Painting on silk again

My last encounter of painting on silk was fraught with plenty of obstacles.  I was being stubborn and tried to use silk fabric, instead of the "silk" that are sourced from art supply stores.  I had endured a lot of problems just trying to get the silk to take on coloring.  I ended up treating the fabric with copious amount of alum solution to get the job done.

I am older and wiser now, no less adventurous though.  I decide to try for silk again, this time on the "silk" that I can buy from art supplies.  I am still not convinced that this is real silk, because the material feels like nylon stocking or some sort of polyester. Anyways, it is what it is.  

Silk or silk brocade is used quite extensively for the more formal Gongbi style of Chinese brush.  I am not a Gongbi artist per se, but I do like to give it another try, using the motif from my "mosaic" pond painting.  This is perhaps the closest thing to Gongbi-esque painting that I could muster. I really don't enjoy being a fodder for the traditional Gongbi artist, so my preemptive apologies!

I had done a template for myself when I dabbled in my attempt to create a Gongbi-like painting with ducks on a pond.  I am resorting to that template again.

To keep things fresh, I shall do my new painting in a portrait format.  I am cropping the right hand portion of the template with the ducks in it.

I don't quite like the composition of this cropping.  I feel that the right side needs to have more of something.  The original set-up looks fine with the painting in the landscape format, but somehow feels lacking in the vertical sliver.  

Thus I shall be adding in some ripples or reflections.

I am also going to approach this project in an unconventional manner.  I am going to save the line drawing step for the last.  Again, my apologies.

Traditional Gongbi painting begins with the line drawing step.  The line drawing is either a supplied template or an original drawing devised by the artist.  The so-called line drawing is actually brushstrokes of calligraphy.  It has characteristics of full, thin, press and lift associated with writing with a round brush.  The artist then meticulously brushes in the color, often times alternating between a color brush and a water brush together for even and gradual spreading of color gradients. The process is repeated a number of times until the desired saturation, blending and appearance is reached.  Alum solution is often applied between the layers of color to prevent the previous layer from smudging, causing a "dirty" appearance.  Regardless of how saturated the color is, transparency is almost always valued.  Nothing is done in haste. 

In my case I am not dealing with delicate flower petals or shades of landscape.  Mine is just a kaleidoscope of specks of colors that does not require manipulation within each speck.  A simple mosaic.  I feel that my sins can be forgiven if I just apply the color without paying too much attention to how one color blends into another.  I also feel that I have more freedom if I just "marked" the locations of color instead of filling in a space with color.  I can be a little bit "hasty".  Just a little!

I use different colors for the rings of ripples, not only to enrich the palette, but also to account for the assorted colors of the objects that are reflected on the water.

I am adding in a whole much of nondescript ripples, what I would call "noise" to fill in the right side of the painting.  The part of the painting I deemed lacking.

After all my desired features are on the paper, I now write in the line drawing.

I brush on a thin layer of alum solution to the areas that I want to "tune-up" before I add on more or a different color.  

The finished product does look regal and pompous after framing.  This is the miracle delivered by painting on antique gold silk.

Face Up or Face Down?

To the uninitiated, Xuan paper is just a regular piece of white paper to be painted or written on.  The more astute observer would however notice a smooth side and a rough side.

Xuan paper is made from the pulp of plant fibers scooped up on a sieve and the sheets are deposited flat on heated rollers or steel walls to dry.  The side of the paper that faces the roller or wall is smooth, the other side is more fibrous, and therefore rougher.

Technically the smooth side is the "top" side but many artists prefer the rough side to paint on.  It has more "feel".  I can attest to that.  I also like the texture the bottom side provides.  

Printing paper on the other hand are less tolerant if the "wrong" side is used.  I have wasted so much inkjet color by loading my print paper the wrong way.  It is especially easy to do if I was printing on matte photopaper.  The two sides are almost indistinguishable, either by feel or by color.  Only the finished print that comes out from my printer would tell if I fed the paper correctly or not.  Obviously there is no such problem with gloss or semi-gloss paper.  

There is a type of Xuan paper that I like to use and for lack of a proper translation, I'll call it cicada skin paper, or cicada wing paper.  This Xuan paper is very light and transparent and has a slight sheen to it, just like the wings of a cicada. The paper is considered sized or semi-sized, in that it allows color to float on it a little bit without too much bleeding.  It also is able to withstand repeated rubbing without having the top layer of fibers linting up.  Its transparency augments the transparent watercolor and bestows a very delicate feel to the painting.  It is a favorite with artists who do the Gongbi (elaborate) style of Chinese painting.  

I have a couple pieces of dance movement gestures done on such a paper.  I try to use calligraphic brushstrokes to describe the limbs and gestures.  I feel that this approach gives the dance movements more flow and energy.  There is a je ne sais quoi quality of  "writing" versus simply filling in the space with ink or color.

With me the dilemma is not whether I should paint on the paper face up or face down.  As far as I am concerned there is no perceptible difference either way.  My problem is which side of the paper should I be presenting as the top side of my painting.

The cicada paper's thinness and transparency allows the painted image to be visible from both sides of the paper, as if one is looking through a projection slide, or one of those double-faced silk embroidery from Suzhou.  The bottom side of the image can sometimes be a little less saturated or slightly well defined around the edges, but it is this quality that captivates me.

The picture above actually shows the bottom side of the cicada paper with painted image on it.

The painting on the left has the "face up" side showing, whereas the painting on the right is showing the bottom side as the good side.  Can you tell the difference between the two?

The following is a close-up of the painting presented with the "face down" side.  The images are more veiled like, more dreamy.  The limbs are obviously articulated but there are apparent discontinuity in the brushstrokes.  I suppose not all the color comes through from the top side. The blue streaks act like an atmospheric or water current, or even yards of fabric, enveloping the dancers.  I feel that "face down" presentation suits this painting well.  The audience is given more freedom to implement their gestalt. 

The "face up" side of the dancers shows more definition.  The calligraphic brushstroke does wonders with the split leap.  I am just treating the dancers as a words that need to be written, rather than filling in the spaces where their bodies are .  I especially like the effect of flaring on the clothing and all the toe points and all these are achieved with simple calligraphy brushstrokes.

I suppose no competent, upstanding artist would present the bottom side of a painting as the top side.  I don't know which is worse, hanging an abstract painting upside down or doing what I am doing now.  I don't suppose the viewer appreciates being made a fool of.  But for a second rate painter like myself, I need all the help I can get to add drama to my paintings.  I actually considered presenting these two paintings together as a diptych but I really don't want to insult anybody's intelligence, any further than I have to. 

Necessity is the mother of invention.  I am taught well!