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Chinese Brush Paintings: History and Techniques

Chinese Brush Paintings: History and Techniques

Rules of Painting

"See the great in the small” and “See the small in the perspective of the great” “Among those who study painting, some strive for an elaborate effect and others prefer the simple. Neither complexity in itself nor simplicity is enough. Some aim to be deft, others to be laboriously careful. Neither dexterity nor conscientiousness is enough. Some set great value on method, while others pride themselves on dispensing with method. To be without method is deplorable, but to depend entirely on method is worse. You must learn first to observe the rules faithfully; afterwards, modify them according to your intelligence and capacity. The end of all method is to seem to have no method.” - Lu Ch'ai(Wang Kai), Master of Ch'ing Tsai T'ang, XVII-century …If you aim to dispense with method, learn method …If you aim at facility, work hard ....If you aim for simplicity, master complexity - Lu Ch'ai(Wang Kai), Master of Ch'ing Tsai T'ang, XVII-century The Six Qualities of Painting To display brushstroke power with good brushwork control To posses sturdy simplicity with refinement of true talent To possess delicacy of skill with vigor of execution. To exhibit originality, even to the point of eccentricity, without violating the li(the principles or essence) of things. In rendering space by leaving the silk or paper untouched, to be able nevertheless to convey nuances of tone. On the flatness of the picture plane, to achieve depth and space. - "Lu Ch'ang", quoted from an early XI-century work of biographies of painters of the Five Dynasties and Northern Sung Periods. The Twelve Things to Avoid in Painting To avoid is a crowded, ill arranged composition (composition) Far and near not clearly distinguished (composition) Mountains without Ch’i, the pulse of life Referring not only to the need for pictorial vitality created by composition with a quality of spirit, particularly since mountains were symbols of life. Of the Yang(of Heaven and the Spirit) Water with no indication of its source The element regarded as a source of life and associated with the Yin. Scenes lacking any places made inaccessible by nature(natural and logical) Where man has ventured, paths are a sign of his presence and should naturally lead somewhere. Paths with no indication of beginning and end Stones and rocks with one face The rock has 3 faces, referring to the third dimension and technical skill in rendering it . Trees with less than four main branches The tree has four main branches and is represented as having solidity, roundness, and unity Figures unnaturally distorted Emphasize fitness based on naturalness, contributing to the harmony of the parts and the whole of a painting. Figures not only should be undistorted but should be shown in action, their position and mood in tune with the rest of the painting and thus with the order of nature. Buildings and pavilions inappropriately placed Houses, pavilions, bridges, waterwheels, or boats, never overshadow other elements in the picture but contribute to its main theme, usually some aspect of nature rather than of human activity. Atmospheric effects of mist and clearness neglected Color applied without method Mountains and water are not only the main structural elements in a landscape painting, but serve as symbols of the Yin and Yang. They are structural ideas, hence the significance of the term ShanShui (mountain water) for landscape pictures. - "Shih Erh Chi", quoted from a XIII-century work by Jao Tzu-jan.

Chinese Brush Paintings: History and Techniques

		Starting around 4000 B.C. traditional Chinese painting has developed continuously over a period of more than six thousand years. Its growth has inevitably reflected the changes of time and social conditions. In its early stage of development, Chinese painting was closely related to the other crafts, from pottery to the decorations used on the bronzes, carved jade and lacqerware. Following the introduction of Buddhism to China from India during the 1st century A.D. and the consequent carving of grottoes and building of temples, the art of painting religious murals gradually gained in prominence.
	The range of subject matters dealt with in figure painting was extended far beyond religious themes during the Song dynasty(960-1127),. Paintings of historical character and stories of everyday life became extremely popular. Techniques were also further refined. Landscape painting had already established itself as an independent form of expression by the 4th century. Then gradually developed into the two separate styles of “blue-and-green landscapes” and “ink-and-wash landscape”. The blue-and-green landscape used bright blue, green and red pigments derived from minerals to create a richly decorative style. The ink-and wash landscape relied on vivid brushwork and varying degrees of intensity of ink to express the artist's conception of nature, and his own emotions and individuality. Flower-and-bird painting was separated from decorative art to form an independent genre around the 9th century. A great many artists painted in this genre during the Song dynasty and their subject matter included a rich variety of flowers, fruits, insects and fish. Many of the scholar painters working with ink and brush used a great economy of line. They produced paintings of such things as plum blossoms, orchids, bamboo, chrysanthemums, pines and cypresses, using their subject matter to reflect their own ideals and character. Modern painters have often mixed several colors on one brush or mixed their colors with black inks. As a result, they have obtained more natural and richly varied colors. Such techniques have been widely adopted and further developed in thecontemporary period. Artistic Character and Techniques One of the important factors contributing to the evolution of the distinctive style of traditional Chinese painting has been the close relationship between the materials used and their influence on artistic forms and techniques. Chinese Brush First, there is the Chinese brush. Though similar to the brush used for watercolor painting in the West, it has a finer tip suitable for dealing with a wide range of subjects and for producing the variations in line required by different styles. Since the materials used for calligraphy and painting are essentially the same, developments in calligraphic styles and techniques can also be used in painting. Brush Techniques and Strokes The ancients used the expression yu pi yu mo(to have brush, to have ink). These show the significance of the meaning for the two terms pi(brush) and mo(ink). The brush techniques so much emphasized in Chinese painting include not only line drawing but also the stylized expressions of shade and texture (cunfa) and the dotting methods(dianfa) used mainly to differentiate trees and plants and also for simple embellishment. The brush strokes give the painting rhythm and beauty and depict the subject's outward and inner qualities. At the same time, they reveal the individuality and style of the painter himself. Type of Painting Brushes: Hsieh chao pi: Crab claw brush, large and small sizes Hua jan pi: brush for painting flowers Lan yu chu pi: brush for painting orchids and bamboo Brushes used for writing: T’u hao pi: rabbit's hair brush Hu ying pi: Hunan sheep's hair brush Chinese Ink Second, there is the ink. Ink has been used in calligraphy and painting for over two thousand years. When the ink cake is ground on the painter's stone slab with fresh water, ink of various consistencies can be prepared depending on the amount of water used. Thick ink is very deep and glossy when applied to paper or silk. Thin ink appears lively and translucent. As a result, in ink-and-wash paintings it is possible to use ink alone to create a rhythmic balance between brightness and darkness, and density and lightness, and to create an impression of the subject's texture, weight and coloring. Paper and Silk Third, there is paper or silk. Chinese painting may be done either on Chinese paper or silk. Chinese Paper The original paper(around 100 AD.)was made from many different materials including pulp, old fishing nets and bark. Modern paper is often machine made. It is classed in degrees of weight and amount of size used. The paper is very absorbent and the amount of size in it will dictate the quantity of ink used for strokes on the paper. Different paper produce different results; some are rough and absorb ink quickly like a sponge, others have a smooth surface which resists ink. Chinese paper is usually known as rice paper in English. Chinese Silk Before painting on silk, the silk should be treated with alum and glue before use. This method makes silk less absorbent than paper. Brushstroke is best shown on paper. Because of this reason and the paper's variety of texture and finish, paper quickly became favored by artists and calligraphers. Chinese Color Fourth, there are the colors. There are differences in the use of color between Chinese painting and modern western painting. Chinese painting aim is not to express the various shades of color of the subject in relation to a fixed source of light, but to express the characteristics of the different subjects. For example, the adding of traces of brown or green to rocks, trees, leaves, grass and moss in a painting is used to reinforce the feeling of a particular season or state of the weather. Composition and Space Fifth, there are composition and space. Since the creative requirements of Chinese painting do not demand strict adherence to reality or to a particular angle of view or source of light, the painter has complete freedom in terms of artistic conception, structural composition and method of expression. To give prominence to the main subject, it is quite permissible to omit the background entirely and simply leave it blank. At the same time, since the sizes and shapes of the spaces in the painting are different, the very absence of content can itself create rhythm and variety. Sometimes the variety and balance created in this way is further enriched by the addition of inscriptions in the empty space. Chinese landscape painters’ aim is to depict the familiar mountains and rivers of China from the perspective of nature as a whole and on the basis of their understanding of the laws of nature. In artistic conception and structural composition, most landscape paintings create the impression that the scene is viewed from high in the air, as if seen through the eyes of a bird. With flower-and-bird paintings, sometimes a single flower hangs as if suspended in space, or the flowers and plants of different seasons appear together. Explained by one of the Ming painters, Wang Fu(1362-1416), as “likeness through unlikeness” and Qi Baishi(1863-1957) as “subtlety of a good painting lies in its being alike and yet unlike the subject” Chinese painters attach great importance to reality, science, space and time and yet manage to disregard them at the same time. The laws of these things must come second to the requirements of artistic creation and should not become shackles that bind artistic expression. Seal and Calligraphy One of the distinctive characteristics of Chinese painting is the use of inscriptions in poetry of calligraphy and of special seals as part of the painting itself. This was a major contribution made by scholar painters. Its significance lies in its ability to express the theme and artistic conception of the painting more clearly and deeply while, at the same time, giving great insight into the artist's individuality, emotions and views on art and life. In ink-and-wash paintings, the bright red seal adds a final touch of beauty. When preparing the inscription and seal, therefore, the Chinese painter, in addition to considering their content, has always given great thought to the placement, length and dimensions of the inscription and the position of the seal on the painting. The simplest inscription consists of the artist's name and the date. Sometimes the inscription could include the occasion for the painting and the name of the person for whom the painting was done. It could be about the subject and style of the painting. Quite often the artist might include a piece of poetry or a literary allusion. These are all followed by the artist's own seal. The seals can be carved in stone. It can contain a name, poetical saying, a design or symbol which has a connection with the painting. The seals are pressed into a pot or tin of cinnebar paste, a scarlet red color, and are impressed onto the painting. The paste contains mercuric oxide, ground silk and oils. It required a careful stamp as it is rather permanent. When using red seal on a monochrome painting, it is said to be "adding the eye to the dragon".

Characteristics of the Technique

Paint a giant panda (1)

1.First, paint two large ears of the giant panda. Outline the ears with dark ink. The brushwork follows the direction of the red arrow. When they are half dry, moisten the edges of the ears with some clean water to give them a furry texture. 2.Paint a round circle with light ink for the head. 3.Paint the eyes with dark ink. Leave a sparking light for the eyeballs. 4.Paint four limbs with moisture-containing medium ink colour. The brushwork follows the red arrow. 5.Dot four toes with dark ink; paint the mouth with cinnabar; outline the mouth with light red. Finally, paint bamboo leaves with mineral green.

Paint a giant panda (2)

1.After outlining the giant panda in motion, paint its various parts with ink, interspersing dark ink with light ink. The brushwork follows the red arrow. The ink should be slightly moist. 2.Outline the body with light ink. 3.Paint the fur of the giant panda with textural strokes, rubbing horzontally with a dry brush to make the touches indistinct. 4.Paint bamboo and bamboo leaves with mineral blue. Then write an inscription. You need not colour the body of the giant panda. Just leave it natural white.

Paint an eagle

The eagle is a fierce bird of prey. With mighty power and strength, it is valiant and vigorous in appearance. People regard it as the symbol of fearlessness, tenacity and courage 1.Outline an eagle lightly in charcoal. Pay attention not to damage the paper. 2.First paint the back and shoulders, alternating dark and ligh ink. 3.Then paint the wings boldly and resolutely, making no alterations. Strive to integrate your strokes and make the ink shades look natural. 4.Then paint the tail feathers, chest, belly and legs with medium-shade ink. Then, considering the general shape of the body, outline the forehead, neck feathers and claws. 5.Finally, paint the beak, eyes and claws. Then use light ink to strengthen the contrast between the back feathers and the dark parts, such as the beak and claws, and to add gradations and a sense of moisture. Since the eagle's most important feature is the eyes, make sure to paint them well.

Paint a little squirrel

1.It is comparatively easy to paint this squirrel. First paint the head with dark ink. The brushwork follows the red arrow. 2.Fill the brush's belly with light ink, then dip the tip into dark ink. Paint the squirrel's back in one stroke, producing dark and light shades in one stroke, producing dark and light shades in one strokes. Then paint the squirrel's legs with light ink. 3.Paint the squirrel's tail and belly with cyanine mixed with light ink. 4.Finally, outline the eyes, head and claws with dark ink. Paint the little pine nuts in bright red mixed with carminne. When the nuts are partially dry, paint the nut thorns with dark ink. Colour the squirrel's face with gamboge.

Instructions

Ink shades
Ink is divided into five shades; burnt, thick, heavy, light and clear.
1. Burnt ink: The liquid ink is ground very thick. When used in a painting, it is black and glossy.
2. Thick ink: Next to burnt ink in blackness, but since a little moisture has been added, it is not glossy.
3. Heavy ink: Slightly blacker than light ink.
4. Light ink: Moisture is added until it becomes grey.
5. Clear ink: Only a light-grey shadow. In contrast to other ink shades it appears clear and vivid.
6. Dry ink and moist ink: The dryness and moistness of ink is the so-called ink charm. The dryness and moistness of the ink represents the dryness and moistness of the brush technique. The two are inseparable. The brush technique and the use of ink are closely linked. Both a moist brush and a dry brush can produce dark and light shades.
In addition, before light ink becomes dry, some thick or moist ink may be added, or before thick ink becomes dry, some light ink may be added, giving the painting liveliness and variety. Although the painting is dry, it is endowed with a sense of moisture.
Structure of the brush

Holding the brush

To paint well, you should, first of all, learn how to hold the brush. The correct method of holding the brush is: keep the fingers firm and the palm relaxed. the thumb pressed the brush handle inward and the index finger presses it outward. Hold the hourth and little finger against the middle finger. Thus you will paint fairly fexibly.

Using the brush
The tip of the brush is where the hair is most pointed. There are six ways of using the brush:
1.Central brush-point technique: The brush handle is perpendicular to the paper. When drawing a line, you should keep the brush tip in the middle of the line.
2.Side technique: In holding the brush, tilt the brush toward the paper. When drawing a line, keep the brush tip on one side of the line.
3.Revering th direction taken by the brush tip: Move the brush upward or toward the left. Though inconvenient when you paint in this way, your line will show richer variation.
4.Duo technique: This technique in freehand flower painting requires dipping the brush tip in ink or colours, very often one colour after another, so that one stroke can paint both dark and light colors.
5.Applying dots: Horizontal dots, vertical dots, round dots adn slanting dots.
6.Turn and twist:Turn the brush tip inward and outward.

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Chinese Painting - Tools and Materials

Traditional Chinese painting has its special materials and tools, consisting of brushes of different

The four treasures of the study--brush, ink stick, paper, and ink slab-and other things

types, ink and pigments of different textures, xuan paper, silk and various kinds of ink slabs. Chinese people have called writing brushes, ink sticks, paper and ink slabs the four treasures of the study since ancient times.

Brushes

There are three types of brushes for traditional Chinese painting:soft, stiff, and mixed. Beginners should acquire both large and small sizes of each type. If you do not have such brushes, you may substitute ordinary brushes, two of the larges, medium and small sizes.

There are three types of brushes used in traditional Chinese painting: soft, stiff, and mixed.

The soft brush is made mainly of fleece, with the addition of bird feathers. It absorbs a large amount of water and is suitable for painting flowers and leaves and applying water and colours. For instance, there are large and small soft ti brushes, large tai brushes for painting wider objects such as bamboo, and colouring brushes. The stiff brush is made mainly of weasel hair. The artist uses a stiff brush to give the effect of strength, elasticity and resilience. It is convenient for contour lines or painting hills, rocks or tree trunks. Such brushes include brushes for painting the veins of leaves and folds of garments, large and small brushes for calligraphy and painting, brushes for painting plum blossoms and large lanzhu brushes for drawing the bold lines of bamboo or orchids. The third kind of brush is a mixture of soft fleece and weasel hair. The artist uses this kind of brush for the combined effect of strength and grace. For instance, the baiyun brush, made of a mixture of soft fleece and stiff weasel hair, can also be used for painting flowers and leaves. In addition, there are specially made stiff brushes, such as a brush made of short pig bristles or mouse whiskers.

Choosing the right brush for painting depends on your requirements or the circumstances in which you are painting. It is better for beginners to use the mixed brush. When buying brushes, it is better to buy in special stores for the four treasures of the study, as they have a complete assortment. Before you start to use a new brush, soak it in cold or warm water. After using the brush, you must wash it clean, squeeze it dry, arrange the brush hair neatly and hang the brush up. The brush can then be used for a long period.

Ink

Ink:Either and ink stick or prepared ink, duan ink slab and pigments.

The ink used for painting is made by grinding an ink stick on an ink slab. You can also buy prepared ink in bottles. The ink sticks consist of pine soot ink and tung-oil-soot ink. In general, tung-oil-soot ink is used, because it is of fine quality and the black has a bluish-purple lustre. Ink sticks with light glue are of top quality. Ink sticks made long ago that have lost their lustre and brightness should not be used. Pine-soot ink, which is black but lustreless, is used only occasionally when painting birds or butterflies in meticulous style. It may also be used when you wish a special effect. Ink sticks should be well protected against dampness, or sun, so that the glue will not be lost and the stick will not become dry and cracked.

Pigments are used in addition to ink for colouring in Chinese painting. They are mixed with water, instead of oil. Pigments for Chinese painting are classified as transparent or opaque. Transparent colours are made with plant pigments, including mainly vermillion, gamboge, ochre, cyanine, rouge and carmine. Opaque colours, made mainly of minerals, are also called mineral colours, which include mineral blue, mineral green, titanium white, mineral yellow and cinnabar. Mineral colours have strong covering capacity, but fade easily. Hence, it is necessary to mix mineral colours with an appropriate amount of liquid glue (animal and plant glue). In addition, there are gold and silver powder, made of real gold and silver. Pigment stores in China's Suzh-ou add glue to gold and silver foil, grind them into a fine paste and glue them onto a small porcelain cup, hence the name, gold or silver cup. You can use a clean brush soaked in water to dip up the gold powder in the cup. Gold and silver powder are used mainly to trace leaf veins and on metal objects, giving a sense of splendour in green and gold. However, they are rarely used.

Paper and silk

Xuan paper is the special material for traditional Chinese painting. It is so called because it is produced at Xuancheng in Jing County, An-hui Province.

Xuan paper may be processed or unprocessed. Unprocessed xuan paper absorbs moisture and ink, and colours sink in easily when water is added. When using this kind of paper, pay attention to the moisture of the brush and the speed with which you move the brush. If there is too much moisture and you move the brush too slowly, ink and colours will sink in easily.

Processed paper (treated with the proper amount of soybean milk or liquid glue) does not let ink and colours sink in. This kind of paper is suitable for doing paintings in the meticulous style.

Chinese artists also like to paint on silk fabric. In general, it is used after being treated and is used mostly for paintings in the meticulous style. Raw silk is used for freehand painting.

There are many kinds of xuan paper, each with its own properties. Beginners in traditional Chinese painting should grtsp and make use of these properties through constant practice. Only in this way can they succeed in painting well. In addition, there are ancient xuan paper and imitation ancient xuan paper, each with its own properties and able to produce a particular artistic effect. Xuan paper should be protected against moisture.

Ink Slab

The ink slab is the tool for grinding the ink stick. A good ink slab is a beautiful handicraft. Many materials are used for ink slabs. The most famous are duan stone, produced at Duanxi in Zhaoq-ing, Guangdong Province, and xie stone, produced at Longweishan (Dragon Tail Hill) in Wuyuan County, Jiangxi Province. Both are aqueous rock, fine, even and hard in texture. It is easy to grind the ink fine, even and thick, and the ink does not dry quickly. Ink slab for painting should be large (20 to 26 cm in diameter) and deep and have a lid to keep it clean. It can be either square or round.

Color-mixing tray

Colour-mixing box(dish), and brushwashing jar.

This is a dish or plate for mixing colours. White porcelain is best, because the white reflects colourscorrectly. It is not suitable to use a coloured dish or plate or one with decorative designs to mix colours.

Brush wash untensil

This is equipment for washing brushes. It can be made of glass, porcelain or enamelware. It holds water for washing brushes. Its mouth should be wide, smooth and not rough, so that it will not impair the brush's hair.

Characteristics of the Technique

The technique of traditional Chinese painting is divided into two major styles: meticulous (gongbi) and freehand (xieyi). Meticulous style requires great care and grace; the strict composition has fine elaboration. The effect is highly decorative. Freehand style generalizes shapes and displays rich brushwork and ink technique. It is easier for beginners, hence this book introduces the techniques of freehand painting, covering brush techniques and the use of ink and colour.

Brush techniques

Lines play a decisive role in the formation of images in traditional Chinese painting, and the variations in lines are, in the main, determined by the method of using the brush. Consequently, in learning the basic techniques of traditional Chinese painting, you should first grasp the basic techniques of using the brush. For instance, you need to pay attention to how you hold the brush, to start a stroke, continue it and come to an end, how you move your brush quickly or slowly, lightly or heavily, and how you vary lifting or pressing your brush. In general, the brush can be divided into three parts: tip, belly and root. Their properties and functions differ from one another. Sometimes you paint with the tip of the brush, as light as gossamer on the paper. Sometime^ you press the root of the brush heavily on the paper. Sometimes you use the belly of the brush to bring out charms full of vitality. There are also times you use several parts of the brush in one stroke. This depends entirely on how flexibly you use your brush to present an object. If you succeed, your lines will be vivid and forceful, and you will bring out the spiritual characteristics of the object you're portraying.

The use of the brush in freehand painting allows for a full range of variations.
You should paint flexibly and freely. Do not mechanically copy strokes, or your painting will be stagnant and insignificant. How can you make your painting unconstrained? To begin with, you should observe carefully physical and spiritual changes in objects and the state of mind you intend to present, then you have a clear conception of what you wish to paint. When you paint in this way, your painting will be vivid, interesting and lifelike.

There is a saying in Chinese about having a picture of bamboo in your mind. It means that before an artist paints, he must carefully observe the growth and shape of the bamboo and have them clearly in mind. Then in painting the bamboo will be finished at one go and depicted vividly.

In freehand painting you should pay attention to how you hold the brush. Do not move your fingers only. It is important to coordinate them with your wrist, elbow and shoulder. You should practise until you are able to paint with your wrist suspended. Thus you may paint with ease the longest line, the roundest circle, and bamboo poles or willow twigs several feet long.

The use of ink

Ink occupies an exceedingly important position in traditional Chinese painting, whether it is figure painting, landscape painting or flower-and-bird painting, pure line drawing, ink-and-wash, light colouring or heavy colouring. Black is the main colour of traditional Chinese painting, and black has five shades (see p. 10). Th.e use of ink involves four processes: outlining showing the shades and texture of rocks and mountains by light ink stroke, applying dots and colouring. In the use of ink you should stress that "colour does not impair ink" and "colour does not destroy the shape." Images are primary. Brushwork and ink depict the images, and colours only enrich them. You should also understand the relationship between water and ink. What gives ink-and-wash paintings their unique flavour is that they make use of darkness or lightness, density or dilution to present the light and colour possessed by various objects, especially the particular effect formed between water, ink and unprocessed xuan paper. Even a painting executed a long, long time ago still looks refreshing and full of vitality today. Hence, in learning traditional Chinese painting, you should grasp the use of water and ink. If water and ink are well used, a painting is already halfway done. If they are not well used, it will not be a traditional Chinese painting.

In using ink, you must pay attention to the following points: 1) When grinding an ink stick on an ink slab, grind slowly rather than quickly, thickly rather than thinly. 2) Before painting, always wash the brush and ink slab, so as to prevent impurities or sediment in the ink. 3) Old ink, namely, ink ground the previous day, cannot be used to paint, especially for flower-and-bird painting in the meticulous style. Such ink easily oozes or becomes light when it comes into contact with water. This defect becomes more serious when painting on silk. Old ink sometimes can be used for landscape painting, but the painting will not be sufficiently bright and pure. Sometimes you may blend old and new ink for use.

The use of color

The use of colour in traditional Chinese painting stresses the intrinsic colour of the object, varying the shades on the basis of the intrinsic colours. Very early in ancient China the principle was set forth: "Colours should be presented in accordance with the requirements of different categories of objects." Colour in Chinese painting is mostly used after finishing the basic modelling with brushwork and ink. It involves variations of brightness of the intrinsic colours, mutual contrast and harmonious relations between various intrinsic colours, coordination of brush-work and ink technique and consideration of colours' textural functions on paper and silk. Traditional Chinese painting does not depict the complexities of light and colour, but, all the same, it achieves truthful effect with exceedingly artistic appeal.

The method of colouring in traditional Chinese painting, stressing mainly the intrinsic colours, does not aim at naturalistic imitation. It proceeds from content and is subordinate to the requirements of the theme. It can exaggerate to the fullest extent and boldly change the intrinsic colours of the object, bringing out the theme prominently and expressing the artist's ideas and feelings to achieve ideal artistic effect and producing direct, pure, and bright aesthetic appeal.

We shall illustrate specific methods of colouring in the plates, so shall not explain further here. But beginners should be reminded to pay attention to one point: When you paint on raw xuan paper, you must pay attention to dryness and moist-ness, thickness and thinness of the ink. Generally, when the painting is moist, the colour looks heavier, and after the painting dries, the colour is lighter. Hence, when you paint, the colours should be slightly heavy. Then they will be appropriate after the painting has dried.

Form and Content

The principal forms of traditional Chinese painting are hanging scroll, album of paintings, fan surface and long horizontal scroll. Hanging scrolls are both horizontal and vertical. They are mounted and hung on the wall. For an album of paintings the artist paints on a certain size of xuan paper, then binds a number of paintings into an album, convenient for storage. The surface of both folding fans and round fans is painted. Before people had electric fans or air-conditioning, they used fans made of bamboo strips pasted with paper or silk. Artists painted the fan's surface as recreation. In time this developed into a form of painting that has been handed down to the present. Folding fans, usually made of paper, are used by men, while round fans, generally of silk, are used by women. When artists paint on the silk, the fan appears fine and elegant. The long horizontal scroll is also called a hand scroll. It is less than fifty centimetres high, but several to a hundred metres long. Pictures on long horizontal scrolls are not restricted as to time, whether seasons or decades. A hundred or a thousand human figures can be portrayed in one painting. After being mounted, it can be appreciated section by section. Riverside Scene at Qingming Festival (Qingming Festival, when Chinese people visit ancestral tombs, falls on April 5 or 6 each year) is a famous horizontal scroll from the Song Dynasty (960 -1279). The painting is 52.5 centimetres long.

Riverside Scene at Qingming Festival (part)
by Zhang Zheduan (Song Dynasty)

Fans

Traditional Chinese paintings can be classified according to subject matter into figure paintings, landscapes and flower-and-bird paintings. Landscapes represent a major category in traditional Chinese painting, mainly depicting the natural scenery of mountains and rivers. 

by Qi Baishi	by Tang Yin (Ming Dynasty)	by Guan Shanyue

Introduction

Chinese traditional painting dates back to the Neolithic Period about six thousand years ago. The coloured pottery with painted animals, fish, deer, and frogs excavated in the 1920s indicate that during the Neolithic Period the Chinese had already started to use brushes to paint. Chinese traditional painting is highly regarded throughout the world for its theory, expression, and techniques. According to the means of expression, Chinese painting can be divided into two categories: the xieyi school and the gongbi school. The xieyi school is marked by exaggerated forms and freehand brush work. The gongbi school is characterized by close attention to detail and fine brush work.

Xieyi, however, is the fundamental approach to Chinese painting. It constitues an aesthetic theory which, above all, emphasizes the sentiments. Even in ancient times, Chinese artists were unwilling to be restrained by reality. A famous artist of the Jin Dynasty Gu Kaizhi (c. 345-406) was the first to put forward the theory of "making the form show the spirit". In his opinion a painting should serve as a means to convey not only the appearance of an object, but express how the artist looks at it. Gu's views were followed by theories such as "likeness in spirit resides in unlikeness" and "a painting should be something between likeness and unlikeness". Guided by these theories, Chinese artists disregard the limitations of proportion, perspective, and light. Take Qi Baishi, the modern painter, for example. He does not paint shrimps, insects, birds, and flowers as they are in nature; only their essence has shown as a result of the artist's long-term observation and profound understanding of the subjects.

Different from Western paintings, a Chinese painting is not restricted by the focal point in its perspective. The artist may paint on a long and narrow piece of paper or silk all the scenes along the Yangtse River. It can be said that the adoption of shifting perspective is one of the characteristics of Chinese painting. Why do the Chinese artists emphasize the shifting perspective? They want to break away from the restrictions of time and space and to include in their pictures both things which are far and things which are near. Also, the artists find that in life people view their surroundings from a mobile focal point. As one walks along a river or in a garden, one sees everything on the way. The shifting perspective enables the artist to express freely what he wants.

Chinese calligraphy and Chinese painting are closely related because lines are used in both. Chinese people have turned simple lines into a highly-developed form of art. Lines are used not only to draw contours but to express the artist's concepts and feelings. For different subjects and different purposes a variety of lines are used. They may be straight or curved, hard or soft, thick or thin, pale or dark, and the ink may be dry or running. The use of lines and strokes is one of the elements that give Chinese painting its unique qualities.

Traditional Chinese painting is a combination in the same picture of the arts of poetry, calligraphy, painting, and seal engraving. In ancient times most artists were poets and calligraphers. Su Dongpo (1037-1101), Ni Yunlin (1306-1374), and Dong Qichang (1555-1636) were such artists. To the Chinese, "painting in poetry and poetry in painting" has been one of the criteria for excellent works of art. Inscriptions and seal impressions help to explain the painter's ideas and sentiments and also add decorative beauty to the painting. Ancient artists liked to paint pines, bamboo, and plum blossoms. When inscriptions like "Exemplary conduct and nobility of character" were made, those plants were meant to embody the qualities of people who were upright and were ready to help each other under hard conditions. For Chinese graphic art, poetry, calligraphy, painting, and seal engraving are necessary parts, which supplement and enrich one another.

Since the turn of the century, China has experienced great political, economic, and cultural changes, and the art of painting is no exception. While traditional Chinese painting still occupies an important place in the life of modern Chinese, many painters now desire to express their experience of new times. By combining new modes of expression with traditional Chinese painting techniques, they are opening up a vast, new world of artistic expression.

Principles of Chinese Painting by George Rowley

PREFACE This book is an attempt to formulate the Chinese cultural traits and to analyze their expres- sion in pictorial principles. Because it has been impossible to find satisfactory English equiva- lents for the Chinese terms, transliterations of the main terms have been inserted into the text for greater accuracy. It has also been difficult to select a single term for a specific pictorial idea because the terms themselves have been reinterpreted in different periods and because the Chinese writers have not been consistent in their use. It is illuminating to note that Chinese terminology has been rich in dealing with the nature of art and very limited in describing principles of design, probably because the latter were handed down as the accepted rules without the need for formulation into conceptual terms. To us the notions of unity, coherence and emphasis are basic in any composition, but the Chinese tend to describe each process instead of defining them by single terms (see List of Terms). The handling of the Chinese cultural orientations has been equally troublesome. Comparisons with western attitudes are apt to be more misleading than helpful, and yet the Chinese approaches to experience defy our understanding unless we relate them to western orientations. In discussing each cultural attitude, the device has been adopted of establishing two western polarities between which the Chinese have functioned. Only in this way can we avoid the pitfalls of interpreting the Chinese spirit in terms of western idealism, naturalism, subjectivism, romanticism or modernism. For example, because Chinese painting and "modern" painting are both more intuitive, abstract and suggestive than western painting has been since the Middle Ages, it does not follow that these superficial similarities stem from similar motivations. Chinese intuition is far removed from contemporary subjectivism; the abstract quality of Chinese design arose from simplification and elimination rather than from mechanization or distortion of forms; and suggestion in Chinese painting, although used to heighten the awareness of the unknown, seldom departs from the laws of nature. Today our painters strain after the new and the startling, while the Chinese artists built upon the old and the mature. If we look at Chinese painting through "modern" eyes we will miss its meaning. It should be our constant endeavor to escape from ourselves and from our machine-minded and psycho- logically intense age. Only then will we reach the inner harmony of the Chinese spirit which has revealed itself so supremely in Chinese painting. The first edition was illustrated from the collection of Dr. DuBois S. Morris, generously presented to Princeton University in celebration of its Bicentennial. Obviously, no single col- lection, whether public or private, is comprehensive enough to illustrate the scope of this text. Therefore, examples for the second edition have been selected from many sources. These paintings have been chosen for their quality, appropriateness of subject matter, and coverage of all periods of Chinese painting from Han to modern times. GEORGE ROWLEY Princeton University, 1959

Questia, a part of Gale, Cengage Learning. www.questia.com

Publication Information: Book Title: Principles of Chinese Painting. Contributors: George Rowley - author. Publisher: Princeton University Press. Place of Publication: Princeton, NJ. Publication Year: 1959. Page Number: *.

-PAINTING-

Theory

In order to achieve perfection the artist must have first spent time in contemplation of the theme to be painted. According to a famous 11th century Chinese landscape painter, Kuo Hsi, "An artist should identify himself with the landscape and watch it until its significance is revealed to him."
Historically, inspired by Taoism, the love of nature has been inherent within the very soul of the Chinese artist. In times gone by many of the most respected artists would withdraw into some secluded spot where they devoted themselves to the study of philosophy, poetry, painting and calligraphy.
The Six principles of Chinese painting were established by Xie He, a writer, art historian and critic in 6th century China. He is most famous for his "Six points to consider when judging a painting" (绘画六法, Pinyin: Huìhuà Liùfǎ), taken from the preface to his book "The Record of the Classification of Old Painters" (古画品录; Pinyin: Gǔhuà Pǐnlù). Keep in mind that this was written circa 550 CE and refers to "old" and "ancient" practices. The six elements that define a painting are:

1- "Spirit Resonance," or vitality, and seems to translate to the nervous energy transmitted from the artist into the work. The overall energy of a work of art. Xie He said that without Spirit Resonance, there was no need to look further.
2- "Bone Method," or the the way of using the brush. This refers not only to texture and brush stroke, but to the close link between handwriting and personality. In his day, the art of calligraphy was inseparable from painting.
3- "Correspondence to the Object," or the depicting of form, which would include shape and line.
4- "Suitability to Type," or the application of color, including layers, value and tone.
5- "Division and Planning," or placing and arrangement, corresponding to composition, space and depth.
6- "Transmission by Copying," or the copying of models, not only from life but also the works of antiquity.

Whether meant as critical principles for the buyer of art or as an exhortation to painters, these principles are timeless, and should have more attention paid to them today.
The recognition given to a master is the greater the more he reveals himself as a custodian of the past.
The overall effect of the gentle and peaceful art of Chinese brush painting, which are sometimes known as voiceless poems, should be one of freshness and spontaneity. The qualities sought are vitality of spirit, intensity of realization and freshness of perception. Such is the nature of the painting materials that before setting brush to paper the artist must hold a well conceived draft in the mind's eye, as once the painting is started it is not normally possible to alter a wrong stroke.

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Amigos de Hal Foster: Captação de Recursos para a Sociedade Amigos de Hal Foster

Amigos de Hal Foster: Captação de Recursos para a Sociedade Amigos de Hal Foster

DOMINGO, 20 JUN 2010

Captação de Recursos para a Sociedade Amigos de Hal Foster

Produto da venda de O Príncipe Valente Definitive Companion vai para Os Amigos do Hal Foster sociedade para ajudar na criação da estátua Prince Valiant em berço de Foster de Halifax, Nova Scotia.

Esgotado há mais de uma década, O Príncipe Valente companheiro tornou-se um Santo Graal para colecionadores da série. Agora, em antecipação da comemoração do septuagésimo quinto da tira de quadrinhos de aventura mais longa, e para comemorar a nossa recém-lançada a reimpressão da fita do clássico primeiros anos, Fantagraphics é o orgulho de apresentar uma versão expandida desta difícil de encontrar item de colecionador. Compilado pelo premiado biógrafo Brian M. Foster Kane, The Definitive Prince Valiant Companion lindamente mostra as carreiras de artistas Hal Foster, John Cullen Murphy, e Gary Gianni.

Além de atualizar a versão original seção de sinopse história com mais de 30 anos de material, The Definitive Prince Valiant Companion também contém artigos raros e novos.Estão incluídos neste volume é uma característica do jornal nunca antes reproduzida a partir de 1949, entrevista final Foster conduzido por Arn Saba, uma extensa entrevista com John Cullen Murphy, e uma nova entrevista com a actual equipa criativa de Prince Valiant Gary Gianni e Mark Schultz. O companheiro também contém um artigo novo, em profundidade por Kane em influências artísticas Foster's, bem como um prefácio do historiador de quadrinhos Brian Walker, e uma introdução pelo vencedor do prêmio Pulitzer autor Ray Bradbury.

Uma característica especial do companheiro é uma seção de cor de dezesseis páginas de tiras cuidadosamente selecionados de toda a execução do cômico. Apresentando nesta seção são oito páginas por Foster, digitalizado e restaurado digitalmente a partir de provas de gravura cor original que havia sido cuidadosamente guardados e preservados por mais de quarenta anos. Pela primeira vez nunca, os coletores será capaz de ver Prince Valiant Foster como pretendia que fosse visto, com todos os seus trabalhos linha fina com tinta intacta. Arredondando para fora desta seção são quatro páginas John Cullen Murphy da coleção da família de Murphy de provas, e quatro páginas Gary Gianni que foram selecionados pelo artista e digitalmente recolored sob sua supervisão.

Produto da venda de O Príncipe Valente Definitive Companion vai para Os Amigos do Hal Foster sociedade para ajudar na criação da estátua Prince Valiant em berço de Foster de Halifax, Nova Scotia.

160 páginas em preto e branco / cor 8,5 "x 11" softcover / capa dura
ISBN: 978-1-60699-305-7 / 978-1-60699-306-4