{"id":9842,"date":"2026-08-12T13:39:32","date_gmt":"2026-08-12T11:39:32","guid":{"rendered":"https:\/\/kaoruhirose-sumie.com\/?p=9842"},"modified":"2026-08-12T13:40:48","modified_gmt":"2026-08-12T11:40:48","slug":"classic-sumi-e-mitifs-and-what-you-learn-from-each-one","status":"publish","type":"post","link":"https:\/\/kaoruhirose-sumie.com\/en\/classic-sumi-e-mitifs-and-what-you-learn-from-each-one\/","title":{"rendered":"Classic Sumi-e motifs and what you learn from each one"},"content":{"rendered":"<p class=\"isSelectedEnd\"><strong>Classic Sumi-e motifs<\/strong> are not practised simply because they are part of the tradition. Each one offers a different learning experience: some help you control brush pressure, while others allow you to work on fluidity, rhythm, texture or composition.<\/p>\n<p class=\"isSelectedEnd\">Bamboo, orchid, plum blossom and chrysanthemum are four of the best-known traditional motifs. Other common subjects include pine trees, birds and landscapes.<\/p>\n<p class=\"isSelectedEnd\">From a learning perspective, we can summarise them as follows:<\/p>\n<table>\n<tbody>\n<tr>\n<th>Motif<\/th>\n<th>Main learning outcome<\/th>\n<\/tr>\n<tr>\n<td><strong>Bamboo<\/strong><\/td>\n<td>Control, pressure, rhythm and direction<\/td>\n<\/tr>\n<tr>\n<td><strong>Orchid<\/strong><\/td>\n<td>Fluidity, curves and continuity<\/td>\n<\/tr>\n<tr>\n<td><strong>Plum blossom<\/strong><\/td>\n<td>Contrast, structure and expressiveness<\/td>\n<\/tr>\n<tr>\n<td><strong>Chrysanthemum<\/strong><\/td>\n<td>Precision, repetition and organisation<\/td>\n<\/tr>\n<tr>\n<td><strong>Pine<\/strong><\/td>\n<td>Texture, strength and branch construction<\/td>\n<\/tr>\n<tr>\n<td><strong>Birds<\/strong><\/td>\n<td>Observation and simplification<\/td>\n<\/tr>\n<tr>\n<td><strong>Landscapes<\/strong><\/td>\n<td>Composition, depth and negative space<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p class=\"isSelectedEnd\">Practising these motifs helps us understand a fundamental idea in Sumi-e: <strong>it is not simply about learning how to draw a plant, an animal or a landscape, but about using each motif to develop specific qualities in our brushwork<\/strong>.<\/p>\n<p class=\"isSelectedEnd\">If you are still taking your first steps, before working on these subjects you may find it useful to learn <a href=\"https:\/\/kaoruhirose-sumie.com\/en\/what-to-learn-first-in-sumi-e-before-creating-complex-compositions\/\">what to learn first in Sumi-e before creating complex compositions<\/a>.<\/p>\n<h2>Why are traditional motifs practised in Sumi-e?<\/h2>\n<p class=\"isSelectedEnd\">Traditional motifs provide a structure for progressive learning.<\/p>\n<p class=\"isSelectedEnd\">A bamboo leaf, a plum branch or an orchid leaf requires the brush to behave in different ways. The pressure, speed and direction of the movement change, as do the amounts of ink and water required.<\/p>\n<p class=\"isSelectedEnd\">For this reason, repeating a motif does not simply mean copying it over and over again.<\/p>\n<p class=\"isSelectedEnd\">It means learning to recognise:<\/p>\n<ul data-spread=\"false\">\n<li>which movement each form requires;<\/li>\n<li>where to increase or reduce pressure;<\/li>\n<li>when to use more or less ink;<\/li>\n<li>which direction the brush should follow;<\/li>\n<li>which strokes are really necessary;<\/li>\n<li>how much space should be left unpainted.<\/li>\n<\/ul>\n<p class=\"isSelectedEnd\">As we practise, the way we observe nature also changes.<\/p>\n<p class=\"isSelectedEnd\">Before painting, we need to identify what truly characterises the element in front of us: its direction, structure, rhythm and the details that can be removed without losing its essence.<\/p>\n<h2>The Four Gentlemen: bamboo, orchid, plum blossom and chrysanthemum<\/h2>\n<p class=\"isSelectedEnd\">Bamboo, orchid, plum blossom and chrysanthemum form the traditional group known as the <strong>Four Gentlemen<\/strong>.<\/p>\n<p class=\"isSelectedEnd\">These are not simply four plants used as decorative motifs. They have occupied an important place in the tradition of East Asian ink painting and are closely linked to mastery of the brush.<\/p>\n<p class=\"isSelectedEnd\">The <strong>Metropolitan Museum of Art<\/strong> includes plum blossom, bamboo, chrysanthemum and orchid among the <em>Four Gentlemen<\/em> and explains their relationship with monochrome painting and brush techniques associated with calligraphy. You can explore this further in the <a href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/36457\">Asian art collection of The Metropolitan Museum of Art<\/a>.<\/p>\n<p class=\"isSelectedEnd\">From the perspective of learning Sumi-e, each of these four motifs introduces different movements and challenges.<\/p>\n<h2>Bamboo: learning control, rhythm and decisiveness<\/h2>\n<p class=\"isSelectedEnd\"><strong>Bamboo is one of the most useful classic motifs for understanding how the brush works in Sumi-e<\/strong>.<\/p>\n<p class=\"isSelectedEnd\">Its apparently simple structure brings together several different exercises:<\/p>\n<ul data-spread=\"false\">\n<li>vertical stems;<\/li>\n<li>nodes;<\/li>\n<li>branches;<\/li>\n<li>elongated leaves;<\/li>\n<li>changes in direction;<\/li>\n<li>variations in ink intensity.<\/li>\n<\/ul>\n<p class=\"isSelectedEnd\">The stem requires stability and control of pressure. The leaves, on the other hand, require quicker and more decisive movements.<\/p>\n<p class=\"isSelectedEnd\">We do not first draw the outline of each leaf and then fill it in. The movement of the brush itself must create the form.<\/p>\n<p class=\"isSelectedEnd\">For this reason, practising bamboo is particularly useful for developing <strong>control, rhythm, direction and confidence in movement<\/strong>.<\/p>\n<p class=\"isSelectedEnd\">It also helps us understand how a predominantly vertical structure can still convey movement and naturalness.<\/p>\n<p class=\"isSelectedEnd\">If you would like to explore this motif in greater depth, you can read the guide on <a href=\"https:\/\/kaoruhirose-sumie.com\/en\/how-to-paint-bamboo-in-sumi-e-step-by-step\/\">how to paint bamboo in Sumi-e step by step<\/a>.<\/p>\n<p class=\"isSelectedEnd\">And if you prefer to practise these motifs with guidance and corrections, in Kaoru Hirose&#8217;s <a href=\"https:\/\/kaoruhirose-sumie.com\/en\/online-course-of-sumi-e-japanese-ink-painting\/\">online Sumi-e classes<\/a>, the different elements of each subject are worked on progressively before being brought together in a composition.<\/p>\n<h2>Orchid: developing fluidity and continuity<\/h2>\n<p class=\"isSelectedEnd\">The <strong>orchid<\/strong> presents a different challenge.<\/p>\n<p class=\"isSelectedEnd\">Its long, curved leaves require continuous movements. Once the brush touches the paper, we need to maintain the gesture while progressively changing the pressure and direction.<\/p>\n<p class=\"isSelectedEnd\">With the orchid, we can work especially on:<\/p>\n<ul data-spread=\"false\">\n<li>long strokes;<\/li>\n<li>curves;<\/li>\n<li>gradual changes in pressure;<\/li>\n<li>continuity;<\/li>\n<li>coordination between the hand, wrist and arm;<\/li>\n<li>the relationship between different directions.<\/li>\n<\/ul>\n<p class=\"isSelectedEnd\">While bamboo helps us develop structure and decisiveness, the orchid encourages greater <strong>fluidity<\/strong>.<\/p>\n<p class=\"isSelectedEnd\">It is also important to observe the relationship between the leaves. They should not all have exactly the same length, angle or spacing.<\/p>\n<p class=\"isSelectedEnd\">Some may cross one another, others may open outwards and others may act as a counterpoint within the composition.<\/p>\n<p class=\"isSelectedEnd\">The learning process is not simply about creating an attractive leaf, but about understanding how several independent strokes can form a balanced whole.<\/p>\n<h2>Plum blossom: working on contrast and expressiveness<\/h2>\n<p class=\"isSelectedEnd\">The <strong>plum blossom<\/strong> introduces a different kind of difficulty.<\/p>\n<p class=\"isSelectedEnd\">Its branches can change direction abruptly and take on irregular forms, while the blossoms introduce much smaller and more delicate elements.<\/p>\n<p class=\"isSelectedEnd\">This requires us to combine brushstrokes with very different characteristics.<\/p>\n<p class=\"isSelectedEnd\">With the plum blossom, we can practise:<\/p>\n<ul data-spread=\"false\">\n<li>angular branches;<\/li>\n<li>changes in direction;<\/li>\n<li>dry brushstrokes;<\/li>\n<li>different concentrations of ink;<\/li>\n<li>contrast between strong and delicate elements;<\/li>\n<li>the distribution of blossoms within a structure.<\/li>\n<\/ul>\n<p class=\"isSelectedEnd\">The irregularity of the branches also helps us move away from the search for symmetry.<\/p>\n<p class=\"isSelectedEnd\">A branch may extend towards one side of the paper, leaving a large area completely empty. A few blossoms can then balance the composition without the need to fill that space.<\/p>\n<p class=\"isSelectedEnd\">In this way, the plum blossom begins to introduce an idea that will become fundamental in more complex works: <strong>the contrast between full and empty, strong and delicate, dark and light<\/strong>.<\/p>\n<h2>Chrysanthemum: precision without rigidity<\/h2>\n<p class=\"isSelectedEnd\">The <strong>chrysanthemum<\/strong> contains numerous petals, which can make it appear to be a more complex motif.<\/p>\n<p class=\"isSelectedEnd\">And that is precisely where its main learning value lies.<\/p>\n<p class=\"isSelectedEnd\">We need to repeat similar movements without turning them into a series of identical, mechanical strokes.<\/p>\n<p class=\"isSelectedEnd\">Each petal forms part of a common structure, but can vary slightly in:<\/p>\n<ul data-spread=\"false\">\n<li>direction;<\/li>\n<li>length;<\/li>\n<li>angle;<\/li>\n<li>pressure;<\/li>\n<li>spacing in relation to the other petals.<\/li>\n<\/ul>\n<p class=\"isSelectedEnd\">With the chrysanthemum, we work especially on <strong>precision, controlled repetition and the organisation of numerous strokes within a single form<\/strong>.<\/p>\n<p class=\"isSelectedEnd\">It is an interesting exercise for understanding the difference between consciously repeating a gesture and repeating it mechanically.<\/p>\n<p class=\"isSelectedEnd\">The brush may produce many similar strokes, but each one must respond to its position within the flower.<\/p>\n<h2>Painting flowers to learn how to simplify<\/h2>\n<p class=\"isSelectedEnd\">Flowers form a very broad group within Sumi-e and allow us to develop different skills depending on their structure.<\/p>\n<p class=\"isSelectedEnd\">The aim is not to represent every petal, vein or botanical detail.<\/p>\n<p class=\"isSelectedEnd\">We need to discover <strong>which elements are sufficient for the flower to retain its character<\/strong>.<\/p>\n<p class=\"isSelectedEnd\">This requires us to observe before painting.<\/p>\n<p class=\"isSelectedEnd\">We can ask ourselves:<\/p>\n<ul data-spread=\"false\">\n<li>What is the main direction of the flower?<\/li>\n<li>Where is its visual weight?<\/li>\n<li>How many petals do we really need?<\/li>\n<li>Which areas can simply be suggested?<\/li>\n<li>What intensity of ink does each element require?<\/li>\n<\/ul>\n<p class=\"isSelectedEnd\">This process of selection is an important part of the language of Sumi-e.<\/p>\n<p class=\"isSelectedEnd\">In the guide on <a href=\"https:\/\/kaoruhirose-sumie.com\/en\/how-to-paint-flowers-in-sumi-e-basic-strokes-and-composition\/\">how to paint flowers in Sumi-e<\/a>, you can explore petals, stems, leaves and small floral compositions in greater depth.<\/p>\n<h2>Pine: learning structure and texture<\/h2>\n<p class=\"isSelectedEnd\">The <strong>pine tree<\/strong> introduces another fundamental element: texture.<\/p>\n<p class=\"isSelectedEnd\">The trunk and branches may require strong, dry or irregular movements, while the needles are constructed through groups of short, directional brushstrokes.<\/p>\n<p class=\"isSelectedEnd\">The pine therefore allows us to combine:<\/p>\n<p class=\"isSelectedEnd\"><strong>structure + texture + direction + variations in ink.<\/strong><\/p>\n<p class=\"isSelectedEnd\">It also teaches us that not every surface should be approached with the same kind of brushstroke.<\/p>\n<p class=\"isSelectedEnd\">Bark, a bamboo leaf and a pine needle have completely different characteristics. The movement of the brush must adapt to what we want to express.<\/p>\n<h2>Birds: observing and removing what is unnecessary<\/h2>\n<p class=\"isSelectedEnd\">When we begin to introduce animals, another challenge appears.<\/p>\n<p class=\"isSelectedEnd\">We know perfectly well what a bird looks like and, precisely for that reason, we may be tempted to add too much detail.<\/p>\n<p class=\"isSelectedEnd\">In Sumi-e, a bird can be suggested with very few strokes:<\/p>\n<ul data-spread=\"false\">\n<li>a shape for the body;<\/li>\n<li>a gesture suggesting the wing;<\/li>\n<li>a small brushstroke for the head;<\/li>\n<li>a few lines for the legs or tail.<\/li>\n<\/ul>\n<p class=\"isSelectedEnd\">The viewer mentally completes what has not been represented.<\/p>\n<p class=\"isSelectedEnd\">Practising birds develops a very valuable skill: <strong>identifying which information is truly necessary for a form to be recognised<\/strong>.<\/p>\n<p class=\"isSelectedEnd\">It is not about painting less simply to make the exercise easier. It is about choosing better.<\/p>\n<h2>Landscapes: bringing all the learning together<\/h2>\n<p class=\"isSelectedEnd\">When we move on to depicting mountains, trees, water, mist or small natural elements within the same work, we encounter one of the great challenges of Sumi-e: <strong>composition<\/strong>.<\/p>\n<p class=\"isSelectedEnd\">It is no longer enough to resolve a bamboo stalk, rock or branch successfully.<\/p>\n<p class=\"isSelectedEnd\">We need to decide:<\/p>\n<ul data-spread=\"false\">\n<li>where to place each element;<\/li>\n<li>which one will have greater visual weight;<\/li>\n<li>which areas will use more intense ink;<\/li>\n<li>which ones will appear in softer shades of grey;<\/li>\n<li>how much space will remain empty;<\/li>\n<li>how to guide the viewer&#8217;s eye;<\/li>\n<li>where the composition should stop.<\/li>\n<\/ul>\n<p class=\"isSelectedEnd\">Different concentrations of ink can also help us suggest depth.<\/p>\n<p class=\"isSelectedEnd\">Elements painted with stronger ink may appear closer, while those created with highly diluted ink can blend into areas of mist or distance.<\/p>\n<p class=\"isSelectedEnd\">For this reason, landscape painting brings together many of the skills developed previously.<\/p>\n<p class=\"isSelectedEnd\">You can explore this subject further in the article on <a href=\"https:\/\/kaoruhirose-sumie.com\/en\/composition-in-sumi-e-how-to-balance-negative-space-ink-and-movement\/\">composition in Sumi-e: how to balance negative space, ink and movement<\/a>.<\/p>\n<h2>Which Sumi-e motif should you practise depending on what you want to improve?<\/h2>\n<p class=\"isSelectedEnd\">We do not always need to practise every motif at the same time.<\/p>\n<p class=\"isSelectedEnd\">We can choose an exercise depending on what we want to improve.<\/p>\n<p class=\"isSelectedEnd\"><strong>If you need greater control and confidence:<\/strong> practise bamboo.<\/p>\n<p class=\"isSelectedEnd\"><strong>If your strokes feel stiff:<\/strong> work on orchids and curved movements.<\/p>\n<p class=\"isSelectedEnd\"><strong>If you want to learn how to combine strong and delicate brushstrokes:<\/strong> practise plum blossom.<\/p>\n<p class=\"isSelectedEnd\"><strong>If you need to improve precision and repetition:<\/strong> work on chrysanthemums.<\/p>\n<p class=\"isSelectedEnd\"><strong>If you want to experiment with texture:<\/strong> practise pine trees.<\/p>\n<p class=\"isSelectedEnd\"><strong>If you need to learn how to simplify forms:<\/strong> introduce birds.<\/p>\n<p class=\"isSelectedEnd\"><strong>If you already have control over individual motifs:<\/strong> begin working on small compositions and landscapes.<\/p>\n<p class=\"isSelectedEnd\">Before applying these movements to complete motifs, you can also practise them separately with these <a href=\"https:\/\/kaoruhirose-sumie.com\/en\/7-sumi-e-exercises-to-improve-brush-control\/\">7 Sumi-e exercises to improve brush control<\/a>.<\/p>\n<h2>Is there an order for learning Sumi-e motifs?<\/h2>\n<p class=\"isSelectedEnd\">There is no single order that is right for everyone.<\/p>\n<p class=\"isSelectedEnd\">Each student may encounter different difficulties and progress at a different pace.<\/p>\n<p class=\"isSelectedEnd\">However, it is useful to progress gradually from simple movements to more complex relationships.<\/p>\n<p class=\"isSelectedEnd\">One possible sequence would be:<\/p>\n<ol start=\"1\" data-spread=\"false\">\n<li>Practise lines, dots and changes in pressure.<\/li>\n<li>Work on bamboo to develop control and rhythm.<\/li>\n<li>Introduce orchids to develop greater fluidity.<\/li>\n<li>Practise flowers and plum blossom to combine different types of brushstroke.<\/li>\n<li>Work on motifs involving numerous strokes, such as the chrysanthemum.<\/li>\n<li>Introduce texture through trees, rocks and pine trees.<\/li>\n<li>Combine two or three motifs.<\/li>\n<li>Progress towards landscapes and more complex compositions.<\/li>\n<\/ol>\n<p class=\"isSelectedEnd\">The aim should not be to finish one motif as quickly as possible and move on to the next.<\/p>\n<p class=\"isSelectedEnd\">We should always ask ourselves:<\/p>\n<p class=\"isSelectedEnd\"><strong>What am I learning while I paint this motif?<\/strong><\/p>\n<p class=\"isSelectedEnd\">That question transforms repetition into conscious practice.<\/p>\n<h2>Do traditional motifs have to be copied exactly?<\/h2>\n<p class=\"isSelectedEnd\">No.<\/p>\n<p class=\"isSelectedEnd\">While learning, it is useful to observe examples and repeat certain structures in order to understand how the brush movements work.<\/p>\n<p class=\"isSelectedEnd\">But the aim is not to produce an identical copy.<\/p>\n<p class=\"isSelectedEnd\">Two bamboo paintings created using the same principles may have completely different rhythms. The same is true of an orchid, a plum branch or a landscape.<\/p>\n<p class=\"isSelectedEnd\">With practice, we begin to make our own decisions about:<\/p>\n<ul data-spread=\"false\">\n<li>direction;<\/li>\n<li>intensity;<\/li>\n<li>space;<\/li>\n<li>proportion;<\/li>\n<li>number of strokes;<\/li>\n<li>rhythm.<\/li>\n<\/ul>\n<p class=\"isSelectedEnd\">The motif then stops being purely a technical exercise and also becomes a form of expression.<\/p>\n<h2>Learning the motifs means learning the language of Sumi-e<\/h2>\n<p class=\"isSelectedEnd\">We can think of the classic motifs of Sumi-e as a kind of vocabulary for the brush.<\/p>\n<p class=\"isSelectedEnd\"><strong>Bamboo<\/strong> helps develop control and rhythm.<\/p>\n<p class=\"isSelectedEnd\">The <strong>orchid<\/strong> develops fluidity.<\/p>\n<p class=\"isSelectedEnd\"><strong>Plum blossom<\/strong> introduces contrast and expressiveness.<\/p>\n<p class=\"isSelectedEnd\">The <strong>chrysanthemum<\/strong> develops precision and organisation.<\/p>\n<p class=\"isSelectedEnd\">The <strong>pine tree<\/strong> allows us to experiment with structure and texture.<\/p>\n<p class=\"isSelectedEnd\"><strong>Birds<\/strong> teach us to observe and simplify.<\/p>\n<p class=\"isSelectedEnd\">And <strong>landscapes<\/strong> bring many of these skills together within a composition.<\/p>\n<p class=\"isSelectedEnd\">This is why we can return to the same motif many times and discover something new to practise.<\/p>\n<p class=\"isSelectedEnd\">It is not simply about learning <strong>what to paint<\/strong>, but about understanding <strong>what movement, how much ink and how much space each form requires<\/strong>.<\/p>\n<p class=\"isSelectedEnd\">If you would like to learn these motifs progressively with the guidance of Kaoru Hirose, you can discover her <a href=\"https:\/\/kaoruhirose-sumie.com\/en\/online-course-of-sumi-e-japanese-ink-painting\/\">online Sumi-e classes<\/a> or explore her <a href=\"https:\/\/kaoruhirose-sumie.com\/en\/talleres-monograficos-de-pintura-japonesa-con-tinta-sumi-e\/\">in-person Sumi-e workshops and courses<\/a>.<\/p>\n<h2>Frequently asked questions about classic Sumi-e motifs<\/h2>\n<h3>What are the best-known classic Sumi-e motifs?<\/h3>\n<p class=\"isSelectedEnd\">Among the best-known traditional motifs are bamboo, orchid, plum blossom and chrysanthemum, which are associated with the group known as the Four Gentlemen. Pine trees, birds, flowers, mountains and other natural elements are also common subjects.<\/p>\n<h3>What is the best Sumi-e motif for beginners?<\/h3>\n<p class=\"isSelectedEnd\">Bamboo is one of the most useful motifs for beginners because it allows you to practise stems, leaves, changes in pressure, direction and rhythm within a relatively clear structure.<\/p>\n<h3>What do you learn by painting bamboo in Sumi-e?<\/h3>\n<p class=\"isSelectedEnd\">Painting bamboo helps develop brush control, pressure, rhythm, direction and confidence in the gesture. Its stems and leaves require different movements, allowing several skills to be practised within a single motif.<\/p>\n<h3>What do you learn by painting an orchid in Sumi-e?<\/h3>\n<p class=\"isSelectedEnd\">The orchid mainly helps develop fluidity, curves and continuity. Its long leaves require controlled movements with progressive changes in pressure and direction.<\/p>\n<h3>Why are plants practised so often in Sumi-e?<\/h3>\n<p class=\"isSelectedEnd\">Plants make it possible to study many different types of brush movement and learn how to simplify natural forms. Each species has different structures, rhythms and types of brushstroke.<\/p>\n<h3>Do you have to master one motif before moving on to the next?<\/h3>\n<p class=\"isSelectedEnd\">It is not necessary to achieve a perfect version before progressing. What matters is identifying the skill being developed through each exercise and returning to those motifs periodically as your brush control improves.<\/p>\n<h3>Do Sumi-e motifs have a meaning?<\/h3>\n<p class=\"isSelectedEnd\">Yes. Many traditional motifs have acquired cultural and symbolic meanings throughout history. In addition to this symbolic value, they also have an important technical role in learning ink painting, as each one allows us to practise different ways of using the brush, ink and space.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Classic Sumi-e motifs are not practised simply because they are part of the tradition. Each one offers a different learning experience: some help you control brush pressure, while others allow you to work on fluidity, rhythm, texture or composition. Bamboo, orchid, plum blossom and chrysanthemum are four of the best-known traditional motifs. Other common subjects &hellip;<\/p>\n<p class=\"read-more\"> <a class=\"\" href=\"https:\/\/kaoruhirose-sumie.com\/en\/classic-sumi-e-mitifs-and-what-you-learn-from-each-one\/\"> <span class=\"screen-reader-text\">Classic Sumi-e motifs and what you learn from each one<\/span> Read More \u00bb<\/a><\/p>\n","protected":false},"author":4,"featured_media":481,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-global-header-display":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"default","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":""},"categories":[21],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.0 - 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