The Use of "Side Brush" in Xieyi
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The "Side Brush" or cèfēng (側鋒) technique is a crucial element of Xieyi brushwork, referring to holding the brush at an angle, rather than directly perpendicular to the paper. This technique creates lines and strokes with a distinct texture and character, allowing for greater expressiveness and dynamism. The angle of the brush greatly alters the expressive capabilities of the artwork.  When using the side of the brush, the artist can create strokes that vary in width and texture, from broad washes to thin, scratchy lines. The technique adds a new dimension of texture and expressive depth. The results are not as smooth as applying the brush directly, giving a more natural and spontaneous feeling.  The "side brush" is particularly effective for depicting textured surfaces, such as rocks, tree bark, and old buildings, as well as creating a sense of movement and dynamism. It can recreate the textures found in the natural world. It can enhance the impression of dynamic movement through the composition.  This technique allows the artist to achieve greater spontaneity, as the strokes are less controlled and more unpredictable. It creates visual effects that are difficult to achieve with other techniques. It allows for dynamic and creative expression. It is a valuable tool for the Xieyi painter. Mastering the "side brush" technique is essential for any Xieyi artist, requiring practice, skill, and a deep understanding of the brush's responsiveness. It is not simply a matter of holding the brush at an angle; it requires a skilled hand and a cultivated eye. The application requires control, intention, and purpose. |
Tag : Side brush technique, Cefeng, angled brush, textured strokes, Xieyi technique
Related information
- The History and Evolution of Xieyi
- Xieyi and the Concept of "Shu Hua Tong Yuan"
- Xieyi Painting and the Concept of "Qi Yun"
- The Enduring Significance of Xieyi Painting
- Xieyi Painting and the Use of "Splash Ink"
Xieyi painting evolved from the Song Dynasty literati tradition through subsequent dynasties, with key figures like Xu Wei, Qi Baishi, and Pan Tianshou contributing to its development, and continuing to influence contemporary artists.
"Shu Hua Tong Yuan" (calligraphy and painting share the same source) is a fundamental concept in Chinese art and Xieyi painting, highlighting the shared tools, techniques, aesthetic principles, and expressive potential between calligraphy and painting, with calligraphic brushwork central to the Xieyi technique.
Qi yun (spirit resonance) is a central aesthetic principle in Xieyi painting, referring to the overall sense of energy, movement, and vitality that emanates from the artwork, achieved through the artist's connection with their subject, spontaneity, and inner energy, and sensed by the viewer.
Xieyi painting's enduring significance lies in its rich history, philosophical depth, and emphasis on personal expression, spontaneity, and the pursuit of essence, connecting with audiences through its timeless aesthetic, connection to nature, and human spirit, while contemporary artists ensure its continued practice, evolution, and relevance in the world of art.
"Splash Ink" (pōmò) is a bold and expressive Xieyi technique, involving the free and spontaneous application of ink to create large washes and evoke movement and dynamism, emphasizing the unpredictable nature of ink and water and strategically used to create balance, depth, and vitality.