The demonstrations of "Nihonga"(Japanese traditional painting) by Fumiyo Yoshikawa were held at San Francisco Asian Art Museum from March 9th through 15th of 2008.
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1. Applying gofun the white color made of oysters' shell. |
2. Making back ground by sizing with dousa.. |
3. Applying dousa. |
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4. Making nikawa glue solution |
5.Making nori gulue for mounting. |
6. Sanzenbon-nikawa sticks |
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7. Some colors and tools of nihonga |
8. Making a color,gunjo. |
9. Making gofun |
Photos were taken by Brian Pobuda,Photographer(1.2.7), by Adrienne, Fumiyo's friend (8,9) and by Daichi Kise, Writer of "The Hokubei Mainichi News"(3,4,5,6)
(The article of the demo and photos by Kise appreare on March 12, 2008.)
About "Nihohonga" and Terminology
Many thanks to all people who helped me complete the project. Thanks to the visitors to the demonstrations, including my dearest friends. Thanks to Deborah Clearwaters, the associate director of education and public programs of the San Francisco Asian Art museum who arranged the project, and her staff, Donna and Anna who worked to set up my demonstrations. Thanks to Masato Fujioka, a nihonga artist as well as a researcher of Japanese traditional materials. He also works for a Japanese pigments factory, Nakagawa Gofun Co. Ltd and he introduced me to the President Nakagawa. They showed me their factory and the process of making dry pigments. I appreciate their interesting stories about the pigments. Especially Mr. Fujioka gave me much information about sumi and nikawa besides the pigments. Thanks to Mr. Fujimoto, the president of Saiundo, a long standing pigments maker as well as shop in Kyoto. I appreciate his enthusiastically telling me about his craftsmanship of pigments making. Thanks to Otomaru Kitami, the counselor of a Japanese handmade paper factory, Kamiya, for his interesting views on paper. Thanks to Melissa Linne, the curator of SF Asian Art Museum, who introduced me to Deborah. Thanks to Linda Davidson, my ESL teacher who helps me with English documents.Special thanks to Okamura Rinkoh, my first nihonga teacher and Tetsu Hatta, a nihonga artist who has encolleged me to continue to work in nihonga. And thanks to my husband, Toru Sugita. He is also an artist and he first contacted Deborah to introduce me to her. He also took care of our 3-yr old daughter during the project.
Fumiyo Yoshikwa
May 1st, 2008
From the works for "the nihonga demonstration" by Fumiyo Yoshikawa at San Francisco Asian Art Museum.
Work of Fumiyo Yoshikawa "Peaceflish " 12"x16”, 2008, Sumi-ink, Japanese dry pigments and gold leaf and powder on paper
1. Making a sketch by observing the subject and drawing it many times.
2. Making a soukou ( draft)
3. Nensha (Transfering)
photo taken by Daichi Kise
4. Kotsugaki (Outlinening with sumi-ink) and jinuri
5.Shita-nuri (base coloring) with gofun, oudo and rokushou colors.
6. Haku-oshi (Applying gold leaf on paper or other supporter.)
7. Naka-nuri (Under coloring)
8. Uwa-nuri (Coloring under finishing colors)
9. Finish
From the works for "the nihonga demonstration" by Fumiyo Yoshikawa at San Francisco Asian Art Museum.
Work of Fumiyo Yoshikawa "Spaceflish " 12"x16”, 2008, Sumi-ink, Japanese dry pigments and dust of gold leaf and gold powder on paper
1. Making a sketch by observing the subject and drawing it many times.
2. Making back ground and under painting
3. Finish
From the works for "the nihonga demonstration" by Fumiyo Yoshikawa at San Francisco Asian Art Museum.
Work of Fumiyo Yoshikawa "Her First Snow " 12"x16”, 2008, Sumi-ink, Japanese dry pigments on paper
1. Making a sketch
2. Making a soukou - draft
3. Kotsugaki - Outlining with sumi
photo taken by Daichi Kise
4. Making the base with sumi
photo taken by Daichi Kise
5. Jinuri -Under coloring
6. Uwanuri -Coloring
7. Finish
For further information about Nihonga and its preparation