Epilogue: Chronicle of Shadows

I chronicled my trials and tribulations with my Shadows painting.  In the Coming Full Circles blog I settled on a final version.

I was happy with it.

Until I showed it to my group of Chinese Brush painting friends  and to an arts professor.

My friends could not accept the fact that the shadows did not cross the path.  They kept assuming the void space was water and in that sense I could have painted in reflections.  They simply could not tolerate my attempt at filtering out some details to create sort of an art deco type exercise.  I was trying to blend realism with a graphic element.

The art professor had problem with the paths. 

Too structured.  The edges were too rigid and not xieyi enough, 

I was able to present my case.  I showed the works by Gong Xian (1618-1689), one of the Masters of Nanjing.

Did he not have a blend of realism and graphic design?  He too had a well defined path leading to the house in the bottom painting;  and a second void space at the right middle portion of the painting.

I was trying to emulate his Ji Mo ( accumulating ink ) technique.

I had four months to think about everything.  Over time I became less defensive and more willing to accept other viewpoints.

Since I've been doing a lot of black and white paintings as of late, I decided to really play up the ambiance of this painting.

I made a strong presence of light coming from behind the trees.  The shadows now sprouted across the page to amplify the light source.  The prominent pathways are now reduced to bright patches, suggesting but not defining trails.

I truly sensed that I've written the final chapter on this painting.  There is no room for other changes, only pages of thoughts and suggestions.

This is indeed the epilogue of Chronicle of Shadows.

Simple is as simple does

As part of the exercises of building my painting skills, I am always looking for interesting pieces to emulate; especially pieces that exemplifies brush strokes and composition.  I suppose this is learning by rote, but I look at it more from a standpoint of exploring and expanding my envelope.  It is no different from studying Paganini and Heifetz if I was a violinist.

The works I choose are  usually simple, not elaborate.  I can only take in a few things at a time.

I came upon 2 ink wash paintings.  My first impression was the paintings had interesting composition.  As I examined further into these works, I was intrigued by the  ink tones and the soft yet discrete brushstrokes.  The lines seemed to be blurry and distinct at the same time.

The first scene included a boat, waters, a hut and hills.  A dominant horizontal aspect described by prominent undulating contour lines and light value lines. The circumventing path punctuated with such subdued flair.  Neither the boat, nor the hut assumed a main character role, but they answer to each other across the hill, with the hut half hidden by bushes. The riveting bushes showed delicate tips by the ink layering technique.  (A different technique and feel was explored in my  Playing with Visual Acuity blog )

The second piece showcased a forest hiding a house, with a winding path/stream breaking the vertical lines.  The lessons to be learned here was how to handle the different ink tones and building up the branches/leaves to a pleasing form with perspective and attitude.  The painting made a deliberate statement about the relative positions of the trees in the foreground.  This was however, a more interesting example than the ones shown in the Mustard Seed Garden.

 

As I completed my emulation exercise, I liked the pieces so much that I researched deeper into them, and I was even more astonished.  The works that I emulated were by Gong Xian (1619-1689).  Imagine someone in the 17th century China emoting over the natural beauties and was able to depict them  in what seemed to be simple paintings. The simplicity was actually cloaked in interesting composition and brush strokes.  As it turned out, Gong Xian was credited with being the fore bearer of the Jimo (  accumulating layers of ink ) technique.  I am glad that I've at least identified the correct technique to practise on.  In fact, do these paintings not look like some of the contemporary works by western artists?

People have honored Simplicity as one of the merits/attributes of Chinese Brush painting, but just as Qi Baishi said with his catfish painting, to emote with a few simple strokes is difficult indeed.  Too many professed Chinese brush artists promise to show how to paint a fish or a bird in a few strokes.  Whereas the technique might be true, but the path to get there is not.