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The singular charm of Chinese brush painting rests in the use of authentic materials - the specialist papers, brushes, ink sticks and ink stones that make up the Four Treasures of Study. |
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| "Bamboo", Eban (Strasbourg) |
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Chinese brush artists and calligraphers use lightweight absorbent papers, hand-made in China and Japan in accordance with age-old traditions and materials which are jealously guarded by each manufacturer. Unsized Xuan (pronounced shwen), largely made from bamboo pulp and rice cellulose, is the most popular choice, but it's fun to experiment with different papers. Try Toh paper for hard-edge effects, supple strong Washi for brilliant colour, lightly absorbent Tofu for softer lines or the more absorbent Mine for the serious student of Chinese brush work. Wenzhou China Paper in Rolls � soft rough surface 30g/m2 paper for Chinese ink drawing. |
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| Carbon powder from wood and oils are mixed with glue and pressed into wooden moulds to make traditional black ink sticks for Chinese brush painting and calligraphy. The precise ingredients and processes are shrouded in secrecy, but we can tell you that Great Art ink sticks are made from fine particle pine wood soot, and offer a range of density from jet black to more bluish tones. |
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| Traditional Chinese brushes are made from soft, firm and coarse single or blended natural hair from a range of animals � from sable, sheep and goat to badger, pony and mountain horse. The bristles are glued together at the base and then into the handle, with a hanging loop. Firm brushes, usually light brown, are probably the easiest to control. Soft brushes, normally white, respond readily to pressure so they're very expressive but require more skill to control. Coarse brushes, generally dark brown or black, are used for rough textured strokes. |
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| A Liquid ink is made by rubbing an ink stick on an oblong or round ink stone, and mixing with water. Ink stones are a work of art in themselves - hand-made from slate and often elaborately carved. The best have a smooth grinding surface and a close fitting lid to stop the ink drying out. |
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Grinding
With a brush or dropper, put
a few drops of clean water on
the ink stone. Rub the end of the
ink stick using a circular action and
keep going until the ink is thick and
black. |
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Holding the brush
Hold the shaft about half way
up between thumb and first
and middle fingers. Tuck the fourth
and fifth behind. Work with the
brush at right angles to the paper. |
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Water absorption
On absorbent Chinese papers
slow strokes spread and
feather, giving misty effects. For
clean lines, work fast. |
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Drawing in colour
Mix colour on the paper by
loading the brush with more
than one colour to complete a
whole petal, flower, leaf or twig in
one or two angled or twisting
strokes. |
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Go straight in
Paint the subject first. Once
it's completely dry the ink and
colour will be bound to the surface
so the paper can be damped again
and washes added last. |
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Variety is in the spice
Use light and dark tones to
bring the painting to life and
let colours bleed together wet into
wet. |
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Don't: Leave the brush on the stone - it will stick.
Use ink or colour too wet |
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Do: Clean the stone after use.
Paint on a blanket to absorb excess water
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