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How to better appreciate Japanese art? In particular, lets explore the meaning of the crab in this 18th C. Japanese print. These kind of fine quality Japanese prints, known as surimono , were often made for festive occasions such as the New Year. They were usually commissioned by a poet or a poetry group and privately published. Although their subject matter may seem common, these prints are full of hidden meaning and subtle imaginative ideas, woven between the poem and image. Nature and its patterns When looking at the arts of Japan, flora and fauna were always integrated as part of its visual world. Their very essence quality iconography was used in conjunction with giving expression to notions, thoughts, and beliefs of a culture dependant on its visual language as communication connecting network. The composition representation of Japanese painted art, like in its poetry, seems to always be located in a particular span of time. Artists use of coded imagery as a specific set of vocabulary facilitated the expression of the transitory state of time. Observation of natural rhythms and planetary patterns is a key feature in the Japanese relation to the natural world and its phenomena and how it evolved in the painted art. In particular, the way animal behaviour reacts in specific time and responding to the changing nature of time. Be it ebb and flow, change of temperature and humidity, light and dark, as well as the magnitude of the changing seasons. This aspect of time flow, reveals to us the very essence character of the art work. The crab A particular interesting aspect of behaviour in the natural world is that of heralding time of phenomena not yet occurred. The crab ( kani 蟹) comes out at the ebb of the tide, especially when the morning sun rise or the evening sun set. It waits on the water edge to feed, enjoying the early or late soft rays of light. The etymology of its name kan-i means both ‘court rank’ as well as ’bravery’, which indeed he is, in heralding dawn and dusk and in reacting with the water cycle and the ebb of tide. The crab knows to follow the ocean’s rhythm and the day and night cycle. The art of surimono This woodblock print, known as s urimono - to mean ‘printed things’, is a limited edition and privately commissioned print, made for special occasions and times of the year. In particular surimono were designed as original gift cards for the New Year. The art of surimono was developed during the 18th century by top artists, usually commissioned by a poet or a poetry group. It was designed with subtle details, high quality paper and pigments, and refined technique of printing. Artist Utagawa Kunisada (1786 – 1865) was one of the most prolific woodblock print artist of the 19th C., with over 20,000 designs he has created during his lifetime. In this fine print by him, a giant crab is depicted from above, crossing the soft sand unto the water. Two poems are placed at the top part, with Kunisada beautiful designed round, red seal on the bottom right. Calligraphic poetry The two poems are placed carefully above the crab, as if coming out of the blue water. They are so well engraved that one may confuse them with calligraphy brush strokes. The first poem by Bunsō Takemasa on the right reads: 'The warbler sings to the moon and stars at Susaki Bay as the sun rises auspiciously at the dawn of spring.' The second poem is by Kubo Yasujūrō (1780-1837) , one of the many poets who came from samurai family and of the first to make a living out of the kyōka poetry, by holding competition and compiling anthologies of amateur kyōka poetry: 'Morning arrives in a sea of mist the giant crab crawls ever more slowly as the day goes by.' Both poems indicate the season and hour, describing Susaki Bay on the outskirts of Edo, which was a traditional place for gathering shells and seeing the first sunrise of the year over the sea. Time in poetry and painting was represented often with relation to a specific place, in defining not only the moment but also the emotional mood caused by that place and hour. In conclusion And so, a crab is not just a crab, it is part of the great clock of the natural world and was carefully chosen to be depicted here in this print. Although only one single crab is painted, its image alongside the calligraphic poetry, reveal to us, if only in our imagination, a whole landscape of the disappearing night time with its moon and stars, and the coming of the first New Year sunrise by the silver blue seashore. More on Japanese art history and painting crabs - For a selection of essays relating to Japanese art history and aesthetics as well as ink painting practice recommended resources and artist contemplation - You are invited to subscribe to ArtBrush library - HERE Sign up now for a one-time payment of £75 > Learn how to paint crabs (and shrimps) with Japanese ink and brush in this easy step-by-step tutorial - HERE Sign up now for a one-time payment of £65 >

From Jackuchū to Murakami This hanging scroll of chrysanthemums by the stream was painted by Itō Jackuchū ( 1716 – 1800), one of Japan's most ingenious artists of the 18th Century. He is presenting an ethereal range of chrysanthemums flowers by a stream that seem to grow out of an old ragged trunk covered with moss. Four little song birds can be discovered as one observes the painting, adding sound to the flowers fragrance and the movement of the water. And suddenly, our senses are fully engaged within this scene. It is part of a series of thirty scrolls painted by Jackuchū over a decade, known as 'The colourful realm of living beings' ( dōshoku sai-e ) , created around 1765 when the artist was in his fifties. This painting, on silk, is a wonderful demonstration of the artist versatility in mastership the way of ink. On the whole, it may seems like a traditional theme, but on a deeper observation, you may begin to find the work reveals itself as almost abstract, and does not really make 'sense', in the logical way. For example, the white flowers at the top could not really, physically, be held by its fine dark branch. And the background river, itself designed as three shades of decorative patterned ink, is really only reminiscence notes on the flow of water. This abstract format and the realistic images somehow come together to make sense in our imagination. Itō jackucho (1716-1800) Jackuchū is one of the most prolific artists of Japan. He is loved and revered by the Japanese, and his unique style does not fall really into any school of practice. That is why he is often relates to as one of the 'eccentric' artists of the 18th Century. And yet, one can challenge the notion of eccentricity. As it can only be related to, if there is a 'norm' to be eccentric in contrast to. His extraordinary mastership of the brush demonstrate both strength and finesse. Manipulating the brush and ink in creating beautiful original compositions. A true pathfinder of the art of ink painting. Born to a wealthy family of fruits and vegetables merchants in Kyoto, Jackuchū, as the eldest son had to handle the business for the first part of his life. Although he painted throughout that time and was already well known, he has began his first most ambitious work when he was forty two and well into his fifties, creating the series of thirty large hanging scrolls of which this painting of chrysanthemum is part of. Jackuchū was a devoted buddhist, follower of Zen. His work range from the most wild abstract like images, such as, his well known cranes and roosters, to the refined detailed of buddhas images and the natural world around us. From seashells to landscape, from flora to fauna, his work essentially carry a deep sense of the buddhist belief in the universal unity of all things. The chrysanthemum The chrysanthemum is one of the four main subject to be mastered by the ink practitioner, known as the 'four noble ones'. It has a history within ink painting tradition which originated in ancient China. It is said that when an artist can master painting the leaves of the chrysanthemum, they can paint anything at all. In the two chrysanthemum painting here, we can see Jackuchū mastership of the two main schools of ink practice. Both line strokes of the flowers, on the left scroll, as well as the free brush stroke as seen on the flower on the right. Playful, detailed and ingenious, shifting our perception from the known to the imaginary (no flower grows in this fashion really), he is working the narrow space of the scroll format to its uttermost. The flower represent the season of autumn, the air is getting colder, time to prepare for the harsh season ahead. Chrysanthemum painted by the stream, carry a reference to deep healing, strength and longevity. It was told of a hidden water stream, in a small village in Japan, which had chrysanthemum flowers growing alongside it. The petals would fall into the water, and it was believed that they transformed the quality of the water so that those who drank it lived well for many, many, long years. We can find three styles of Jackuchū chrysanthemum painted here. Using white for the largest flowers, with a hint of green in the centre. Jackuchū only paint the edge of the white petals, creating an illusion of a whole flower. He then uses the same white with a hint of green to creates a smaller flower, adding orange red to define its contour edges. And in the third design, he picks the orange-red to create yet another type of chrysanthemum using the two painting styles of lines and washes together. Dream world Jackucū's creates a unique dream world and invites us to dwell in it. If you look carefully you begin to unravel the way he does it. We actually view the painting from multiple view points. To begin with, we view the stream from a bird's view, and the flowers from a side view. Oh, but then, some flowers are seen from above, as well as below, and from the front flower as well as the back, revealing all sides of the flowers as well as the sculpted trunk. We are not outside this dream world, we are inside it. The stream runs in a beautiful silhouette of a wave. It goes from the top of the paintings down the bottom of it. The stem of the chrysanthemum does the same movement, but mirror the stream. Together they make an eternity like sign. The dark trunk with its radiating malachite green, repeats yet again the wave shape, bringing it to a pause at the bottom centre, where we find a little bird. The artist invites us to look more carefully and find the song bird, and then another and another, like the very hidden soul of the painting. Each bird, glance to a different directions as if to make sure it covers the whole universe of the artwork. With this unique style of his, using no western vanishing point or shadows of any kind, Jackuchū creates depth and layers to the work as a whole. His dream world is alive and vibrant. Takashi Murakami chrysanthemum by the stream This circular print 'jumped' at me when visiting by chance an auction house in London many years ago. It was hang amongst a mix of contemporary western prints, and was clearly very different. At the time, I did not know the artist, however, I did recognised the theme of chrysanthemum by the stream. As the only bidder, on a rainy London day, I was delighted to walk home with it and hang it on the wall amongst my own artwork collection, only to discover later on it was actually the work of contemporary Japanese artist, Takashi Murakami. Born in 1962, Takashi Murakami is one of the most well known contemporary Japanese artist of today. In keeping with the Japanese ink painting tradition of following the footprints of masters of the past, Murakami has taken up Jackuchū theme of chrysanthemum by the stream, giving it his own unique signature interpretation. Using the latest print technology of colour and gold, and a good amount of humour with his flower faces, His skilful executed print echo the theme of Jackuchū's, exploring it afresh some two hundred years later. In a way, like the longevity essence nature of the chrysanthemum, both artworks are timeless. Perhaps their reflected atmospheric feeling rises from the same timeless source. Learn More > For an in-depth tutorial on how to paint chrysanthemum, using Japanese ink and water colours painting check it out here Sign up for a one-time payment of £65 > > And for the complete foundation course tutorial 'The Four Noble Ones' , which includes the chrysanthemum lesson, you are invited to join ArtBrush Foundation course Sign up for a one-time payment of £220 > > For other individual painting tutorials check ArtBrush Online HERE Images details * Chrysanthemum by the stream - hanging scroll / ink and colour on silk / 142.8 x 79.1 cm / ca.1766 age 51 / Sannomaru Shōzō-kan Museum, Imperial Household Agency, Japan * Portrait of Ito Jackuchū - by Kubota Beisen (1852-1906) / colour on silk / 55 x 35 cm/ Shōkokuji, Kyoto * Two chrysanthemum (from a set of three) - hanging scroll / ink on silk / 94.3 x 32.3 each / Kyoto national museum

Of the many wonderful Japanese ink painting themes, there are few that have come to be considered essentials for the artist practitioner. And so, if you would need to condense the whole teaching of ink painting into four lessons only, then you would probably want to learn to paint wild orchid, bamboo, chrysanthemum and plum blossom. While every ink painting theme has its own unique value, why, and how, have these four become to be known as the foundation lessons for the practitioner artist? 'The Four Noble Ones' Known as 'The Four Noble Ones' or 'The Four Gentlemen' and shikunshi in Japanese - wild orchid, bamboo, chrysanthemum and wild plum hold within them together, like a pearl, the essential brush strokes practice for ink paintings. Each lesson, highlight different usage of line work and ink marks, offers an understanding as to the usage of ink and water to create shades of ink, and teaches core ideas of composition as well as careful observation of the ink masters paintings of the past. 'The Four Noble Ones' carry the perception of time flow and the elements, as well as main qualities and notions for the discipline of ink painting practice. Origin of 'The Four Noble Ones' The origin of these four plants as the 'Noble Ones', is somewhat of a mystery. Their tale goes back to Chinese literati ink painters of the Song dynasty (960–1279), hence their title also as 'The Four Gentlemen'. Ink painting and calligraphy together with music, used to be practiced by Chinese scholars as a mean of improving oneself and cultivating ones character. Chosen not only because of their beauty, wild orchid, bamboo, chrysanthemum and wild plum also have come to be considered as representing essential qualities for the scholar-painter character. These qualities be defined as humility, purity, resilience and forbearance. These various literati painting subjects were collated as compilation of knowledge over the generations, to include, instructions and details ranging from how to make ink and colour, to understanding composition, appreciation the artist observation skills, and samples of the masters. Thanks to the development of woodblock prints around the the 17th C. these compilation were turned into printed painting manual instructions for the discipline of ink painting. One of the early well known manual was the Chinese manual titled 'The Mustard Seed Garden Manual of Painting' . It was divided into various books and devoted a book for each of The Noble Ones' plants. As the manual became available and more popular, various copies were printed reaching other countries including Japan. It is recorded that the Japanese Tokugawa shogun exchange in 1724 his copy of the manual with a 1679 edition which belonged to an artist in his employ. The manuals made ink painting more accessible and must have inspired Japanese artists to create their own painting manuals as well. Today there are various version and editions to these kind of painting manuals. (see link below) And so, 'The Four Noble Ones' have become the foundation and essential practice themes for the ink painting practitioner. Unfolding seasons of 'The Four Noble Ones' Each subject represents the arrival of one of the four seasons and convey different feelings and emotions. The orchids suggest early spring time and the bamboo of summer time. The chrysanthemum tells of autumn into winter, and the plum blossom of winter into spring. Each plants display, in different way, its hidden beauty in spite of the hard weather and condition it grows in. Thus the study of these four will unfold the hidden beauty in ones painting. Wild orchids The spring blossom, blooming up high in the faraway mountains tops creaks and rocks, is this wild orchid way. It is as if the plant touches the sky. Access to it, is almost impossible. Because of this, it has become a symbol for hidden beauty. With its fine blossom, rare and graceful, it has also become a symbol of humility, elegance. Bamboo Bamboo is one of the most loved subject of ink painting. It is the beauty of the line that comes through with the painting. It represents the season of summer and the quality of resilience. As it is the fastest growing woody plant in the world and an ever-green plant, it gets its power from adaptability rather then strength. And so it came to represent flexibility and inner power. Chrysanthemum The royal chrysanthemum suggests the end of autumn and the coming of Winter. Fields of yellow chrysanthemum were considered as precious as gold. Its golden beauty represents purity and a determination. The power of anchoring in truth even in the face of the withstanding changes of season. Plum blossom The end of winter is snowy and very cold. The bare trees are well covered with snow, and it is the plum blossom that succeed in-spite of the cold weather to bloom and cover the tree with beautiful pink, red and white blossom with fine fragrance and delight. This power overcomes the cold and bleak weather, represents inner beauty and humble display of courage and bravery, in the face of difficulties and hardship, and this is plum blossom painting. In conclusion The wild orchid, bamboo, chrysanthemum and plum blossom have become an essential themes for the beginner apprentice of ink painting, as well as of deep value to professional artists. Each lesson trains ones hand and heart with specific brush movements, allowing the student to learn, practice and remember these and connect with the profound flow that comes when executed well. Just like playing scales on the piano, or warming up for a dance, practicing these with harmony, can immensely enhance the artists skills and quality of line. Learn More For an in-depth painting course 'The Four Noble Ones' you are invited to join ArtBrush Foundation course Sign up for a one-time payment of £220 > For individual painting tutorials please check the link HERE For the contemporary Mustard Seed Garden Manual of Painting , translated by Mai mai Sze you can get your copy on this affiliate link > Purchase on Amazon HERE *Images in this article are taken from the mustard seed garden manual of painting

‘To those who awaits only the cherry blossoms, Let me point to the spring in grassy patches amid the snow of a mountain village’ Fujiwara no Taika This poem has been used to explain the very essence of wabi-sabi by Sen no Rikkyo, master artist of Japanese tea ceremony. W abi-sabi as an aesthetic concept evolved with the tea ceremony in Japan by Sen no Rikkyo during the 16th century, yet it is rooted deep in Zen Buddhism already in the 12th century. Although strongly embedded in Japanese aesthetics, wabi-sabi as a concept is not always easy to define. It can however, be felt. This is perhaps its most clear element, the use of the senses for the aesthetic experience. While the 21st century is riding into a digitalisation of the senses, wabi-sabi takes us back to the touch and the taste, the sound and the fragrance of things, as well as their visual experience. To hold a tea cup with both hands and be touched by its textured material is the heart of the experience. While sipping tea, to feel the tongue sticking a little to the fired clay, these sensual feelings are woven into the ceramic beauty impact. In similar way to the tea ceremony, the ink artist takes a step back from the mundane daily world into their own rhythm, holding a raw ink stick and grinding it on an ink-stone to make ink. Feeling the rough texture of the stone and taking in the fragrance of the ink as it blends with water, the artist dip the brush to make that first brush stroke - this preparation time creates a unique intimacy of nearness to the natural materials. The love of the textured material and its simplicity, define wabi-sabi artistic aesthetic, where possible, keeping materials not fully processed, so one can still get a glimpse of their original state. The soot of which the ink is made of, kept its true nature for many years whilst being exposed to the elements. Be it fire or rain, heat or cold weather, it gifts the sense of humility and humbleness away from pretension and arrogance. The power of simplicity Wabi (侘び) carries the idea of elegant beauty that is reflected in simplicity itself. Simplicity that has its core in humbleness. A will to be with the essence of things and not their external cover up. ‘Get rid of the non essential’ - is the wabi-sabi artist most valuable instruction. The interaction of modest intelligence with a clean, efficient arrangement, allow wabi-sabi artists to keep with the integral component of its creation, and avoid unnecessary details. Ink painting will reveal just enough details for the viewer to identify the subject painted, but not more than necessary. The ink painting is intended to echo the very nature of its subject matter, not to copy it. Rustic beauty Sabi (寂び / 錆び) translated from Japanese, to mean ‘rust’. It suggests the nature of the ever-changing experiences and things that weathered, fade away or dissipate. It signifies not the ending of things, but actually the flow and continuity of the creative process. Sabi aesthetic does not find a need to ‘hide’ the ongoing ageing of the art created, on the contrary, the moss on the stone sculpture, the rustic wood pillar inside a home, or the ragged ink brush stroke on textured paper - are all part of cherishing the beauty of time passage. The way ink becomes even more distinct as the paper ages, turning yellow in time, is part of the magic celebrated by the aesthetic of sabi . This ever-changing state of materials far and beyond the artist work, emerges because of time throwing its magnitude flow upon everything. And while doing so, revealing a tranquil beauty within the greater creation and its ongoing powerful laws of transformation, extinction and reformation. Finding and enjoying the rustic beauty of this is the aesthetic of sabi . Cherishing the creative process Within the aesthetic of wabi-sabi , the creative process is exposed and emphasised. It is original in a moment in time, and thus a unique experience. The ink painting is not intended to be perfect. On the contrary, not the complete figure is painted, nor the whole landscape is seen. The painting will hold spaces and gaps ready to be completed with the viewer’s imagination. In ink painting, one can appreciate the aesthetics of wabi-sabi where the flow of the brush and ink emphasise the wellness experience of imperfection. It is imperfect because no hand can make a ‘perfected’ line in that sense. Each line and mark is raw and organic, rich in wonder and mystery, reflecting the nature of both artist and viewer at any given time. Wabi-sabi aesthetic practice in ink painting offers an intimate experience. It unfolds the feeling that even the minute and seemingly insignificant painted theme, can have an insight into the warmth and beauty of a growing and becoming creation. For an in-depth ink painting course you are invited to join ArtBrush Online Foundation course Sign up for a one-time payment of £220 > All paintings in this article are by Talia and can be viewed in GALLERY

Ink painting, known as suibokuga or sumi-e, flourished in China from the 8th century onwards but it was not until the 13th century, when Japanese Zen monks brought this painting technique from Ch’an monasteries of southern China to Japan, that it became known in Japan and chiefly associated with Zen. It is a tradition steeped in rich history and wisdom, unique in its practice and value then, and more so today. You are invited to learn this ancient practice right here, right now. ArtBrush school offers a wide range of courses, where you will have the opportunity to depict subjects such as plum blossom, wild orchids, bamboo, and chrysanthemum. The school also has an online library that provides access to a wealth of knowledge on this way of practice. The library includes in-depth essays on tools and materials and how to care for them, art history writings, and aesthetic notions of the masters of ink. The courses are led by Talia LeHavi, an artist, practitioner, and teacher of traditional Japanese ink painting, with over twenty-five years of experience. Why learn Japanese ink painting? 1. Learn a New Skill Whether painting is something completely new, or you already have experience as an artist, ink painting is pursued by people of all ages and capabilities. Everyone has an inner creative spirit; learning Japanese ink painting will allow you to unlock your creative potential and learn a new artistic skill. 2. Attune to Nature Japanese ink painting expresses the dynamics of life and the natural world and encourages the artist to become one with the subject. Observing nature and tuning to its rhythm, fosters a great sense of inner peace. Subjects change with the seasons, allowing the practitioner to become part of the changing cycle of life. In addition, this practice uses natural materials. You will dip your brush with water, soot, and minerals pigments, using the essence of water and earth to create serene, meditative paintings. 3. Practice Meditation Japanese ink painting is a form of active meditation. By bringing your attention to a still point where the brush meets the paper, you may find a new inner space of quiet and serenity. The practice does requires focus and mindfulness. Whether you are a beginner or already practice meditation, Japanese ink painting will support your inner authentic self whilst creating some beautiful artwork. 4. Improve Well-being As a form of mediation, this practice has the power of improving well-being and robustness. Practicing your brush and ink painting will connect you to your unique natural rhythm, and will increase your self-awareness and resilience. You may discover that the nature of the process brings you to new chambers within you, creating a deep state of calmness and wellness. 5. Open the gate to a new culture Japan is a land of high aesthetic. It is mysterious and fascinating, sometimes with seemingly contradictory natures and ways. The practice of Japanese ink painting provides an insight into Japanese culture and its aesthetics. By diving into this traditional art form, you will learn about the art of subtraction and symmetry, the nature of empty space and fullness, and the unique sense of harmony and balance that is characteristic of Japanese aesthetics. Experience Japanese ink painting for yourself and discover the artist within you. Begin your journey with ArtBrush online school today - HERE