Addiss Stephen

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ZEN MESTEREK ZEN MASTERS 
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<img src="https://terebess.hu/zen/mesterek/Addiss-Stephen1.jpg"
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sans-serif">Stephen L. Addiss (1935-) 
sans-serif"><img src="https://terebess.hu/zen/mesterek/Addiss-Horse.jpg"
width="293" height="549" border="0"> 
Horse 
This large character, originally created from a pictograph, was done with a
large brush and full gestural expression.
 
 <a name="a" id="a"></a><img src="https://terebess.hu/zen/angol.gif"
width="36" height="25" border="0">
Biography

Stephen Addiss was born in New York City in 1935. He first went to
City and Country School in the city, next to the Putney School in Vermont, and
then to Harvard, earning a BA in music composition cum laude in 1957. Returning
to New York City, he studied at Mannes College of Music and took the now-famous
Experimental Composition classes at the New School with John Cage, with whom he
maintained a friendship until Cages death in 1992.
Joining his
friend Bill Crofut, Addiss spent the next sixteen years touring as Addiss and
Crofut, performing traditional and international music in Asia, Africa, Europe,
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Addiss-Stephen.txt
and the United States. They recorded 14 LP records, chiefly of their own
performances, but also of traditional music from Africa and Vietnam. Addiss
& Crofut also appeared on television on the Johnny Carson, Today, and
Captain Kangaroo shows, among others.
Forming an
abiding interest in Asian art and culture during his tours, Addiss enrolled in
the graduate program at the University of Michigan in 1971, where he earned an
MA and PhD in East Asian art history and musicology. In 1977, he began teaching
at the University of Kansas; in 1992 he moved to the University of Richmond
where he serves as the Tucker-Boatwright Professor in the Humanities:
Art.
As well as
continuing to compose concert music, Addiss began a series of books and
exhibitions of Japanese and Chinese art. He has also became increasingly active
in painting, pottery, calligraphy, and poetry; he has a special interest in the
interaction of the arts. Addiss is managing editor of South by Southeast: Haiku
and Haiku Arts Journal, and his own haiku, as well as translations from the
Japanese, have appeared in many magazines, journals, and books. In the past two
decades, his calligraphy and paintings, including haiga, have been exhibited in
China, Japan, Taiwan, Singapore, Korea, England, France, Germany, Austria, and
many American venues.
<blockquote>
<a
href="http://montrealzenpoetryfestival.ca/past-festivals/2009/biographies/stephe
n-addiss/" target="_blank">http://montrealzenpoetryfestival.ca/past-festivals/2009/biographies/
stephen-addiss/</a> 
A world-renowned calligrapher and a leading authority on Japanese art, as well
as a musician, poet, translator and painter, Stephen Addiss has published 36
books or exhibition catalogs, including Old Taoist: The Life, Art and Poetry of
Kodojin (2001) , 77 Dances: Japanese Calligraphy by Poets, Monks, and Scholars
1568-1868 (2006 ) and Haiga: Takebe Socho & the Haiku-Painting Tradition
(1991) . He holds degrees from Harvard University and the University of
Michigan, and taught for 15 years at the University of Kansas before joining the
faculty at the University of Richmond in Virginia as Professor of Art and
Tucker-Boatwright Professor in the Humanities. He is the recipient of four
grants from the National Endowment for the Humanities and one from the National
Endowment for the Arts. 
In his study
and practice of poetry, music, painting, calligraphy and ceramics, Stephen has
been inspired by the art of the literati, the East Asian scholar-poet-artists
who discovered that research and creative expression could deeply enhance each
other. My early years as a musician traveling throughout Asia, Africa and
Europe led me to a lifetime interest in how what we learn from other cultures
can interact with our own traditions and values to create something bold and new
I became aware that the study of the arts did not have to be separate from
their practice; in China and Japan, it is the poet-artists who have been
responsible for the great majority of the historical and theoretical studies of
their fields. 
Fascinated by
haiga , in which a haiku and a visual image come together to reach a deeper
Pgina 2
Addiss-Stephen.txt
expression than either one might alone, Stephen has both written about and
created this art form. His paintings, ceramics and calligraphy have been shown
internationally in London, Japan, Taiwan, Korea and Beijing, as well as
throughout the United States. 
Stephen Addiss
is a long-time Zen practitioner and has recently edited Zen Sourcebook:
Traditional Documents from China, Korea, and Japan (2008).
 
No Eye
Flowers: Paintings, Calligraphy, and Ceramics by Stephen Addiss 
Joel and Lila Harnett Museum of Art 
<a
href="http://museums.richmond.edu/exhibitions/museum-of-art/stephen-addiss.html"
target="_blank">http://museums.richmond.edu/exhibitions/museum-of-art/stephen-addiss
.html</a>
The
University of Richmond Museums opens No Eye Flowers: Paintings, Calligraphy, and
Ceramics by Stephen Addiss on February 11 through May 9, 2014, in the Harnett
Museum of Art. Contemporary artist Stephen Addiss (American, born 1935) has been
creating East Asian-style ink painting and calligraphy for more than forty
years. Featured in the exhibition are more than fifty artworks, including
paintings, scrolls, and wood-fired ceramics. 
<a
href="http://museums.richmond.edu/exhibitions/museum-of-art/stephen-addiss.html"
target="_blank"><img
src="https://terebess.hu/zen/mesterek/Addiss-Man.jpg" width="625" height="450"
border="0"> 
</a>Man,
1997, ink on paper, image: 11 3/4 x 18 inches, scroll: 46 x 23 1/4 inches,
collection of the artist, 
Stephen Addiss, photograph by Taylor Dabney
Stephen Addiss
is a composer, musician, poet, painter, and Japanese art historian. Born in New
York in 1935, he earned a B.A. in musicology from Harvard in 1957. Returning to
New York City, he studied at Mannes College of Music and took experimental
composition classes with John Cage (American, 1912-1992) at the New School of
Social Research. In 1969, he began the study of ink-painting and calligraphy
with Asian scholars, subsequently studying in Japan and Taiwan. In 1971, Addiss
enrolled in the graduate program at the University of Michigan where he earned
an M.A. and Ph.D in East Asian art history and musicology. He taught at the
University of Kansas before coming to the University of Richmond where he taught
from 1992-2013 in the Department of Art and Art History as Professor of Art
History and the Tucker-Boatwright Professor of Humanities: Art 
Highlights of
the exhibition include the calligraphy Tea (2006), this is the Sino-Japanese
calligraphy character for tea which includes symbols for grass, and tree,
painted on smoked paper. Addiss uses a large brush not completely full of ink,
and moves the brush quickly to produce a flying white effect where the
background paper can be seen through the brush lines, thus giving the image life
and vitality. Distant Rainclouds (2009) and Slanting Sun (2010), are both haiga
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Addiss-Stephen.txt
works, meaning hai for haiku and ga for painting. Japanese haiku poets
occasionally add illustrations to their poems. Typically these illustrations are
modest and simple yet directly expressive, and they form an interaction between
word and image. Light Snow (Awayuki), 2010, is a wood-fired, hand-built,
earthenware tea bowl. Freely applied ash glaze on the bowl resulted in shifting
areas of white, brown, and grey, much like the appearance of a light snowfall on
an empty field. 
Speaking about
the selection process of artwork for the exhibition, Addiss states, Choosing
the works for this exhibition was a fascinating process. I wanted to represent
different decades of my life, and also to show works in different media ranging
from paintings and calligraphy to ceramics and one sculpted wood piece.
Consulting with Audrey Yoshiko Seo, Adjunct Professor, Department of Art and Art
History, University of Richmond, and Richard Waller, Executive Director,
University Museums, we came up with the combination that we hope will spark
interest in viewers of different tastes and backgrounds, while maintaining a
feeling of spirit resonance.' 
Addiss' work
has been exhibited in a number of countries including China, England, France,
Germany, Japan, Korea, Taiwan, as well as the United States. Additionally, he is
the author of approximately thirty-five books, including How to Look at Japanese
Art, The Art of Zen, The Art of Chinese Calligraphy, and 77 Dances: Japanese
Calligraphy by Poets, Monks, and Scholars, 1568-1868 . In the last two decades
Addiss has also become an accomplished potter. 
Organized by
the University of Richmond Museums, the exhibition was curated by Richard
Waller, Executive Director, University Museums, in collaboration with Stephen
Addiss, Tucker-Boatwright Professor of Humanities: Art, Emeritus, University of
Richmond. The exhibition and programs are made possible by the Louis S. Booth
Arts Fund. A catalogue, published by the University Museums, is available.

 
Books by Stephen Addiss 
In Reverse Chronological Order
The Sound of
One Hand: Paintings and Calligraphy by Zen Master Hakuin (with Audrey Yoshiko
Seo). Boston and London: Shambhala Publications, 2010.
Stitching
Speechless. Chapel Hill, North Carolina: Blue Bluer Books, 2009.
Haiku: An
Anthology of Japanese Poems (with Fumiko and Akira Yamamoto). Boston and London:
Shambhala Publications, 2009.
Zen Art Book
(with John Daido Loori). Boston and London: Shambhala Publications,
2009.
John Cage Zen
Ox-Herding Pictures (with Ray Kass), New York City: George Braziller,
2009.
Zen Sourcebook
(assisted by Stanley Lombardo and Judith Roitman), Hackett Publications,
Cambridge, Massachusetts, 2008.
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Addiss-Stephen.txt
Mountains of
the Heart (with facsimile of 1816 book by Kameda Bosai), George Braziller, New
York, 2007.
The Zen Art Box
(with John Daido Loori), Shambhala Publications, Boston, 2007.
Haiku Humor
(assisted by Fumiko and Akira Yamamoto), Weatherhill-Shambhala, Boston,
2007.
77 Dances:
Japanese Calligraphy by Poets, Monks, and Scholars, 15681868 Shambhala
Publications, Boston, 2006.
Traditional
Japanese Arts and Culture: An Illustrated Sourcebook (coeditor), University of
Hawaii Press, 2006.
The Art of
Chinese Calligraphy, Philadelphia: Running Press, 2005.
Haiku
Landscapes (assisted by Fumiko and Akira Yamamoto) Weatherhill, New York,
2002.
Lao Tzu: Tao Te
Ching (translation into Portuguese based on that by Stephen Addiss and Stanley
Lombardo, plus 21 ink paintings by Stephen Addiss). Martin Fontes, Sao Paulo,
Brazil, 2002.
Old Taoist: The
Life, Art, and Poetry of Kodojin (with Jonathan Chaves), Columbia University
Press, New York City, 2000.
The Resonance
of the Qin in Far Eastern Art, China Institute, New York City, 1999.
Three Three
Three, Josh Hockensmith, Richmond, Virginia, 1999.
Haiku People
(assisted by Fumiko and Akira Yamamoto), Weatherhill, New York City,
1998.
The Art of
20th-Century Zen: paintings and calligraphy by Japanese masters (with Audrey
Yoshiko Seo, with a chapter by Matthew Welch), Shambhala, Boston,
1998.
<blockquote>
<a
href="Nantenbo.html" target="_blank">Nakahara Nantenb (Tj Zench, 1839-1925)
by Matthew Welch</a> 
Deiry Kutsu (Kansh Sjun, 1895-1954) 
Yzen Gentatsu (Sanshken, 1842-1918) 
Takeda Mokurai (1854-1930) 
Shan Gemp (Shun, 1948-1922) 
Yamamoto Gemp (1866-1961) 
<a href="NishiariBokusan.html" target="_blank">Nishiari Bokuzan (Kin'ei,
1821-1910)</a> 
Taneda Santka (1882-1940) 
Kojima Kend 
Rozan Ek (1865-1944) 
Mamiya Eish (1871-1945) 
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Seki Seisetsu (1877-1945) 
Shibayama Zenkei (1894-1974) 
Fukushima Keido (b.1933)
</blockquote>
Six Directions
(illustrator), La Alameda Press, Albuquerque, New Mexico, 1997.
River of Stars
(illustrator), Shambhala, Boston and London, 1997.
How to Look at
Japanese Art (assisted by Audrey Yoshiko Seo), Harry N. Abrams, New York City,
1996.
A Haiku Garden
(assisted by Fumiko and Akira Yamamoto), Weatherhill, New York City,
1996.
Haiga: Takebe
Socho and the Haiku-Painting Tradition, University of Richmond Marsh Art Gallery
and the University of Hawaii Press, 1995.
Four Huts
(Illustrator), Shambhala, Boston, 1994.
Tao Te Ching
(translated with Stanley Lombardo, and illustrator), Hackett Publications,
Cambridge, Massachusetts, 1993.
Phoenix Papers:
26 Lawrence Poets (coeditor, coauthor, illustrator), Penthe Press, Lawrence,
Kansas, 1993.
Art History and
Education (with Mary Erickson), University of Illinois Press, 1993.
A Haiku
Menagerie (assisted by Fumiko and Akira Yamamoto), Weatherhill, New York City,
1992.
Narrow Road to
the Interior (illustrator), Shambhala, Boston, 1991.
Shisendo: Hall
of the Poetry Immortals (coauthor), Weatherhill, New York City, 1991.
The Art of Zen:
Paintings and Calligraphy by Japanese Monks, 16001925, Harry N. Abrams, New
York City, 1989.
<blockquote>
Konoe
Nobutada (1565-1614) 
Takuan Sh (1573-1645) 
Kgetsu Shan (1574-1643) 
Shkad Shj (c. 1584-1639) 
Ishi Bunshu (1608-1646) 
Seigan Si (1588-1661) 
<a href="../fugai/FugaiEkun.html" target="_blank">Fgai Ekun
(1568-1654): "OUTSIDE THE WIND"</a> 
Ungo Kiy (1582-1659) 
<a href="GesshuSoko.html#d" target="_blank">Gess Sko (1618-1696)</a>
 
Bankei Ytaku (1622-1693) 
Ingen (1592-1673) 
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Mokuan (1611-1684) 
Sokuhi (1616-1671) 
Dokutan (1628-1706) 
Tetsugy (1628-1700) 
Shin'etsu (1639-1696) 
<a href="RyonenGenso.html" target="_blank">Rynen Gens
(1646-1711)</a> 
Taih (1691-1774) 
Hakuin Ekaku (1686-1769) 
Trei Enji (1721-1792) 
Sui Genro (1717-1789) 
Reigen Et (1721-1785) 
Gako (1737-1805) 
Shuns Shj (1750-1839) 
Jiun Sonja (1718-1804) 
Rykan (1758-1831) 
Gch Kankai (1749-1835) 
Sengai Gibon (1750-1838) 
Nantenb Tj (1839-1925)
</blockquote>
Tall Mountains
and Flowing Waters: The Arts of Uragami Gyokudo, University of Hawaii Press,
1987.
Japanese Quest
for a New Vision: The Impact of Visiting Chinese Painters 16001900 (editor and
coauthor), Spencer Museum of Art, University of Kansas, 1986.
Japanese Ghosts
and Demons (editor and coauthor), Spencer Museum and George Braziller, New York
City, 1985.
The World of
Kameda Bosai, New Orleans Museum of Art and the University Press of Kansas,
1984.
A Myriad of
Autumn Leaves (one of five coauthors), New Orleans Museum of Art,
1983.
Samurai
Painters (with G. Cameron Hurst III), Kodansha International, Tokyo,
1983.
Japanese
Paintings 16001900 from the New Orleans Museum of Art (editor and coauthor),
Birmingham Museum of Art, 1982.
Tokaido: On the
Road: Pilgrimage, Travel and Culture (editor and writer of introduction),
Spencer Museum of Art, 1982.
Masterpieces of
Sung and Yuan Dynasty Calligraphy (assisting Kwan S. Wong), China Institute, New
York City, 1981.
One Thousand
Years of Art in Japan (editor and coauthor), Colnaghi Oriental, London,
1981.
Catalogue of
the Oriental Collection (coauthor and coeditor), Spencer Museum of Art,
Pgina 7
Addiss-Stephen.txt
1980.
Tokaido:
Adventures on the Road in Old Japan (editor and coauthor), Spencer Museum of
Art, 1980.
A Japanese
Eccentric: The Three Arts of
Murase Taiitsu
(1803-1881), New Orleans Museum of Art, 1979.

Obaku: Zen
Painting and Calligraphy, Spencer Museum of Art, 1978. 
Nanga Paintings, Robert Sawers Publications, London, 1976.
Zenga and
Nanga: Paintings by Japanese Monks and Scholars, New Orleans Museum of Art,
1976. 
Japanese Calligraphy, Shirley Day Limited, London, 1975.
Buson and His
Followers (coauthor, plus writing an addendum on signatures and seals),
University of Michigan Museum of Art, 1974.
</blockquote>
 
size="3" face="Verdana, Arial, Helvetica, sans-serif"><a
href="https://terebess.hu/english/usa/addiss.html" target="_blank">Selected
Haiku by Stephen Addiss </a>
 
size="3">Artist's Statement: 
<a
href="http://simplyhaiku.com/SHv2n2/haiga-traditional/Stephen_Addiss/index.html"
target="_blank">http://simplyhaiku.com/SHv2n2/haiga-traditional/Stephen_Addiss/i
ndex.html</a>
I have long
studied and practiced the art of the literati, the East Asian
scholar-poet-artists who discovered that research and creative expression could
deeply enhance each other. My early years as a musician traveling throughout
Asia, Africa and Europe led me to a lifetime interest in how what we learn from
other cultures can interact with our own traditions and values to create
something bold and new. I have especially noted how the various arts were not
completely separated in other countries, instead being considered to enrich and
deepen the creative expression of the artist. In addition, I became aware that
the study of the arts did not have to be separate from their practice; in China
and Japan it is the poet-artists who have been responsible for the great
majority of the historical and theoretical studies of their fields. 
In my own case,
even before my graduate work in ethnomusicology and art history, I began the
study of calligraphy and ink-painting in 1969 in New York City with Wang
Chi-yuan and Ishikawa Kako, subsequently studying in Japan and Taiwan with
Mitani Chizan and Chiang Shao-shen. I have also been making ceramics since my
Pgina 8
Addiss-Stephen.txt
youth, focusing my attention on wood-fired stoneware and porcelain since the
late 1980s. Helping to build two anagama (tunnel-kilns fired four or five days
and nights with wood) has also increased my fascination with ceramics in which
nature plays an equal role with the artist in creating irregular ash-glazes and
subtle fire-colors on the works. 
It is natural
that my work in brush-painting and calligraphy would influence and individuate
my ceramics, both directly and indirectly. In some cases I do calligraphy or
painting directly on the vessels before firing, either with a brush or other
implements, while in all cases what I have learned about form and space,
asymmetrical composition, and varieties of touch has influenced my creation of
ceramic forms. 
Another
combination of arts that I find fascinating is haiga, where a haiku and a visual
image can combine to reach a deeper expression than either one might alone. I
have studied traditional haiga (and written an exhibition catalogue by that
name) as well as creating my own works in this field. The opportunity to suggest
rather than define, inviting the reader/viewer to complete the work, is
especially challenging and gratifying. 
I have continued
to do research into various forms of art, particularly as practiced in East
Asia, and have written a large number of publications. What I have found is that
every different approach towards art leads to fresh insights and revelations.
Everything I study helps what I create, while practice gives me more
understanding of what has been done in the past. I hope that I can continue this
multifaceted approach to the arts for many more years, because I am sure there
are countless discoveries still to be made. 
<img
src="https://terebess.hu/zen/mesterek/Addiss-Mu.jpg" width="303" height="549"
border="0"> <img width="250" height="363"
src="https://terebess.hu/zen/mesterek/Addiss-Mu1.jpg" alt="Stephen Addiss"> 
Exploding
Mu 
This is the character, often used in Zen, for no, nothingness. 
 <img width="399" height="500"
src="https://terebess.hu/zen/mesterek/Addiss-Enso.jpg"> 
Enso (Zen circle),
2010, ink on smoked paper
 
 
<img src="https://terebess.hu/zen/magyar.gif" width="36"
height="25" border="0">
<a
href="https://terebess.hu/haiku/addiss.html" target="_blank">Stephen
</a><a href="https://terebess.hu/haiku/addiss.html">Addiss haikui
</a> 
Terebess Gbor fordtsai 
 

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(1803-1881), New Orleans Museum of Art, 1979.</font></p>

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