Xieyi Painting and the Use of "Leaving the Brush"
|
The technique of "Leaving the Brush," or cángfēng (藏鋒), is an important element in Xieyi brushwork, referring to the way the artist begins and ends a stroke, concealing the tip of the brush to create lines that are both strong and subtle. It's a technique that adds a quality of depth and intentionality to the artwork. The technique represents a deliberate and subtle handling of the brush.  In cángfēng, the artist begins a stroke by drawing the brush into the paper, starting with the side rather than the point, and then ending the stroke by lifting the brush with a smooth, controlled motion. The stroke is not abruptly stopped; it has a feeling of continuation and a smooth transition.  This technique creates lines that have a subtle beginning and end, a quality that conveys inner strength, control, and intentionality. The feeling of power is not aggressive, but more like a calm, deep, flowing stream. It creates a feeling of subtlety and a power that is under control.  The use of cángfēng is often contrasted with "revealing the brush" (lùfēng), where the tip of the brush is clearly visible at the beginning or end of the stroke. Cángfēng aims for a feeling of subtlety and control, while lùfēng is a more overt and direct application of ink. Mastering the "Leaving the Brush" technique is essential for creating brushwork that is both powerful and refined, demonstrating a deep understanding of brush control and the principles of Xieyi. The subtle nuances in the strokes make a considerable difference to the overall feel and flow of the artwork. It is a key part of the skill of the artist. |
Tag : leaving the brush, concealed brush, Xieyi lines, subtle technique
Related information
- Key Techniques in Xieyi Brushwork
- Xieyi Painting and the Depiction of Landscapes
- Early Development of Xieyi: Song and Yuan Dynasties
- Xieyi Painting and the Concept of "Intention Before the Brush"
- The Role of the Inkstone in Xieyi
Key techniques in Xieyi painting include line drawing, splashing ink (Pomo), dry brush work, the control of ink washes, and the strategic use of negative space, each contributing to the expressive power of the artwork.
Xieyi landscapes (shānshuǐ) emphasize grandeur, depth, and qi, using negative space and suggestive brushstrokes to capture the essence, atmosphere, and inner vitality of the natural world, and expressing the artist’s connection to nature and understanding of the Tao.
The roots of Xieyi painting can be traced back to the Song Dynasty (960-1279), when scholar-officials began to develop a distinctive style of painting that reflected their unique values and aesthetics. The emphasis shifted from courtly patronage to individual expression, setting the stage for the emergence of Xieyi.
"Intention Before the Brush" (yi zai bi xian) is crucial in Xieyi painting, emphasizing that the artist's vision, emotional state, and purpose should guide their brushstrokes, requiring thoughtful preparation and planning while valuing spontaneity, imbuing the artwork with inner spirit and emotional truth.
The inkstone (yàn) is a vital part of Xieyi painting, influencing the quality and texture of ink, and serving as an object of both practical use and beauty, representing a key part of the ritual of painting and connecting the artist to tradition.