The same principle applies in the art of Chinese writing; but this effect must not be the result of calculation—it must be what in art is called shi zen, meaning spontaneous.
In painting the hair of monkeys, bears and the like, the pointed brush is flattened and spread out (wari fude) so that each stroke of the same will reproduce numberless thin lines, corresponding to the hairs of the animal. Sosen thus painted. In modern times Kimpo [(Plate V)] is justly renowned for such work.
Many artists become wonderfully expert in the use of the flat brush, from one to four inches wide, called hake, by means of which instantaneous effects such as rain, rocks, mountain chains and snow scenes are secured. Some artists acquire a special reputation for skill in the use of the hake.
The brush should be often and thoroughly rinsed during the time that it is used and washed and dried when not employed. In Kyoto, Osaka and Tokyo there are famous manufacturers of artists' brushes, and names of makers such as Nishimura, Sugiyama, Hakkado, Onkyodo and Kiukyodo are familiar to all the artists of the country.
The use of sumi (yoboku) is the really distinguishing feature of Japanese painting. Not only is this black color (sumi) used in all water color work, but it is frequently the only color employed; and a painting thus executed, according to the laws of Japanese art, is called sumi e and is regarded as the highest test of the artist's skill. Colors can cheat the eye (damakasu) but sumi never can; it proclaims the master and exposes the tyro.
The terms “study in black and white,” “India ink drawing” and the like, since all are only makeshift translations, are misleading. The Chinese term “bokugwa” is the exact equivalent of sumi e and both mean and describe the same production. Sumi e is not an “ink picture,” since no ink is used in its production. Ink is the very opposite of sumi both in its composition and effect. Ink is an acid and fluid. Sumi is a solid made from the soot obtained by burning certain plants (for the best results juncus communis, bull rush, or the sessamen orientalis), combined with glue from deer horn. This is molded into a black cake which, drying thoroughly if kept in ashes, improves with age. In much of the good sumi crimson (beni) is added for the sheen, and musk perfume (Jako) is [pg 40] introduced for antiseptic purposes. When a dead finish or surface (tsuya o keshi) is desired, as, for instance, where the female coiffure is to be painted and a lusterless ground is needed for contrast with the shining strands of the hair, a little white pulverized oyster shell, called go fun, is mixed, with the sumi. Commercial India ink resembles sumi in appearance, but is very inferior to it in quality. The methods of sumi manufacture are carefully guarded secrets. China during the Ming dynasty, three centuries ago, produced the best sumi, although China sumi (toboku) employed twelve centuries past shows both in writing and in painting as distinctly and brilliantly today as though it were but recently manufactured. Nara, near Kyoto, was the birthplace of Japanese sumi, and the house of Kumagai (Kyukyodo) for centuries has had its manufacturers in that city. In Tokyo a distinguished maker, whose sumi many of the artists there prefer, is Baisen. He has devoted fifty years of his life to the study and compounding of this precious article. He possesses some great secrets of manufacture which may die with him. In Okyo's time there was a dark blue sumi called ai en boku but the art and secret of its manufacture are lost.
In using sumi the cake is moistened and rubbed on a slab called suzuri, producing a semi-fluid. The well-cleaned brush is dipped first into clear water and then into the prepared sumi. When the sumi is taken on the brush it should be used without delay; otherwise it will mingle with the [pg 41] water of the brush and destroy the desired balance between the water and the sumi. For careful work the sumi is first transferred on the brush from the suzuri to a white saucer, where it is tested. It is a singular fact that the color of sumi will differ according to the manner in which it is rubbed upon the stone. The best results are obtained when a young maiden is employed for the purpose, her strength being just suitable.
It is very important while painting with sumi to renew its strength frequently by fresh applications of the cake to the slab. The color and richness of sumi left upon the slab soon fade; and though when used this may not be apparent, when the sumi dries on the paper or silk its weakness is speedily perceived.
By the dexterous use of sumi colors may be successfully suggested, materials apparently reproduced and by what is termed bokushoku, or the brush-stroke play of light and shade, the very rays of the sun may be imprisoned within the four corners of a picture. Artists are readily recognized in their work by their manner of using or laying on sumi. The color, the sheen, the shadings and the flow of the ink enable us even to determine the disposition or state of mind of the artist at the time of painting, so sensitive, so responsive is sumi to the mood of the artist using it. There is much of engaging interest in connection with this subject. Artists become most difficult to satisfy on the subject of the various kinds of sumi, which differ as much in their special qualities as the tones [pg 42] of celebrated violins. It is interesting to observe how different the color or richness of the same sumi becomes according to the varying skill with which it is applied.
The mineral character of the suzuri has also much to do with the production of the best and richest black tones.