LESSONS IN CHINESE LANDSCAPE PAINTING

Compiled by SHI JIA

English

WAN

Version by

LI

LIANG YIN-BEN

BOOK

CO., LTD.,

LESSONS
Publisher:

CHINESE LANDSCAPE PAINTING

IN

WAN

LI

BOOK

No. 2D, Finnic

Printer:

Copyright

CO., LTD.
Quarry Bay, H.K.

GOLDEN CROWN PRINTING COMPANY

North Point Industrial Bldg., Flat B 5/F.,
499

Published

St.,

&

King's Road,

Hong Kong

Printed in October 1987

1984 by Wan

Book

Co., Ltd.
book may be
reproduced or transmitted in any form or by any means
without permission in writing from the publisher.

All

rights

reserved

no part

of

Li

this

PUBLISHED &. PRINTED

IN HONG KONG
H.K. $50.00

LTD.

CONTENTS
Introduction
Tools

3
5

Tools and materials

Brushes

The ink -stick

The inkstone

Paper

Colours

Brushwork

How

to hold the brush

The Brush-tip technique

Techniques

13

Trees

Rocks and mountains

Clouds and water
Winds, rain and snow

14
68
107
123

Colour

128

Colophons
Chinese Explanation
Selected Paintings
(1)

137
138

148

Shi Tao

Landscape

149

Huang Binhong
Mt. Huangshan - Dong Shoupin
Mt. Huangshan - Dong Shoupin

(2) Landscape

150

(3)

151

(4)

(5) Pine Tree of Mt. Taishan

(6)

(7) Springtime

(8) Hermit in

Qian Songyan

Shi Tao

Landscape

Tang

152
153

Yin

Autumn Mountain
- Guo Xi

(9) Early Spring

151

154
Ju Ran

155

156

INTRODUCTION
The

origin of Chinese landscape painting dates

back some one thousand

five

hundred years ago

in the Eastern Tsin Dynasty and the Dynasty Dividing the South
and the North, when painters began to do landscape paintings besides their figure

works.

It

was

in

the Tang and Sung Dynasties that Chinese landscape painting

developed into a mature form of

Chinese painting.

unique

in the

became the

It

world of

The laws of

art, technically

favorite subject of

many

artists, characteristically

art.

perspective that govern the western painting in the

Renaissance never apply to Chinese

own. They maintain a

sail

independent from other forms of

Age of

The Chinese create a spatial illusion of their

they roam over the plains and the mountains,
They ignore such technical terms as vanishing

arts.

strolling stand as

along the rivers and across the lakes.

points and cast shadows, for they don't need them.

The

traditional

Chinese landscape painting lessons begin with drawing and

The Chinese ink-and-brush technique is in many ways

different from that of the European painting. The Chinese painters believe that the
fundamental techniques is the "how" and "why" of painting trees and rocks. This
painting trees and rocks.

book, therefore, provides an elementary course of painting trees and rocks for the
beginners, leading to a composition of Chinese landscape painting.

common

practice for the learner of Chinese landscape painting to

copy
the different styles of works that have been left down to us by the great masters of
past dynasties. Step-by-step demonstrations are shown in this book for the beginners
It is

the

to follow. Furthermore, a collection of selected masterpieces

is

included for more

advanced studies. The students are advised, however, during the process of studying
the old masters, at the same time to

make

a close study of nature and

sketches as possible of the scenic spots that

students will improve their works and

may

may

inspire them.

success be theirs!

By

make
this

as

many

way

the

TOOLS
TOOLS AND MATERIALS
Brush, ink-stick, rice-paper or

silk,

inkstone, and a selection of colours are

necessary tools and materials for Chinese painting.

may
tools

you find out the right assortment

can do for you before you try to paint.

help

that

knowledge of

these things

all

you need. Understand what your

BRUSHES
The Soft-hair brush is
of brown wolf-hair. Generally

There are two kinds of brushes, the soft and the

made of white

goat-hair, while the stiff-hair brush,

speaking, a stiff-hair brush

soft-hair brush, for tinting
deer-hair, or

mixed

To prepare

is

meant

stiff.

for line drawing or contour works, while a

and washes. Other brushes

may be made of

rabbit-hair,

hairs.

a brush for initial use, dip the bristle in a

gently press the tip to remove the glue in

bowl of

clear water

and

Always clean the brush after using it,

by rinsing the bristle in water and pressing it between your thumb and index-finger to
remove excess moisture. Hang the brush on a brush-stand or let it stand in a vase.
it.

THE INK- STICK

Ink

is

prepared for use by grinding pigment from a Chinese ink-stick. The

ink-stick

is

made by impregnating gum with

soot from tung-oil smoke. Place two

teaspoons of water on an inkstone and grind the ink-stick on

Two

make enough ink

rich black. Make more

or three hundred rotations will

brush into the ink and see

ink should be

made

if it is

at the beginning

for

it

in a clockwise

immediate

rotations

of each day's work. Gray or

can be made in a clean dish with a few drops of water to add to

it.

if

use.

motion.

Dip the

necessary. Fresh

lighter tones of ink

THE INKSTONE
The inkstone is flat and may be carved in various shapes, and with decorative
patterns. The best kind of inkstone is called "Duan Stone"
a product of
Zhaoqing County, Guangdong Province, China. The fine surface of the inkstone
(

is

is

very hospitable to ink. Students, however,

may

use a simple inkstone which

not expensive. The inkstone should be washed clean after use.

PAPER
Non-absorbent Chinese paper

is

sized with

alum and

paper, which can be

made from

different materials such as cotton, linen, bark and

straw, has a fine, soft texture. It takes

If

too

much water remains on

applied.

much

Only by experimenting with

his

his tools

Anhui Province,

paper are available in

many

on such

is

can a student

a surface.

results.

"Hsuan Paper" (

very expensive. Less

when

know how much

brush that produces satisfactory

selected kind of Chinese painting paper, called

District,

practice to paint

the brush, the ink or water colours will spread

and water should be loaded on

Hsuan

more control in
commonly called rice

offers

painting the fine lines of contour style. Absorbent paper,

expensive

The

ink
best

) a product of
rolls

of

rice

art materials stores.

COLOURS
Chinese painting colours are water colours. They are used for washes and tinting
purposes after ink has been applied in the painting. There are two kinds of colours,
the one

made from

plants and the other

rouge-red belong to the

azurite,

first

made from

minerals. Indigo, gamboge, and

kind, and burnt sienna, vermillion, cinnabar, orpiment,

malachite green and flake white belong to the other. Colours are sold in

powder or solid pieces. Azurite and malachite green are available

shades, from light to deep, the lightest being shade #4 and the deepest

small packets of
in different

Colourmen have

tried

to improve Chinese painting colours. Recently Chinese

colours in metal tubes have been

made and

available in the market.

BRUSHWORK
HOW
It will

be helpful to learn

TO HOLD THE BRUSH

how

you begin to think about

to hold the brush before

Hold the handle of the brush a little below the centre. Place it between the
thumb and the index finger, resting the lower part on the tip of the middle finger,
resting the lower part on the nail of the ring finger. The middle finger rests on the
painting.

handle just below the index finger. The thumb braces the handle.
Finger movements are used to manipulate the brush

The arm

small points, and dots.

directs the brush in

when making

making long

many cases the painter stands up and leans over

him to make free movement of the arm and hand, and

lines

short lines,

and heavy

strokes. In

the table. This position

allows

permits the whole

body

to work in coordination.

THE BRUSH -TIP TECHNIQUE

It

is

important to

illustrations

1.

show some

know how

to lay the brush-tip

on the paper. The following

typical ways.

THE UPRIGHT POSITION

The brush

is

curved or straight

held upright, perpendicular to the paper

lines. In this position, if

when making dots and

only the tip of the upright brush

is

touching

the paper, the stroke will be thin and a fine line will appear. When pressure is applied,
the bristles immediately above the tip are brought into contact with the paper, and the

once broader and stronger. (Fig. 1

In this position, the brush is usually directed from

stroke

is

bottom.

at

(Fig. 2)

left

to right, or from top to

THE OBLIQUE POSITION

2.

In the oblique position, the tip of the brush and the upper part of the bristles
move alongside each other. When this technique is applied, the handle of the brush
slants

on one

side

and the brush-tip

lies

on the brim of the brushstroke.

(Fig. 3)

Fig.
'

It is

important to learn

how

3
3

to charge the Chinese brush with different tones of

by dipping your brush in a bowl of clear water. Lick the brush-tip upon
the brim of the bowl to let surplus water run away. Now touch the tip of the brush
to the centre of the inkstone, where the darkest ground ink should be. Allow the
ink to rise up into the bristles. Note that the ink rises away from the tip, it becomes
increasingly diluted by the water in the brush. To help distribute the ink to the
ink. Begin

upper

bristles, press

the bristles gently several times against the surface of a clean,

white porcelain saucer. The part of

palest tone, while the tip
If

you now touch the

finally

tip

and the

of the brush to

on

rice-paper,

and the heel of the

and moving

it

bristles are all in

tones are evident. (Fig. 4)

By

from the

tip will

contain the

become medium in tone.

the darkest ink on the stone, the brush will

bristles closest to

contain three tones of ink.

position

bristles furthest

it.

will

putting this inked brush in a fully oblique

either

downward

or upward, the

tip,

the middle,

contact with the paper, and therefore

all

three

Fig.

PUSHING
The brush

brush-tip

is

many

(Fig. 5)

oblique
held in the

when

crevices

wa::

on the paper,

pressure
Poke

T^^^^or^^ the ^^^^^^^

pushed forward.

path. In the end

leaves

is

ition but
Pos^ion^

=086

iik

^^^^^

is

employed and the

jagged
^ somewhat
dry, the brushstroke

in a craggy

mountain,
.

11

4.

DRAGGING
The brushstroke

brush a

little

is

done with the brush

in an oblique position.

above the centre of the handle so that

less pressure is

brushstroke runs more freely on the rice paper. (Fig. 6)

Dragging or pulling the brush-tip to go ahead creates

Now

hold the

employed and the

movement and

swiftness

in a brushstroke. (Fig. 7)

Different ways of using the brush-tip

strokes,

for

name only
qualities

call

example, lightness, weightiness,

a few.

for different qualities of the brush-

fullness, ruggedness,

Students of Chinese painting must learn to

of the brushstrokes.

gracefulness, to

know

the various

TECHNIQUES

Fig.

TREES
The student of Chinese landscape painting leams first of all how to draw a
and
Illustrations show the various brushstrokes that may be used in drawing

tree.

painting a tree. (Fig. 8)

14

._
2.

To

begin with, draw the

position of the plant.

then the right

Draw

the

first

left side

branch of the

tree,

and

at

once

of the tree trunk with a tenacious

side. (Fig. 9)

15

fix the

line,

and

Fig.

10

10)

the tree trunks^

lays emphasis in drawing
Usually the Chinese painter
branches are evidently shown e;?
The tree t^nk and the ma^
tree trunks. (Figs.
the various forms of the
show
Illustrations
finished.
completely
3

lOand

=e===

11)

16

iZ

17

one

may be combined in
Different species of trees and varieties of foliage
the integration of the branches to
group. Study the structure of each basic species and
the trunks, the twigs to the branches. (Fig. 1 2)
4.

18

Son,.

!?

tion in

to the

which each of the main branches grows

from the trunk

or to the right, while other branches

appear to
em backward. The twigs fork out, too, in different
wajs so" e
curving hke deer's horns, while
others spreading out like crabs'
claws (Fig
3)
19

fZ

left,

Zst

Fig.

5.

14

14

While arranging trees

in a

group,

first

establish the

other trees to complete a composition. If the main tree

it

should be more or

stretching up,

less straight,

and vice

versa.

and

if

the main tree

Contrasts

make

(Fig. 14)

20

is

is

main

tree

and then add

crooked, the tree behind

stooping, the next should be

the composition

more

interesting.

To draw

may hold the brush obliquely or

upright for the outlining of the tree, depending on the nature of the plant. For the
6.

straight,

smooth

or paint a tree, the painter

lines

of the "wutung tree", the brush

will

be upright, but on the

other hand, for the craggy lines of the pine, the brush will sometimes be oblique.
This applies, too, to the interior markings of the tree. For example, "fish-scale

marking"

is

applied to pine trees, "fork-marking" to willow trees, "rope-marking"

to cyprees, and "straight-line marking" to cedrela. (Figs. 15 and 16)

Fig.

17

17)

-7

7.

The

tree trunks

of the bigger

trees in the foreground are in

many

cases

painted with irregular outlining brushstrokes that comply with the natural forms.

The small protuberances of the nodes and the uneven hollows of the knotholes
accented with wrinkles. (Fig. 17)

are

Leaves, like tree trunks and branches,

8.

pale to dark ink, or they

tones.

may be

may be

built

up with

outlines of

expressed directly with dots in various sizes and

variety of dotting strokes

may be

used in painting leaves. For example,

hold the upright brush at a slight angle to the paper with the brush-tip pointing

on the paper, and then press it down to bring the side

of the brush in contact, and lift it up without dragging or sliding the bristles. Work
horizontally across the paper from left to right, two or three dots at a time. The dots,
to the

left.

Lay the

tip gently

may vary in length and breadth in describing different leaves. Dotting

brushstroke may go downward or upward to comply with different forms of
foliages. Illustrations show the varieties. To do the dots, first soak the brush with
lighter ink, and then dip the tip into darker ink. One layer of dots may be laid upon
however,

another. Lay the wet-brush gently while the dry-brush

look

alive

with

leaves. (Fig. 18)

24

more

heavily.

tree

must

Fig.

9.

rules,

Leaves

19

19

may be done

in

groupings of leaves should be decoratives and pleasing to the eye. For

use the tip of an upright brush.

reinforced with dark ink, or they

for

contour technique. Although there are no specific

some groups of

leaves

and a

The

strokes

may be done

may

be done

25

types,

in light ink first

in a single tone, using a

lighter or darker tone for

all

some

and

medium tone

others. (Fig. 19)

Fig.

20

10.

20)

Illustrations

leaves. Painters,

show

however,

may

ten

examples of the dotting techniques of painting

invent

some

others. (Fig. 20)

26

Fig. 21

21

1 1

Illustrations

show

ten examples of painting leaves in the traditional contour

technique. (Fig. 21)

27

Fig.

22

12.

23 24

22

Illustrations

show

eight styles of painting various species of trees. (Figs. 22,

and 25)

28

 29

30

Fig.

26

13.

26)

brushstroke

is

expressive only

when

the brush

is

loaded with appropriate

when well prepared on the inkstone, can be diluted with water

many different tones, namely, charred, deep, dark, light, and pale

ink and water. Ink,

and gradated into

black. Furthermore, ink

may

look

sear,

soggy or wet by dextrously controlling the

water content in the brush. Different brushstrokes meet different requirements.

(Fig.

26)

32

Fig.

27

14.

27

Two

different species

of

trees in a

group may occupy different positions,

one being more prominent than the other. Differeneces are evident
foliage,

and tonal

variations. (Fig. 27)

in size, posture,

Fig.

28

28

The perspective of the trees in a group may be indicated by tonal

it.
variations. The tree in the front is generally darker in tone than those behind
15.

Sometimes, however, darker tones at the back may bring out lighter tones in the
front. Therefore, a tree in lighter tone may stand in the foreground with trees behind
in darker tones,

making contrasts between them.

34

(Fig.

28)

Fig.

29

16.

29

Chinese painters believe that a

brushstroke

is

expressive because

it

for example, complies with the upright

is

vital

force

forceful.

form of the

An

lies

in

every brushstroke.

upright forceful brushstroke,

tree. (Fig.

29)

Fig.

30

17.

30
The

illustration

shows an arrangement of various species of

in the contour technique. Line drawing

of Chinese landscape painting.

(Fig.

is

trees,

painted

the fundamental lesson for every beginner

30)

36

Fig.

31

8.

31

To show

the roughness of the pine, use an upright brush and sometimes

an oblique brush to obtain irregularity of

line.

Paint the stooping branches with a

tenacious brushstroke. Push and pull the tip of the brush in hesitant but continuous
strokes, pressing
parts,

down

to broaden

some

part and releasing pressure to narrow other

for irregularity of form. Arched, fish-scale modeling strokes

using light ink with a dry brush held obliquely.

Add

may

be added,

structure and texture to the

trunk by showing nodes and knotholes and by dabbing moss dots along the contour,
with darker ink, here and there, to give some emphasis at the turning points.
31 and 32)

37

(Figs.

Fig.

32

32

38

Fig.

33

33

downward brushstrokes. Place the

Pine leaves are painted with quick,
strokes
of an upright brush. Then place the
central, vertical stroke first with the tip
right. (Fig. 33)
fanning to the left, and again fanning to the
19

39

34

Fig.

20.

34

There are many

varieties

of pine.

Some

are

tall

and majestic, while others

are sinuous and contorted. Strong brushstrokes and layers of ink in

tones

show the

characteristics

of the pine tree.

(Figs.

40

34

35,

36 37

its

different

38, and 39)

ST

Fig.

36

36

42

Fig.

21.

To

40

li]40

paint a pine tree in the snow, use lighter ink to

and then do the trunk and branches with darker

ink. (Fig.

40)

do the

parallel dots,

Fig.

41

41

great and
Cypress, a favorite subject of Chinese painting, may be either
stubbier and
towering or crooked and entangled, with rough bark. The foliage is
angular
more compact than the long "needle-leaves" of the pine. Dots, either in
layers of dots in
or in round shapes, may be used to express the foliage. Layers and
leaves. (Figs. 41 and 42)
various tones may be applied to show the density of the

22.

47

Fig.

43

23.

43

The cypress has many

and majestic.

(Figs.

43

varieties.

It

44)

49

may

be twisted and gnarled, or

tall

Fig.

44

44

50

Fig.

45

24.

45

Chinese painters love to paint willow

refinement.

Draw

the trunk

first,

which

and angular, with dark, wrinkled bark on

is

it.

trees,

which express grace and

often slanting on one side.

(Fig.

51

45)

It

is

rough

Fig.
a-

4e ( 46)
w
\

back are hidden behind.

(Figs.

46)

52

Fig.

47

47

first, and then draw

paint a willow tree in the wind, place the trunk
branches entangled
the slender branches that are tossed in the wind. Don't make the

25.

To

into knots. (Fig. 47)

53

Fig.

48

26.

48)

and a
paint the thick foliages of a willow tree, use both a wet brush
Go quickly while using a wet brush, but slowly and heavily while using a

To

dry brush.

dry one. Preferably use a brush with long

bristles to

do a

long, fine line. (Fig. 48)

27.
(Fig.

The

feathery

little

leaves of the willow

49)

55

may be done

in

contour technique.

Fig.

50

28.

50

To

paint

willow

trees

characteristics of the willow are

still

in

the

distance,

evident. (Fig. 50)

56

use

simple brushstrokes.

The

Fig.

51

29.

51

This

is

another style of painting willow

trees.

The

painting

is

done with

dabbing brushstrokes. Notice the grouping of trees and the perspective of them.
(Fig.

51)

57

Fig.

52

52

The perspective of a group of

expressed by the gradation of tones. The
30.

different

species

of trees

trees in the foreground

those at the back. (Fig. 52)

58

is

is

generally

darker than

53

Fig.

31.

53

The forms of

trees in

trunks with dotting techniques.

the distance are

The

trunks

may

shown by adding

foliage to the

either be painted in contour

form or

with simple brushstrokes Illustrations show different arrangements of distant

Some

are grouped in tens of trees while others

(Figs. 53, 54,

and 55)

59

may

trees.

cover up ranges of mountains.

Fig.

55

55

61

Fig.

56

56)

Grass, rushes and reeds

grow by waterside. Various forms of them add

life and interest to waterside scenery. First lay a few brushstrokes to suggest the
waterside and before the ink is dry, add grass or reeds. (Fig. 56)
32.

62

Fig.

57

33.

57

Reeds

may

(Fig. 57)
in one direction.
stand upright or bend

Fig.

34.

58

58)

There are various kinds of reeds and

grass.

Use long or short brushstrokes

according to the specific species. Vary the direction of the strokes to describe reeds

and

grass

under the sun, and group them

in patches.

Brushstrokes bending in a single

direction form the grass in the wind. Short, curved strokes

blades of the grass. (Fig. 58)

may be added

to the

)
69

.6!d

35.

To

paint

plum

trees in a landscape, use strong, forceful brushstrokes to

describe the twisted and gnarled shapes and the metallic-like, rough exterior of the
tree trunks

and branches. To paint the flowers, place irregular

branches. Hold the brush upright and dab at the paper as

jumping up and down.

when

the

first

If colour

layer of ink

is

is

little

if

dots along the

the brush-tip were

applied, use light yellow or pink for the flowers

dry, and yellowish green for the tree trunks. (Fig. 59)

65

Fig.

60

36.

60

To

There are two

paint

bamboo

styles

do the stalks first and the leaves later.

The one is done with the leaves going upward,

in a landscape,

of doing

leaves.

the other dragging downward. (Figs. 60, 61)

Fig.

61

*The

61

techniques

of

painting

plum

and

bamboo

are

fully

explained

in

"FUNDAMENTAL CHINESE PAINTING OF PLUM, ORCHID, BAMBOO AND

CHRYSANTHEMUM" a Wan Li Book Company publication.

Fig.

62

62)

ROCKS AND MOUNTAINS

left side
draw the outline boundaries first. Start at the
aspects, the solidity and
of the rock and then the right side. Study the sculptural
the depth, and the volume
fragmentation of the form of a rock, to express the size,
requires. (Fig. 62)
of the object. Use both dry and wet brushstrokes as case

37.

To

paint a rock,

Fig.

63

63

The groupings of

==n'

various shapes and sizes of

rocks should be taken into
iJhere may be two ways of groupings, the first be
the
the smaller ones and the small
rocks among the bigger ones.
(Fig. 63)

^8.

among

Fig.

64

39.

64

To

paint rocks, the stability and heaviness of the objects must be fully

expressed with the brushstrokes. Use lighter ink

70

first

and darker ink

later. (Fig.

64)

Fig.

65
40.

65

Show

the pressure on

hardness of the rock

the irregularity, the cragginess and
(Fig. 65)
the tip of the obliquely held brush.

71

by varying

Fig.

66
41.

66

To

paint mountains,

central mountain.

It

is

draw the main

line

that fixes the position of the

the ridge of mountains that determine the tendency of the

range of mountains. (Fig. 66)

72

Fig.

67

67

Note the "host-and-guest" relationship between the host mountain and its
surrounding mountains. The dominant peak is commanding the lesser mountains.
42.

(Fig.

67)

73

Fig.

68
43.

68)

Mountains

are

must
those in the same group
grouped together. Therefore,

(Fig. 68)
bear the same characteristics.

74

Fig.

69

44.

69

Mountains should be painted

as being alive, never as lifeless objects.

They

seem to be communicating with each other, and with other elements of the landscape.
(Fig.

69)

75

Fig.

70
45.

70

In painting rocks and mountains, a series of outlining and modelling strokes

can be used to depict the texture, the character, and the three-dimensional structure

of the

objects.

The following techniques

(1) hemp-fiber wrinkles

ribbon-folding wrinkles

wrinkles

wrinkles

4)

8) broken-net

(10) rolling cloud wrinkles

(12) un twisted-rope wrinkles

nail-head wrinkles

wrinkles

axe-cut wrinkles

6) "mid-dot"

(2) long hemp-fiber wrinkles

are typical of Chinese landscape painting:

wrinkles

wrinkles

5)

^^,

7)
9)

3)

small axe-cut

small "mid-dot"

rain-falling wrinkles

(11) lotus-leaf wrinkles

13)

firewood wrinkles

(15) ink-wash wrinkles

76

(14)

(16) horse-tooth

Fig.

71

71

To do hemp-fiber wrinkles, use the tip of an oblique brush, laying curved

strokes gently down to the bottom. The brushstrokes may vary in thickness and
moistness, and they look one stroke crossing the other to show the texture of the
46.

rock. Rubbings of ink

may be

applied to indicate the crevices. (Fig. 71)

77

Fig.

72

72

Use long hemp-fiber wrinkles to show the high mountains

These brushstrokes suggest the magnitude of the mountains. (Fig. 72)
47.

78

in a distance.

Fig.

73
48.

73

Use a

fairy dry, obliquely held

brush to do the ribbon-folding wrinkles.

Hold the brush always obliquely and emphasize the folding places to suggest the
ruggedness of the rocks. (Fig. 73)

79

Fig.

74

49.
are

74

Axe-cut wrinkles are so-called because the structure and texture of the rock

shown

(Fig. 74)

in

sharp edges and planes, as

if

the marks have been cut with an axe.

Fig.

75
50.

75

Small axe-cut wrinkles are done in the same manner of axe-cut wrinkles

using an obliquely held brush. These

two wrinkles are done with sharp strokes

beginning broadly and tapering to a thin end. (Fig. 75)

81

Fig.

76

51.

76

"Mi-dot" wrinkles trace the origin

painter of the

Sung Dynasty. The dots

in

the style of

are horizontal,

or dry, to suggest a rainy season. (Fig. 76).

82

Mi Fei

done with

the great

parallel strokes,

wet

first

layer of dots dry and then

(Fig.

77)

wet the paper and put

83

lighter ink dots

upon

it.

Fig.

78

53.

78

Small "mi-dot" wrinkles are done with smaller horizontal dots on the

outline of the mountains. This technique

rain. If a light green

with green leaves

colour

is

is

often applied to paint the mountains in

used to lay over the dots, the mountains look fresh

in springtime. (Fig.

78)

84

Fig.

79

54.

79)

To do untwisted-rope

wrinkles, use an obliquely held brush to form the

outlines and interior structure in both long, vertical strokes

ones. (Fig. 79)

85

and shorter, horizontal

Fig.

80
55.

modelling

80

To do
in

rolling-cloud wrinkles, outline the forms in rolling curves, adding the

curved strokes of light and dark ink, some moist and some dry. (Fig. 80)

Fig.

81
56.

81

appear more angular

(Fig.

may be likened to rolling-cloud wrinkles, but there

brushstrokes. Remember don't let the lines twisted together.

Broken-net wrinkles

81)

87

Fig.

82

57.

82

Rain-falling

wrinkles

waterfalls that appear to

may

be applied in painting great mountains and

occupy an immense

88

area.

Use an upright brush.

(Fig.

82)

Fig.

83
58.

83

Use the

tip

of an upright brush to paint lotus-leaf wrinkles. The interior

strokes should spread out like the veins of a leaf. If colour

is

to be applied, paint

the mountain top with malachite green and then with light and dark azurite. Paint
the mountain side with vermillion and burnt sienna. Contrasting colours

mountain more magnificent.

(Fig.

83)

make

the

Fig.

84

59.

84

Firewood wrinkles

are

done

manner of

in the

lotus-leaf wrinkle, but use

bolder, broader brushstrokes. Therefore, push the brush-tip

it

here and there to suggest the craggy sides. (Fig. 84)

90

downward and

press

Fig.

85

85

To do nail-head wrinkles, use small, sharp strokes, each shaped like a flatheaded nail. The dots, however, may vary in size and tone to show the rugged surface
60.

of the mountain. These wrinkles are sometimes called raindrop wrinkles or pea
wrinkles because the dots are sometimes likened to raindrops or peas. (Fig. 85)

91

Fig.

86

86

To do ink-wash
paper may produce when
61.

wrinkles,

first

ink-and-water

cover up a larger area. (Fig. 86)

of
is

all

laid

understand the effect that the

on

it.

rice

Use the side of the brush to

Fig.

87

62.

Draw

87

Horse-tooth wrinkles are used to depict precipices and high mountains.

the outlines and interior markings with angular strokes that

move

first in

one

direction and then kick out at an angle. Paint in dry ink of various tones. (Fig. 87)

The

sixteen styles of wrinkles mentioned above are traditional techniques of

Chinese landscape painting. Students

may

develop

93

theirs.

Fig.

88
63.

88

Dotting techniques are important in Chinese landscape painting. Besides

the wrinkling brushstrokes, dotting

various dotting techniques.

is

also regarded as a modelling stroke.

The following

styles are

commonly

There are

used: (1) the flat-head

dots, (2) the four-dot units, (3) the cypress-leaf dots, (4) the colour-inlaid dots,
(5) the cross dots, (6) the pepper dots, (7) the upright dots, (8) the dispersing dots.
(Figs. 88,

89,90,91)

94

Fig.

90

90

96

Fig.

92
64.

92

Mountains can be modelled mainly with dots. In

this case the

contour

lines,

the wrinklings, the washes become auxiliary brushstrokes to help modelling the

magnitude of the great mountains.

(Fig.

92)

98

Fig.

93

93

The modelling technique of this landscape painting is a combination of

wrinkling and dotting. The mountains appear to be covered up by trees. (Fig. 93)
65.

99

F ig.

94

94)

Mountains may be painted in contour technique. Outlining brushstrokes

model the three dimensions of the mountains. There are wrinkles and dots, but not
66.

many.

(Fig.

94)

100

Fig.

95
67.

95

In

this

landscape

painting,

the

outlining,

techniques can be clearly seen. This provides a

landscape painting. (Fig. 95)

101

first

the

wrinkling,

the dotting

lesson for the composition of a

Fig.

96
68.

96)

A few layers

of upright dots

may model
102

ranges of mountains. (Fig. 96)

69.

In a landscape composition, the mountains of one district

must belong
up straight

to the same type, Guilin mountains in South China, for example, stand

from the ground, and the surrounding mountains also stand up straight in harmony.
(Fig. 97) The mountains on the Northern Plateaus, however, have flat mountain
tops. (Figs. 98)

103

(
00s

)
OCH

.6!=!

(
66

)
s

70.

In

landscape

composition,

accompanied by bigger mountains

71.

In

small

mountains

at the back. (Fig.

in

the

front

99)

landscape composition, big mountains in the foreground

backed up by small mountains.

(Fig.

100)

104

may be
may be

Fig.

101

72.

101

The waterside

mountains in

is

zigzags. (Fig.

curving in the distance and the paths wind around the

1

1 )

Perspective of mountains and seas creates distance in

a landscape. (Fig. 102)

105

Fig.

103

103

CLOUDS AND WATER

73.

Waterfalls are often seen in Chinese landscape.

waterfalls

make

103 104

105, 106)

The

lighter tones

of the

interesting contrasts with the darker tones of the mountains. (Figs.

107

Fig.

104

104

108

Fig.

105

105

Fig.

106

106

110

Fig.

74.

107

107

There are two ways of painting clouds: the

and the second

is

by

first is

by

outlining technique

tonal contrast.

mountains may be outlined with thin,

avoid
multicurved brushstrokes moving in a natural, rhythmic direction. Therefore,
uniformity of shape and rigidity of movement in the outlining. (Figs. 107, 108)

The

rolling

clouds

around

the

Fig.

109

109

To paint the clouds by tonal contrast between the waterfall and the mountain,
make use of the rocks and foliages which are painted in much darker tones to bring
out the waterfall which is white. The clouds now look more stable than those done
in the outlining technique. (Figs. 109 110 111)

113

Fig.

Ill

111

Waterside scenery

75.

and the

lake.

The

path, and wearing

peacefully to

its

112)

divided into three categories

river flows steadily

down

all

on

resistance to

its
its

area,

course, overcoming

movement,

the river, the sea,

all

obstacles in

its

until the water itself runs

The multicurved brushstrokes, however, don't cover

but leave some spaces white to suggest that there is light.

destination.

up the whole water

(Fig.

may be

116

76.

The dynamic

Remember
77
tip

crests

flow.
of the sea always break the curves of the

to leave the crests white. (Fig. 113)

The

ripples of the lake

move

gently, forming a "net-like" pattern.

smooth while
of the brush. In sunny weather the ripples run

may appear

angular. (Figs.

114

115)

117

in a

Use the

breeze the crests

Fig.

116

78.

,6

Illustrations

show

different

ways of painting water.

(Figs.

16,

117 118

119, 120)

118

 119

120

 121

Fig.

121

121

WINDS, RAIN AND

79.

To

suggest the

(Figs. 121, 122,

wind or the

rain,

SNOW

draw the plants bending

123)

123

in

one direction.

Fig.

122

122

124

Fig.

123

123

125

Fig.

124
80.

To

124

paint a

snow. White pigment

snowy

may

scene, leave certain spaces white to suggest that there

be applied, but

it is

126

not necessary. (Figs. 124, 125)

is

Fig.

125

125

127

COLOUR
Colour

Chinese painting has been used in a suggestive

in

way

to enhance the

outward appearance of the forms. For example, trees, rocks, and mountains, whose
true structure has been shown by the ink brushstrokes, may be painted over with
colour to enliven and define the individual forms. Sometimes, colour may be applied
to some places, leaving other parts in ink.
painting

is

done

in

no other colour than

To apply colour
colour scheme may be

To

may

often happens that a Chinese landscape

ink.

a painting, first of

in

either

colour scheme, or add a bit

variation

It

all

consider the colour scheme.

warm or cool. Add a bit of cooler colour into the warm

of warm colour into cool colour scheme. This subtle

create interest in the painting.

paint a landscape in malachite green and azurite, colour

is

outlines. First apply a coat of burnt sienna or sap green over the area

to paint. Let

much

The

it

dry for a

better to built

thicker pigments

all

moment and

added to ink

you

are going

then put a thin layer of malachite green.

It is

some few thin layers of colours than to apply

once. Azurite is later on applied to the sunny side of the

up

a painting in

at

mountain.

To
foliages.

paint the foliages in autumn, use different dotting techniques for different

Apply

out the red

different colours.

leaves. (Fig.

Use indigo mixed with ink for

tree trunks to bring

126)

Add more gamboge yellow into indigo to show the sunny side of the foliage.
More indigo may be added into the green to suggest trees in the shade. (Fig. 127)
To

some dots of cinnabar or crimson

paint landscape in autumn, add

or there. But don't cover up

To

all

spaces. (Fig. 128)

an autumn forest, for colourful

paint

cinnabar, and again dip the brush-tip into carmine,

then apply
later

it

all

at

lake here

results,

first

dip the brush into

gamboge yellow, or sap

green, and

once into the painting. Cinnabar dots, however, may be added

on to enliven the

foliages. (Fig.

129)

The autumn forest will appear much thicker if a very thin wash of lighter ink or
indigo mixed with ink is applied over the forest, filling up the white spots that
have never been touched by the brush. (Fig. 130)
It

may happen sometimes

a certain area

very dark ink. In this case, touching

it

of the painting

up with malachite

is

covered up with

green, asurite, cinnabar,

or orpiment will break the monotony. (Fig. 131)

Colour may help quite a

wrinkles. After the painting

of green.

When

of ink over

it.

it is

(Fig.

is

bit

when you

done

try to paint a

in ink, cover

mountain

in

up the wrinkles with

dry, dab sap green pepper-dots over

it.

After

all,

hemp-fibre
a thin

wash

dab a few dots

132)

Bigger pepper-dots

may

be added into small pepper-dots to suggest bigger and

smaller foliages. (Fig. 133)

128

Fig.

126

126

129

Fig.

127

127

Fig.

128

128

Fig.

129

129

Fig.

130

130

Fig.

131

131

Fig.

132

1m1132

COLOPHONS
Upon completing a painting, the artist writes his name and also the date of
completion on it. He studiously places it where it will enhance the composition.
In many cases, the mountain top is on the upper side of the painting. If the mountain
top

is

on the

may be

the vacant space

write his

the writing should be on the right, and vice versa. Sometimes,

left,

name and

in the

middle or in the lower part, and there the

artist

may

the date.

may

poem or reflection of his own that is appropriate to the

subject of the painting. Many painters are well learned in literature.
Sometimes, when there is no room for colophons, just write a name beside a
rock, perhaps by the hill side. Names are seldom written in the water area because
Chinese characters written there may obstruct the water flow.
Colophons may be written vertically or horizontally. When the painter sees fit,
he may write his colophon from right to left in a horizontal way. Sometimes,
however, the imprint of a seal may substitute a signature.
The

artist

The

artist

often places the imprint of one or more seals under his colophon,

identifying himself.
his

home

write a

The

seal

may

bear his given name, his pen-name, the

name of

or household, the date of his birth, a poetic phrase, or a pictorial symbol.

Imprints of seals

may

also

be placed on the sides or comers of the painting to enliven

landscape composition.

137

CHINESE EXPLANATION

Jr.

INTRODUCTION

TOOLS AND BRUSHWORK

TOOLS

"

"

f7

"Ff^f

139

","

""

""
""

""

M
^

^
BRUSHWORK

""

""

THE BRUSH-TIP TECHNIQUE

1.

"

2.

3)

""
4
(

""

""
3.

140

""

""

4.

TECHNIQUES
TREES
1.

8
2.

3.

10

11

4.

'

12

13

5.

14
6.

15

16

7.

17

8.
(

(2)
(3)
(

18

9.

19)

10.

20)

11.

21

22 23 24

12.

25)

13.

26)
14.

27

15.

28

""

16.

29)
17.

ifiU

30

18.

31 32)

""

19.

33

20.

34 35 36 37 38

21.

41

42

""

23.

44

it

24.

45

46

40)

22.

""

39

142

"

" ""

43

25.

47

26.

48

27.

49)

28.

50)

29.

51

11^

30.

52

31.

54

55

53

32.

56

33.

at

57)

34.

58

35.

59

36.

60 61)
*

ROCKS AND MOUNTAINS

37.

62)
38.

63

39.

64

40.

65)

Hit

41.

66

42.

*
43.

68

67)

143

44.

69

"
"
"
"
"
"
"" "" " "" " """ """ """ ""
" "" " " " "
""
""
"
"
""
""
""
.
"
"
"" "
"
45.

70)

46.

71

47.

72)

48.

73)

49.

74

50.

51.

52.

9$

75

" "
" "

"
)

",
76

??^^
^

!^

1#

" ^"
""
""
""
""
"
""
"
""
"" " "
"" " "
"" 77

,?6

53.

78

i.

79

54.

55.

80

" "

56.

ft

57.

81

"

"nf:i

82

58.

83

IW

59.

60.

61.

".m

"

85

144

84

"1:1:-?^!
'

"

86

62.

"

"
87

63.

""", '"""

" '? " " ,

11^

"
11^

64.

"
" ""

88 89 90

91

92)

65.

93

66.

94)

67.

",

68.

95)

"

96)

69.

97 98)
70.

99

100)

71.

72.

101

102

73.

103 104 105

106

74.

107
108

109 110
111

'

75.

145

112

76.

113

77.

*
114

115

116 117 118 119

78.

120

WINDS, RAIN AND

121 122

79.

123

SNOW

80.

124

125

COLOUR

""

""

""

""

126)

127)

128

, ,
9!^

130

131

""

129

146

"

"
132

133

COLOPHONS

147

SELECTED PAINTINGS

..v;

Landscape
149

Shi Tao

Huangshan

(2)

Dong Shoupin

Springtime

Tang Yin

Hermit

in

Autumn Mountain

155

Ju Ran

i***

i^

156

3 9999

Boston Public Library.

Sate of this material

boiefiM the Ubr7

Boston Public Library

COPLEY
GENERAL

llibr^k

^date on or before
which
should be returned
to the

loTet^''

not remove cards

from this

fhff K