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Subject Item: dbr:Ink_wash_painting
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rdfs:label: Sumi-e Sumi-e 수묵화 Sumi-e Pittura a inchiostro e acqua لوحة غسيل الحبر Sumi-ê Tušové malířství Тушеві картини Suiboku-ga 水墨画 Gewassen inkt (schildertechniek) Sumi-e Ink wash painting 水墨画 Inkakva pentrarto Lukisan tinta cair Tuschmåleri Гохуа Sumi-e
rdfs:comment: Ink wash painting (simplified Chinese: 水墨画; traditional Chinese: 水墨畫; pinyin: shuǐmòhuà; Japanese: 水墨画, romanized: suiboku-ga or Japanese: 墨絵, romanized: sumi-e; Korean: 수묵화, romanized: sumukhwa) is a type of Chinese ink brush painting which uses black ink, such as that used in Asian calligraphy, in different concentrations. It emerged during the Tang dynasty of China (618–907); it overturned earlier, more realistic techniques. It is typically monochrome, using only shades of black, with a great emphasis on virtuoso brushwork and conveying the perceived "spirit" or "essence" of a subject over direct imitation. Ink wash painting flourished from the Song dynasty in China (960–1279) onwards, as well as in Japan after it was introduced by Zen Buddhist monks in the 14th century. Some Western sc Sumie (墨絵; también "水墨画;" Sumie?) es una técnica de dibujo monocromático en tinta negra de la escuela de pintura china. Se desarrolló en China durante la dinastía Tang (618-907) y se implantó como estilo durante la dinastía Song (960-1279). Fue introducida en el Japón a mediados del siglo XIV por monjes budistas zen y creció en popularidad hasta su apogeo durante el Período Muromachi (1338-1573). Inkakva pentrarto estas orientazia tipo de broŝ-pentrarto de ĉina origino kiu uzas nigran inkon — same kiel uzata en la orientazia kaligrafio, en variaj koncentroj. Dum jarcentoj, tiu plej prestiĝa formo de ĉina arto estis praktikate de tre altnivelaj fakuloj, ĉu nobeloj aŭ literati. Nomoj uzataj en diversaj kulturoj estas la jenaj: en ĉina shuǐ mò huà (水墨畫), en japana sumi-e (墨絵) aŭ suibokuga (水墨画?), en korea sumukhwa (수묵화), kaj en vjetnama tranh thủy mặc (幀水墨). Suiboku-ga (jap. 水墨画 suiboku-ga) - styl malarstwa japońskiego wywodzący się z Chin. Jest to malarstwo monochromatyczne. Do malowania używano czarnego tuszu, bardzo rzadko sięgano po farby (drobne plamy stonowanymi kolorami). Ten rodzaj malarstwa ściśle powiązany jest z kaligrafią, co można łatwo zauważyć podziwiając takie obrazy, które często zawierały inskrypcje w postaci poematu czy jedynie wyrażenia. I tuschmåleri (kinesiska: shuǐ mò huà 水墨畫 eller 水墨画; koreanska: sumukhwa 수묵화; japanska: sumi-e 墨絵 eller suiboku-ga 水墨画) använder man traditionellt pensel med svart, vattenburet tusch för både linjer och laveringar, på underlag av absorberande papper eller siden. Det är en ursprungligen kinesisk teknik med gamla anor, som tidigt spred sig till övriga Östasien, och har stor användning även i nutida konst. Sumi-e edo suiboku (japonieraz 墨絵; "水墨画;", 'suibokuga'? ere bai), eskolako tintaz eginiko marrazki monokromatiko teknika bat da. Txinan garatu zen Tang dinastiaren garaian (618-907), eta estilo bezala ezarri zen Song dinastiarekin (960-1279). Japonian, XIV. mendean sartu zuten zen budismoko monjeek, eta geroz eta ospetsuago egin zen Muromachi garaian, (1338-1573). Sumi-ê (em japonês: 墨絵), Suiboku-ga (em japonês: 水墨画) ou Shuimohua (chinês tradicional:水墨畫) é uma técnica de pintura oriental que surgiu na China no século II da era cristã. Da China o sumi-ê foi levado ao Japão onde tornou-se mais difundido. A palavra tem raiz japonesa e significa pintura com tinta. Assim como o desenho, o material usado pelo artista é bem limitado: pincéis, uma tinta especial parecida com o nanquim e papel artesanal à base de arroz. Trata-se de uma arte que exige, após muito treino, grande habilidade e concentração. É por isso que poucos atingem o estágio de mestre. 수묵화(水墨畫)는 동아시아의 그림 그리기 기법으로, 채색을 쓰지 않고, 수묵으로 짙고 옅은 효과를 내어 그린 그림을 가리킨다. 먹그림이라고도 하고 간단히 묵화(墨畫)라고도 한다. 서예와 같이 검은 빛깔의 물감만을 이용하며 다양한 농도로 나타낼 수 있다. 서양 미술에서는 이와 비슷한 기법으로 종이에 나타낸 작품을 일반적으로 소묘로 분류하고 있다. لوحة غسيل الحبر هي تقنية تخفيف الحبر بالماء وهي نوع من أنواع الرسم بالفرشاة في الشرق الآسيوي ذات أصل صيني التي تستخدم الحبر الأسود والذي يستخدم ايضاً في فن التخطيط الشرق-آسيوي بمختلف اشكاله. Тушеві картини (кит. 水墨畫; кор. 수묵화; яп. すいぼくが, «водно-тушеві картини») — різновид традиційного живопису у країнах Східної Азії. В Китаї відомий під назвою шуймо-хуа або го-хуа, в Кореї — сумук-хва, в Японії — суйбоку-ґа або сумі-е. Con pittura a inchiostro e acqua (cinese: 水墨畫T, 水墨画S, shuǐmòhuàP; coreano: 수묵화?, sumukhwaLR; giapponese: 墨絵 sumi-e? o 水墨画 suibokuga?) si indica uno stile pittorico monocromatico dell'Estremo Oriente che utilizza solo inchiostro nero, il bastone d'inchiostro, in varie concentrazioni. Questa tecnica nacque in Cina durante la dinastia Tang (618-907), consolidandosi con la dinastia Song (960-1279). Fu introdotta in Giappone a metà del XIV secolo da alcuni monaci buddisti Zen, crescendo in popolarità fino al suo periodo di massimo splendore, nell'era Muromachi (1338-1573). 水墨画（すいぼくが）とは、唐代に成立したとされる墨で表現される墨絵（すみえ）の代表的画法。墨線だけでなく、墨を面的に使用し、ぼかしで濃淡・明暗を表す絵画である。海外ではZen（禅） painting と呼ばれる事もある。 Гохуа (кит. трад. 國畫, упр. 国画, пиньинь guó huà, палл. гохуа) — термин для обозначения техники и стиля традиционной китайской живописи, в которой используются минеральные и растительные водяные краски и тушь на шёлке или бумаге. 水墨畫，是中国绘画的代表，也就是狭义的「國畫」，並傳到東亞和其他地區。基本的水墨畫僅用水與黑水，只有白與白之分，後來發展出有其他彩色的水墨畫與花鳥畫，後者有時也稱為彩色畫。中国水墨画的特点是：重意不重實且少量留白，作畫過程稱「寫」而不稱「畫」。水墨畫早期都是以山水畫的形式來表現的，彩色的水墨畫在近代有潑墨山水的應用，也有水墨動畫的應用。與水墨畫有關的還有水墨版畫。與一般版畫不同的是，水墨版畫雖然也是木刻版畫，但使用宣紙做為紙材，在不同的地方重複水墨印刷，層層渲染的效果，使得每一張作品都明顯不同，也具有水墨畫的美感。 Schilderen in gewassen inkt is een Oost-Aziatische schildertechniek van Chinese oorsprong. Met een penseel wordt Oost-Indische inkt in verschillende waterverdunningen aangebracht op washi-papier of zijde. In het Chinees staat de schildertechniek bekend als shuǐ mò huà (水墨畫), in het Japans als sumi-e (墨絵) of suibokuga (水墨画). Het schilderen in gewassen inkt was een van de belangrijkste kunsten beoefend door de Chinese literati (geletterde ambtenaren) en wordt om deze reden ook wel literati-schilderkunst (wenrenhua; 文人画) genoemd. Sumi-e és un terme que significa pintura a tinta. Tècnica pictòrica asiàtica, practicat per més de mil anys. És una forma d'art que s'esforça per desentranyar l'essència d'un objecte o una escena en el menor nombre d'elements possibles acuradament col·locats. Unes poques línies primes, un punt i un ocell són clarament plasmats a ser sobre el paper. El Sumi-e té molt a veure amb la cal·ligrafia, ja que les eines utilitzades són les mateixes, però no és el mateix. La cal·ligrafia és la representació elegant i artístic dels personatges per escrit, amb tinta i pinzell, mentre que el sumi-e és la pintura d'una escena o un objecte. Lukisan tinta cair, juga dikenal sebagai lukisan sastra adalah jenis lukisan kuas dari Asia Timur yang menggunakan tinta hitam, bahan yang sama dengan yang digunakan dalam berbagai tema seni kaligrafi Asia Timur. Nama-nama yang digunakan untuk menyebutkan kesenian tersebut meliputi: shui-mo hua (水墨畫) dalam bahasa Mandarin, sumi-e (墨絵) atau suibokuga (水墨画) dalam bahasa Jepang, sumukhwa (수묵화) dalam bahasa Korea, dan tranh thuỷ mặc (幀水墨) dalam bahasa Vietnam. Tušové malířství (čínsky pchin-jinem shuǐmòhuà, znaky zjednodušené 水墨画, tradiční 水墨畫, doslova „malířství vody a tuše“) je východoasijský typ malířství založený na malbě tuší štětcem, technikami podobnými nebo stejnými jako v čínské kaligrafii. Vzniklo v Číně, kde získala postavení prestižní postavení umění vzdělané džentry, vrstvy pozemkových vlastníků, učenců a úředníků. Rozšířilo se do zemí východní Asie – Japonska, Koreje, Vietnamu. Le sumi-e (墨絵, signifiant « peinture à l’encre ») ou suiboku-ga (水墨画, « image à l’eau et à l’encre ») est un mouvement de la peinture japonaise originaire de Chine et dominant à l’époque de Muromachi. Ce courant se caractérise par l’usage du lavis à l’encre noire, la prédominance du paysage comme sujet et la proximité avec la philosophie du bouddhisme zen. Sumi-e (japanisch 墨絵) oder Suibokuga (japanisch 水墨画) „Sui“ bedeutet Wasser, „Boku“ oder „Sumi“ bedeutet schwarze Tusche, die aus Ruß hergestellt wird, „ga“ oder „e“ bedeutet Bild oder Gemälde. Diese Namen bezeichnen eine Maltechnik, bei der nebst guten Pinseln nur schwarze Stangentusche, welche auf einem Schieferstein (Reibstein) zu flüssiger Tuschefarbe angerieben wird, Wasser und ungeleimtes Papier oder möglicherweise Seide als Malgrund benötigt werden. Neben dem Malen von schwarzen Linien entsteht die Form des Bildgegenstandes durch den richtigen Druck auf den Pinselkopf. Mit verschiedenen Techniken, entstehen mit einem einzigen Pinselstrich große oder kleine Flächen. Je nachdem wie lange die Tusche angerieben und auch wieder verdünnt wird, ist die Tuschefarbe tiefschwarz, grauschwarz,
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dbp:hanja: 水墨畵夢遊桃源圖
dbp:mr: Sumukhwa
dbp:c: 吳昌石元四家王一亭北宗画徐渭明四家八大山人李成南宗画朱耷馬遠法常四王吳俊卿吳昌碩董源郭熙范寬院體畫夏圭 or 夏珪李唐董其昌文人画青藤山人原濟王震
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dbp:hangul: 몽유도원도
dbp:labels: no
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dbp:p: Wú Chāngshí Liáng Kǎi Wú Jùnqīng Yán Huī nán zōng huà Fù Bàoshí zhū dā Sì Wáng Beihua Huáng Bīnhóng Mǐ Fú Wenrenhua Fàn Kuān Shuǐ Mò Huà Míng Sì Jiā Yuán Sì Jiā Lǐ Táng wén rén huà Guō Xī Xū Gǔ Nanzonghua Shí Lǔ Beizonghua Liú Hǎisù bā dà shān rén Wú Chāngshuò Dǒng Qíchāng Yángzhoū Bā Guài běi zōng huà Féng Yàhéng Pú Huá qí bái shí Mǎ Yuǎn Qīngténg Shānrén qí huáng Yuán Jì Lǐ Chéng Xú Wèi Pān Tiānshòu Yuàn Tǐ Huà Gaō Kègōng Shí Tāo Nanhua Dǒng Yuán
dbp:pic: Immortal in Splashed Ink.jpg
dbp:piccap: Liang Kai , Drunken Celestial , ink on Xuan paper, 12th century, Southern Song , National Palace Museum, Taipei
dbp:rr: Sumukhwa
dbp:s: 齐白石高克恭虚谷原济石鲁文人画苏轼冯亚珩齐璜梁楷蒲华北画颜辉扬州八怪北宗画南画石涛南宗画刘海粟傅抱石潘天寿
dbp:t: 徐悲鴻拾得天工開物-覆簾壓紙王維石魯踏歌圖米芾 or 米黻潘天壽陳淳齊白石顏輝齊璜洞天山堂圖石濤天工開物-松烟制墨法髙克恭米友仁馬遠馮亞珩揚州八怪張大千梁楷牧谿黃賓虹蒲華虛谷出山釋迦圖
dbp:title: Ink wash painting
dbp:w: Hsia Kui Li T'ang Ssŭ Wang Hsü Wei Tung Yüan Yen Hui Tung Ch'i-ch'ang Ma Yüan P'u Hua Chang Ta-ch'ien Fan K'uan Kao K'o-kung Hsü Ku Hsü Pei-hung Wang I-t'ing Kuo Hsi Wang Chen Shih-t'ao Li Ch'eng
dbo:abstract: Con pittura a inchiostro e acqua (cinese: 水墨畫T, 水墨画S, shuǐmòhuàP; coreano: 수묵화?, sumukhwaLR; giapponese: 墨絵 sumi-e? o 水墨画 suibokuga?) si indica uno stile pittorico monocromatico dell'Estremo Oriente che utilizza solo inchiostro nero, il bastone d'inchiostro, in varie concentrazioni. Questa tecnica nacque in Cina durante la dinastia Tang (618-907), consolidandosi con la dinastia Song (960-1279). Fu introdotta in Giappone a metà del XIV secolo da alcuni monaci buddisti Zen, crescendo in popolarità fino al suo periodo di massimo splendore, nell'era Muromachi (1338-1573). I tuschmåleri (kinesiska: shuǐ mò huà 水墨畫 eller 水墨画; koreanska: sumukhwa 수묵화; japanska: sumi-e 墨絵 eller suiboku-ga 水墨画) använder man traditionellt pensel med svart, vattenburet tusch för både linjer och laveringar, på underlag av absorberande papper eller siden. Det är en ursprungligen kinesisk teknik med gamla anor, som tidigt spred sig till övriga Östasien, och har stor användning även i nutida konst. Inkakva pentrarto estas orientazia tipo de broŝ-pentrarto de ĉina origino kiu uzas nigran inkon — same kiel uzata en la orientazia kaligrafio, en variaj koncentroj. Dum jarcentoj, tiu plej prestiĝa formo de ĉina arto estis praktikate de tre altnivelaj fakuloj, ĉu nobeloj aŭ literati. Nomoj uzataj en diversaj kulturoj estas la jenaj: en ĉina shuǐ mò huà (水墨畫), en japana sumi-e (墨絵) aŭ suibokuga (水墨画?), en korea sumukhwa (수묵화), kaj en vjetnama tranh thủy mặc (幀水墨). En Ĉinio la tradicio de inkakva pentrarto, praktikita ĉefe de fakul-funkciuloj kaj kortegaj pentristoj speciale de pejzaĝoj, floroj, kaj birdoj, disvolvigis estetikajn valorojn depende de la individua imagopovo kaj objektiva observado fare de la artisto, kio estis similaj al tiuj de Okcidento, sed delonge multe pli antaŭdataj je ties disvoviĝo en tiu lando. 水墨畫，是中国绘画的代表，也就是狭义的「國畫」，並傳到東亞和其他地區。基本的水墨畫僅用水與黑水，只有白與白之分，後來發展出有其他彩色的水墨畫與花鳥畫，後者有時也稱為彩色畫。中国水墨画的特点是：重意不重實且少量留白，作畫過程稱「寫」而不稱「畫」。水墨畫早期都是以山水畫的形式來表現的，彩色的水墨畫在近代有潑墨山水的應用，也有水墨動畫的應用。與水墨畫有關的還有水墨版畫。與一般版畫不同的是，水墨版畫雖然也是木刻版畫，但使用宣紙做為紙材，在不同的地方重複水墨印刷，層層渲染的效果，使得每一張作品都明顯不同，也具有水墨畫的美感。 Тушеві картини (кит. 水墨畫; кор. 수묵화; яп. すいぼくが, «водно-тушеві картини») — різновид традиційного живопису у країнах Східної Азії. В Китаї відомий під назвою шуймо-хуа або го-хуа, в Кореї — сумук-хва, в Японії — суйбоку-ґа або сумі-е. Tušové malířství (čínsky pchin-jinem shuǐmòhuà, znaky zjednodušené 水墨画, tradiční 水墨畫, doslova „malířství vody a tuše“) je východoasijský typ malířství založený na malbě tuší štětcem, technikami podobnými nebo stejnými jako v čínské kaligrafii. Vzniklo v Číně, kde získala postavení prestižní postavení umění vzdělané džentry, vrstvy pozemkových vlastníků, učenců a úředníků. Rozšířilo se do zemí východní Asie – Japonska, Koreje, Vietnamu. لوحة غسيل الحبر هي تقنية تخفيف الحبر بالماء وهي نوع من أنواع الرسم بالفرشاة في الشرق الآسيوي ذات أصل صيني التي تستخدم الحبر الأسود والذي يستخدم ايضاً في فن التخطيط الشرق-آسيوي بمختلف اشكاله. Schilderen in gewassen inkt is een Oost-Aziatische schildertechniek van Chinese oorsprong. Met een penseel wordt Oost-Indische inkt in verschillende waterverdunningen aangebracht op washi-papier of zijde. In het Chinees staat de schildertechniek bekend als shuǐ mò huà (水墨畫), in het Japans als sumi-e (墨絵) of suibokuga (水墨画). Het schilderen in gewassen inkt was een van de belangrijkste kunsten beoefend door de Chinese literati (geletterde ambtenaren) en wordt om deze reden ook wel literati-schilderkunst (wenrenhua; 文人画) genoemd. Sumie (墨絵; también "水墨画;" Sumie?) es una técnica de dibujo monocromático en tinta negra de la escuela de pintura china. Se desarrolló en China durante la dinastía Tang (618-907) y se implantó como estilo durante la dinastía Song (960-1279). Fue introducida en el Japón a mediados del siglo XIV por monjes budistas zen y creció en popularidad hasta su apogeo durante el Período Muromachi (1338-1573). Le sumi-e (墨絵, signifiant « peinture à l’encre ») ou suiboku-ga (水墨画, « image à l’eau et à l’encre ») est un mouvement de la peinture japonaise originaire de Chine et dominant à l’époque de Muromachi. Ce courant se caractérise par l’usage du lavis à l’encre noire, la prédominance du paysage comme sujet et la proximité avec la philosophie du bouddhisme zen. Venue de Chine, la technique du lavis apparaît au Japon aux alentours du VIIIe siècle, puis s’impose comme la peinture dominante à l’époque de Muromachi sous l’influence du zen, des célèbres paysages au lavis de la Chine des Song et de grands maîtres comme Josetsu, Shūbun ou Sesshū. Le peintre de sumi-e modifie la dilution de l’encre, la position du pinceau, la force et la vitesse pour jouer sur l’épaisseur et la netteté des lignes ainsi que les niveaux de gris. Le sumi-e perd de sa vigueur à la fin de l’époque de Muromachi, qui marque le retour de la peinture de genre aux couleurs éclatantes. Ses influences restent tangibles dans le style de différents peintres de l’école Kanō ainsi que le bunjin-ga, qui renoue avec la monochromie au XVIIIe siècle. De nos jours, la peinture au lavis, qui a donné quelques-unes des œuvres les plus acclamées des arts japonais, est très intimement associée à la culture raffinée de Muromachi tout empreinte du bouddhisme zen, de même que la cérémonie du thé, le nô, les jardins secs ou l’ikebana. Sumi-e (japanisch 墨絵) oder Suibokuga (japanisch 水墨画) „Sui“ bedeutet Wasser, „Boku“ oder „Sumi“ bedeutet schwarze Tusche, die aus Ruß hergestellt wird, „ga“ oder „e“ bedeutet Bild oder Gemälde. Diese Namen bezeichnen eine Maltechnik, bei der nebst guten Pinseln nur schwarze Stangentusche, welche auf einem Schieferstein (Reibstein) zu flüssiger Tuschefarbe angerieben wird, Wasser und ungeleimtes Papier oder möglicherweise Seide als Malgrund benötigt werden. Neben dem Malen von schwarzen Linien entsteht die Form des Bildgegenstandes durch den richtigen Druck auf den Pinselkopf. Mit verschiedenen Techniken, entstehen mit einem einzigen Pinselstrich große oder kleine Flächen. Je nachdem wie lange die Tusche angerieben und auch wieder verdünnt wird, ist die Tuschefarbe tiefschwarz, grauschwarz, oder auch ganz hell und durchscheinend. Ink wash painting (simplified Chinese: 水墨画; traditional Chinese: 水墨畫; pinyin: shuǐmòhuà; Japanese: 水墨画, romanized: suiboku-ga or Japanese: 墨絵, romanized: sumi-e; Korean: 수묵화, romanized: sumukhwa) is a type of Chinese ink brush painting which uses black ink, such as that used in Asian calligraphy, in different concentrations. It emerged during the Tang dynasty of China (618–907); it overturned earlier, more realistic techniques. It is typically monochrome, using only shades of black, with a great emphasis on virtuoso brushwork and conveying the perceived "spirit" or "essence" of a subject over direct imitation. Ink wash painting flourished from the Song dynasty in China (960–1279) onwards, as well as in Japan after it was introduced by Zen Buddhist monks in the 14th century. Some Western scholars divide Chinese painting (including ink wash painting) into three periods: times of representation, times of expression, and historical Oriental art. Chinese scholars have their own views which may be different; they believe that contemporary Chinese ink wash paintings are the pluralistic continuation of multiple historical traditions. In China and Japan as well as much less so in Korea, ink wash painting formed a distinct stylistic tradition with a different set of artists working in it than from those doing other types of painting. In China especially it was a gentlemanly occupation associated with poetry and calligraphy. It was often produced by the scholar-official or literati class, ideally illustrating their own poetry and producing the paintings as gifts for friends or patrons, rather than painting for payment. In practice a talented painter often had a very useful advantage in climbing the bureaucratic ladder. In Korea, painters were less segregated, and more willing to paint in two techniques, such as mixing areas of colour with monochrome ink, for example in painting the faces of figures. The vertical hanging scroll was the classic format; the long horizontal handscroll format tended to be associated with professional coloured painting, but was also used for literati painting. In both formats paintings were generally kept rolled up, and brought out for the owner to admire, often with a small group of friends. Chinese collectors liked to stamp paintings with their seals and usually in red inkpad; sometimes they would add poems or notes of appreciation. Some old and famous paintings have become very disfigured by this; the Qianlong Emperor was a particular offender. In landscape painting the scenes depicted are typically imaginary or very loose adaptations of actual views. The shan shui style of mountain landscapes are by far the most common, often evoking particular areas traditionally famous for their beauty, from which the artist may have been very distant. Including water, for example oceans and lakes is common. Sumi-ê (em japonês: 墨絵), Suiboku-ga (em japonês: 水墨画) ou Shuimohua (chinês tradicional:水墨畫) é uma técnica de pintura oriental que surgiu na China no século II da era cristã. Da China o sumi-ê foi levado ao Japão onde tornou-se mais difundido. A palavra tem raiz japonesa e significa pintura com tinta. Seu conceito não tem ligação com a pintura praticada no ocidente. Primeiro porque a arte do sumi-ê é uma mistura de desenho com elementos de caligrafia, que também é uma arte para os orientais.Segundo, porque o artista deve passar sua mensagem de modo resumido e sem equívocos. Daí dizer-se que é a arte do essencial. Talvez para atingir essa simplicidade que o sumi-ê é basicamente monocromático. Assim como o desenho, o material usado pelo artista é bem limitado: pincéis, uma tinta especial parecida com o nanquim e papel artesanal à base de arroz. O aluno começa o aprendizado com os desenhos mais simples, quase sempre bambus. O modo de segurar o pincel e o gesto de colocar a tinta no papel deve conter um delicado equilíbrio entre a pressão da pincelada, e a maior ou menor quantidade de tinta. Trata-se de uma arte que exige, após muito treino, grande habilidade e concentração. É por isso que poucos atingem o estágio de mestre. A representação do tema importa menos do que a composição do trabalho. Na composição, que segue regras bastante rígidas, o artista revela sua alma, a elegância do traço e principalmente a harmonia que deve existir no seu interior. No Brasil, provavelmente o introdutor da arte do sumi-ê foi Massao Okinaka. Por muitos anos manteve classes de alunos interessados em aprender essa técnica tão antiga, mas absolutamente nova para os ocidentais. Sumi-e edo suiboku (japonieraz 墨絵; "水墨画;", 'suibokuga'? ere bai), eskolako tintaz eginiko marrazki monokromatiko teknika bat da. Txinan garatu zen Tang dinastiaren garaian (618-907), eta estilo bezala ezarri zen Song dinastiarekin (960-1279). Japonian, XIV. mendean sartu zuten zen budismoko monjeek, eta geroz eta ospetsuago egin zen Muromachi garaian, (1338-1573). Lukisan tinta cair, juga dikenal sebagai lukisan sastra adalah jenis lukisan kuas dari Asia Timur yang menggunakan tinta hitam, bahan yang sama dengan yang digunakan dalam berbagai tema seni kaligrafi Asia Timur. Nama-nama yang digunakan untuk menyebutkan kesenian tersebut meliputi: shui-mo hua (水墨畫) dalam bahasa Mandarin, sumi-e (墨絵) atau suibokuga (水墨画) dalam bahasa Jepang, sumukhwa (수묵화) dalam bahasa Korea, dan tranh thuỷ mặc (幀水墨) dalam bahasa Vietnam. 수묵화(水墨畫)는 동아시아의 그림 그리기 기법으로, 채색을 쓰지 않고, 수묵으로 짙고 옅은 효과를 내어 그린 그림을 가리킨다. 먹그림이라고도 하고 간단히 묵화(墨畫)라고도 한다. 서예와 같이 검은 빛깔의 물감만을 이용하며 다양한 농도로 나타낼 수 있다. 서양 미술에서는 이와 비슷한 기법으로 종이에 나타낸 작품을 일반적으로 소묘로 분류하고 있다. 水墨画（すいぼくが）とは、唐代に成立したとされる墨で表現される墨絵（すみえ）の代表的画法。墨線だけでなく、墨を面的に使用し、ぼかしで濃淡・明暗を表す絵画である。海外ではZen（禅） painting と呼ばれる事もある。 Гохуа (кит. трад. 國畫, упр. 国画, пиньинь guó huà, палл. гохуа) — термин для обозначения техники и стиля традиционной китайской живописи, в которой используются минеральные и растительные водяные краски и тушь на шёлке или бумаге. Suiboku-ga (jap. 水墨画 suiboku-ga) - styl malarstwa japońskiego wywodzący się z Chin. Jest to malarstwo monochromatyczne. Do malowania używano czarnego tuszu, bardzo rzadko sięgano po farby (drobne plamy stonowanymi kolorami). Ten rodzaj malarstwa ściśle powiązany jest z kaligrafią, co można łatwo zauważyć podziwiając takie obrazy, które często zawierały inskrypcje w postaci poematu czy jedynie wyrażenia. Sumi-e és un terme que significa pintura a tinta. Tècnica pictòrica asiàtica, practicat per més de mil anys. És una forma d'art que s'esforça per desentranyar l'essència d'un objecte o una escena en el menor nombre d'elements possibles acuradament col·locats. Unes poques línies primes, un punt i un ocell són clarament plasmats a ser sobre el paper. El Sumi-e té molt a veure amb la cal·ligrafia, ja que les eines utilitzades són les mateixes, però no és el mateix. La cal·ligrafia és la representació elegant i artístic dels personatges per escrit, amb tinta i pinzell, mentre que el sumi-e és la pintura d'una escena o un objecte.
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Subject Item: dbr:Ink-wash_painting
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Subject Item: dbr:Ink_painter
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Subject Item: dbr:Ink_painting
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