What first pulls your eyes to the painting is the dragonfly, hovering over the delicate petals of the lotus, its translucent wings beating airily. Gazing at this ethereal image, you can almost sense the flow of life in motion—the humming of the insect's wings, the anticipation of its sweet landing, and the lotus whispering, "Come closer,"—words that aptly entitle the painting. In this work, Asian brush painter Bruce Iverson conveys a perception of life that is emotive rather than precise, true to the philosophy of this ancient art form.
The 3,000-year-old tradition of Asian brush painting, often called Chinese brush painting, originated in China and spread to Korea and Japan. Known as Sumi-e in Japan, this elegant art form is rooted in calligraphy, the age-old Asian writing form that depicts words with pictures.
In Sumi-e, Iverson explains the purpose is not to replicate an exact, realistic image of a subject but rather express its essence, or chi—its life energy or spirit. He describes painting a leaf in Western style or "detail style" as drawing a distinct outline and perfect veins to mimic a real leaf. In contrast, the Asian technique of Hsieh-i, or "idea writing," is less about detail and more about feeling. "It's an emotional kind of thing," he says. In Hsieh-i, one fluid stroke of the brush makes the entire leaf.
There are no second chances with these strokes—each one is final. This ensures the spontaneity needed to capture fleeting moments and suggest movement rather than static. "You want to bring an idea to life," Iverson says. "For your painting to make an impact, it must have a liveliness to it rather than being dry and stilted."
Beyond the peaceful beauty of these paintings lies a trove of symbolism. Iverson, like most Asian brush painters, often paints specific subjects to impart their secondary meaning. Bamboo and palm are two of the most popular, both representing resilience and strength.
Iverson discovered this enchanting art form in 1973 while serving at Miramar Naval Air Station near San Diego, California. Seeking an outlet for relaxation, he enrolled in a continuing education class on Chinese Brush Painting and Watercolor. The young Navy man fell in love with the expressive Asian painting style and went on to pursue its mastery, studying with three master Chinese brush painters: Jean Shen, Hsiung Ju, and Ning Yeh.
These days, Iverson continues his artistic journey at his Portsmouth studio. Following the traditional practice of Asian painters, he wanders in nature to observe and absorb, then returns to the studio to paint what remains in his heart and mind. Folklore says the artist creates his best paintings "when heart, mind, and hand are in accord."
For Iverson, communing with nature is like visiting an old friend. Growing up in rural Connecticut, he was "always outside," walking and immersing himself in the forest's charms. He later earned a degree in Biological Science. With Asian brush painting, this artist/biologist brings art and science together to create beguiling, graceful expressions of the natural world.
Four treasures hold places of honor in Iverson's studio. More valuable than riches, these treasures are the traditional tools of Asian painting: hand-ground sumi ink, carved inkstone, bamboo brushes, and rice paper. Being a bit of a maverick, Iverson insists on including water as an unofficial fifth treasure, declaring, "You can't do any of this without water."
A black ink stick is the ink source and the foundation of this painting style, hearkening back to its origins in calligraphy. Intricate carvings decorate the ink sticks, often depicting the tree or plant burned to make it. The artist grinds the ink stick on the ornately carved inkstone, adding a little water to make the ink. Some paintings use only black, while some are black, grey, and white. Watercolors provide gentle hues to more colorful works.
The bamboo brushes all come to a point, except for the wash brush, and the artist holds them in a specific way to ensure smooth ink flow. Forgoing the usual easel, this painting is table-top style; the artist spreads a sheet of delicate rice paper flat on a table to begin his masterpiece.
Iverson seeks to perpetuate this remarkable Asian art tradition by offering workshops throughout New England. Students find a sense of wonder in this compelling art form so different from Western style painting. These workshops provide a meditative atmosphere, in harmony with Sumi-e's ideology of inner reflection and serenity.
In this, the Year of the Snake, associated with wisdom and transformation, Iverson seeks his own serenity—in his painting and in his life. "I like quiet places where you can hear the water flowing and the leaves rustling," this disciple of nature says. "Or sometimes, the peaceful sound of nothing at all."
You want to bring an idea to life. For your painting to make an impact, it must have a liveliness to it rather than being dry and stilted.