Self-talking - Jiang Yan

Author: Jiang Yan
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Publish Date: 2006-06-01
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III. Basic Principles and Applications of Brushwork Techniques in Landscape Painting
Brushwork techniques refer to the methods used by landscape painters to depict the structures and textures of mountains, forests, trees, and rocks using different brushwork patterns and symbols, tailored to the geographical and geological characteristics of various regions. Brushwork techniques are a form of symbolic representation in traditional Chinese landscape painting, recording the brushwork language. Their emergence, evolution, development, and application are entirely constrained by the specific brushwork language patterns chosen by painters in different eras.
From the Wei and Jin periods to the Five Dynasties, landscape painting underwent nearly a thousand years of evolution. Brushwork techniques became one of the fundamental principles of landscape painting primarily because painters adopted different brushstroke combinations to represent the diverse geological structures and material compositions of mountains, peaks, trees, riverbanks, beaches, islets, cliffs, and slopes across different climates and regions in northern and southern China. The rigidity, pauses, fluidity, precision, vigor, boldness, rigor, and freedom of brushwork in brushwork techniques all revolve around depicting the natural factors such as the soil, rocks, vegetation, sunlit, and shaded aspects of the peaks. Emphasis is placed on the rhythmic changes of brush density, speed, subtlety, dryness, and darkness, creating a wide variety of mountain shapes on the plane and forming distinct brushwork patterns.
The emphasis on brushwork in brushwork techniques gradually transformed the original "" (smearing) and "drawing" process into a more regulated and standardized path, enabling them to transition from a spontaneous state to a formalized realm directly related to the lexicon of painting [7]. At this stage, landscape painters no longer focused on the realistic depiction of the subject matter but rather used brushwork variations to naturally recreate the landscapes in their minds. Therefore, the various brushwork techniques in landscape painting employ the dynamic changes of different brushstroke structures to express the structures of mountains, forming corresponding fixed brushwork rules.
In the Qing Dynasty, Shen Zongqian wrote in Jiezhou Xuehua Bian: "When creating rock formations, first outline the contours with a lively brush, called 'gouqu' (), which captures the general shape of the rocks but lacks layers or broken textures. Next, in the empty spaces, use strokes horizontally, vertically, or diagonally to break the rocks into pieces, called 'cun' (), which disrupts the wholeness. After breaking them, the rocks are divided into tops, faces, waists, and feet. The concave areas, where sunlight does not reach, appear darker and the rock textures are dim and dark. The convex areas, receiving sunlight, have textures but remain bright and light in color. Use a dry brush to slightly emphasize one side of the convex area, gradually reducing the pressure along the rock textures, called 'cun' (), which refers to the wrinkles on the rock's surface. Once the 'cun' strokes are applied, the rock's overall form is complete. Then, use extremely dry, short strokes to lightly rub the 'cun' areas, making the concave parts appear dark and verdant, called 'ca' (). At this point, the rock's form and spirit are fully realized. Yet, as it is still not named 'zhan' (), use slightly thicker dry strokes to adjust the quantity and weight, gradually enhancing the details so that every part shows the rise and fall of brushwork, the traces of movement, without any slight, slippery, or rigid flaws."
Different brushwork rules give rise to the fundamental principles of various brushwork techniques.