Stamp canandanann

Semiose

The meaning of my stamp, from left to right:

stamp
悟 Satoru: to perceice, understand, to realize
水 Sui: water
土 Do: earth, soil, clay, mud
山 San: Mountain, hill, mine,
颪 Oroshi: a wind blowing from the mountains

Source; Beginners Dictionary of Chinese-Japanese Characters, compiled by Arthur Rose-Innes, New York 1997 (Dover Publications, Inc.), p. 192, p. 264, 122, 164, 489
and http://jisho.org

You can make a poem of it by putting the signs together in different order. You can start where you like. With the moutain solid on the earth, top in the sky, wind blowing from the mountain, water all around it, a river, or watercomming with the wind, rain, a proces of transformation. If you get this you can perceive and maybe you understand how reality is changing at every moment, there is no stagnation. You are part of this proces, not separated. That is also the issue when you talk about inspiration. François Cheng wrote about the relation between mountain and water:

Niveau III Montagne-Eau

Ce niveau concerne la structure des principaux éléments d’un paysage à peindre. Montagne et Eau représentant des deux pôles du Paysage. Tout comme pour le simple trait, l’ensemble structuré d’un tableua doit être envisagé comme un corps vivant; c’est ainsi que pour un paysage donné on parle d’ossature (rochers), d’artères (cours d’eau), de muscles (arbres), de respiration (nuages), etc. […]
* yen-yun: “brume-nuage”, élément indispensable d’un paysage. Le rôle du nuage n’est pas seulement ornemental. Comme l’a affirmé avec force Han Chuo des Sung, dans son Shan-shui-ch’un ch’üan-chi: “Le nuage est la synthèse des monts et des eaux.” Étant formés de la vapeur d’eau et ayant laforme des monts, le nuage et la brume, dans un tableau, donnent l’impression d’entraîner les deux entités que sont l’Eau et la Montagne dans le dynamique processus du devenir réciproque.
* hsü-shih: vide-plein
* yin-hsien: invisible-visible

Source: Cheng, Francois, Vide et Plein – le langage pictural Chinois, Paris 1991 (Editions du Seuil), p. 112-113

In this proces of semiose (giving meaning) the landscape is a living body where emptiness is just as important as the elements you can perceive. Cheng shows us that a landscape becomes an image of a reality that isn’t to define with only empirical instruments. Visible and invisible elements, a sacral dimension comes to light. The mountain is the place where earth reaches to heaven. Therefore mountains are one of the most painted theme’s in my painting career. Water from above, clouds, fog, they are like messages from heaven. They jump over the gap between heaven and earth, over the abyss.
My stamp gives you an impression of this semiose in my work as a landscape-painter.

John Hacking
1-03-2017

mountains