The monumental indian ink painting



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The dipping techniques

The background and the internal surfaces often need more inking in, in accordance with the intention behind the structuring of the picture; in consequence, I use a monochrome shading. By beginning with the lightest going on towards the darkest, painting one layer then another, drying then partly washing off, I obtain the desired tone effects. There’s one solution in case of a too dark tone, and that is a bleaching of the surface.


The polished new ink painting techniques

Half (14 pictures) of the Ph.D. collection of paintings was made using a polishing technique. Why was it necessary? I felt, with the first monumental pictures (1,5m × 3,2m), that relying only on calligraphy, on the artistic effect of split-stick lines, it was not likely that a monumental, mystic ink-painting series would come into existence. On the other hand, in the case of a large size of canvas, the dipping technique was not in question. Undoubtedly, the ink, brush, the split stick and sandpaper are limited as tools of the trade, but by polishing it is possible to obtain a higher aesthetic value and the ink powder from the polishing is a more rewarding material, which might serve me as a resource for new artistic directions.



The handling and brushwork

The technique of monumental ink painting in my case appears in the networks of close ruled lines, one on top of another. Generally, I use three different tones of shading. The bottom-most layer is the lightest, the topmost is the darkest. So in this network system the classic three-range tones merge into each other. The harder and softer forms are opposed, yet are connected to each other and are a distinct segment within the greater lineaments of the picture. The fourth line reveals the larger coherences and contours in rhythmic relation with each other and help, or at least offer for interpretation, the overall tableau.






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