Chinese Brush Painting ⅱ

The single most astonishing fact about Chinese Brush Painting is that each brush stroke is a defining move that produces a portion of the painting that is neither improved upon nor corrected. No sketch is prepared and no model is used; the artist paints with rapid, mentally constructed strokes transporting a 'mind image' to mulberry paper.

From first to last stroke, the artist must 'get it right' while in Western watercolor corrections and overpainting are a part of the technique.

Chinese Brush Painting is meant to be more than a representation of an object; it is also a symbolic expression. This is why a full plant is never painted, but rather a few blossoms which will represent the plant in it's entirety, and, in fact, all of life - a TAO principle. Rather than looking at the subject as you paint, you bringing it forth from your mind and heart and becoming part of nature.

And, in each painting there will almost always be a "Host" which is the larger and stronger flower, tree, etc. and a "Guest" which is indicated by being smaller.

Calligraphy is the highest art form to the Chinese! Indeed, it is considered the art form from which all other Chinese art forms evolved. Thus it is altogether fitting that we make a proper bow to this worthy ancestor that developed over the centuries in China and in many other Asian cultures, including the equally remarkable Japanese culture.

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