- Jill-Try this one:
It's by Diane Maurer
I am an art historian in Los Angeles, and am interested in researching
the history of sumniagashi in Japan. When was this craft started? Does
it have any spiritual or philosophical affiliations? Was it considered
an art or a craft (if this dintinction was valid at all at the time of
its origin)? Does it have any influence on modern or contemporary
practices of art? These are some of the questions I am interested in
finding answers to. Can you send me in the right direction?
- -Hi, art historian - what would we do without you? The two best
books I have found on suminagashi, currently available,
are "Suminagashi, an Introduction to Japanese Marbling" written by
Don Guyot, Brass Galley Press, Seattle, and available from Colophon.
The other is by Anne Chambers, and was recommended to me by one of
Japan's leading suminagashi artists Tadao Fukuda, whose work appears
in the book - "Suminagashi, the Japanese Art of Marbling, a Practical
Guide" Thames & Hudson Ltd. London. This marvelous forum will
doubtless provide you with heaps more information from far more
knowledgable people. Hope it helps anyway, Regards, Joan Ajala
- Dear Debashish,
You may also want to check out the translation of
Suminagashi-Zome by Tokutaro Yagi printed by Heyek
Press at 25 Patrol Court, Woodside, California 94062.
It is about $25 and gives technical information. In
1914 an aging Tokutaro Yagi had no mail heir and was
afriad that his knowledge would be lost. He dictated
the book to a teacher who transcribed it. It was
first printed in English in 1991.
Also, Einen Miura will have a slide lecture on Ink
Stick Suminagashi and demonstration at the
International Marblers' Gathering 2002. Contact me
for more information if interested at
--- ewcc@... wrote:
> I am an art historian in Los Angeles, and am
> interested in researching
> the history of sumniagashi in Japan. When was this
> craft started? Does
> it have any spiritual or philosophical affiliations?
> Was it considered
> an art or a craft (if this dintinction was valid at
> all at the time of
> its origin)? Does it have any influence on modern or
> practices of art? These are some of the questions I
> am interested in
> finding answers to. Can you send me in the right
> Thank you,
> Debashish Banerji
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- Hi All-
Badly wrenched back this weekend...thus, time to read and respond:
I have taught many suminagashi courses. "Boku Undo" colors work well
once adjusted. Chinese paint chips (Colophon Book Arts) dissolved in
water also work well and are considered to be the traditional form of
suminagashi. We use diluted Photo Flow now, as the current batch of
Sumifactant (Colophon Book Arts) seems to be loosing
strength...especially bottles purchased this year. All traditional
suminagashi papers that I have seen or purchased over the years (coming
from Japan) do not have bold colors. It is the very nature of the
technique to allow suminagashi to happen rather than control what is
happening....truly "go with the flow". Traditional colors are black,
red and blue...when floated, becoming more gray, pink and blue. Some
lovely old papers have veins of silver or or gold with the black.
Colors are separated by the non color (diluted sumifactant or Photo
Flow), forming crisp lines of various thickness. The thickness depends
on the size brush and if it has a good pointed tip, plus the length of
time the brush is held to the surface of the water (never below it) to
form concentric rings, and the correct balance of the formulas of color
vs non color. Too much pigment, too little surfactant, etc., all make a
big difference in the final results.
"Contemporary" suminagashi must be considered once you decide to alter
your images and introduce bold colors.
That is a personal choice, but certainly start with the basic technique
until you are quite comfortable with it.
Color harmony will depend on knowing how to properly mix colors rather
than using those readily available (which can be limiting). Study line
variance through brush control if this is the direction you wish to go.
It is at this point that composition also must be considered as you are
entering a new phase of the art rather than remaining with the simple
beauty of traditional suminagashi...our oldest from of paper marbling-
documented in 12th century Japan.
I have worked with students who have excelled immediately and others
could not grasp the concept at all. Some had previous instruction, then
realized they were only taught the "mistakes" of others. Unfortunately,
"Trial and Error" are the worst of instructors...but one does learn
patience and endurance! -Milena
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