Yoshinori AKAZAWA Japanese Artist



Making NIhonga (Japanese painting)

  • The Japanese painting was begun in order to grope for flowers and birds, an animal, and its space expression. Therefore, the Japanese painting for me is one of the means for groping for and mastering Japanese beauty. Having mastered in the grope thinks that what is necessary is just to become the hint of creation in the direction of other fields, and it exhibits a part of one method of manufacture of a Japanese painting, and mere method of deployment and a design here.
  • The picture to decorate Your room

  • What space is required for the room?
  • I hope to make the painting which decorates the room and is quiet and is not bored using the flower of the lotus which is cool in all glory in the heat of midsummer this time.
  • 写生 Syasei (To Sketch the Nature)
  • The flower of a red lotus bloom which is in bloom in the way of a corner in Hasuike of the botanical garden of midsummer was found. I think that this flower will be sketched and a work will be built this time.
  • The size of drawing paper is F4 size. A form is copied with a pencil, and it settles down, and draws from nature until it can hold the feelings of a flower and space with a colored pencil.
  • It draws from nature using the colored pencil out of which roughness and composure come to expression in the stage of sketching supposing a result of the composure made into sandy texture of mineral colors.
  • Since it thinks that expression which condenses Hasuike{=lotus pond}'s feelings and reality through a flower will be performed, it attaches focusing on the flower of a lotus symbolically.
  • 草稿 Soukou (Study for Nihonga)
  • Strong paper like tracing paper is piled up on a sketch (it is this sketching this time) by translucence in the place where sketching was finished, and it copies with a pencil.
  • Although a sketch takes this time, using sketching as it is, originally the process itself which conceives of this sketch becomes the source of each writer's individuality. It omits this time.
  • 転写 Tensya
  • A pencil is rubbed, in order to turn tracing paper over and to copy the line with a pencil. Although carbon paper may be pulled and copied even if it rubs by charcoal, let's choose the material which does not flip paints. (Discoloration is also impossible)
  • It puts on our paper (it is smooth Japanese paper this time) after it, a line is traced with a red ball-point or a red pencil, and a sketch is copied.
  • 骨描き Kotsugaki (Ink drawing for construct the object)
  • The line copied to our paper is KOTUGAKI(basis line of constration of paintinng) in japanese ink, whitewash is applied, and it paints to space with silk-without-starching paints.
  • Since it thought that the picture with which the room is decorated would be drawn, it felt at ease with composure and asked for refined space.
  • With the photograph, already, the ground coating by the mineral colors of space is completed, and is performing lower coating of a flower. Lower coating of a flower is performed by whitewash and Cochineal { A vivid red } .
  • Complete
  • Finally I wants to finish to paint a flower roughly, Pink Artificial mineral colors and whitewash are applied fully and the accent of redness is finished using Natural and Artificial mineral colors .
  • There is also a tale that put the figure of Buddha appearance on the flower of a lotus, or Buddha appearance sits down on the flower of a lotus. Seemingly, it was a means to express symbolically the figure of the Buddha appearance replaced with a Buddhist image in the time of primitive Buddhism. A brush is once set here, coming to want to apply the petal of a real lotus with reality, since one sheet is sufficient.
  • Thus, the picture with which the room is decorated has been created. Thank you very much.
    Update: 2011-09-27
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