Sumi-e: The Mindful Art of Japanese Ink Painting
By Akemi Lucas
Herbert Press (2024)
ISBN-13: 978-1789941630
Review by Renae Lucas-Hall
Akemi Lucas, a Japanese calligraphy and Sumi-e (ink painting) artist based in the UK, combines tradition and innovation in her work. At 24, she earned the title of calligraphy master, receiving the name Koshu (Red Autumn). As the deshi (honoured student) of Master Fujimoto Seizan, Koshu’s lineage traces back to the highly esteemed Kusakabe Meikaku, a famous calligrapher of the Meiji era (1868-1912). Her style merges ancient techniques with contemporary expression, reflecting both Eastern and Western influences. In addition to her lectures, she regularly conducts highly regarded Sumi-e courses and exhibits her art globally.
Her love of this art form began when she was eight after she lost some sight in one eye. Her mother enrolled her in calligraphy school to correct her imbalanced writing leading her to embrace ink painting as a meditative and expressive art form. She later rediscovered her passion following the grief of losing her husband. This period of introspection led her to explore the Zen connection to calligraphy and Sumi-e. She now emphasises the importance of finding inner peace through painting, creating space for self-reflection in each brushstroke.
In Sumi-e: The Mindful Art of Japanese Ink Painting, Koshu presents a comprehensive guide to the art form. She intertwines historical insights, technical instruction, and philosophical reflections as she teaches her students how to use ink to create stunning paintings. She traces Sumi-e’s origins from China’s Sung period (960-1279) to its rise in Japan during the Muromachi era (1338-1573); telling the reader, it gained popularity in the mid-fifteenth century thanks to the Zen monk Sesshu Toyo.
One may wonder how black ink could possibly create impact. On page 15, Koshu says, ‘The true mastery of ink does not lie in the imitation of colours, but in the artist’s ability to evoke the essence of the subject through its subtle shades. In the simplicity of black ink, the artist is free to reveal their inner self and capture the ‘mind’.’
The book introduces the "Four Treasures of the Study"—paper, brush, ink, and inkstone which are essential to Sumi-e. Koshu underscores the importance of high-quality materials, such as traditional Japanese washi paper and hand-ground sumi ink, which enhance absorption and depth. The grinding of ink, she explains, is a meditative ritual that prepares the artist’s mind for painting. Mastery of brush strokes requires balance between body and mind, with proper posture and relaxed fingers ensuring fluidity in execution.
Koshu’s clear guidance allows beginners to quickly grasp foundational techniques. By page 32, students will have acquired enough skill to paint plum blossoms and chrysanthemums. She also recommends ringa, a practice of copying masterworks to refine brushwork, ink control, and composition.
A major section, shikunshi (The Four Gentlemen), focuses on four symbolic plants: wild orchid, bamboo, chrysanthemum, and plum blossom, representing seasons and virtues. She meticulously explains how to paint their branches, leaves, and petals, even demonstrating different techniques for bamboo in various weather conditions.
The chapter on bokusaiga introduces coloured inks like Japanese saienboku and gansai paint, which use nikawa glue to minimize bleeding and prevent fading. There’s also a section on Chinese paint which contains a higher amount of adhesive and allows for better control over ink density. A stunning magnolia painting on page 73 exemplifies the senbyou-hou technique, used previously for chrysanthemums and plum blossoms. Pages 76 to 86 guide students through painting of sunflowers, persimmons, and vegetables, gradually increasing complexity.
Starting at page 87, the author focuses on the tsuketate-hou technique, using a rich purple crocus, delicate poppy, and striking Chinese lantern flower to showcase a progressive refinement of techniques. The iris on page 95 exemplifies the elegant symmetry and intricate patterns typical of Japanese Sumi-e. The rose on pages 98-101, initially stunning in black and white, becomes even more captivating in vibrant colours, though the instructional images reveal a steadily advancing level of intricacy. Next, the painting of the wisteria captures the gentle sway of its stems, a form Koshu encourages students to master. While the peony on page 106 displays the vibrant possibilities of Chinese paints in deep reds and undiluted yellow.
From page 109, Koshu introduces movement in compositions, integrating insects and birds. The dragonfly perched on a cosmos flower and the butterfly hovering over tulips illustrate dynamic brushwork. The sparrow, depicted in multiple poses, guides students through the fundamentals of bird painting.
Seasonal elements are explored through bokashi or ink blurring and shironuki techniques from page 123. Koshu shows the reader two bokashi methods, ami bokashi with mesh and mizu bokashi using water spray.
The weeping cherry blossoms on pages 128-133 symbolize the fleeting nature of life and spring’s arrival. Koshu provides detailed guidance for capturing these delicate flowers followed by instructions on how to paint the moon in the background using the mizu bokashi method.
The moons behind the azalea flowers and the red spider lily blooms on the next few pages are also painted using this process but it’s the various koi fish which feature after this and on the front cover that exemplify expert shading techniques, inspiring students to refine their skills.
The shironuki technique, further detailed on page 146, uses a whitening agent to maintain white areas in the painting, even when layers of ink are added. Pages 147-154 teach the student how to paint rain and snow using this method, with spectacular examples titled Hydrangea on a Rainy Day and Camellia on a Snowy Night.
The final chapters provide practical advice on seal placement for one’s signature, brush care, and a glossary of Japanese terms. Additional artworks and Buddhist reflections offer further inspiration, while ringa practice sheets encourage skill development through replication of master works.
Koshu’s book is an exceptional introduction to Sumi-e, blending mindfulness, technical skill, and cultural insight. Beginners will find it an accessible yet profound guide, while experienced artists will appreciate its depth. Those seeking immersive learning can attend Koshu’s workshops in Japan and the UK, including sessions at the Victoria and Albert Museum and no.michi.london in August–September 2025. The author will also host an online lecture for the North West Japan Society in June and residential courses in Japan at “Dream House” in spring and autumn.
This beauty of this book is the way it gives readers the opportunity to embrace Sumi-e’s meditative practice. As the cover suggests, ‘Prepare your ink, clear your mind, and create natural wonderlands with simple sweeps of the brush.’