The concept of expressiveness in a brush stroke seems rather subjective and ill-defined. Allow me to draw an example with the human face. How could the same face portray happiness, ecstasy, mournfulness, sorrow, despair, resolute, anger, frustration, spite, respect, admiration, solemn, disregard, evasiveness, malice, anticipation, frown, et cetera, et cetera.
I am told there are close to 100 muscles controlling our facial expressions. The permutation of these muscles, either as group or individually, is astronomical. We need not understand fully which muscles are involved, and yet we definitely know when someone is pissed at us. The same is true with Xieyi paintings. Wherein the parameter for being "expressive" is obscure, the observer holds the dictum " I know it when I see it".
Painting is an expression, our way of communicating with an observer and we all want to be understood. Our innate fear of failure (to communicate) makes us afraid to let go of whatever we are able to cling onto, somewhat similar to people in abusive relationships. Our faithfulness to rote learning and emulating often rob us of spontaneity. We try hard to be perfect and take solace in mimicking the shape rather than the spirit of the brushstrokes, and there is nothing Xieyi about our work. This is the shackle that I try to be rid of.
The same painting done with expressive brush strokes.
An honest account of a dragonfly.
Same dragonfly done with expressiveness...... a little more Xieyi.
A good brush stroke is comparable to good bowing on a string instrument. When I watch Itzhak Perlman or Yo Yo Ma perform and see them using full bows from tip to frog with their eyes closed, I often wonder how much of that is from muscle memory (rote) and how much is from sensing the
interplay between the string and the horsehair, and using these full breaths to complete their musical sentences. Their cues on the stroke is no longer visual, but tactile. In calligraphy equivalence, we say a stroke is "delivered".
Xieyi does not mean an awkward semblance, but a genuine love-making between a brush and paper.
