Beyond Sumi-e: A practice-led investigation into the influences of an ancient art form on contemporary artists, with reference to the artworks of Hiroshi Senju and Yoshio Ikezaki Denise Ingrid Adams Student Number 216076239 2019 University of KwaZulu-Natal, Pietermaritzburg DECLARATION Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Fine Art, College of Humanities, School of Arts: Centre for Visual Art, University of KwaZulu-Natal, Pietermaritzburg, South Africa. I, Denise Ingrid Adams, declare that 1. The research reported in this thesis, except where otherwise indicated, is my original research. 2. This thesis has not been submitted for any degree or examination at any other university. 3. This thesis does not contain other persons’ data, photographs of artworks and architecture, or other information, unless specifically acknowledged as being sourced from other persons. 4. This thesis does not contain other persons' writing, unless specifically acknowledged as being sourced from other researchers. Where other written sources have been quoted, then: a. Their words have been re-written but the general information attributed to them has been referenced; b. Where their exact words have been used, then their writing has been placed inside quotation marks, and referenced. 5. This thesis does not contain text, graphics or tables copied and pasted from the internet, unless specifically acknowledged, and the source being detailed in the thesis and in the References sections. Supervisor: Dr Katherine Arbuckle Co-supervisor: Dr Louise Hall Signature: ______________________ Signature: ______________________ Date: 13 November 2019 Date: __________________________ ii DEDICATION This research paper is dedicated to Louis Van Loon, who set me on the path of Sumi-e. iii ACKNOWLEDGEMENTS Firstly, my sincere appreciation for the opportunity afforded to investigate a distinctive art form, largely unfamiliar outside of Asia. My grateful thanks go to my supervisor Dr. Kathy Arbuckle for her ongoing input and support provided, as well as to Dr. Louise Hall, my co- supervisor. Both Arbuckle and Hall inspired me to experiment and propel my art practice beyond traditional Sumi-e. Special thanks are extended to my family, Peter, Orion and Ansellia Adams for their encouragement and support. The financial assistance of the Centre for Visual Arts at the University of KwaZulu-Natal, through the support of the Rita Strong Scholarship towards this Masters degree and associated research, is hereby acknowledged and I confirm that the opinions expressed, content and conclusions determined are my personal submissions as those of the artist/author and are not necessarily to be attributed to the Centre for Visual Arts and/or the University of KwaZulu-Natal. iv ABSTRACT This study investigates the influence of traditional ink painting from Japan, Sumi-e, on the artworks of two contemporary artists, Yoshio Ikezaki and Hiroshi Senju. It also examines the impact of these influences on my own artmaking. This research included the identification and description of the key elements, characteristics and philosophy forming the basis of Sumi-e, as a framework of reference. The philosophy and aesthetics associated with traditional Sumi-e reflect Zen Buddhism as well as traditional Japanese culture. There is very limited literature available in English on Sumi-e. It has strict principles, one of which is ‘learn the rules and break the rules’. This principle has been a point of departure for my own art practice, and I explore the influence of this principle on the art practices of Senju and Ikezaki. This study used practice-related research methodology with a case study approach. These combined methods offered subjective flexibility through using personal experience of learning, teaching and practicing Sumi-e. In addition to a literature review, data was collected through questionnaires conducted with the two artists, and the analysis of their artworks. My own practice is captured visually in my workbooks where I have recorded and photographed my practice, together with swatches of materials. These ten workbooks form the link between my research and my art practice, and viewing these enhances the interpretation of both bodies of work. The case studies of the artists revealed that while Senju was not explicitly influenced by Sumi-e, elements of this aesthetic resonated in his work. The influence of Sumi-e on Ikezaki was more pronounced because his initial traditional Japanese artistic training included Sumi-e. Both artists expanded beyond these boundaries. New insights challenged my assumptions about Japanese culture and art practices. Breaking the rules of traditional Sumi-e and a nexus of other influences catalysed my artmaking, manifesting in the materiality of the works. Theories of materiality expand on the role of materials and material thinking in artmaking. Investigations of sites and contexts of display result in a shift beyond conventional modernist display of two-dimensional artworks hung vertically on gallery walls. Results v included an installation of my artworks in a forest, and the evolvements of three- dimensional forms. The forest atmosphere enhanced and intensified the materiality through the movement of air, light and shadow. The final gallery exhibition titled “Beyond” recreated the ambience of the forest installation, using limited lighting, shadows, a breeze, the sounds of the forest, and film footage projected over the artworks. Key words: Sumi-e, natural materials, Japanese art, practice-related research, material thinking, materiality, holistic art practice vi TABLE OF CONTENTS DECLARATION ............................................................................................................... ii DEDICATION .................................................................................................................. iii ACKNOWLEDGEMENTS ............................................................................................. iv ABSTRACT ........................................................................................................................ v TABLE OF CONTENTS ............................................................................................... vii LIST OF FIGURES .......................................................................................................... xi LIST OF APPENDICES .............................................................................................. xvii GLOSSARY .................................................................................................................. xviii CHAPTER 1: INTRODUCTION AND MOTIVATION ............................................... 1 1.1 Motivation for the study ......................................................................................... 1 1.2 Background to my art practice ................................................................................ 4 1.3 Research questions ............................................................................................... 10 1.4 Objectives ............................................................................................................. 10 1.5 Overview of the chapters ...................................................................................... 10 CHAPTER 2: LITERATURE REVIEW....................................................................... 12 2.1 Introduction .......................................................................................................... 12 2.2 History of Sumi-e ................................................................................................. 12 2.3 The development of literature ............................................................................... 24 2.4 Additional influences on my own art practice ...................................................... 27 2.5 Theories of materiality .......................................................................................... 30 2.6 Manifestations of materiality ................................................................................ 31 2.7 Theoretical framework of Sumi-e ......................................................................... 32 2.8 Theoretical framework of materiality ................................................................... 32 2.9 Conclusion ............................................................................................................ 33 CHAPTER 3: METHODOLOGY.................................................................................. 34 3.1 Introduction .......................................................................................................... 34 3.2 Research design .................................................................................................... 35 3.2.1 Practice-related research ............................................................................... 35 vii 3.2.2 Case study ..................................................................................................... 36 3.3 Data collection ...................................................................................................... 38 3.3.1 Sumi-e literature and examples ..................................................................... 38 3.3.2 Site visits ....................................................................................................... 39 3.3.3 The works and practices of other artists .......................................................