Ch: shuimohua.
Also, in Japan,
bokuga 墨画 or more colloquially
sumi-e 墨絵.
Lit. water-ink painting. Painting in *
sumi
墨 (black ink) in dark and light shades on silk or paper. In contrast to
painting in colors
saishikiga 彩色画 and *
hakubyou
白描 (ink line painting),
suibokuga uses gradations of ink to create
a sense of light and shade, as well as modulated brushstrokes and lines
to create a sense of volume and rhythm.
Suibokuga shares many features
with calligraphy: it is essentially a monochromatic medium. It is typically
painted with similar brushes, and is appreciated for qualities admired in
calligraphy, such as strength and resilience of line, economy of brushstrokes
and ink, and expressiveness. The division of calligraphy into three styles,
formal
kai 楷, or
shin 真 running
gyou 行 and cursive
sou 草, has also been applied to
suibokuga (see *
shin-gyou-sou
真行草). The origins of
suibokuga, although obscure, can be traced to
China, from where the techniques were transmitted to Korea and Japan. From
its inception, Chinese painting has been strongly dependent on linear description,
but already in the Han dynasty, Chinese artists were beginning to explore
the volumetric and expressive potential of ink lines. It was not until the
late 7c to early 8c, however, that monochrome ink painting began to extricate
itself from its function as outline in polychrome painting. Wu Daozi (Jp:
Go Doushi 呉道子; early 8c) is recognized as one of the early masters of ink
painting and is said to have imbued ink line with vitality and expressiveness.
While Wu was renowned for his figure painting, a younger contemporary, Wang
Wei (Jp: Ou I 王維 ; ca.699 - ca.759), has been immortalized for paintings
of landscape. Wang is credited with making landscape painting in ink a viable
vehicle for personal expression, thus setting the stage for landscape painting
to be considered as the preeminent expression of Chinese art. Wang is also
said to have employed the technique of broken ink *
haboku
破墨 to impart a sense of volume and texture to landscape forms.
The accretion of legends surrounding Wang and Wu makes it difficult to verify
the exact nature of their work, although paintings and painting on objects
from the 8c in the *
Shousouin
正倉院 in Nara indicate the skill Chinese artists had achieved in rendering
animated, plastic forms by means of ink alone. Wang Mo (Jp: Ou Boku 王墨 ;
? - ca.804), also from China, is customarily mentioned in connection with
the origins of another
suibokuga technique, that of splashed ink
*
hatsuboku 溌墨, in which ink is spattered from a brush, hand, or implement. Both
the splashed ink and broken ink techniques can be read pomo in Chinese,
and considerable confusion has arisen about their mention in documents.
In Japan, the two terms eventually came to refer to the same technique of
laying on successive ink washes. The development of Chinese ink painting,
which traveled to Korea and Japan, is a significant aspect of the international
culture of the Tang dynasty. In the early Northern Song dynasty, Chinese
painting reached new heights in the monumental monochrome landscapes of
such painters as Jing Hao (Jp: Kei Koku 荊浩 ; fl. ca.870-930), Li Cheng (Jp:
Ri Sei 李成 ; 919-967), Fan Kuan (Jp: Han Kan 范寛 ; ca.960-ca.1030), and Dong
Yuan (Jp: Tou Gen 董源 ; fl. 937-976). Slightly later, during the 11c,
a group of literati artists, including Su Dongpo (Jp: *
So
Touba 蘇東坡 ; 1036-1101) and Mi Fu (Jp: Bei Futsu 米ふつ ; 1052-1107), transformed
suibokuga into an idealized art, asserting that a painted image, like a
written passage, was a perfect vehicle for learned men to express lofty
thoughts. Also during the Northern Song dynasty, ink painting was practised
by a number of Chinese monks of the Chan (Jp: Zen 禅) sect of Buddhism. The
great advances made by Song painters in
suibokuga techniques began
to exert pronounced influence on Korean and Japanese painters in the 12c
and 13c. In Japan, ink painting experienced a phenomenal surge in popularity
among priests of the newly prosperous Zen sect during the late Kamakura
period. It became the favored mode of painters in the Muromachi period.
In large part, the success of Zen inspired
suibokuga was due to its
austerity and immediacy, qualities admired by the military rulers of the
Kamakura and Muromachi periods. Japanese
suibokuga has been divided
into four developmental stages. The first stage extended from the mid-13c to the late 14c. The style of ink painting by Chan monks of the late
Song and early Yuan dynasties, especially Muqi (Jp: Mokkei 牧谿 ; early 13c)
was transmitted to Japan. The artists who adopted this approach were largely
Zen monks who produced paintings as a religious practice. These included
Mokuan Reien 黙庵霊淵 (fl. early 14c) and Kaou Ninga 可翁仁賀 (fl. early 14c). Artists
of this leaning often worked in *
genpitsu
減筆 (abbreviated brush drawing) mode, creating sketches whose immediacy of
execution mirrors the belief of the Chan sect in spontaneous spiritual enlightenment.
Taoist figure painting *
doushakuga
道釈画 was an important subject in this group of painters. But this style coexisted
with another style of artist like Takuma Eiga 宅磨栄賀 (fl.1312-16) and Ryouzen
良全(fl.1348-55), who tended to create diligently crafted iconic images. See
*
ebusshi 絵仏師. In the
second stage, from the late 14c to the mid-15c,
subokuga artists
began specializing in certain themes, among which landscapes became increasingly
common. Schools of painting emerged at major temples in Kyoto: Josestu 如拙
(also Nyosetsu; fl. ca. 1394-1428) headed an atelier at Shoukokuji 相国寺 and
Kichizan Minchou 吉山明兆(1352-1431) was master painter at Toufukuji 東福寺. Chinese
ideals exerted a major influence in other fields of art, as can be seen
from Chinese verses inscribed on *
shigajiku
詩画軸 (hanging scrolls with painted scenes and inscribed poems). While the
artists who painted the utopian landscapes and
shosai 書斎 (a study)
on
shigajiku were usually professional monk-painters of relatively
low rank, the poems were typically inscribed by high ranking priests of
the
gozan 五山 system, a hierarchical organization of Zen temples adopted
from Southern Song and supported by the Ashikaga 足利 shoguns. Early ink painting
originated in
gozan temples. Probably the most famous of the artists
is Shuubun 周文(fl. ca. 1425-50), Josetsu's disciple and successor as head
of the shogun-sponsored painting academy at Shoukokuji. Shuubun is credited
with assimilating the style of the Southern Song academic painters Ma Yuan (Jp:
Ba En 馬遠 ; fl. ca. 1190-1264) and Xia Gui (Jp: Ka Kei 夏珪 ; fl. ca. early 13c)
into the Japanese style of
suibokuga. The third stage in the development
of
suibokuga occurred in the second half of the 15c. During this
phase, Shuubun's student Sesshuu Touyou 雪舟等楊 (1420-1506), is considered
to have fully integrated Chinese models into
suibokuga. Sesshuu
created a powerful, personal idiom that greatly influenced later artists.
One of the
suibokuga techniques employed by Sesshuu is
hatsuboku,
as seen in his hanging scroll of
Haboku sansui-zu 破墨山水図 (1495) in the Tokyo
National Museum. A number of painting schools emerged during the third stage
in the development of
suibokuga. These schools tended to be affiliated
to Zen temples, but did not necessarily have only monk painters as members.
As well as that under Sesshuu schools formed around Nouami 能阿弥 (1397-1471),
Soga Jasoku 曾我蛇足 (fl. mid to late 15c), and Oguri Soutan 小栗宗湛 (1413-81),
Shuubun's successor as official painter to the Ashikaga shogun. Each of
these schools created a distinctive manner of painting in ink. Official
sponsorship was next bestowed upon the Kanou school *
Kanouha
狩野派 in the early 16c, during the fourth phase of
suibokuga development.
This final period saw ink painting emerge as a more secular and decorative
style, epitomized by the art of Kanou Motonobu 狩野元信 (1476-1559), who is lauded
for his masterful synthesis of *
yamato-e
やまと絵 (native Japanese style painting) and *
kanga
漢画 (Chinese style painting). Until this point, ink painting had commonly
been small in scale, painted on vertical hanging scrolls or horizontal handscrolls.
During the final phase of its development, large-scale
suibokuga
flourished, as it became popular for ornamenting sliding doors, panels and
screens of temples, castles and wealthy merchants' dwellings. These large
scale paintings were created in ink alone, in rich polychrome, or in a mixture
of the two. The monumental, decorative trend culminated in the Momoyama
period with painters such as Kanou Eitoku 狩野永徳 (1543- 90) who painted dramatic
images in ink with broad, rough brush work; Hasegawa Touhaku 長谷川等伯 (1539-1610)
who conveyed the beauty and purity of nature with lyrical intensity in his
ink paintings; and Kaihou Yuushou 海北友松 (1533-1615) who united ink with gold
backgrounds. One of the other major artists active during the Momoyama period
was Tawaraya Soutatsu 俵屋宗達 (?-1640?), who created rich, subtle ink effects
with techniques that included *
tarashikomi
溜込. The new manner forged by Soutatsu came to be known as *
Rinpa
琳派. In the early Edo period, Kanou Tan'yuu 狩野探幽 (1602-74) carried on the
Kanou school lineage as head of the officially sponsored school of painters.
Tan'yuu's elegant style of ink painting had a great impact on artists of
the 17c. Later in Edo period, Maruyama Oukyo 円山応挙 (1733-95) and his disciple
Nagasawa Rosetsu 長沢蘆雪 (1754-99) achieved realistic effects of volume and
three-dimensionality with techniques of ink painting which included *
tsuketate
付立. Ike no Taiga 池大雅 (1723-76), Yosa Buson 与謝蕪村 (1716-84), and Uragami Gyokudou
浦上玉堂 (1745-1820), among others, used ink as one medium in their repertoire
as adherents of *
bunjinga
文人画 or *
nanga 南画 (literati
painting). These artists studied the flexible, soft ink style of the Southern
School of Chinese artists. Itou Jakuchuu 伊藤若冲 (1716-1800) and Soga Shouhaku
曽我蕭白 (1730-81) often painted in ink in an individualistic, expressive manner.
Edo ink painting developments continued to exert influence on modern painters,
such as those who worked in the style of *
nihonga
日本画 (Japanese painting), incorporating traditional features of
suibokuga
to fashion a novel manner of painting. Abstract painters of the 20c have
also relied on techniques of
suibokuga.