Floating Art Studio

An 18th century Qing Dynasty print depicting Cai Lun as the patron saint of paper making.In 105 AD Cai Lun ‘discovered’ the way of making paper. The papermaking process included the use of materials like bark, hemp, silk, and fishing net, but his exact formula has been lost to history however

Das Papier spricht wenn die Menschen schweigen …..the paper is still talking!!!

 

link up: floatingartstudio@gmail.com

Chinese Ink Rubbings and Woodblock Prints

Chinese Ink Rubbings

An introduction to its history and technique

Generally Chinese ink rubbings (also known as stone rubbings or ink squeezes) are ink on paper, copies of inscriptions or designs which were carved on either stone, metal, wood, fired clay or other hard material.

Rubbings and fragments of rubbings that have been found dated back to the early Tang dynasty (618-907 CE). It is, however, undisputed that the technique dates back at least a century before.

The technique involves placing a sheet of Chinese paper onto the relief where the paper is then moistened. Using a pat-brush the paper is then beaten lightly to remove any air bubbles trapped under the wet paper followed by lightly patting the paper into the sunken space between the inscribed characters or motifs. Thanks to the nature of the Chinese paper, which is both supple and strong, the damp paper easily moulds itself to the relief. Once the paper is in placed it is allowed to dry off partially, Chinese ink is then applied in successive layers with a pat-bag until the desired build-up of tone is achieved. Once fully dried the rubbings is folded or mounted. Although the rubbings technique is fairly simple, the delicacy of Chinese paper requires great dexterity to avoid tearing. The choice of paper and ink plays an important role, and there are various techniques of applying the ink which have an effect on the final result.

There are two main types of rubbings

Black Lustre (also called the wet technique), as its name indicate, uses heavy ink which is liberally applied and at times polished to give it a metallic sheen resulting in strong contrasting areas.

The Cicada’s Wing (or dry technique) type of rubbing, on the other hand relies on a sensitive and sparing use of drier type of ink which results in the delicate appearance as its name implies.

Rubbings preceded printing by several centuries, and it is not improbable that rubbing technique inspired book printing. The use of inscription as a way of propagating permanent and reliable copies of text and edicts was wide spread from the Hans dynasty (206 BCE-220 CE) onwards, and as soon as paper became widespread as a suitable support for ink, rubbings became the easiest manner to duplicate reliable copies of texts and famous calligraphers’ works which was first inscribed and subsequence rubbings were used for studies of calligraphy. Copies of important inscriptions were sometimes re-cut in wood (as is the case today when most bass relief is protected as historical records). Rubbings made from these were sometimes cut into strips which could then be pasted in more manageable sized volumes.

By the end of the Tang dynasty wood block printing of books superseded the use of rubbings for the content of the texts. Rubbings, however, continued (as they do to this day) to be used for the study of calligraphy and motif of Chinese art.Although the paper used for taking rubbings is often termed rice-paper this is a misnomer!Chinese paper is not made from rice but from various types of bark, hemp, roots bamboo and other plants fibres. Rubbings are normally taken with Xuan paper, which is made from mixture of bark, roots and straws. Its properties of strength, elasticity and whiteness enable the paper to withstand the pounding whilst wet, repeated folding and unfolding of the finished rubbings, and bring out all the tones of rubbings. Made from pine or oil soot mixed with glue, Chinese ink is dried into dried ink sticks. Before used it is ground on an ink slab of stone on which a few drops of water are added until the desired of ink is ready. The type and quality of ink will affect the overall impression of the rubbings. Oil soot ink is used for black lustre and pine soot or graphite for cicada wing rubbings. The tonality of Chinese ink has an extensive range, from the palest grey to deep black.In rubbings of sculptural bass relief, varying tones are used to bring out the subtleties of the subject. Inscriptions, on the other hand, are usually rendered in a single tone of black. There are two Chinese terms for ink rubbings; ta-ben and tuo-ben. Ta means to rub, to take impression of a stone inscription, the character is composed of hand and “to fly quickly”, the wiz of wings. Tuo is composed of hand and stone. Ben means origin, root, it also designates documents in general. Thus ink rubbings are that which originate or are brought forth when the hand whizzes like wings, over the stone.The delicacy of stone rubbings is difficult to reproduce. The luminous quality of paper, the richness of tonality, its ability to pick up the minutes detail of inscriptions and bass relief makes Chinese rubbings a unique process that cannot be compared or equalled by any other handmade multiple reproductions of inscriptions and art motifs. They offer an invaluable aid to study Chinese culture and also in them objects of aesthetic beauty.

Note: When framing ink rubbings, the paper is lightly stretched but it is not glued to the mount thus the creases marks are visible. This way the paper which itself is long-standing is preserved. The embossed characteristic of the rubbings also gave it a distinctive appeal.

Devas

Devas, Apsaras & Gandaras Derived from Hinduism, the Buddhist devas (bright or shining ones, also a general term for God) were originally inhabitants of the heaven of Brahma (Brahmaloka and Devaloka). Deva is also a general designation for deities, who born of the elements, are subject to change. Buddhism incorporated the shining attendants (deva-ganas) into its beliefs as heavenly attendants to the Buddhas.  Apsarases (Tian-nu) are supernatural beings: they appear as young women of great beauty and elegance who embody sensual delight and amorous bliss of divine love. Apsarases are associated with Water, said to be able to change their shapes at will. Frequently encountered English translations of the word ‘Apsara’ are ‘nymph,’ ‘celestial nymph,’ and ‘celestial maiden.’  The male equivalent of apsaras is gandaras, (Gan ta po). Originally the bards of Indra and beloved of the apsaras they play, sing and dance for the devas. Born of the Air they are depicted playing instruments as they fly among clouds or mist. In Vedic mythology they were also guardian of the rainbow and of Soma, and are sometimes depicted bringing nectar to the gods.  

The ink rubbings of Devas available for purchase: 

Deva Dancing On A Round Carpet Period: Tang Dynasty (618-907CE)

Location: Longmen, Henan

Flying Deva With Lotus FlowerPeriod: Northern Wei Dynasty (386-557CE)

Location: Longmen, Henan

Flying Deva With Lotus Flower and Bud Period: Northern Wei Dynasty (386-557CE)

Location: Louyang, Henan

Flying Devas, MusiciansPeriod: Northern Wei Dynasty (386-557CE)

Location: Longmen, Henan

The Two Immortals

The Two Immortals ~Monks Han Shan & Shi De by Luo Ping (1733-1799)

Vertical Rubbing (image size approx: 125 x 65 cm) 

Studio 2 

The poem, in lishu (clerical script) reads as follows: Both Han Shan and Shi De’s

Spirits came down in response to divination and an ode the intoned

Ha, ha, ha, chaff we resembleMerry faced, seldom troubled or angeredIn the world the troubled and angered we transformA merry face we make of the heart which is distressedAnger dies with our great succoursTo the very depths we restore and bring forth happy joy Among the nation who is happy and joyous?Prince and minister in agreement are happy and joyous Within the home father and son uniteBrothers (lit. hand and foot) numerous are joyful and

strongA tree healthy and vigorous husband and wife can beHappy instruments of a worthy rulerTo submit, how can one bear without it?Happiness to superior and inferior alike gives a feeling

of pleasureOne hundredth part thereof surpasses sternness. Ha ha They laugh!

  

The second text in xingshu (semi-cursive script) reads:In conclusion; Han Shan and Shi De are the incarnations of Bu Xian and Wen Shu, now known as He (harmony) the Holy and He (wholeness) the Holy. These are Han Shan and Shi De’s transformed forms. Hua Zhi Si Seng Luo Ping to compose this was commissioned.Round seal – Lou. Square seal – Lou Ping si yin (private seal of)The inscription lower left gives the details of the stone and the engraver:Wujun (Wuxian in Jiangsu province) stone copy made by Tang Ren Zai (carver from Gouwu near Suzhou in Jiangsu province, active in the Guang Xu reign 1875-1908).The large seal stamped on the rubbing in red is the seal of the rubbing maker in China. 

Hanging Scrolls (from the collection of Erwin Burckhardt (1901 – 1987) author, sinologist, art-historian, collector of Chinese /Japanese and Asian artefacts since the nineteen thirties until his passing. During his life time his collections were exhibited in Switzerland and Germany). Burckhardt’s authorship

includes ‘ Chinesische Steinabreibungen’ (Chinese Stone-abrasion) Printed in Germany 1961by Hirmer Verlag.

Studio 3

Qi Baishi (1864 – 1957)

Fruit BowlInk and colour on paper

  

Qi BaishiLocust and CornInk and colour on

paper 

Qi BaishiBlossom and GrasshopperInk and colour on paper

Qi BaishiPlumblossoms and

Butterflies Ink and colour on paper

Hanging Scrolls

Studio 4

Liang Kai (1140-1210)

Immortal in Splashed InkInk on paper

Xu Wei (1521 – 1593)

Patriarch Riding A MuleInk on paper

Hanging Scrolls

Studio 5

Bada Shanren (1626 – 1705)

Two Geese Ink on paper.

Bada ShanrenBird sitting on Fruit

Ink on Paper

Hanging Scrolls

Studio 6

Wang Xuetao (1903 – 1982)Peony

Ink and colour on paper

Wang Xuetao Peony

Ink and colour on paper

Hanging Scrolls

Studio 7

Zheng Banqiao (1693 – 1765) of Qing Dynasty

Set of four ink-rubbings

Zheng Banqiao’s images of paintings as featured @www.ebeijing.gov.cn/Sino_Italy_culture_year

Chinese ink rubbings from the book; ‘ Chinesische Steinabreibungen’

Studio 8

Anfuhrer zu Pferd. Zeit der Han-Dynastien (206v. Chr. 220 n. Chr.)

Wurdentrager in Wagen. Zeit der Han-Dynastien

(206 v. Chr. Bis 220n.Chr)

War Horse of the Tang DynastyPaper size: 2 x 1.1 meter

Lohan

Miscellaneous ink rubbings

Studio 9

Album of twelve leaves Wu Changshuo ~ Blossoms & Calligraphies

Studio 10

Chinese Woodblock Prints

Studio 11

Qi Baishi

Studio 12

Qi Baishi