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Stephen L. Addiss (1935-2022)

Horse
This large character, originally created from a pictograph, was done with a large brush and full gestural expression.

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 Cage’s 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, 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.

http://montrealzenpoetryfestival.ca/past-festivals/2009/biographies/stephen-addiss/
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 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
http://museums.richmond.edu/exhibitions/museum-of-art/stephen-addiss.html

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.

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 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 Art of Haiku: Its History through Poems and Paintings by Japanese Masters. 2012.

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.

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, 1568–1868 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 Kodōjin (with Jonathan Chaves), Columbia University Press, New York City, 2000. [Fukuda Haritsu 福田世耕, aka Kodōjin 古道人]

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.

Nakahara Nantenbō (Tōjū Zenchū, 1839-1925) by Matthew Welch
Deiryū Kutsu (Kanshū Sōjun, 1895-1954)*
Yūzen Gentatsu (Sanshōken, 1842-1918)
Takeda Mokurai (1854-1930)*
Sōhan Gempō (Shōun, 1948-1922)
Yamamoto Gempō (1866-1961)*
Nishiari Bokuzan (Kin'ei, 1821-1910)
Taneda Santōka (1882-1940)*
Kojima Kendō (1898-1995)
Rozan Ekō (1865-1944)
Mamiya Eishū (1871-1945)
Seki Seisetsu (1877-1945)*
Shibayama Zenkei (1894-1974)*
Fukushima Keido (b. 1933)*

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, 1600–1925, Harry N. Abrams, New York City, 1989.

Konoe Nobutada (1565-1614)
Takuan Sōhō (1573-1645)*
Kōgetsu Sōhan (1574-1643)
Shōkadō Shōjō (c. 1584-1639)
Ishi Bunshu (1608-1646)
Seigan Sōi (1588-1661)
Fūgai Ekun (1568-1654): "OUTSIDE THE WIND"
Ungo Kiyō (1582-1659)
Gessū Sōko (1618-1696)
Bankei Yōtaku (1622-1693)*
Ingen (1592-1673)*
Mokuan (1611-1684)*
Sokuhi (1616-1671)
Dokutan (1628-1706)
Tetsugyū (1628-1700)
Shin'etsu (1639-1696)
Ryōnen Gensō (1646-1711)
Taihō (1691-1774)
Hakuin Ekaku (1686-1769)*
Tōrei Enji (1721-1792)*
Suiō Genro (1717-1789)
Reigen Etō (1721-1785)
Gako (1737-1805)
Shunsō Shōjū (1750-1839)
Jiun Sonja (1718-1804)
Ryōkan (1758-1831)*
Gōchō Kankai (1749-1835)
Sengai Gibon (1750-1838)*
Nantenbō Tōjū (1839-1925)*

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 1600–1900 (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 1600–1900 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, 1980.

Tokaido: Adventures on the Road in Old Japan (editor and coauthor), Spencer Museum of Art, 1980.

A Japanese Eccentric: The Three Arts of 村瀬太乙 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.

Selected Haiku by Stephen Addiss

Artist's Statement:
http://simplyhaiku.com/SHv2n2/haiga-traditional/Stephen_Addiss/index.html

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 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.

Exploding Mu
This is the character, often used in Zen, for no, nothingness.

Enso (Zen circle), 2010, ink on smoked paper

Stephen Addiss haikui
Terebess Gábor fordításai

Stephen Addiss: Hogyan nézzük a japán művészetet?
Fordította: Komáromy Rudolf
HVG Kiadói Rt., 2005, 144 oldal