Chinese Calligraphy Painting
Influenced by Chinese traditional esthetics and philosophy, we can say that chinese painting is closely linked to calligraphic painting with which it shares several common points :
1 - First of all , we use the same tools : the brush ( made of animal hairs: wolf, goat, rat, etc...); rice paper and black ink (already used in ancient times )
2 - the two arts have the same origin
3 - we usually say that calligraphic writing technique is the basis of Chinese painting
4 - Just like calligraphy, Chinese painting takes into account the strength , the speed
of the brush-stroke, the energy or « chi »(qi), the rhythm and the graceful sensitiveness of the brush-stroke , all of them creating a style, which is completely different from the other kinds of paintings from all over the world.
The way you hold the brush is particular and it expresses all the concentration of the « chi » which the painter has within his hand (linked with his breath ) and that will allow the painter , through its contractions and the movements of his wrist, to realize several different strokes with his brush.
So, calligraphy starts with the practice of a simple line and each brush-stroke is for ever : no need to repent for it. What is done is done. It is « simplicity » : each stroke can't be changed : it is for ever in its place, immediately, in one stroke .
This is this freshness, this pure harmony, this spontaneous expression of the stroke, which we admire in Chinese painting. It is a really special « way of living », an Art of living as François Cheng explains, because a few brushstrokes are enough to give life to the picture born in the painter's mind. And he adds : « More than an object to look at , a picture is TO LIVE ».
Chinese calligraphy requires an exacting technique : there are rules, methods, strategies to learn, to respect : but once you catch, you practice according to the rules, up to its completeness, then you have reached the utter absence of rules. However, the one who wants to get rid of rules, must first obey and follow the rules : only then, the artist feels the most complete freedom in his creation.
MAROUFLAGE
The rice paper used in Chinese calligraphy and painting is very thin and fragile, with a limited capacity to absorb the water of the painting. This is why we must use the technique of « marouflage » consisting in sticking a canvas backing to the painting or a paper of the same quality in order to strengthen it, make it rigid and prevent it from blistering or cockling . It is along and very delicate operation.
Art book
Abbate-Piolé publishing - october 2014
Co-author of the 7th volume on the theme of farm animals.
Referenced in Fnac, Cultura and Amazon.
Excerpt from Publication : here
