to moisten the work. (In this photo, the protective underneath. Your work should face down on the your work.
paper is not placed underneath. But remember that protective paper. It is difficult to apply moisture
if the ink should happen to run, without a protec- evenly with a brush, which makes the protective
tive paper the work will be ruined.) paper even more important.

6. Gently stretch your work, brushing from the

center toward the edges.

M O U N T I N G Y O U R PA I N T I N G S 181
7. Now spread glue on the large backing paper, 8. Place the edge of the paper evenly along the 9. The wet, heavy backing paper has been success-
covering it evenly. Then, as shown above, use a support bar. Use the bar to gently lift it. During fully lifted off the table. At this point, pick up its
ruler or similar “support bar” to pick up the far left this process, stay aware of the tension between bottom corner with your left hand.
edge of the backing paper and lift it up halfway. table and paper. If you lift too quickly, it will tear.

10. Make contact with the work surface at the 11. To remove the support bar, hold the corner of the 12. After the support bar is removed, lift the top
backing paper’s left top corner, positioning it over paper down with your left thumb and rotate the paper again and carefully re-lay it across the paint-
your work (which is still on the protective paper). support stick off in a counterclockwise motion. This ing. Because a backing paper must sometimes under-
Adjust the positioning, making sure the tension of process may require a few practice sessions; it is go moisture and repeated handling, it is best to use
the glue-wet backing paper is even and smooth. something that beginners often find difficult. The long-fibered handmade paper. Kozo, gampi, mitsu-
Here, the backing paper has been successfully placed wet paper that has glue on it is heavy, but fragile in mata or hemp are all long-fibered papers that are
over the work. It takes practice to learn how to nature. Do not treat it, as many beginners do, as if it suitable. Short-fiber paper, on the other hand,
adjust the timing and tension in lifting and moving were a stiff board! would melt away at the halfway point of this
the paper. Having an assistant will help immensely. process.

13. A half-inch-wide (1.2cm) slip of paper is placed 14. This hake with short coarse hair is designed 15. Whatever the thickness of the paper, during
between the bottommost absorbent paper and specifically for use when backing a painting. With the pounding the glue may have seeped all the
your work, then the backing paper is glued down almost forceful pounding, begin from the center way through to the protective paper. It and your
again. and with a staccato-like beat, pound all the way painting may now be glued together. To prevent a
around with pressure. If the work is on double- or catastrophe, separate these two layers by blowing
triple-weight paper the glue on the backing paper air through the space at the paper strip. It is con-
will not easily penetrate. In such a case, while it venient to use a straw. The air will create a small
may appear to be a cruel handling of your work, dome of separation between the two papers,
extra pounding may be necessary to get the glue enabling you to completely separate them. Too
to penetrate the thickness. On a positive note, if much air will lift up some of the outer edges, so
you had a hairline wrinkle left in the work, the after the straw is removed, press down to make
pounding will stretch it out. After the pounding is certain all of the edges are securely glued to the
complete, inspect the surface to make sure the table. If any paper fibers have been lifted up, use
work and the backing paper are glued together. a brush to smooth the entire back surface.

182 SUMI-E
THE UR A UCHI TECHNIQUE, CATEGORY B (FACE UP)

1. Ensure that your backing paper is of a larger 2. Now, use a brush to evenly apply the glue to the 3. The application of glue on the backing paper is
size than your work, creating a margin of about 1 backing paper. When your thumbprint on the back- now completed. It is important that the glue is the
inch (2.5cm) all the way around your painting. You ing paper shows transparency, that means the glue right consistency, whether you use commercial rice
will also need another piece of protective paper (for has been evenly spread. The state of “relaxed glue, homemade rice glue or wallpaper glue. A con-
instance, white butcher paper) the same size as the paper” that you created in Step 1 must be consis- sistency similar to crepe batter or soft and creamy
backing paper. Place your work on the protective tently maintained in your painting, until the back- yogurt is about right.
paper face up, and spray it with a mist of water. ing paper has glue on it and is ready for the paint-
Depending upon the atmospheric conditions of your ing. Often by the time the backing paper is ready
work area—humid? dry? air conditioning? central the work has dried out; to help prevent that, you
heating?—you must adjust the amount of moisture can place an additional sheet of butcher paper over
accordingly. My terminology is “relaxing the paper.” the waiting, “relaxed” work.

4. Lift your work from the protective paper and 5. Lay the absorbent protective paper over the 6. Using a sturdy horse-hair “backing hake,” force-
position it on the center of the backing paper. work and make sure it is flat. Check that there are fully push down the brush and move it left to
Take care that the work’s edges are positioned so no wrinkles. In the next step, the glue functions as right and right to left. During this process, any
they will be evenly surrounded by a margin of a lubricant as you press and brush simultaneously hairline wrinkles will slide away.
backing paper, then gradually lower the painting. over your entire painting.

7. Gently lift up the protective paper, using a 8. While removing the top protective paper, ensure 9. Doublecheck to see that the painting is securely
rolling motion. that the painting does not lift away from the glued to the backing paper and examine carefully
backing paper as well. to ensure there are no wrinkles. A hairline wrinkle
can be smoothed out with a rounded smooth hard
surface, such as your fingernail. Using a rolling
motion will stretch and blend the fibers.

M O U N T I N G Y O U R PA I N T I N G S 183
At this stage, if you have used thicker double- or
triple-weight paper (which glue penetrates with
more difficulty), you may want to add more glue
under the outer edges, so that they will hold
securely and will not pull free during the drying
process. The power of shrinkage in paper is unex-
pectedly strong, and the edges must be able to
withstand it and stay put.

The goal of the next steps is to eliminate any

chance that the drying work will adhere to the
table. You will create a cushion of air to separate
the mounted work from the table surface.
10. Blow air under the backing paper, using a 11. Alternatively, instead of blowing air in, you
drinking straw, to lift the work and separate it can lift your work off the table, clean the excess
from the table. When the air has created a separa- glue from the table and then carefully lay the
tion, slide out the straw and seal the border work back down, capturing a cushion of air in that
down. Make sure the backing paper is well sealed way.
to the table around all edges, so that no air
escapes. Be certain that you can see the air dome.

12. Now the mounted painting is back on the table

with air captured underneath. Press the backing
paper edges against the table again, possibly rein-
forcing them with more glue if that seems needed.
Now allow the work to dry.

There are many other methods for backing your

paintings. In this process, I did not include the use
of additional protective papers during the drying
process. A protective layer of air was sealed in,
instead. But note that professional craftsmen will
always use a protective shield, a highly absorbent
paper that is almost felt-like, between the work
and the table to eliminate any chance that the
work will adhere to the table.

A Variation
In this variation, to keep the painting from adhering to the work surface as it dries, the protective barrier is a piece of paper instead
of a cushion of air.
You will need a protective absorbent piece of paper that is exactly the size of your painting. Place it on a clean part of the table.
After removing the top paper in Step 8, and ensuring that the work is wrinkle-free in Step 9, next apply a quarter-inch-wide
(0.6cm wide) strip of glue along the outer edges of the backing paper, all the way around. Then move the entire work to the clean
part of the table. (It is definitely good to have an assistant for this.)
Turn the backed unit—work and backing paper—over so that the painting is facing down, and lower it onto the absorbent paper.
The painting should be directly over the paper, aligned with its edges. Press the backing paper’s glued edges securely down, seal-
ing them to the table surface so that no part will release during the drying process. Allow the work to dry.

184 SUMI-E
INTRODUCTION TO THE TR ADITIONAL HYOGU TECHNIQUE

Some time ago, when I was still physically able to sit on a bined with several layers of paper, must remain flexible and
hard wooden floor for four to five hours at a time, I learned the easily rolled.
ABCs of how to make wall hanging scrolls and folding The narrow strips of cloth that are placed horizontally
screens. The work table was only six inches off the floor. My directly above and below the art are called ichimonji. Usually
mentor was the Fourth Generation Master in Scroll Making, the best cloth, such as gold brocade, is reserved for the ichi-
who lived in Tokyo. The experience was eye-opening. monji. Although these brocades may be decoratively woven
Hyogu is the Japanese technique or craft of mounting. It has with various threads, colors and patterns, they are generally
existed for more than 1,200 years, and today in Japan it holds subdued. This cloth also is very thin.
the designation of a traditional handicraft. Good hyogu crafts- Today, hyogu encompasses not only scrolls and fusuma
men are highly skilled. (sliding panels) but also other practical kinds of ornamental
On most hanging scrolls the main expanse of fabric that pieces. Below, we will use the traditional hyogu technique for
frames the art is of plain cloth, perhaps silk or damask, that mounting scrolls. Instead of a scroll, however, our finished
has been woven especially for this purpose. The fabrics’ product will be a fabric-framed image mounted on stiff board,
threads are woven in arrangements of various patterns, so ready to hang.
what appears at first glance to be plain fabric will show pat- Select the fabric of your choice. Thinness and silky smooth-
terns when the light direction changes. In mounted scrolls, the ness are important; avoid fabrics that have any kind of nap,
fabrics appear thick and display richness; but actually they are however scant. For the backing paper, choose a paper with
very thinly woven, so thin that one can see through them. This long fibers, such as kozo or mitsumata, because it must be
is essential, because the fabric for a scroll, even after it is com- strong enough to carry the weight of glue without tearing.

1. After the fabric is measured and cut to the 2. You will need a hake brush and a bowl of 3. During the lesson in Tokyo, it was a surprise to
proper size, cut the backing paper to a larger size water. The water will serve as an adhesive to keep learn that beautiful silk damask could be soaked
to allow a margin of 1 to 2 inches (2.5 to 5 cm) all the fabric on the board, and also as a lubricant for in water. Here, the fabric has instead been
the way around. Later in the process, you will also moving the fabric when needed. Use a waterproof brushed with water many times to soak it. Use
need thick white glue; a knife; thin strips of silver work surface; this surface is a door that has been measuring sticks to examine the fabric’s woven
paper for accent; foam board (I used half-inch- treated with four layers of polyurethane. Formica lines. Adjust as needed; make certain they are
thick Gatorboard); a paper for the back; and cord. with a slight “sandy” texture also works very well. absolutely straight, and run at a 90-degree angle.

4. On a separate section of the board, brush glue 5. Ease the paper carefully over the cloth, glue 6. Small wrinkles can be stretched out using a
onto the backing paper to completely cover it. side down. Then release the support bar from the hake brush with short stiff bristles. Glue between
Then, lift it using a stiff, lightweight slat or stick paper’s edge. As you can see here, there will be the two materials acts as a lubricant.
as a support bar: place the support bar along the wrinkles in the center section.
paper’s far left edge, and peel it up off the sur-
face. Turn the paper over, so that the glue side
faces the cloth. Position the paper over the fabric.
Metal has a tendency to bend, so especially if your
support bar is metal, it helps to have an assistant.

M O U N T I N G Y O U R PA I N T I N G S 185
7. But if the wrinkles are large, it is best to pull up 8. After you get the wrinkles out, make sure the mar- 9. Soon after the smoothing out process has been
the backing paper and reposition it. The backing gin of the paper is tightly attached to the table sur- completed, use wet towels to completely remove
paper should be made of long fibers to help it face all the way around. During the drying process any glue left on the table. Allow the backed fabric
withstand this arduous handling. the wet section begins to shrink; if the outer support to dry overnight.
paper is not secure, it will peel off in certain places
and the finished product will be irregular in shape.

10. Insert a folding bone (if you have one; other- 11. Carefully calculate the sizes of the four fabric 12. Four pieces of backed fabric and four paper
wise a table knife will work) under the backing pieces you will need, then cut them from your strips in silver, which will act as accents between
paper margin, keeping it as flat as possible. Then backed fabric. The backing will keep the cut edges the art and the fabric, have been cut to size.
push it forward, with the tip held at a 45-degree from fraying. It is important to keep the direction Economy is important when cutting fabric which
angle, in the direction that you are moving to of the fabric’s weave consistent in your pieces, so has been produced so carefully. During workshops
release the paper from the table top. If the work that the weave pattern is running in the same I explain the need for care in planning the cuts,
surface is in good condition, the work can be sim- direction on the top, bottom, left and right. If this but often participants are so involved in their
ply peeled off. But if the work surface has absorbed is not done, when the work is displayed, the light thoughts that they forget the economy part—they
the glue, then the whole unit is “stuck.” It is impos- reflections from the various pieces will differ cut the sections they need, and their leftovers are
sible to peel off. If this should happen, cut the cen- almost to the point where it may appear that dif- useless. Calculate your cuts well. When the fabric
ter fabric out with a razor blade. Re-soak the mar- ferent fabrics have been used. is cut successfully, you will have a large piece left
gin edge to remove the paper. Start again! over for future use.

13. First you will apply the straight thin accent, 14. Apply glue to its back, then place the silver 15. With fingertips, a bone folder, or a knife, gen-
which in this case is silver. Place a flat measuring strip along the stick. It is very difficult to glue thin tly push the silver strip into position so it is per-
stick along the edge where the silver line is to go, pieces of paper in a completely straight line; this fectly aligned with the ruler.
and put a paper weight on top for added stability. hyogu method was developed generations ago.

16. After gluing the silver accents to all four sides, 17. Apply glue to the backed fabric, using a brush. 18. To align the fabric’s edges on the front of the
use the flat side of the folding bone to make sure This glue is thicker than that used for ura uchi (page piece, against the silver strips, use the measuring
the strips are well-adhered to the painting. I usual- 181) which has a consistency more like crepe dough; stick and weight again as in Steps 13–15. Because
ly use extra thick glue for this purpose. this glue is more like paste. Shown at right are two this Gatorboard is thick, the fabric will need to be
handy prepared cloths, one wet and one dry. cut and folded at the corners.

186 SUMI-E
19. The two side pieces of fabric have now been 20. Make sure the fabric is firmly glued to the 21. The fourth piece of fabric, the top piece, is
securely glued on. Here the third, lowermost piece of board. A bone folder or knife can be useful to firm- ready to be positioned. Here, the white
fabric will be glued. After the fabric is in place, use ly and precisely fold and press corners and smaller Gatorboard extends beyond the edge of the table,
both hands to wrap it smoothly around the board flaps of fabric. for greater ease in wrapping the fabric.
and crease it; then with scissors, eliminate unneces-
sary sections (see the fabric cuts shown in Step 18).

22. The final stage is to firmly glue the last flap 23. The fabric has been successfully and neatly 24. Now, cover the back of the board. Any type of
down and around the back. attached to the board. paper can be used, but it should not be too thick.
Brush it with glue, and center it on the board.

25. The back paper is now dry. The next step is to 26. Note that both ends of this cord have been 27. On the left is undiluted glue covering the
add a string or cord for hanging the painting. deliberately frayed so as to maximize the adhesive frayed end. Next, glue a square piece of leftover
Measure the width of the painting to find the cen- power of the glue. fabric over the glued end, as shown on the right.
ter, and place the midpoint of the cord there.

28. The finished piece. Let it dry overnight. Then

your painting is ready to hang on the wall.

Take care in placing the cord. If it is attached too

high, it will show when hung; and if it is attached
too low, the picture will will jut out at an extreme
angle. From experience, I have found that it is best
to paste each cord end at a distance, measured in
from the side, of one-fourth the mounted paint-
ing’s total width.

M O U N T I N G Y O U R PA I N T I N G S 187
HOW TO MAKE SIZING FORMULA

Most sumi-e artists enjoy the effects of nijimi when sumi ink Recipe for Dosa (Sizing Liquid)
is applied on unsized paper. But when you are painting cer-
tain subjects where a smooth transition from dark to light ink 1 teaspoon gelatinized nikawa or rabbit skin glue
is required, or when using the tarashi komi technique, or 1/ teaspoon alum powder
2
when applying thick color components, it is necessary to use 5 Tablespoons hot water
sized paper. If you are not able to obtain already sized paper,
you may size your own paper using the following technique. Mix the above ingredients well, then microwave for about
In the U.S. it may be difficult to find commercially prepared 10 seconds to completely dissolve. To use, mix 1 part of this
ready-to-use dosa, or sizing liquid. However, the components for liquid to 2 or 3 parts water. Apply the liquid to paper.
making dosa are available. Gelatinized nikawa is available in The thickness of the paper and its dimensions determine
stores that carry Asian art supplies. Rabbit skin glue, which will the amount of dosa you will need to use.
also work, can be found in arts and craft stores.

Seeing the dosa effect. The left side of the paper was sized with dosa, and the right side remained as natural unsized sumi-e paper.

Line A: In thick blue tone ink.

Line B: In blue tone ink diluted 30 times.
Line C: In common or standard liquid sumi ink.
Line D: In standard sumi ink diluted 30 times.

188 SUMI-E
HOW TO SIZE PAPER

1. On a smooth Formica-type surface, place a piece 2. The four strips of paper, plus white paste, will 3. Place the sumi paper on the felt. Apply paste to
of felt that has the same measurements as the be used as tape around the paper. (Regular pack- the four strips of paper. Paste the strips along the
paper you plan to size. Blue felt is used here only aging tape will not work: paper’s “shrinkage paper’s edges to hold it in place. Caution: Make
because it is easier to see; using white felt is best. power” is generally too great.) sure the strips form a complete seal. Let it dry.

4. Paint dosa evenly on the paper. 5. Dosa has now been evenly applied to the entire 6. The paper will become smooth and tight. (Note
paper. Leave it overnight. that by using water in place of dosa, these same
steps can also be used for stretching your paint-
ings. See Variation of mizubari technique, p. 180.)

7. Use a folding bone or a table knife to carefully

remove the paper from the board. It is important
to become well-acquainted with how the paste
used on the paper strips will react to the board. If
the paste is too thick, it will be difficult to remove
the paper strips. If the paste is too thin, the power
of paper shrinkage will pull the paper strips loose.
(Notice the painting: this photo depicts the use of
the process for stretching, as mentioned above.)

M O U N T I N G Y O U R PA I N T I N G S 189
Glossary

Bokkotsu 没骨: “bury the bones.” In the bokkotsu technique, water then cooked down, resulting in a brown jellylike sub-
no outlines are used. stance, which is then refined.
Boku 墨: “ink.” This ideogram is also read as sumi in Renpitsu 連筆: A type of brush made from individual smaller
Japanese; see Sumi. brushes fastened together to form a wider flat brush. Used
Bunjin-ga 文人画: Paintings by the bunjin (literati). The term in the same ways as a hake brush.
has often mistakenly been used to mean the Southern Sung Rimpa School 琳派: A school of Japanese painting created in
style of painting, but that is a misnomer. the seventeenth century by Honami Koetsu (1558–1637)
Chi 気: Or ki. Concentrated energy tapped by “centered” will- and Tawaraya Sotatsu (d. c. 1643). Ogata Korin (d. 1716)
power. Chi is utilized in the Asian fine arts, and in martial consolidated the philosophy. The Rimpa school’s refined
arts; in fact in all endeavors. style was appreciated by the public at large, whereas the
Choryu 長流: Type of brush basic to sumi painting; it offers Kano School was considered to be the governmental school
flexibility and resilience. of painting.
Den sho 伝承: Traditional Asian method of teaching an art, in Sensho Zakyu-an 仙 昌 坐 久 庵: sen = sage, sho from
which knowledge is handed down from master to disciple “Shozo.” za = seated, kyu = long, an = hut. Shozo Sato’s
forming a continuous system from one generation to the gago.
next. Sesshu 雪舟: (1420–1506) Often called the “saint” of suiboku-
Fusuma 襖: Traditional Japanese sliding panels which move ga. Buddhist monk who traveled to China and studied
horizontally to open to an adjoining room or create a larger painting. In 1467 he returned to Japan and created mas-
space. terpiece landscape paintings. His paintings have strongly
Gago 雅号: A painter’s artistic name. These artistic or pen influenced artists in succeeding generations. In 2002, a
names may be retained for a lifetime, or may change from grand exhibition commemorating his 500th anniversary
time to time. was celebrated in Japan.
Gampi 雁皮: A shrub (Wikstroemia spp.) used for paper Shikishi 色紙: Sized or unsized paper mounted on board and
making. trimmed with a thin gold border. Used for calligraphy or
Gyosho 行書: Semi-formal or cursive writing style. painting. Shikishi come in many different sizes and shapes.
Hake 刷毛: A wide, flat brush. This category of flat brush Shuniku 朱肉: shu = vermillion, niku = meat. Stamp pad,
includes many sizes and hair combinations. used with a seal to stamp an official signature upon a paint-
Hyogu 表具: Traditional Japanese method for mounting ing or a document.
fusuma, folding screens and hanging scrolls. Sosho 草書: Informal or “cursive” style of writing; sometimes
Ita hake 板刷毛: ita = board, hake = flat. Same as Hake. called the running style or “grass style.”
Kaisho 楷書: Square or printed writing style. In this book it is Suiboku-ga 水墨画: sui = water, boku = sumi ink, ga = paint-
called the “formal” style of writing. ing. A word used to describe a sumi painting. Suiboku
Kano School 狩野派: Founded by Kano Eitoku (1543–1590). works generally use more strokes and require more time
After he had studied the Northern Sung style of painting, than do sumi-e works; see the Introduction for more about
the Shogun commissioned him to decorate the castle and their differences.
official residence. The Kano style continued as the art used Suiteki 水滴: sui = water, teki = drop. A specially created
by the Shoguns, and influenced all later Japanese art. ceramic or metal container used to add water in small
Kan-ga 漢画: A name given to the Northern and Southern amounts to the ink as one grinds it on the suzuri.
Sung Style of Chinese paintings, to differentiate them from Sumi 墨: “ink.” This ideogram is also read as boku in Chinese.
the traditional Yamato-e Japanese style paintings. To create sumi/boku, oil is burned; the soot is then collect-
Kobo Daishi 弘法大師・空海: (774–835) Respected as one ed and combined with animal glue (nikawa). The resulting
of the three major calligraphers in Japanese history, the liquid is used for writing and painting.
Buddhist monk Kukai was given the title of Kobo Daishi by Suzuri 硯: Grinding stone, used to prepare ink.
the imperial court of Japan. Tarashi komi たらし込み: tarashi = drip, komi = soak in. A
Kozo 楮 A species of mulberry used for papermaking. technique involving dropping ink or water on wet portions
Menso 面相筆 Type of brush for painting extremely thin lines. of a painting to obtain special effects.
Mitsumata 三つ又: A shrub (Edgeworthia papyrifera) used for Tsuke tate 付けたて: A method using the placement of dark
papermaking. and light ink within a brush’s bristles to obtain highlight-
Mizubari 水張り: A method of stretching a completed sumi and-shadow effects.
painting to restore it to its original size and smoothness. Ura uchi 裏打ち: A method of stretching a completed sumi
Nijimi 滲み: An effect in painting, caused by moisture from painting to restore it to its original size and smoothness.
water and ink spreading or bleeding through the paper’s Wabi-sabi 侘び・寂: In aesthetic terminology, wabi and
fibers. sabi point in the direction of “beauty that is opposite from
Nikawa 膠: ni = cook, kawa = skin. An adhesive used in paint- gorgeous and splendid” and indicate a simple, rustic and
ing and wood work. Animal skin is soaked in slaked lime imperfect beauty.

190 SUMI-E
Where to Purchase Asian Art Supplies
As sumi-e and monochrome art have become more mainstream, the sources for brushes, paper, ink, and the other tools you need
have increased. Check your local art supply stores; many now carry sumi-e supplies. If you live near a large metropolis, try the
local Chinatown, Japan Town, Korean or Vietnamese neighborhoods’ shops. The Internet is also a convenient source, and today
many fine-quality materials can be obtained from online vendors.
Below are a few of the many companies that carry a useful variety of Asian art supplies. Explore your local area to find others.

OAS Oriental Art Supply

www.orientalartsupply.com
[email protected]
Tel: 800-969-4471 or 714-969-4470
Shop located in Huntington Beach, CA 92646.

Man Luen Choon

www.manluenchoon.com
[email protected]
Tel: (852) 25-44-69-65
Shop located at 2/F Harvest Bldg., 29-35 Wing Kut Street, Central Hong Kong.

Daniel Smith, Inc.

www.danielsmith.com
Tel: 800-426-6740
Shops located in Seattle, WA 98134 and Bellevue, WA 98052.

Dick Blick Art Materials

www.dickblick.com
Tel: 800-828-4548 (U.S.); 309-343-6181 (international)
Shops located in many states; check the website.

SOURCES 191
Published by Tuttle Publishing, an imprint of Periplus
Editions (HK) Ltd., with editorial offices at 364 Innovation
Drive, North Clarendon, Vermont 05759 USA and 61 Tai
Acknowledgments
Seng Avenue, #02-12, Singapore 534167.

Copyright © 2010 Shozo Sato

For many years, all of my English publications have been

All rights reserved. No part of this publication may be
edited by my wife, Alice Ogura Sato, and I take this opportu-
reproduced or utilized in any form or by any means, elec-
nity to express my deepest appreciation for her dedication.
tronic or mechanical, including photocopying, recording,
or by any information storage and retrieval system, with- My great appreciation goes to Ms. Beth Corwin and Mr.
out prior written permission from the publisher. Tom Wolsky, who readjusted their very busy schedules to help
create the DVD. I am also grateful to Mrs. Betzi Robinson, past
Library of Congress Cataloging-in-Publication Data president of the Sumi-e Society of America, and to Mrs. Joan
Lok, the current president of the Sumi-e Society of America,
Sato, Shozo, 1933- who both have provided information for this book; and to the
Sumi-e : the art of Japanese ink painting / Shozo Sato. members of Tuttle Publishing, especially senior editor Sandra
-- 1st ed. Korinchak, editorial supervisor June Chong, and senior graphic
p. cm.
designer Chan Sow Yun.
ISBN 978-4-8053-1096-0 (hardcover)
Finally, I would like to dedicate this book to the students
1. Sumie--Technique. I. Title. II. Title: Art of Japanese ink
who attended my intensive sumi-e workshops and eventu-
painting.
ND2462.S26 2010 ally became my friends, who inspired me to take my creative
751.4’252--dc22 energy to new heights in the constant search for a fresh way
2009045319 to create the art of black ink.
ISBN: 978-4-8053-1096-0
ISBN: 978-1-4629-1628-3 (ebook)
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