When: June 3, 2013 to June 9, 2013 Where: Takanawa
public Center 2nd Gallery Shinagawa-ku Tokyo Japan
Artist Reception: June 8th at 5PM 95 works of Calligraphy and
Sumi-e on display.
This exhibition is under the direction of Master Ransui Yakata. The exhibit will display works from Ransui's painting institute plus the works of invited artists from the International Chinese Calligraphy and Ink Painting Society ~ ICCPS.
This
community of artists can help show that this unique art form can often
be interpreted with sensibilities and styles that
are (quite) different. The artists associated
with this initiative seek not only to promote their own artwork, but
also sumi-e
art in general, which deserves its own place
among the major pictorial works of the world. More than just an art
form, sumi-e
is a way of being, thinking, and living. Our
society is a way of demonstrating these concepts.
ICCPS North America Branch members invited to participate are:
Kalpa MacLachlan ~ Holland
Casey Shannon ~ USA
We are honored to be included in the artists invited to exhibit in this prestigious event!
The Monk Vulture
by
Kalpa MacLachlan
To view more of Kalpa's work and read about her, please visit: HERE
Journey of Flowers
by
Casey Shannon
To view more of Casey's work and read about her, please visit: HERE
Using the
seal as an integral part of the composition in ink painting is uniquely
Asian.
To authenticate and to show
approval of his/her work, the artist uses a personal seal in red along
with his signature. In
addition to the personal
signature and seal, most traditional Chinese brush artists use seals to
enhance their compositions.
Antiquity, artistry, and the quality of the material from which a seal is carved
determine it's value.
The seal tradition began as a way for the artist to authenticate his
work. He would sign his completed work with his brushed calligraphic signature
and then follow with a stamp of his seal (Artist Name Seal),
thereby identifying the work as his own. However, the seal soon expanded
from a name moniker to more complex self-expression as artists commissioned
special pieces to evoke ideas and emotions as well. This lead to mood seals and poetic seals such as the seal pictured above. As with many things
in China, this practice goes back to early recorded history appearing on
some of the most treasured dynastic artworks of antiquity.
In ancient China it was customary for each successive owner of a
painting to add his own personal seal to that of the artist. This custom
provides a valuable history of the work and accounts for the
proliferation of seals found on old master paintings. In those dynastic
days, only persons of great privilege, wealth, and position could own or
sponsor such works of beauty.
For thousands of years, seal carvers have passed their specialized craft
through family lines, from father to son, across time, to give us
generation after generation of venerated carvers and remarkable, poetic
carvings. Unfortunately, as China becomes more and more modernized, this
ancient and honored skill is becoming more and more difficult to find.
Seal Paste
Cinnabar
Red seal paste, sometimes also referred to as cinnabar, is used to stamp the seal design. Many ink painting artists do not consider their artwork finished or approved by them until the seal / seals are placed on the painting or calligraphy piece.
I have an extensive personal collection of artist seals. They are works of beauty worth collecting and provide me with a lovely way of signing my work. Above are just some of the artist seals or chops that I use in my sumi-e. They translate
(from left to right):
Square = Casey
Small Round = Spring
Large Round = Be Well
Large Oval = Elegant Style
Smaller Oval = Journey into Art
Lightly press your seal into the paste several times
and, as you do, blow on the seal to help warm and soften the paste.
Always test the seal first on a piece of painting paper. If the imprint
looks good, tap the seal into the paste a few more times, and then place
it on your painting in a firm manner. Do not wiggle the seal around or
you will blur the image. Just exert firm pressure on it for a moment,
and then lift straight up.
To get a sharp image, place a magazine under your
painting before stamping. As an undersurface, a magazine offers just the
right amount of yield and support. A softer undersurface can wrinkle
the paper, while a harder undersurface could result in a poor contact.
Practice placing your seals so that they appear straight. Always
completely wipe off your seal before putting it away.
Artist Seal Resources Asian Brush Painter Shanghai, China English speaking, Great Service
