Original oriental brush painting, Sumi-e, Ink brush, 2024 Ink painting, Asian watercolor, Ink wash, Sunflower, Painting #671
This is an original painting not a print or reproduction. This painting is #671 not named Sunflower with dragonfly. This was painted in 1995.
The unframed size is 16" wide by 20" tall but that includes the area behind the mat. The display size would be 12 3/4" wide by 17" tall. The painting is unframed and will be packed and shipped flat not rolled in a tube.
Dee was my grandmother and I am listing these as she had them with the price she had listed when she first painted it with only enough markup to cover Etsy costs and time to list. Her Bio and more info on the style is below. Dee kept a detailed record of all her paintings along with the name if it had one and the number of the painting. I am trying to include any history I find in the journals with the description.
LIMITED BIO
Dee took instructions in Sumi-e (ink painting) from Prof. I-Hsiung Ju. She later became interested in the Ling-nan style and worked under three masters from the Ling-nan Art College of south China: Henry Wo Yue-Kee, Lui-Sang Wong and Dick Chen, and others.
In her paintings, Dee attempted to express her thoughts and inspirations by combining a free technique in the form with controlled use of color.
Dee has exhibited at The Japan House, Nippon Club, Chung Cheng Gallery, all in New York; The Damon Gallery and others in Washington, D.C. area; Sarasota and many galleries in the Tampa Bay area.
She exhibited, won awards and sold over 500 paintings after becoming interested in sumi-e. She continued to fit painting into a busy schedule up until her death in 2013 at 96 years old.
We have a large inventory of original work available. If you are interested in a particular piece, or need more information about Dee's work, please contact via email.
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CHOPS
The age-old art of seal engraving has occupied an honored place in the Chinese literary and artistic tradition. Like calligraphy, it uniquely demonstrates our love for the written language as a vehicle for artistic expression.
Seals, or chops, have been an essential part of Chinese art and may bear one's family name, the name of his home, date of birth, a poetic phrase or a pictorial symbol.
Collectors of art also have seals, and their use on Chinese paintings is very important in verifying the artist's identity and in providing a pedigree of possession. Each successive owner may affix his seal at an outer edge of the composition and according to the prestige of the collectors, these seals may enhance the status and material value of a painting.
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In Oriental Brush painting, an artist attempts to express with spirit and vitality his own ideas, impressions and feelings. This same spirit should hopefully be recognized in the mind and heart of the viewer.
The artist must learn to use ink freely with a controlled brush stroke. They must be able to capture the essence or life of the subject in their paintings. To evoke a poetry of 2024 nature, brush painters express nature in beautiful lines by means of brush strokes using a number of techniques and methods to bring alive the beauty of the form.
The artist is free to express what is beautiful in their eyes and discard that which is superfluous or not beautiful. The ultimate goal is a painting rich in vitality and spirit and not a photographic likeness of a subject. Paint the essence, not the resemblance.
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ORIGIN AND TOOLS
Oriental brush painting consists of many styles of painting originating in China centuries ago and spreading throughout Japan and Korea. The Sumi-e Society member artists use a variety of styles - from representational to abstract, and from purely oriental to a combination of Western and Oriental.
Essentially all oriental brush painters, regardless of style, use the same tools and similar techniques. The tools which are essential to a brush painting artist are called The Four Treasures. These are the brush, ink, ink-stone and paper. Special brushes made in the Orient are used. The ink is not ink at all, but consists of a secret formula of soot and glue made into a stick by a special process. This in turn is rubbed in water on an ink-stone and forms what is called black ink. The paper is hand made and generically called rice paper. The flow and spread of ink on rice paper, with many shades in between, is an idealization of the form itself. To this basic technique of ink on rice paper the addition of color is sometimes employed. Sources of this color are varied, including powdered jade, white pearl and other natural elements.