Rusalka - "Song to the moon" The painting, the music.

 

Lyrics from Rusalka (opera), Antonin Dvorak, (from Google translate)

Moon in the sky deep

He sees your light far away.

You wander through the world, Divas in the abode people.

Moon, wait a moment, tell me where my loved ones are.

Tell him, let's hug the moon, that he will hug me on his shoulder,

so that at least for a moment he remembers me in his dreams.

Light him far away, tell him, tell him who's waiting here!

The human soul dreams of me.

May it be awakened by that memory!

Moon, don't go out, don't go out!

The following are links to the opera Rusalka:

https://youtu.be/0a6H86aDk1E    (sung by Ruzena Maturova, Premiere performance)

                https://youtu.be/vhDgYsJ8sAo     (sung by Renee Fleming)

                https://youtu.be/c9nxOMIbUkY    (sung by Lydia Q Wu)

                https://youtu.be/QRMwJuDh4QM    (Chinese lyric sung in Mandarin, performer unknown)

Rusalka-Song to the moon

I am looking at the Rusalka painting with bamboo added on the left edge of the paper.  I do like the brushstrokes of the bamboo leaves and take comfort in knowing that I haven't lost that skill.  I would like the bamboo to be a bit more substantial; a bit more prominent, that is.  The bamboo looks puny the way it is.

I believe the expanded bamboo makes the setting more intimate and adds another dimension to the scenery.  The leaves also blend well with the visible fibers of the fibrous Xuan that I am using.   The viewer can accept the presence of the fibers as a matter of fact instead of them being a distraction or imperfection.  I mean one should not object to veins in a slab of marble or markings on a piece of knotted pine stock.  The reason I am making a fuss about this little detail is that a gallery personnel  actually tried to document the locations of the visible fibers on a painting of mine  during the check-in process.  I was told this is for their protection; to avoid being blamed for "defacing" the painting.  I honestly don't know if this is a case of being ignorant or an abundance of caution.  Perhaps this only happens in a litigious society like ours.  Who is one being pedantic now?

I am adding a blue ring to the moon, making it more cartoonish.  I think it makes a bigger impact to my painting this way.  The moon is part of the title and needs a little flair. 

The shadows and reflections off the front of the pavilion is darkened and made more saturated, to offer more drama to the lights.

The huge light area just beneath the shore seems out of place, almost like a dissonant chord.  I would interpret that as an anomaly of the water and draws attention away the painting.   I desperately need to tone it down.   

A few strokes of purple color seems to ameliorate the problem.  That patch is a lot less intrusive and could pass for the reflection of the night sky on the water.

I am increasing the saturation of the color to render a more retrospective feel to the painting.  The light values on the face of Rusalka is further tuned to account for the direction of the moon, with special attention given to the forehead, the tip of the nose, the chins and most importantly, the sternocleidomastoid muscles.   The highlights of shimmers of water around Rusalka is done at an angle to give an illusion of proximity, effectively placing her closer to the viewer than parallel lines would suggest.

I feel like I am designing a set for the stage rather than doing a painting.

Rusalka, cont'd

I have Rusalka in the water, across from a classical pavilion, under the moon on my fibrous Xuan.  I should be ready to just paint in the night sky and the water and I shall have my Rusalka painting.

Easy enough.

I like the color indigo.  It is deep and mysterious; perfect for my moon lit sky and water.  As I am rummaging through my bin of half used tubes of colors for the indigo label, I am realizing that the painting will be too sparse and crude and might be lacking in emotional content.  I mean I don't have the skills that is necessary to transform  a vast void of sky and water to support my story of the water nymph Rusalka longing for her love.  I desperately need supporting casts to help me stage my painting.

Song to the Moon (google translation):

Moon in the sky deep  I see your light far away.

You wander through the world, Divas in the abode people.

Moon, wait a moment, tell me where my loved ones are.

Tell him, let's hug the moon, that he will hug me on his shoulder, so tha at least for a moment he remembers me in his dreams.

Light him far away, tell him, tell him who's waiting here!  

The human soul dreams of me, let's wake up with that memory!

Moon, don't go out, don't go out!

As I am listening to the soprano detailing the most intimate thoughts of Rusalka, I am led to a more private setting for Rusalka to muse her thoughts.  I need to place Rusalka in a smaller space by framing my painting with incidentals like vegetation.  I shall exaggerate the light reflection from the pavilion and buildings to further close off the space on the right side of the paper.  I shall make the reflections in the water around Rusalka more pronounced, not only to make a better connection with the moon but also to take up more real estate on the water.

I am placing bamboo on the left of the painting.  That gives me a chance to practice my bamboo leaves again.

To the right of the painting, behind the architectural artifacts I am painting in a bamboo grove to tie in with the bamboo on the left.  The brushstrokes are loose and impressionistic and should blend in well with the night sky.  That's the plan anyways.

Dabs of ink form additional objects in the background.

I am now painting in the water with indigo, being careful to leave voids, simulating shiny reflections the water.

I am taking this moment to go over the face of Rusalka, now that I have a background to play off with.

I am portraying Rusalka with half-opened eyes.  I like to think that this is more pensive than a fully closed or open eye.  I am also playing up the light values on her cheeks and her moon lit forehead.

True to my obsession with the sternocleidomastoid muscle, I am making them really dramatic, accompanied by a long neck and dimples from the clavicles.  I just find them very appealing and sexy.

This is what I have so far.  I am going to let the painting dry and reevaluate.  

What jumps out right away is that I need to increase the saturation of the water and sky.

Rusalka

I mentioned that I was listening to" Song To the Moon" from Rusalka when I was painting my rabbits on the moon for our Lunar New Year and somehow I have not been able to clear that image from my thoughts. 

Rusalka as I understand is a character in Slavic folklore and though it has many variations it nonetheless seem to involve spirits of the female gender and it lives in a body of water luring or haunting men, depending on how you look at it.  I suppose it is haunting if the woman died in tragedy and her spirit has not seen salvation or her death has not been avenged.

The Rusalka I referred to in my blog is the protagonist in an opera written by Antonin Dvorak.  The work tells the story about a water nymph Rusalka who falls in love with a mortal prince and bargains with a witch to turn her into a human to accommodate the potential relationship.  The price she pays is that she would be turned into a mute and become a mortal and the prince will die if he does not love Rusalka, who will in turn be damned eternally.  As with all great love stories, tragedy is the only viable conclusion.  Nobody wins in the end, the prince dies and Rusalka is damned.  It makes the song even more haunting.  The libretto of this opera has Rusalka professing her love for the prince to the moon in the opening act and asking the moon to help convey her love.

As I am writing this down, I am reminded of other friendships between the mortals and the immortals that are prevalent in other cultures.  Obviously everyone is familiar with the "Mermaid".

In Chinese culture I can think of at least two very popular folklores that pertain to such a union.  The story of "Goddess Marriage" or "Fairy Couple" (天仙配) is about the marriage of the 7th daughter of the Heavenly Emperor to a mortal who exhibited qualities of scholarship and filial duty.  The interesting thing about this folklore is that it has several different versions, and not all endings are tragic.

In "Legends of the White Snake" (白蛇傳) a folklore that tells the story of how a white python was able to be transformed into a beautiful lady, thus deemed an "unclean spirit" by priests.  The white python marries a mortal and a priest is determined to "exorcise" this mortal's wife, breaking up the union.  This folklore has something similar to Rusalka, in that the relationship between the mortal and immortal is brokered or intervened by a witch, or a priest.  Whilst the story of Rusalka ends in sadness the story of "Legends of the White Snake" has a happy ending.  Perhaps it is a statement that true love gets rewarded and humanity embraces even "unclean spirits".

Enough of a segue, time to paint my thoughts on paper.

My Rusalka is a lady poking her head out of water in a moon lit night, having a pensive moment with the the moon in the backdrop.  Needless to say, this renowned soprano aria "Song to the moon" is playing in the background.  My painting of "Whiter Shade of Pale" introduced me to painting of human forms.  Through those months of paying closer attention to the human body, I have a deeper appreciation of why Da Vinci studied human anatomy.  For me, I find the human neck to be an object of fascination.  I particularly enjoy how the sternocleidomastoid muscle (the 2 big muscles at the sides of our neck) in the neck twists and turns with the head, sometimes highly visible, and other times disappears beneath the skin.  I also enjoy its relationship with the clavicle, and how the depression at the bottom of the neck ebbs and flows with our posture.  A big lovely dimple.

Thus I shall attempt to showcase the neck of my water nymph. Try anyways.

A study drawing

I am using a very fibrous heavy Xuan.  I like the fact that this paper allows the color to float and disperse on it momentarily before fully soaking it in.  Hopefully it will help embody the ambience of a night scene with less than well defined lines; with the visible fibers strands adding to the ambiguity.

I am making a very pronounced presence of the sternocleidomastoid muscle through shading.  I am not too worried about the correct color of the face at this point.  My plan is to correct everything towards the end of the painting and I trust the paper I am using will allow me to make these alterations without ill effects.  

Before I continue on with the rest of my nymph, I am blocking out the ripples in the water by using the alum solution.  I am doing this so that when I paint in the hair and her clothing, I can somehow convey that they are submerged.

I also assign a position for my moon.  After all, this is a painting about Rusalka's song to the moon.  

To set the framework that Rusalka is in the water, contemplating the possibility that she might be residing on land as a mortal,  I am assigning that reference to some classical Chinese architecture.  

Eventually all these incidentals will be swallowed up by the dark night, hopefully.  I am therefore not too concerned about accuracy. I am augmenting the night scene with a few moon lit tree trunks in white.  I am hoping the lights in the buildings will eventually contrast with the dark night sky and make the painting interesting.  I suppose I just want a presence more than anything else.  My goal now is to plot my settings, create a mood and see if things work out or not.

The far shore of the water is painted in

So now I have the nymph, the worldly reference, and the moon.  Next chore is make the night fall!

Mounting my "mosaic" project

My mosaic painting of ducks in a pond is disintegrating just from laying around.  Every time I walk past the painting a little draft follows me, enough to partly lift the painting ever so slightly since it is so light.  The repeated lifting causes more cracking and subsequent cutting loose of small pieces of my painting.  Like shards of glass.

The only remedial step for alleviating the continued deterioration is to mount it.  Dry mounting would be out of the question.  My painting would not be able to withstand any ironing at all.  Traditional wet mounting is the only way out.  

The painting is laid face down on my slab of mounting plastic and copious amount of water is dumped on it to ensure proper soaking, rendering the fibers in the paper less brittle.  My painting wears a dried prune appearance now from all the air pockets.

Normally I would apply and spread my starch solution right away with my stiff brush.  The stiff bristles would push out the air pockets and flatten any creases but I think that brush is too harsh in this instance.

I am resorting to a soft brush to try to smooth out all the air pockets before I even apply the starch.  The stiff brush is left on the sideline; watching. 

More water is sprayed onto the painting to facilitate the smoothing process.  Anybody who has applied window tinting sheets onto a glass pane will understand what I am doing.  The only difference is instead of using a piece of hard plastic with a flat edge for pressing, I am using a soft brush.  The water makes the paper float a bit and it serves as a lubricant and also a sealant to prevent air from re-entering.  

After about 20 minutes of careful brushing and re-wetting with water, all the air pockets are gone.  I have a flat piece of painting that I can apply starch now.  Patience is a virtue. 

The starch application invariably causes the frayed edges of the damaged painting to double up and fold upon itself.  This is not the time to panic.  Instead of using a hard tool like forceps to unfold the tucked in edges, I use a clean brush to unfurl and reposition the frayed edges.

The painting is now ready for starching and backing and mounting.  The mounted piece is glued to a hard surface to dry.  The drying process will make the painting taut and the starch will add stiffness to the paper.

The mounted "mosaic" painting is now next to the painting that inspired it.  I suppose the gaping hole can pass as a void space in the painting, by design, right?

I can honestly say that I've accomplished my resolution for this new year and I am happy about it. I am happy that I am giving Gongbi style technique an honest try, albeit not in the traditional sense.  I am not painting peony, blue bird or lotus flowers, the usual thematic matters.  I am painting water.  However I certainly learned a lot in the process.  I am hoping readers of this blog can learn from my mistakes and methods to mitigate them.  Let's face it, this is still rather esoteric.  I'll chalk this up as a successful experiment, especially when comparing the two paintings side by side.  

Not tedious anymore.

Happy April Fools' Day! 

Waste Basket Diving

If I throw away my booboos before the painting is completed then I am really not honest with myself.  I am an amateur trying to explore the many intricacies of Chinese brush painting and I must capitalize on the opportunity to learn from my mistakes.  To assume that every piece I attempted is worthy of the wall  is a unrealistic fantasy.

I caused big holes to appear in my attempt to paint my "mosaic" piece.  I tried to avoid the mistake of rendering the paper too brittle by the use of alum solution yet I failed.  I think my mistakes could be attributed to the thinness of the paper and my stupid idea of ironing the paper.  Could I be using the wrong alum solution mixture?  I am told the ratio of gum to alum should be 2 to 1.  I seem to recall that my solution has more alum than gum.  I used animal skin gum by the way.  I've been using that on my double Xuan and so far I have not been penalized for using too much alum.  My frayed edges from the gold speckled paper was my first mishap and the first hint of any bad side-effects from my solution. I am convinced now that the more robust double Xuan saved my skin in the past.  

So instead of trashing my "mosaic" piece due to the holes, I am going to continue my project.  

I proceed to make the darker areas much darker than before, to contrast with the lighter areas.

Now I need to work on the ducks, to make them more appealing?  I also need to go over my many wriggly pieces that depict the shimmering water.  The Number 3 Blue Hue (176) is my first target.

I then work on other colors.

Since I do have a fair amount of void space to begin with, the holes caused by the ironing mishap actually could pass under the radar.

I suppose I shall find out more about the appeal of these holes after the painting is mounted.  

I am just glad that I have fulfilled my New Year's resolution at least, by initiating and not giving up on  a tedious project.

Paint for the waste basket

It's time to put my game on, tackling my mosaic project.  I really can't let a 9 nine old show me up, can I?

I am using a semi-sized Xuan because it is thin enough to facilitate the copying process.  I will need to trace my stencil with a brush only this piece of paper.  I suppose I can trace it out with pencil first to get all the pieces and then cover up the pencil lines with ink brush once the painting is done, but I don't have the patience for it.  The bottom line is I hate to do the same thing twice; tracing my stencil is already a chore for me.

I already do not like what I've done so far.  I suppose I am treating this initial step rather lackadaisically, I am using left over ink/color to do the tracing.  The outlines are of different colors and darkness.  I have not forgotten the proposed silver color for water from the 9 year old kid.

I have this image of a pond with an subdued ambience, interrupted only by flashes of reflected light.  I am going to color in my two ducks first.  I also pick out a few spots to apply the same color as the ducks.  There really are no rules, just a notion.  Perhaps use silver as my flashes of reflected light?  But I don't have any silver color or paint.

Using the same logic, I pick out other pieces of my "mosaic' and address them with different colors.

I am assigning a deeper, darker color to the right half of my composite.

And a lighter color to the rest of the painting.  I suppose I've decided silver is not feasible for my set-up. 

What is glaringly apparent now, aside from the fact that there is not enough tonal difference between the darker and lighter tones, is that the colors are extremely blotchy.  This is beyond any doubt a failure.

I mentioned in my previous writing that I wanted to do this painting using the Gongbi techniques.  One of the hallmark of a Gongbi painting is that alum solution is used to size the paper so that the color flows and mixes freely, without being streaky.  I was assuming that my semi-sized paper would have cut my some slack and present me with a more uniform color field.  This is not the time to see brushstrokes.

I suppose I am doubly disappointed by the fact that this is not my first rodeo with semi-sized Xuan.  I should have know better to pretreat the paper with alum solution so that streaks would be minimized.

My electing to not apply the alum solution first is not entirely baseless.  I recall vividly how the paper of  my summer pond painting became so brittle that I cracked the edge of the paper like an egg shell with barely a nudge from my brush.  That paper was the gold specked Xuan, which is a heavier paper than this translucent semi-sized Xuan.

Hence my hesitation.

There is this saying in doing Gongbi painting, "3 applications of alum and 9 applications of color".  Watercolor gets muddled under repeated applications.  The alum solution is applied in between the repeated coloring process to seal in the original layers and prevent mixing, thus keeping the the palate clean.  The transparent watercolor allows the bottom layers to come through, achieving a visual mixing of colors rather than a physical mishmash.  This "shielding" is sometimes achieved by coloring on the back of the paper, allowing the translucent Xuan to act as a barrier that mitigates mixing of colors. 

Well it is not too late to treat my entire painting with alum solution now.  New color, or tones can be applied over the dried alum treated paper and if done right, should be devoid of streaking. 

I am going over the lighter tone of green again after the alum solution is dried.  The blotches are mostly gone.  What the picture shows actually is just lighting artifacts resulting from a non-flat paper surface.

It is interesting though that the brownish hue is gone, replaced by a greyish green and I am using the original wash.  The two tones of green are even more similar now.  I need to make my dark green areas much darker in order to achieve the separation.

Before I attempt my darker green, I am reminded of the repeated washing of color resulting in the undulating surface of my Xuan.  I am going to iron my paper to get a flat paper surface.  This should help to minimize the pooling of the watercolor at the low points.

Guess what, the paper is too crispy (from the alum solution) to withstand the ironing.  Part of the painting ended up on the bottom of my iron.  There is now a gaping hole in my painting.

The funny thing is, I am not mad at all; just astonished.  I'm astonished that the paper becomes so brittle even after one application of the alum solution.  I suppose I shall be keeping a mental note about this for a long time now, especially when using the thin semi-sized Xuan.  Keep my iron locked up!

I've been told many times that one should proceed to paint with the attitude that one is doing it for the wastebasket.  This is one way to alleviate the pressure that one puts on oneself.  There is nothing to lose!

I believe I am literally doing a painting for the wastebasket.