Trip to Ireland - part 4: Finding Zen Drawing Inspiration at Ancient Sites

As you may have read in part 1, 2 and 3 of this blog series, we took a short trip to the Boyne Valley in Ireland in May 2022. This journey was not only about visiting ancient monuments, but also about finding inspiration in Ireland and drawing on location.

As you might know (or not), most of my work has its roots in Zen drawing — a way of drawing that anyone can learn, leading to spontaneous sketches made in silence and deep concentration. I’ve written books about this method, and much of my watercolor work has evolved from these fine line drawings. The goal of Zen drawing isn’t to make the perfect image, but to be fully present in the here and now. That’s why I always try to make at least a quick sketch when I’m in a special place. It deepens the experience and helps store what I see more consciously. You remember more, and your drawings help you recall the atmosphere later on.

Zen drawing was introduced by Frederick Franck, who saw it as a very natural and intuitive way of seeing and drawing — something inherently human. When I saw the carvings and symbols on the Neolithic stones in Ireland, I immediately thought of Zen drawing. The simple lines, shapes and symbols... Five thousand years ago, people were drawing on stone, looking at almost the same landscape with the same attentive eye.

For this trip, I prepared a backpack with special compartments for my sketchbook and pencils. This way, I could quickly capture a scene, like when we arrived a bit early at the Fourknocks monument and waited for our guide, Anthony Murphy (see also: part 3).

In the photo below, you can see me sketching in the field near the monument, while Willem is up on its roof. As you can tell, I drew the mound a bit too round and too short. The same thing happened when sketching Newgrange. Circular shapes are tricky when drawing 'blind' (in Zen drawing, you look at the subject, not your paper), and I had to be quick before the tour started. But even with its quirks, the sketch captures the feeling of the place — there’s something charming about the proportions. I thought about adding Willem, but he had already disappeared by then.

I carried my sketchbook with me everywhere, though there wasn’t always time or space to draw. During our tour with Anthony in Dowth, we were so deep in conversation that I didn’t sketch there. But nearby was an old cemetery with ruins, where I did manage to make a few quick drawings.

The next day — during the official tour to Knowth and Newgrange — I wasn’t sure I’d get the chance to draw at all. The visitor center, where the tour begins, is beautifully situated in nature, with a bridge over the River Boyne. In the photo below on the left, you can see me sketching there. It’s a bit of a scribble, but maybe you’ll recognize the landscape from the banner video, with the cows near the river. If not, I might need to go back for another try.

At the “hobbit-like” hills of Knowth, we didn’t have much time, but I still managed to make a few Zen sketches. Below are two sketches of different mounds on the site. One of them I later worked out in watercolor at home, using photos and video footage for color reference.

During our visit to Newgrange, there was no time to draw. We had just enough time to walk around the monument and go inside with the guide (see part 3 for photos). I really wanted to capture this monument, so later that day we drove back with our own car.

The area around Newgrange is enclosed by a tall hedge. From the tourist bus parking area, you can’t really see over it. But if you stand on a low stone wall, you can just peek above the hedge. Not the most comfortable way to sketch — balancing on a narrow wall, wind blowing in my face, paper flapping... Let’s just say that’s one reason why this drawing turned out more compact than the real monument. Or maybe I just have the tendency to shrink things to fit the paper - that’s possible too.

, I finally had the space and time to draw Newgrange again and paint it in watercolor. With the help of photos, I got the proportions much better this time. I filmed the painting process from above, and below you’ll find a short video set to quiet music.

The final result:

I usually paint natural subjects; animals, flowers, landscapes - often with a white background, and sometimes including the surrounding environment. Painting monuments is not something I often do. It feels closer to architecture. But with all the lush Irish greenery, it felt more like painting a landscape.

One stone kept catching my attention: the large entrance stone at Newgrange, with the trispiral motif that also appeared on the t-shirt I bought earlier (see part 2). I really wanted to paint it, but to get the carving proportions right, I admit I used a small tracing trick to sketch them in properly.

That painting process is also in the video below. Just a heads-up: I used a traditional Irish tune in this one, and some people might find it a bit intense. So feel free to hit mute if that’s more your style.

I hope this series has given you a glimpse of the magic I experienced during our trip. From the peaceful garden where we stayed (part 1), to the ancient sites and sacred stones we visited (part 2 and 3), and the drawings that helped me connect more deeply with each place (this post). If you ever get the chance to travel to Ireland, I truly recommend exploring this region. Let the land speak - and maybe bring a sketchbook!