Ottawa, Ontario Canada (PressExposure) December 01, 2011 -- Sumi-e is a form of a oriental painting from Japan. It is a pictorial expression of the spirit that resides in Zen martial arts and meditation. It possesses unique character and beauty attracting western artists to learn. It is made more accessible to Westerners by the method called "Body Breath and Brush", developed by late Tomoko Kodama. Sumi-e is a meditative art form that strives to distil the essence, the eternal qualities of the object or scene in the fewest possible detail, using Chinese calligraphy brush strokes.
The teacher, Lilith Ohannessian is a Canadian artist of Armenian descent. She has a degree in Fine Arts from Concordia University and has been painting and drawing for over 20 years. She has been Tomoko Kodama's student at Ottawa Art School for many years. And has been teaching this technique for number of years.
Lilith's art is Zen in spirit. Her ink paintings are in sumi-e style, which is based on Japanese and Chinese calligraphy. Her graphite pencil drawings are minimalist in nature. Both her paintings and drawings bring out the essence and energy of their subject matter.
There are day and evening classes offered, starting January 2012. Both artists and people with no previous experience can benefit from this form of art.
One of the forms of oriental painting that developed in Japan is Sumi-e. It is a pictorial expression of the spirit that resides in Zen martial arts and meditation. It has uniquely Japanese aesthetics. Literally, Sumi-e means "ink picture". Brush strokes in Sumi-e painting were developed from brush strokes in calligraphy. Just as in calligraphy, the strokes used in Sumi-e are executed with great control and energy.
One important contribution in making this art accessible to western artists is the work of Tomoko Kodama. She developed the non-traditional 3B (Body, Breath and Brush) method , also called the "Breathing Method" which is a centred, very meditative technique using controlled breathing, rhythmic body movement, and connection with the brush. One strives to achieve spontaneous, vivid, living strokes. She simplified the calligraphic strokes, using roman alphabet elements at the beginning and then moving to Chinese/Japanese calligraphy.