final update 2

1. Chinese Free Brush
Painting

2. The wild flowers dance when brushed by my sleeves.
Reclusive birds make no sound as they shun the presence of people.
Ma Yuan, Song Dynasty (960-1279)
Album leaf, ink and color on silk, National Palace Museum, Taipei

3. (Lu Yao)
• Action of the Ch’i and powerful brushwork go together
• Basic design should be according to tradition
• Originality should not disregard the li (principles or essence) of
things
• Color should enrich
• The brush should be handled with spontaneity
• Learn from the masters but avoid their faults
"Lu Yao",
quoted from an early XI-century work of biographies of painters of the Five Dynasties and Northern
Sung Periods.

4. •Correctness
•Order
•Reflectiveness
•Discipline
Academic Principles of Success:

5. Perfect Practice Makes Perfect
Strokes

6. The tip of a moist brush is dipped into
the ink. As the ink is absorbed into the
brush, the moisture that is already in
the brush dilutes the ink and creates
lighter gradations of ink further away
from the tip.
A small amount of water is placed in
the inkstone reservoir (the inkstone is
commonly made of water-resistant
rock such as slate).The inkstick is
gently ground with the water in a
circular motion to create a deep black
liquid.

7. The Six Stokes

8. Holding the Brush
When executed with masterful technique, a single ink brushstroke is capable of
conveying vitality, delicacy, and contemplation—the essence of Chinese philosophy and
spirit.

9. Perfect Practice Makes Perfect
Paintings

10. Better Placement of Song Birds in
Paintings

11. Better Placement of Song Birds in
Paintings

12. Better Placement of Goldfish in Paintings:
Two and Three Goldfish

13. Better Placement of Goldfish in Paintings:
Two and Three Goldfish

14. Mastery of Knowledge and Skills:
• C o r r e c t f i n g e r p o s i t i o n s i n h o l d i n g b r u s h
• B a s i c s t r o k e s t h r o u g h t h e u s e o f C h i n e s e C a l l i g r a p h y
• P r e p a r e I n k T h r o u g h R u b b i n g I n k S t i c k t o I n k S t o n e
• A p p l y v a r y i n g d e g r e e s o f i n k a n d wa t e r t o b r u s h
• D o u b l e a n d t r i p l e l o a d t h e b r u s h wi t h i n k a n d p a i n t
• S u c c e s s f u l d e p i c t i o n o f v a r i o u s s u b j e c t m a t t e r i n
i s o l a t i o n
• C o m b i n i n g v a r i o u s s u b j e c t m a t t e r i n a s u c c e s s f u l
t r a d i t i o n a l C h i n e s e s t y l e p a i n t i n g

15. Rules of Painting
"See the great in the small"
And
"See the small in the perspective
of the great"
Lu Ch'ai(Wang Kai), Master of Ch'ing Tsai T'ang, XVII-century