About Sumi-e

Oriental brush painting, which includes Korean, Chinese and sumi-e or Japanese brush painting, is rooted in a tradition over two thousand years old. In China this art was first practiced by the Zen priests to improve their spirituality and meditation through artistic concentration, inspiration and perfection.

Sumi-e is more than just an art form. It is a spiritual discipline requiring co-ordination of the physical and spiritual. To paint in sumi-e is to experience the difference between likeness and truth. Likeness can be obtained by shape alone, but when truth is reached, spirit and substance are both fully expressed. In sumi-e it is more important to capture the inner nature of the subject than to reproduce its exact outward appearance and form.

Sumi-e is noted for its spontaneity. The nature of the paper and ink demands an instantaneous technique. Energy, force and movement are inherent in each rapid brushstroke: alive and irrevocable. Once placed on the paper, the brushstroke cannot be modified or erased. A feeling of freedom and effortlessness results from the precise expertise of a perfectly disciplined brush.

Another distinctive feature of sumi-e is asymmetry and the related concept of positive space. This is an original idea found in oriental brushstroke painting which can be traced to the philosophical thinking predominant in both Taoism and in Chan Buddhism: the concept of emptiness contrasting with the positive void, suggesting both no-thing and inexhaustible fullness at the same time. This profound and lucid space harmonizes all the elements in a painting and hints at the Infinite, imparting a poetic feeling and a spiritual dimension.

Sumi-e aims for direct simplicity in spirit, concept and execution: a classic elegance that portrays the artist's personal spirit and will on paper.

Roslyn's Work Area and Sumi-e Supplies

About Roslyn Levin

Roslyn painting at Monora Park

Roslyn Levin, Résumé

I have practiced sumi-e or Japanese brushstroke painting, since 1976 & Japanese calligraphy since 2009 having as sensei's, respectively, Tomoko Kodama and Noriko Maeda.

I have painted professionally since 1981. My work has appeared in both national and international exhibits in Canada as well as in group exhibits in China,and Japan sponsored by Group Yohaku--white space. My work has also appeared in juried exhibits in London, England. My paintings are in art collections in Holland, Australia, Great Britain and the United States.

I have been painting professionally since 1981. My work has appeared in both national and international exhibits in Canada as well as in group exhibits in China,and Japan sponsored by Group Yohaku--white space. My work has also appeared in juried exhibits in London, England. My paintings are in art collections in Holland, Australia, Great Britain, the United States and Canada.

Regarding the art of painting in sumi-e itself:
The simplicity of both sumi-e & shodo is deceptive.
I must control the amount of water on my brush and how wet I have made the highly-absorbent rice paper (washi) with my brushstrokes.
In sumi-e the brush must be loaded so that a combination of grays/colours and blacks will appear in one brushstroke. In true sumi-e the work is at least 60% black ink or sumi although I will use a bit of colour and even all colour in some pieces, employing the brushes, paper and felling that makes Japanese Brushstroke work unique.

In Shodo, the brushstrokes are the same as in sumi-e but usually all is in black in without the use of grays although I often incorporate colour in my works.

From this point the work is produced in the same manner. How I feel about the word or subject should be felt by the viewer, rather than necessarily the form of the word, object or being itself. Whether I use a purchased brush or one I have made myself, the character of that brush must be allowed to shine.

I must move my body/brush at different speeds, with varied pressures, to create textures; simplifying the brushstrokes to allow essence to be revealed.

There is one chance only. I cannot mask an error or redo a brushstroke; I must begin the painting again and again until I achieve a piece that looks as though I 'breathed' it onto the paper.

By thus exercising my spirit upon the page, I produce work that appears effortlessly Zen.

I am a Studio Artist at Dragonfly Arts in Orangeville, ON: 519-941-5249

Current Galleries:
Dragonfly Arts on Broadway, Orangeville, Ontario
Macdonald Stewart Public Gallery, Guelph, Ontario

I am a member of Sumi-e Artists of Canada (SAC), Brushfire Artists & an elected member of the Society of Canadian Artists (SAC)

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