Chinese Painting Modes of Expression (Two)
Four: Flying white (feibai)：A method in Chinese Painting of applying pressure to the brush, which causes the hair to separate, leaving streaks of white spaces. The effect is of speed and vigor. Very often the empty space in a Chinese painting is used to give balance, to harmonize the messages in the painting and to give prominence to concrete images.
Chinese Painting of Flower and Bird
Five: Dry brush: Ink is used sparingly with little moisture in the brush.
Six: Outline drawing (baimiao)
Outline drawing in ink without color, shading, or wash.
Outline sketching requires powerful strokes, just like The Postscript of Dadizi Inscription Poem written by Yuan Ji in the Qing Dynasty says: “sketching led by enlightened spirit, the brush lines are similar to that of seal character and official script.”
Seven: Splashed ink
A very wet, free application of ink resulting in ink blobs, broad strokes, or saturated areas of wash.
Chinese Painting of Philosopher
Eight: Broken ink
A method of “breaking” the wash with deeper or lighter ink tones while the rest layer of ink or color is still wet
The number “eight” in Chinese is a very lucky number. Good luck! Just knowing the definitions of these terms is far from available. In Chinese painting, each term has a very complex system, so if you really interested in Chinese culture and Chinese painting learning. Facts speak louder than words. The most quick and effective way is practicing to explore the profoundness of Chinese painting.
