Hi Patricia
I'm based in Japan and do ink (sumi ) work. I spent 10 years studying
calligraphy with a Japanese master calligrapher and then more recently three
years studying ink painting with a Chinese artist. The main, though not the
only, method of learning in both schools was copying the masters.
In the former case the teacher differentiated three levels of copying,the
first was practising and mastering techniques to reproduce a master's
calligraphic style. It was the necessary nuts and bolts which you need to
understand how the calligrapher writes, and what makes what s/he's doing
special. The second stage was interpretation. Once we'd become skilful
enough in the initial stage, we moved onto interpretation. In this stage we
used the master's work as a base from which to play with his style. We were
still within the gambit of what he'd written, so what we did was
recognisably derived from it , but we gave it our own 'colouring' so to
speak. The final stage was creative, in which we did not refer back to the
master's work, but took elements we had learned and enjoyed, or were
captivated by to make our own work.
In the case of the ink painting, the teacher was very free and allowed us to
wander through the masters following our whim /muse. I think in other
classes he provided photocopied copies of motifs from painting manuals. In
my case, I decided to study one subject matter each term, so concentrated on
copying master works of say water(sea, rivers waterfalls) for one term, then
rocks etc the next and so on. I found this a good way forward as I could
choose the masterworks specifically for my purpose. I would choose according
to techniques,style,artist. The teacher was happy for me to do this and
would suggest works I could use week by week.
What did I learn from this method of learning?
I learned the basic techniques, styles, and because I didn't stay too long
in the system have I think been able to use them for my own ends. The
aesthetic is kind of in my bones as it permeates in unconsciously, but with
awareness it is possible to unpick those bits I don't want or to work
further with the parts which engage me. It is necessary to keep questioning
but simultaneously to allow the body to speak (which is what the copying
allows) , as with this artform the sumi registers everything and you need to
be moving freely. It 's a balance and being mindful or careful of what I'm
doing can help correct bias - I usually realise it much later, and it seems
to take time but that's the way of it, it seems!
I'm happy to go into more detail if you'd like, let me know.
Christine
>From: David Haley <[log in to unmask]>
>Reply-To: The UK drawing research network mailing list
><[log in to unmask]>
>To: [log in to unmask]
>Subject: Re: Copying materpieces
>Date: Fri, 7 Jul 2006 23:01:53 +0100
>
>Patricia, hi
>
>Hope you are well.
>
>I wrote this extract a year, or so ago as part of a contribution to the
>Social Sculpture web exhibition on greenmuseum.org - Due to ill health, I
>don't think the exhibition was published:
>
>"Judy Ling Wong, the director of BEN (Black Environmental Network)
>explained some lessons she had learned about the practice of traditional
>Chinese art:
>
>In China the student/apprentice spends much time reproducing the Masters
>work. We learn from nature by drawing nature and we learn from art by
>drawing art. There is no such thing as copyingE that is a silly idea.
>Nobody can make a copy Eonly a photocopier can do this. Every time the
>student draws from the Masters work, the student is recreating an artwork
>Emaking new art.
>
>The artist has a duty to pass on their art to others. In the West, notions
>of genius and uniqueness mean that an artists work dies with them. In the
>East, however, achievement is measured by the effectiveness of the Masters
>transfer of knowledge to other artists. This makes for a living art and
>meaningful legacy."
>
>I hope this contributes to your search...
>
>All the very best
>
>David
>
>On 6 Jul 2006, at 14:20, Patricia Cain wrote:
>
>>I'd be grateful if anyone could give me references concerning the
>>reproduction or copying of masterpieces please.
>> In particular, I'm interested in the subject from the point of view of
>>what can be learnt from doing this, or any first person accounts which
>>might relate to this.
>>
>>
>> Kind regards,
>>
>>Trish
>>
>>
>>
>>Patricia Cain
>> PhD Researcher
>> Glasgow School of Art
>> 167 Renfrew Street
>> Glasgow
>>G3 6RQ
>>
>> 0141 334 2183
>> 078 550 590 29
>> [log in to unmask]
>>Check out AOL.com today. Breaking news, video search, pictures, email and
>>IM. All on demand. Always Free.
>>
>David Haley BA(Hons) MA FRSA
>
>Research Fellow
>MA Art As Environment Programme Leader
>SEA: Social & Environmental Arts Research Centre (MIRIAD)
>Manchester Metropolitan University
>Postgraduate Research Centre
>Cavendish North Building, Cavendish Street,
>Manchester M15 6 BY
>
>Tel: +44 (0)161 247 1093
>Fax: +44 (0)161 2476870
>
>"Before acting on this email or opening any attachments you
>should read the Manchester Metropolitan University's email
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