SUIBOKUGA
About
Suibokuga does not aim to represent an object as it is, but rather to eliminate the superfluous in order to capture its essence.
Chinese Suibokuga is perceived as epic (powerful and expressing a vision of life), while Japanese Suibokuga is considered lyrical (gentle and expressive of emotions felt).
In particular, Japanese Suibokuga expresses the depth of nature and life, the joys and sorrows, the concept of Wabi-sabi (the beauty in imperfection and transience), tranquility, simplicity, as well as the humility and spirit of peace intrinsic to the Japanese, in connection with the spirit of Zen, intensely capturing the soul of the observer.
Originally imported from China with Zen Buddhism, it evolved over a long history as Zen art, gradually integrating with Japanese moral and cultural values to develop in a unique way.
Suibokuga, characterized by the elimination of excess and the skilled use of space, employs various techniques such as ink shading, gradations, soft blending, blurring effects, and variations in line intensity.
This results in works that are both simple and delicate.
In black ink painting, the artist begins by observing the subject, then reinterprets it in their mind to create a world that aligns with their vision, removing unnecessary details.
The artist's feelings and message are then reflected in the work.
The monochrome world of Suibokuga is deeply rooted in the Japanese spirit, resonating with Japanese culture and the aesthetics of Wabi-Sabi, which values sobriety and simplicity, the appreciation of change and the moods of nature, and arts such as tea and ikebana that foster serenity and hospitality.
This is why Suibokuga continues to captivate the Japanese to this day.
「枯木鳴鵙図」
（こぼくめいげきず）
宮本二天
（宮本武蔵 1584～1643）
”Koboku-meigeki-zu”
Miyamoto Niten
（Miyamoto Musashi 1584～1645）
The three main characteristics of SUIBOKUGA
「蓮池水禽図」
（れんちすいきんず）
俵屋宗達
（17世紀前半）
”Renchi-Suikin-zu”
Tawaraya Sotatsu
（17th century）
1. Abstraction and Simplicity
The first characteristic of SUIBOKUGA is that it never depicts objects realistically or descriptively with minute details. The artist expresses the spiritual beauty and vitality of nature felt internally, highlighting these elements in a concise and simple manner. Furthermore, by not drawing realistically, shadows and light contrasts are often not detailed.
2. Efficient Use of Empty Space
The second characteristic is the effective use of empty spaces. By leaving parts of the canvas unpainted, the artist stimulates the viewer's imagination. Empty spaces in black ink painting create various effects such as tension, dynamism, vitality, and a sense of infinity. This concept is called “the beauty of emptiness” and is related to the notion of “the beauty of insufficiency” in ZEN.
3. Shades of Ink and Tension of the Moment
The third characteristic is that SUIBOKUGA is not simply a black and white work, and is imbued with tension because it cannot be retouched. Although it uses only one color of ink, SUIBOKUGA condenses and purifies the colors of objects by using the nuances of the ink, blurs, gradations, and the whiteness of the paper. This allows each viewer to perceive different colors. The expression “there are five colors in ink” means that monochrome ink, through various techniques and depending on the emotions of the artist and the viewer, can evoke a multitude of colors and even the nuances of the viewer’s soul.
In addition to this monochrome tension, the fact that the black ink painting cannot be retouched conveys to the viewer the intensity and concentration with which the artist created the work.