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An Introduction to Ink PaintingN A N' A 1 M O M I Y A M .\

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SUMI-EAn Introduction to Ink Painting

Nanae Momiyama.

Japan Society, New York

The Japan Society is an association ofAmericans and Japanese whodesire to help bring the peoples of the United States and Japan closertogether in their appreciation and understanding of each other andeach other's way of life. It functions as a private, nonprofit, non-political organization interested in serving as a medium throughwhich both peoples can learn from the experiences and accomplish-ments of the other.

Inquiries should be addressed to the Executive Director, Japan So-ciety, Inc., 250 Park Avenue, New York, N. Y. 10017.

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Second Printing, 1966

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SUMI-ESumi-e, or ink and brush painting, must be discussed in

terms of the rehgion and philosophy it expresses. Originat-ing in China, sumi-e was the art of Zen priests, by whom itwas introduced into and practiced in Japan. Sumi-e is thusan expression of Zen Buddhism, a rehgion of extreme self-discipUne, concentration, detachment, and contemplation.Because the importance of philosophy and religion isoften ignored, interest in this oriental art is to a degree theresult of a misunderstanding, and the result is merely super-ficial imitation. To appreciate and understand the art morefully one must first endeavor to look at the world throughanother set of eyes.

In the Orient the conception of man and nature is differ-ent from that of the West. Nature is animated and spirited,and man is a part of nature. There are no boundaries be-tween the kingdoms of the plant, the animal, man, betweenthe animate and the inanimate, the living and the dead. Indirect contrast, the West distinguishes, classifies, and ranksalmost every conceivable object; to man it accords the mosthighly privileged position and regards nature as a thingcreated for his welfare. To the East such classification isirrelevant. What matters is the harmony of the universe, ofwhich man is another member, endowed with no specialrank or distinction.The painter therefore becomes one with nature. To

achieve this state the Zen priest practices severe self-disci-

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pline and concentration. He forsakes earthly frailties, suchas anger, hatred, and worry. He further casts from himselfhis intellect and personality until ultimately his own self iscast away. By losing his individuality he becomes a part ofnature. Attuned to nature in this manner, he gains insightinto his own being and paints instinctively.

It is important to point out that in China and Japan thebrush is normally used for writing. Painting is therefore anextension of writing. And just as in the West a man's char-acter is revealed in his handwriting, so in China and Japana man's character is revealed in his brush strokes and lines.An artist is therefore judged on qualities other than techni-cal skill and facility. The power of the brush itself may bealmost magical. One must handle it with a sense of gladnessand thankfulness. In thus befriending the brush, it in turnbecomes one's intimate friend; it will then respond to thepainter's most sensitive feeling and become alive in hishand.The artist may draw realistically or abstractly; however,the characteristic of the sumi-e artist has been to eliminate

all inessentials and to represent only the most expressive orimportant feature of each element of the matter. Conse-quently, details, perspective, and colors are usually omitted.

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The Tools of Sumi-eBrushesThe long haired pointed brush is for calligraphy and fine lines. Thewide brush is for painting bamboo sections and for large areas.

Sumi, or ink stickThere are three types of sumi, distinguished by their tint, brownish,blueish, and gray. The method of manufacturing sumi is interest-ing. Lamp black is hand pounded thousands of times into minuteparticles, then formed into sticks with fine glue. Good sumi islabelled by the number of poundings it received, the more the better.

Suzuri, or ink stoneThe suzuri is a slab of stone with a depression for water at one end,on which the sumi is rubbed to prepare the thick ink. Good suzuriare hard and last indefinitely, while the softer types readily absorbwater and are less durable.

MosenThis is a blanket-like or felt material on which paper is placedwhen painting. A desirable type should be white, thick, dense, soft,and short haired.

PaperThere are different types of paper in Japan, such as Gasenshi,Torinoko, Hosho. Gasenshi is perhaps the best for sumi-e. A sheetof Gasenshi is included in this booklet.

ColorAlthough sumi-e is essentially black and white painting, very subtletransparent pastel colors are often used. These colors are availablein powdered form or in hard sticks like ordinary sumi.Name or signature stampIn China and Japan a stamp or seal has been used for centuries torepresent or authenticate a signature. The design is personal andmay be anything that pleases the individual. Japanese stamp padsare red but other colors may be used.

Applying ink to the brushWet the brush thoroughly in water. To begin painting, remove ex-cess water by stroking it off the edge of a plate or on a clean pieceof paper. Apply ink on one third to one half of the brush and onlyon the outside. Do this by carefully laying the brush on the suzuriand not by dipping it into sumi. Always be careful to keep the tipsharp and symmetrical and wash the brush often. Clean brushes bywashing in water without soap, taking care not to damage the tip.Stroke away excess water and point the bristles to dry.

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There are three types of line in writing and painting. Thefirst figure below is Jtaisho. The lines in this style arestraight, hard, and angular and show great strength. Thesecond is gyosho. The stroke in this style is soft, rounded,and rather free and shows less strength. The bottom issosho, in which the lines are extremely free and flowing.The three are, of course, the same word, or character.

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This character, pronounced "ei" in Japanese and mean-ing "long," contains the eight different basic strokes neces-sary to write all the characters. As these strokes are similarto those used in painting they are quite important.

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These are primary strokes for drawing a bamboo leaf.

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This exercise in spirals and lines should be practiced veryslowly. Its purpose is to steady the hand and nerve and toprepare one physically and mentally for painting.

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Concentrate and draw very thin lines carefully. Whendrawing short, sharp lines with the right hand, support theright wrist on the back of the left hand. Long tapered linesshould be drawn freehand. Hold the brush near the top (seep. 8), keep the elbow free, and draw with the whole arm.

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The contrast of thin with thick lines is interesting andworth careful study. Thin lines may look hke fish bones,nails, waves, small bamboo sections, or pine leaves. Sincethe brush is soft and flexible, one can change form readily.

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Dots and combinations of dots.

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Different shapes of bamboo leaves, simple, short, long.With these strokes one may draw a fish, an eel, a leaf.

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There are many types of bamboo, and it is best if possibleto study from an actual section. Bamboo is one of severalplants, including the plum in blossom, the pine, chrysanthe-

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mum, and orchid, which have been the object of special ap-preciation in China and Japan.

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Composition of two bamboo leaves and stem. The leftleaf is painted first and is smaller and darker than the other.The stem is painted with a smaller brush. The contrast be-tween the broad leaves and the sharp thin line of the stem isinteresting.

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Brush strokes for orchid leaves.

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There are two distinct styles of sumi painting. The mostcommon is the one illustrated at the right. The other is thehakubyo style, in which only the outline and important

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lines are drawn with special small brushes. This style is notmuch followed in Japan but is quite common in China.

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Plum tree branch and branch of young bamboo.

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Practice strokes for twigs.

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study of rocks.

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Further strokes for bamboo leaves.

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Wet brush thoroughly and stroke off excess water. Applydark sumi to tip of brush to paint pistil and stamens, whichare represented by dots.

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Here and on the following pages are illustrated somecombinations of various strokes to form pictures.

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From basic strokes and combinations you may move onto a complete picture. First visualize the whole of what youwish to do. Next think in terms of composition, light anddark areas, main accent lines. You may start either from thelightest area and work to the darkest, or you may work inthe opposite way from the darkest area.

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