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traditions, perform this art seated on the floor. There isalso a logical grounds for performing Sumi-ewhile sitting on the floor in additionto the traditionality. Moreconcentration can be gained onthe composition pictured whileyou are seated on the floor. Also,sitting on the floor makes it moreconvenient to work especially if the artist isworking on a large scale painting.We learn from Senur Bicer that the mood of thepainter is directly reflected on the tip of the brush.She says the following: “While painting, the sheetof paper in front of you is like your life, and yourbrush is like the word you utter, or like your swordmove. What is done can not be undone since the workof art does not allow retouching due to the characteristicsof the paper and the paint. If you are angry, so will yourlines be. If you are careless, you will be unable to adjustthe right amount of water and paint.”52
We notice that unlike calligraphers or artists of illumination,Mrs. Bicer holds the brush on the top of the handlerather than somewhere closer to the tip, and ask herwhether it is difficult to control the brush like this. She answersour question as follows: “You can reflect your spiritualmood only by holding the brush like this. You mustbe able to move the brush as you feel. If you hold it likeyou are holding a pen, you will work in a more cautiousmanner, paying more attention to details. Whereas if youhold it on the top, your strokes will be freer, and braver.”Dexterity and Peace TogetherBased on the fact that the art of Sumi-e came to Japan byZen priests, we wonder whether the interpretation of theart differs by any chance in Japan and China. Senur Bicer,who is one of the few artists of Sumi-e in Turkey, statesthat the greatest difference between the Chinese andJapanese who are performing the art is the composition.She tells that although there is a common point of viewthat the Japanese like simplicity, they actually like glossinessvery much. A painting painted by a Japanese artistshould thus be rich and graceful. For this reason, althoughthe raw material of the Sumi-e papers produced in Japanis brass, they also add gold or silver into the ingredients ofthe paper. The source of the gleaming on the paper is thereflection of the Japanese’s love for glory.A Chinese Sumi-e artist, on the other hand, prefers towork more freely unlike a Japanese artist who spendsquite a lot of effort on details. While Japanese artists aremore normative on composition, a chinese artist, to thecontrary, never depends his work of art on rules and strictcompositions.In order for us to understand the difference, she showsus 2 works, one of which was painted by a Japanese artists,and the other by a Chinese artist. We can not helpbut appreciate that she is right. We understand that thefirst painting was painted by a Japanese artist due to thesilvery gleaming on the paper, and the meticulosity of theartist on the composition. In the second painting, however,we realise the existence of a free spirit, and tell immediatelythat it was painted by a chinese artist.There still are so many things we need to learn fromSenur Bicer regarding the art of Sumi-e. We haveso many questions crossing our mind regardinghow materials are acquired, how theright density of paint is adjusted with the400 circle movement done with the coalink, which is the basic material of the art,how come very thin sheets of brass paperare not torn apart while drawing, etc. Mrs.Bicer tells us that she buys the materials inChina, Japan and Taiwan, andthe brushes are made of wolfand squirrel hair.She also talks abouthow to adjust theright density of paint,and tells us that shetests the density on thepaper before deciding thatit is the right density. Theartist says that she first prepares3 shades for black:the main tone, the lightest tone, and thedarkest tone. She then adds 3 more tonesinto the tones of the color black. Stating thatsome types of ink allow up to 12 tones, the artistadds that the variety in tones depend on the qualityof the ink and the amount of water you add into it.Senur Bicer touches another important point. The paintprepared by adding water into the coal ink should be con-53
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