 |
 |
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 >disclaimer available on its website >http://www.mmu.ac.uk/emaildisclaimer "