Brush, Ink, Paper, Stone
Brush, Ink, Paper, Stone
Brush, Paint, Canvas, Paper
The sacred elements of Japanese calligraphy, Shodo, and brush painting, Sumi-e, are the necessary tools for expression in this art of painting. Painting in oils or watercolors also use these same tools that are respected and cared for. The techniques for brush use are quite different, of course, but equally demanding. Other issues of composition play into the simple action of placing the brush loaded with ink or paint onto the surface of paper or canvas. The continual willingness to learn and explore is an important attitude to nurture in a life of creativity.
Sumi, Japanese ink, offers the most exciting method of painting because it is irreversible. No stroke may be painted over as you find in using oils. You have one chance to succeed in your painting. Accidentals, white spaces within a stroke, are those beautiful moments that just happen at the whim of the brush.
This painting was used on the cover of Receiving the Marrow, Teachings on Dogen by Soto Zen Women Priests. Although the title is Smiling Buddha, the abstraction allows the viewer to consider other interpretations such as a gourd which was the symbol for women in very early times.
across the moon
The year 2000 was the Year of the Dragon as we entered the 21st century. The dragon represents creativity and is protector of water. The dragon is the only mythical creature represented in the Eastern zodiac and is considered the luckiest of the
Correct, Save, Help
Experimental and seemingly raw and messy calligraphy can be very beautiful. We are not bound by correctness in our calligraphic expression, but urged by the correctness of virtue and behavior toward one another. Ryokan was known for his supreme kindness.
We don't have to see the dragon to notice its effect on the atmosphere. The dragon is a motif found throughout Eastern art and in religious iconography. It is a symbol of strength, protection, good fortune, health, creativity, and courage.
Holding the Moon
The faint lines of this painting on wafer thin paper and mounted on canvas shows us how Kwan Yin is perpetually at our side in an invisible way, forever guiding and ushering us through the pitfalls of everyday life.
Describing a painting to someone can reduce it to an object that the painter hopes one would transcend. To look at an abstract painting one must abandon all concepts and allow the painting to tell us something by feeling what it is meant to say. This might be different for each person.