The Art of Sumi-e Painting
                An Interview with Susan Frame
                                                  by Jeanne Emrich

Susan Frame, whose paintings are featured within these pages, is an American sumi-e master, now living in Minneapolis, Minnesota. In the following interview, Susan talks about sumi-e painting as an art form and how it is practiced in the United States as well as world-wide.

First, Susan, what is sumi-e and what is sumi-e painting?

Sumi-e is a Japanese word that means "ink picture." The ink is called "sumi." When you put the "e" on the end of the word, it means "ink picture." Ink painting was developed in China as early as 200 or 300 A.D. Landscape ink painting was quite fully developed from the 10th century onward and traveled to Japan and Korea via the Zen monks around 1300 A.D. In a very strict sense, sumi-e refers only to Japanese ink painting. But in the Western connotation, the term now refers basically to ink painting (with or without color) done on rice paper or silk. By this definition, whether the influence is Japanese, Chinese, or Korean is inconsequential. The actual technique uses black as a color, and shades of black represent all the colors of the rainbow.

Sumi-e painting is more than just a technique of using ink on rice paper. It is an art form that requires a great deal of involvement from the artist. It's not intended to be a literal representation of the subject, although one's style may be realistic. The aim of the sumi-e artist is to capture the essence of the subject matter, and translate it onto the paper or silk. There is a saying that you have to "become the rose to paint it." So it is an art form with deep feeling.

What role does calligraphy play in sumi-e?

Calligraphy is the basis for sumi-e. Brush strokes used in painting were developed from brushstrokes used in calligraphy. Just as in calligraphy, brushstrokes used in painting are executed with great control and energy, generally in fluid movements. Students in both art forms strive to master control of the brush and ink so that eventually they can let go of all control. Traditionally, calligraphy (in the form of a poem, a story, a saying) is included in a painting and is considered part of the painting. In contemporary painting, however, the rules are changing, and even in Asia sometimes paintings do not include calligraphy.

What accounts for the loose, impressionistic style we see so often in sumi-e painting?

The materials in some sense dictate the style. The ink, the rice paper, and silk are all pretty unforgiving. The ink is permanent and cannot be lifted off the paper or moved around. The paper is fragile, rips easily, and cannot be manipulated the way canvas or heavier papers (watercolor, etc.) can be. Some kinds of rice paper show every stroke that is made on the paper, so it's not possible to cover up errors. Because of these characteristics, the art form in practice becomes quite spontaneous.

The energy imparted by the artist also contributes to the looser feeling of the painting. This quality comes from the fact that the artist is painting the inner spirit of the subject, not scientifically how it looks. Because of this, the aim with sumi-e is to be understated, leaving out the unncessary elements of the subject. Also, because of this focus on the essence of the subject the concern with the temporal aspects of the scene fall by the wayside. The time of day, the lighting, the shadows all become superfluous to the message. We sumi-e artists are not striving to paint this moment right now; we are striving to paint the eternal moment.

There is a story that some of the French Impressionists, such as Henri de Toulouse-Lautrec, Paul Gauguin, Vincent van Gogh, and Mary Cassatt, became influenced by sumi-e after they saw discarded wood-block prints that had been used to wrap Japanese dishes delivered to a restaurant they frequented in Paris. What do you think they admired in these prints that may have influenced their painting style?

I think they had to admire the emphasis on brushtroke and on simplicity. Each brushstroke in sumi-e painting is very important. Remember that the artist is painting the essence of the subject. By definition, that would mean simplifying the scene to capture only those elements that are necessary. Because of this, each brushstroke becomes very important to the final composition. Also, you can actually see every brushstroke in the finished composition. Therefore, the backbone of the painting is the brushstroke. The energy, strength, and certainty with which each stroke is executed is one of the most important elements of sumi-e painting.

What are the "Four Gentlemen"?

From old China, "The Four Gentlemen" is a term used to refer to four specific subjects (orchid, bamboo, plum blossom, chrysanthemum) which are traditonally some of the first subjects the student learns. Each subject focuses on a different brush technique and lays down the brushstroke foundation. They also represent four seasons and four desirable personality traits. They are called "Gentlemen" because in the Confucian way of thinking, desirable personality traits were gentlemanly qualities. (Womanly qualities were not a consideration.) The orchid represented summer and noble virtue. The bamboo symbolized winter and also strength, i.e. integrity. The plum blossom was spring, and the white blossoms signified character. And, finally, the chrysanthemum represented autumn as well as modesty, and loyalty.

What does it mean "to grind ink"?

Traditional ink comes in stick form. It is made from vegetable carbon and glue, is molded into a form and fired in a kiln. To paint with this stick, you need to mix it with water by grinding it with water in a circular motion on a slate stone specifically made for this purpose. Besides giving you the painting medium, this process also is a wonderful meditative exercise. By grinding ink, you can clear your mind before you begin painting. Both Japanese and Chinese ink are also available in liquid form. Liquid ink is an inexpensive way to begin paintng and is easy to carry around for location painting. There also are some techniques that respond better to liquid ink than stone ground ink. One of the drawbacks to liquid ink, of course, is that it skips the meditative process. Incidentally, India ink is not the same as liquid sumi ink. India ink contains shellac: Chinese and Japanese inks to not.

How did you become interested in sumi-e and what elements within this form attracted you?

I began painting sumi-e by accident. An artist from Japan was in residence for a year at my college, and I took the course and fell in love with painting. It was the only medium that grabbed me and didn't let go. I think the strong draw was the simplicity of the form, the connection with the spiritual side of life (capturing an essence of the subject), and the meditative quality of the process.

Where did you get your training?

I have been painting in this medium for 25 years. During that time, I've studied with masters in Asia as well as the U.S.A. I went to Taiwan in 1979 to spend a year devoted to painting with Master Flower Painter Lin Hsin Jin. Other world renowned artists I have studied with have included Zhuo He Jun, Lu Yen Shao, Wuscious Wong, and Cheng Khee Chee.

What aesthetic qualities in sumi-e do you particularly strive towards?

I strive to have an energetic painting, meaning that my subject matter has soul and spirit and my brushwork has strength and character. I strive to have beautiful color and beautiful tones of black ink.

You both practice and teach sumi-e in the United States. How popular is this medium in this country? Is it still popular in Japan?

In the U.S.A., it is more popular in some areas than in others. I am sure it has to do with how much it has been exposed in particular areas. I believe the art form is misunderstood in the Western world. In my experience, as people learn about it and understand the concepts, process, and technique, they develop an appreciation of it.

Is it popular in Japan?

Well, I have not been to Japan for a while, but my understanding is that as Japan has become more technologically oriented, as people have become busier and busier, and as "progress" often finds less validity in tradition, so has sumi-e suffered in popularity. Of course, there still are sumi-e artists. There are great masters of ink painting, both young and old, in Japan just as there are in China and Korea. There are exciting innovations in technique, style and subject matter in Japan, China, Korea, the U.S.A., Canada, Europe, and probably other places as well.

How do language differences affect sumi-e in America? For example, do English-speaking sumi-e painters normally leave Japanese calligraphy out of their paintings? Do any write in English on their paintings? Is the writing for the purpose of including a poem with the painting, haiga-style, or for some other purpose?

Many English speaking painters have studied Japanese or Chinese calligraphy and do include it in their paintings. It is also true that many American sumi-e painters limit their calligraphy to a signature. Some do not use calligraphy at all. In contemporary painting, it is not necessarily the knowledge of the language that dictates the use of calligraphy. Some artists in both Asia and the U.S.A choose not to use calligraphy. Calligraphy is used for a number of purposes, but it's always considered part of the painting, not separate from the painting. Calligraphy can be a poem, a story, a saying, a signature, a nickname, the date, the place it was painted, the title of the piece. And, yes, there are some artists who use English on their paintings in a calligraphic way.

What particular challenges - in style, technique, and subject mater - does the practice of sumi-e face in this modern era?

I think the particular challenge to the art form is the same as the particular challenge to any artist - to continue growing. Perhaps art forms that are steeped in tradition impose greater challenges for expansion and growth. Tradition often passes on with it rules and rituals, which ideally are guidelines but which face the risk of becoming hard and fast. The challenge then for sumi-e is to maintain the roots while allowing individual expression, experimentation, and growth. For the artist, it means trying the untried, risking the safe way of doing things for the unknown way, pushing past what is comfortable, while holding onto the spirit and the essence of the subject.

Is it necessary to learn from a sumi-e instructor or can a beginner learn from books?

It depends on your style of learning. There are some great books out there that can walk you through basic strokes, techniques, and philosophies. Many people do better with camaraderie and an instructor. That way you can actually see how to paint, and you can compare your paintings with those of other people at your level. A teacher can help you maintain objectivity and see the strengths in your paintings (sometimes we get caught up in seeing all the mistakes in our paintings, and overlook the good points). But teachers are not always available to everyone who wants to learn sumi-e. I'm a strong proponent of experimentation. Try it yourself, play around with the brush and ink and paper. You can learn how the ink and water react on the paper and how to load the brush with mulitple shades of black so that you can get many shades in one stroke. After that, you can look into nature and try to figure out simple brushstrokes for various subjects. You do not need to have an art background to do this, nor do you need an ability to draw well. You can do all of this without a teacher, and if you work at it, you can learn to paint without a teacher.

What books would you recommend for instruction and art appreciation?

There are so many books, it's hard to recommend the best. Many libraries have good collections. Look under "Sumi-e", "Japanese painting", and
"Chinese painting". There are two books I particularly like for beginners: Japanese Ink Painting by Ryukyu Saito: and Japanese Painting: the Art of Sumi-e by Naomi Okamoto.

Is there a sumi-e society in the United States? If so, how can one join it?

The Sumi-e Society of America is a national organization of amateur and professional painters (also some non-painters) dedicated to education about the art form. The society publishes a quarterly newsletter in magazine format which includes articles about sumi-e and other things that may be of interest to the members. The society also sponsors an annual juried exhibit. There are a number of local society chapters which sponsor workshops, exhibits, paint-outs, and many other interesting activities. Currently, there are chapters in Minnesota, the Chicago area, the Washington, D.C. area, the New York City area, Alabama, Florida (four in various areas!), and Virginia. Membership is open to everyone. Annual dues of $30 may be sent to Membership Secretary Charles Wood, 733 East Westmoreland Drive, Mobile, AL 36609.

This interview first appeared in November, 1998 on Haiga Online: A Journal of Poetry and Painting, now at http://www.haigaonline.com.

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