Trees in Mustard Seed Garden

I've touched upon some of the ways leaves are depicted in traditional Chinese brush landscape and I've also alluded to my realization that groves of bamboo appear to be telegraph poles.  It will be remiss for me not to mention some examples of how trees are represented. 

I am going to borrow examples from the Mustard Seed Garden for illustration.

It is not difficult to surmise that dots and/or little round circles are used to describe leaves on a tree.  It is quite plain.

The "antler brushstroke" is ideal to show a deciduous tree in the fall, with its barren branches, devoid of leaves.  This brushstroke resembles the antler of a deer, hence its name. 

By extending these "antlers", we have the basis for painting a willow tree, which is a very common thematic matter in Chinese landscape painting. 

The Mustard Seed Garden is also a compendium for how varies ancient masters would paint their "woods" with assorted trees species.  Again I am borrowing from the text book and try to showcase an example:

In the above exercise, the various trees need to assume different heights and not be rooted on a straight line, thus portraying a scattered look.  It is not important to accurately describe the correct species of each tree, just so the aggregate shows mixed trees in the woods.  Trees are often painted with exposed, gnarly roots to lend a sense of ruggedness.  It is often common practice to assign each tree with a different color to emphasize the diverse flora.  Branches and leaves often overlap each other; thus it is vital to distinguish the spatial relationship of these seemingly mundane brushstrokes.  This is where the craft of the artist is exemplified, and where the dilettantes miss their marks.   

Of course when it comes to the ubiquitous pine, there are numerous styles in the Mustard Seed Garden that one can study with.  Pine is important because it is symbolic for longevity and the ability to triumph through hardship. 

My favorite example comes from the ancient Song dynasty painter Ma Yuan.  He used a so called "broken brush" style for his conifer.  The "broken brush" literally means a brush that has seen better days and has lost some of its hair and is no longer able to come to a point.  In other words a worn-out brush.  Thus the brushstrokes are raw and unrestrained.  It really adds to the stubbornness of the pine.

Again, I encourage the readers to do your own research if so inclined.  Try to dig up a copy of the Mustard Seed Garden and enjoy a first-person experience.