“The Art Of Chinese Brush Painting” - Maggie Cross.
Since the first peer critique last term, when one of my coursemates highlighted the similarity in my style of art and Chinese brush painting, I have wanted to learn more about this technique and the history of the style. To help with my research, for Christmas my brother thoughtfully gifted me a traditional Chinese painting set, complete with an ink stone, ink sticks, brushes, and a copy of The Art of Chinese Brush Painting by Maggie Cross. Over the holidays, I made it my aim to complete this book before going back to work and try to develop a deeper understanding of an artistic tradition that beautifully marries technique, symbolism, and spiritual connection.
The Four Treasures of Chinese Brush Painting
Central to Chinese brush painting are the “Four Treasures”: the ink stick, ink stone, brush, and paper. Each plays a vital role in the process. The ink stick and ink stone embody patience and ritual - grinding the ink stick against the stone with water is a meditative act, connecting the artist to the materials and grounding their focus. This therapeutic aspect of ink grinding is something I am eager to experience, as it contrasts with the immediacy and convenience of bottled ink that I have been using so far. The act of grinding ink offers a more intentional connection to the medium, encouraging mindfulness and slowing down the creative process in a way that I am trying to do more to ensure I am documenting each step of my practice.
Among papers, Cross discussed that Xuan paper is the most popular due to its fine, flat texture, which allows for precise brushstrokes and ink flow. However, the book also mentions mulberry bark paper, which has a slightly more textured surface that allows the ink to pool and take on a slightly different energy. This type of paper intrigues me, and I would like to incorporate it into future experiments if I can source it. Both types of paper reflect the harmony and intentionality that define the medium.
Balancing Composition and Symbolism
One of the fascinating aspects of Chinese brush painting is its emphasis on balance and the energy of the painting. Every element - from the placement of brushstrokes to the use of negative space - must harmonise to create a unified composition. Even the placement of the red seal, often used as a signature, is a considered decision. Some artists, however, avoid seals altogether, feeling they detract from the work’s purity. Meanwhile owners or views of different works often add their own seals to an artists work, a practice which is very different to how we view and experience art in the west.
Symbolism is another cornerstone of this tradition. Common subjects, such as bamboo, orchids, chrysanthemums, and plum blossoms, are collectively known as “The Four Gentlemen.” These subjects hold deep symbolic meanings and represent virtues such as resilience, elegance, and renewal. Chrysanthemums, for instance, symbolise resilience and longevity. They were also a favourite of my grandfather, who was a keen gardener throughout his life. Inspired by this connection, I plan to grow chrysanthemums this year, observing their growth from seedlings to maturity, and document this process in my art practice. This endeavour mirrors the care and consideration inherent in both gardening and art-making - pastimes that were equally significant in Chinese culture over the centuries.
The Six Canons of Chinese Brush Painting
Chinese brush painting is guided by six fundamental principles, known as the Six Canons:
Chi: The life force or energy that must flow through the painting.
Bone Structure: The strength and clarity of the brushstrokes.
Never Abstract: The work must retain a connection to reality.
Know One’s Colours: Mastery of colour use and combinations.
Correct Balance: Harmony between painted and unpainted areas.
Copy from Masters: Learning by studying and emulating the works of great artists.
These canons not only provide a foundation for technical skill but also encourage a deeper connection to the subject and the art itself. They serve as a valuable guide for both traditional and modern practitioners.
Techniques and Textures
The techniques outlined in Cross’s book have opened my eyes to new possibilities in my practice. For example, using different brush materials, such as horsehair for painting mountains, creates varied textures and strokes. Methods like washes, resist techniques, and "dancing strokes" offer a wealth of creative avenues to explore.
I am particularly drawn to experimenting with unconventional methods, such as mixing ink with salt or washing-up liquid to create unique effects. While playful, these approaches retain the deliberate intentionality of traditional techniques, pushing the boundaries of what can be achieved with ink. I am also fascinated by techniques like using alum or stencilling to create layered textures, which I would be eager to incorporate into my future work.
Additionally, I am struck by the close relationship between calligraphy and Chinese brush painting, with both art forms emphasising brushstroke control. In Chinese brush painting, small calligraphy elements, such as poems or other text, are often integrated into the artwork. When I was younger, around nine or ten, I had a calligraphy set, albeit a basic one, which I practised with religiously week after week. The flow of ink became second nature over time. It wasn’t until Cross discussed calligraphy’s influence on Chinese brush painting that I made the connection between my early love of calligraphy and the style of art I create today. Reflecting on this, I realise that my early practice in calligraphy has likely influenced how I approach my work now.
Capturing the Spirit
At the heart of Chinese brush painting is the concept of capturing the spirit or essence of the subject, rather than focusing on realistic detail. This philosophy resonates deeply with me, as my own work often seeks to convey movement and energy within the landscape. Interestingly, Chinese paintings often lack a central focal point, inviting viewers to wander through the composition, much like exploring a natural vista. This perspective aligns closely with my intention to evoke a sense of place and belonging in my art, drawing people into a slightly dreamlike (or nightmarish) composition.
Styles and Special Techniques
Chinese brush painting encompasses various styles, each with unique characteristics:
Mo Ku: Bold and dynamic strokes.
Ku Fa: Delicate and precise brushwork.
P’o Mo: Splash ink techniques.
Gongbi: Fine-line painting with intricate details.
Special techniques, such as using crumpled paper or liquid soap, offer additional ways to experiment with textures and effects. The “dancing stroke,” which involves colour loading and expressive yet considered movement, particularly peaked my interest as it is a departure from the strokes I would normally use.
Looking Forward
As I continue this journey, I’m eager to apply what I’ve learned to my own practice. Techniques like the “mountain strokes” and incorporating poetry or small pieces of text, such as “dancing in the summer breeze,” will undoubtedly influence my approach to landscapes. Additionally, I am driven to continue to explore the symbolic and narrative potential of my subjects more intentionally, creating works that reflect my connection to specific places through both technique and metaphor.
Chinese brush painting has not only deepened my appreciation for this art form but has also offered new ways to think about my own creative process. The meticulous balance, the emphasis on spirit, and the rich symbolism all provide a framework that feels both challenging and rewarding. I look forward to experimenting further, blending these traditional methods with my own style, and getting started with the painting set to see where it takes me.
