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Chinese Painting Implements Paper, ink, inkstone and brush are commonly called the Four Treasures of Chinese painting. They are the most important tools and materials used in traditional Chinese painting and calligraphy, but today, plate instead of inkstone is oftern used. Paper The principal kind of paper used in Chinese painting is xuan paper, so called because it is made in Xuancheng in Anhui province. It comes in three finishes: sized,semisized and unsized. Ink Ink is very important in Chinese painting. There are various kind of ink, but the best type for painting is soot-ink made from carbon and mixed with glue. The darkest ink is lacquer soot ink, of which the chief ingredient is lacquer; it is used to depict the prominent parts, the 'highlights', of a painting, but should be used only in moderate amounts. Brushes Brushes vary according to their function. There are brushes for landscapes, for flowers and birds, for xieyi paintings, and for gongbi works. There are three main qualities: soft, intermediate and stiff, and they come in a range of sizes. They are made from animal hair - goat, rabbit, wolf,weasel, horse - or a combinaion of hair. Colours Traditionally , the colours used in Chinese painting are made from mineral and vegetable pigments. Todays, pigmenta are sold in tubes which are both easy to carry and convenient to use. Colours are also available in boxed sets of sticks of colours, the basic colours for Chinese painting are as follows: indigo, rattan yellow, umber, rouge, carmine, cinnabar, mineral blue, mineral green, lead white. Other equipment - Plates for storing colours; a bowl for washing brushes or holding clear water; a brush holder.
Brush Ink
Chinese water colour Paper Brushwork Training How to hold a brush - An important characteristic of Chinese drawing is the way of holding and using the brush. This is a tradition and quite different from the way of using a water-colour brush or a pen. The nature of the Chinese brush has developed from the way of handling it in an effective and convenient manner. The brush is held perpendicularly to the painting surface between thumb and three fingers. The movement of fingers, wrist, elbow and arm should be in perfect equilibrium and comfortable. It must be held tightly but flexibly so that it cannot be pulled away from your hand and yet it should be able to rotate between your fingers.
Structural Brush - work in drawing are the calligraphic strokes produced in the same way as writing. Each stroke has its correct way of starting and finishing by pressing and lifting the brush. The first important thing for beginners is to keep the tip of the brush moving in the middle of each stroke, which we call chung feng. Do not sweep with the side of the brush. To learn the structure of brush-work, your strength must go through your arm, elbow, wrist and fingers to reach the tip of your brush. Each stroke will show if it is feeble or strong, hesitant or fluent. Also the paper is soft and absorbent, so a single stroke is a statement; no alteration can be made. Never use charcoal or pencil at all, just use the brush directly for drawing. Zhong Feng (centre stroke) Che Feng (side stroke)
Setting Postion
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