Reply To: painting three faces of a rock in Chinese painting

It is a traditional way of depicting rocks – if you have ever seen the method in the Mustard Seed Garden book, that is very useful.  Another wonderful book I treasure discusses the 3 faces very well and it is how I learned to think about rocks – I have taken the explanation from this book for you.

Oriental Painting Course

Wang Jia Nan and Cai Xiaoli, with Dawn Young

Think of rocks as having 3 aspects:

1 front part, facing the sun, is dry and rough

2 side, in shadow, is wet/shaded

3 top, is thin.

This gives rocks a 3 dimensional affect. A side brush technique is used, and rocks are given different textures with specific brush techniques.  These you can research, as many books like the ones above, give much detail.  Good luck!

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"Learn of the pine from the pine.."

I learned this expression from reading haiku poetry – it is a quote by Basho, a famous haiku poet. I live in Canada, and we have many wonderful plant and animal species to inspire artists.  I believe that one must see and feel to understand the essence of something. Only painting from photographs or copying subjects that are not native to our environment is difficult and often yields unsatisfactory results. We can’t quite comprehend the important elements or ‘thusness’ of the thing.

It is not that I don’t practice with more exotic material, such as the lotus, which is cultivated in some parts of Canada, mostly on the west coast, but I focus on what I see outside my window – a mountain, a pine tree, a chrysanthemum, etc. I take a lot of photographs of plants and animals, which are my favourite subjects. I also get inspiration for abstract work from things that have become part of the earth, although they are not necessarily organic.  See the picture attached!.

I pulled this object from my lake in the northern mountains, and put it on a rock to photograph it. It is very old and shortly after it disintegrated into bits.

I later found out that it was once part of a steering wheel of a Model T Ford, from the early 1900s! There is a funny story attached to this also,

But when I saw it, to me it looked like one of the many ensos  (Zen circles) that I paint. See what you think!

 

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Reply To: "SU" ink vs Fresh ink

Hi Raymond,

Thanks, this is exactly the information I needed to understand the use of Su ink.  I will give this a try with my best sticks- I would imagine that quality ink sticks are better to make good Su ink with. Thank you!

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Reply To: Paper for Suminagashi technique

Hi starseed, I haven’t tried suminagashi myself yet. People use rice paper *which is named as Xuan paper on Inkston. In theory, you can try any Xuan paper on inkston. However if I try, I would like to use sized Shu xuan paper or Wen Zhou pi paper because I like to get more detailed fine lines between colours. Wen Zhou Pi paper is a very strong and flexible paper due to the high percentage of Mulberry fiber.

Wenzhou Pi Paper 皮纸

INKSTON Gongbi Plus, Sized Xuan Paper

Since using paper is a very personal preference, I would say a set of xuan paper samples would be good for you to find more possibilities. 🙂

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Inkstick Recipes through History

China has over 2000 years history of using and making inksticks. The industry reached its heights in the Ming and Qing Dynasty when methods were most refined and a lot special formulas...

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Reply To: Best brush for Yan (颜) style

For KaiShu Regular Script, you can consider these brushes:

http://ift.tt/2g1oVBA

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Reply To: "SU" ink vs Fresh ink

Comment from facebook:

Raymond Cheng It depends on what you want to do with it, ink left overnight tend to be more solid and less transparent, i use it to write larger size calligraphy, and find it helps the brush strokes go freer…..

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Reply To: Best brush for Yan (颜) style

Dear Amr, thanks for your question! Generally speaking, brush hair type and brush hair size are two important elements we need to consider when we choose brush. 🙂 We recommend to choose different size brush for different size of calligraphy. Also different type of brush hair is normally more suitable for one type of calligraphy/ painting than other hair types.

1, Brush Hair Type: From the information you have provided, we can decide the brush hair type. For this calligraphy style you have described, we recommend you to try combination hair brush. This is weasel hair combined with goat hair. Sometimes, Red Star *professional brush uses some very rare hair type too.

http://ift.tt/2g0rl3q

2, Brush Hair Size: After we decide the brush type, then we need to decide brush hair size. This is also why you can find different sizes for the brush hair. Inkston also marks each brush hair size. 🙂 For most of our brushes, we have added the ‘suitable for’ section for people to know which type of calligraphy/ painting this brush would work best.

Could you tell us what is the size of the calligraphy you are practicing now? We need this to find a proper brush hair size.

 

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Best brush for Yan (颜) style

Hi all,

I’m working on copying some of Yan Zhenqing’s DuoBao stele characters (颜真卿 – 多寶塔碑).

I am having some trouble with brushes. I have some very nice white cloud brushes from inkston, but they are a little too short/fat to do the effects. The brush I use most is a long mixed hair brush that seems to do a decent job, but sometimes I feel like I need a little more taper. This is an example from my usual practices (there are some issues obviously, but it is representative of the effects of my current brush).

Is there generally a brush that is especially recommended for copying Yan’s old standard script like the DuoBao Pagoda?

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Paper for Suminagashi technique

Hi,  Can you tell me which papers are best for the Suminagashi technique p;ease.

 

 

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Pedro Molina

Me involucre en el arte chino viajando a Beijing dos veces, gracias al taichí (arte que practico a diario) conocí esta gran ciudad. Allí conocí a mi primer  maestro de...

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Chinese Ink – traditional handmade inksticks

Inkstick introduction Chinese ink is produced in stick form rather than liquid, so it lasts for generations without drying out.  To use the ink, the stick is rubbed on an inkstone...

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