One of our Members, Rose Meech, is in splendid isolation after flying back from holiday in Marrakech on 17th March and has been painting. She shared the following with us:
This is the Chinese for crisis – Wei ji – which translates as Wei – danger and Ji – opportunity. It was published by OAS https://orientalartsupply.com/ I challenged the group to give it a try and this is Rose’s splendid result
We are still locked out of our hall and expect to be so for some time – so, all painting is done in isolation! Members are reporting that they are trying to find time to paint. Stay safe and Well Marion
This was our first get together in the year of the rat and we were looking at the final set of Chinese landscapes – those created in the Chinese Republic. We looked at a range of artists styles. Those of: Au Honien, Wu Guanzhong, Chen Shenren, Wu Changan and Li Keran. We also used some new paper purchased from Amazon
Chinese Paper Semi Treated Calligraphy Drawing Painting Xuan Paper
It wasn’t Xuan but worked really well with this subject but sadly – the one we bought no longer available. It was described as a semi treated paper. It is machine made (there are lines on it) and it appears to be semi-sized. It works very well with this type of work. Amazon appear to have the same thing on offer from a different supplier.
It was a fun afternoon and will be our last until the hall we meet in is refurbished in April.
This was the last class of the year and we decided to have a look at what salt and Alum can do.
The 3 different types of salt – Rock salt, sea salt and table salt – produce very different results. You need to create your shape and quickly apply the salt. Don’t try to paint the whole picture first – it won’t work – the ink must be wet for the salt/alum to affect it.
Alum painted onto the paper and allowed to dry will give different results to alum over painted when wet or alum added to a damp shape.
It is worth trying it on test piece first with different tones of ink. Single Xuan paper give the most definite results.
The 3 different types of salt – Rock salt, sea salt and table salt
Phyllis Nash – re-used salt – salt added to a picture that had been used on another picture
This month we were having a look at large birds by artists including both CBPS presidents Qu Leilei and Jane Evans along with Pan Tianshou, Li Kuchan, Lin Fengnian and Hong Yongyu. We had fun tackling the different styles.
Today we had a look at the Qing Dynasty Literati including Super Stars Bada Shan Ren, Hong Ren, Shi Tao and Gong Xian. These are some of the artists accredited with the original development of Xeiyi – free style.
We used Xuan and double Xuan and results were very pleasing:
This month we were looking at Summer Flowers using Xuan paper.
We also had a look at the use of salt and alum to create different effects but will have a closer look at this at a later date. However, for info: the salt and Alum work well with ink but are not as effective with paint colours – although there is some effect. The picture illustrates three types of salt and their different effects. You need to use Xuan paper for best effect. You also need to add the salt when the ink is wet so add it when you have painted each item not the whole picture! It is worth trying it first to check the differences before you attempt a master piece. They give very different results.
The pictures we worked from this month were by a variety of artists including both Northern School and Lingnan artists.
In the Qing dynasty artists continued to work in two distinct groups – the Court artists working in and around the court and sponsored by the emperors – working in the orthodox style and Literati artists – independent artists or artists with alternate sponsors – working in what was considered to be a more innovative style.
This month we were had a look at the Qing Dynasty Orthodox Artists. There was a key group known as the Six Masters (four of whom were also known as the Four Wangs) who were Wang Shimin, Wang Hui, Wang Yuanqi, Wang Jian and Wu Li and Yun Shouping. The Group’s work covers 100 years and they were all closely related. They formed the Orthodox School and they followed the written principles of Dong Qichang. Their works tended to be more structured and stressed technique of brushwork, application of ink and compositional methods
The work we were using included both full paintings and sketches. They were fun to work with.
We had a very interesting session with Qu Leilei today looking a four pictures by Qing and Ming artists. The aim was not to reproduce the picture but to understand the techniques that the artists had used and to practice them. We focused on the foliage and rocks rather than the birds.
We were working on getting the brush strokes right – creating lines and texture – using both wet and dry brush and looking at how the washes were applied as dabs of colour using wash brushes rather than spread using hake brushes.
These are the pictures we were working with:
Lin Liang (1416-1480)
Xiao Haishan (ca 1450 -?)
Gao Fenghan (1683-1749)
And an unknown artist
And these are Qu Leilei’s demonstration pieces
Lin Liang demo
Xaio Haishan demo
Gao Fenghan demo
Unknown artist demo
And finally a picture of Qu Leilei with the last demo piece
In April we were revising bamboo and plum blossom – with added birds. Li Jia explained that it was necessary to revise the 4 gentlemen annually to ensure you were getting into no bad habits and I we hadn’t done this for a number of years as a group. So – we had a go and these are some of the results