70
HO TICKON
ing them to explore new methods which express their personalities.
Rules of composition for beginners have been formulated by various masters, but they may be rather a hindrance than an advantage to follow. They are apt to lead to a stilted form which is difficult to abandon later. A better plan is the close study of renowned painters, ancient and modern, examining their brushwork and the arrangement of the subject. The student should ponder why certain areas are left blank, and how the balance is achieved to produce such harmony,
To the Chinese eye a painting looks incomplete without the imprint of a seal and an inscription. The seals often two of them on a single painting, in which case one has the characters in red and the other in white on a red background, give the artist's name. The owner's seal is often added. A valuable painting, changing hands, often has the seals of successive owners. The inscription may give information on the painter's where-abouts and even age at the time of painting, serve as dedication or indicate the mood it was painted in. Occasionally it is an appreciation of the painting penned by another, more famous, artist. The calligraphy of the inscription must be in harmony with the painting and the placing of seals and inscriptions should give a well-balanced effect. A misplaced seal or inscription can ruin the whole effect of a good painting and render it unpleasing to the eye.
Although there is a close relationship between Chinese painting and calligraphy and the scholars of old practised both arts, it does not follow that a master of calligraphy is necessarily an artist. There are many problems in painting which cannot be overcome by the calligrapher, though the materials are the same. The brush must be handled differently, and there is the need for harmonious application of colour and, above all, an eye for composition to produce a balanced work of art.
70
HO TICKON
ing them to explore new methods which express their personalities.
Rules of composition for beginners have been formulated by various masters, but they may be rather a hindrance than an advantage to follow. They are apt to lead to a stilted form which is difficult to abandon later. A better plan is the close study of renowned painters, ancient and modern, examining their brushwork and the arrangement of the subject. The student should ponder why certain areas are left blank, and how the balance is achieved to produce such harmony,
To the Chinese eye a painting looks incomplete without the imprint of a seal and an inscription. The seals often two of them on a single painting, in which case one has the characters in red and the other in white on a red background, give the artist's name. The owner's seal is often added. A valuable painting, changing hands, often has the seals of successive owners. The inscription may give information on the painter's where-abouts and even age at the time of painting, serve as dedication or indicate the mood it was painted in. Occasionally it is an appreciation of the painting penned by another, more famous, artist. The calligraphy of the inscription must be in harmony with the painting and the plaqing of seals and inscriptions should give a well balanced effect. A misplaced seal or inscription can ruin the whole effect of a good painting and render it unpleasing to the eye.
Although there is a close relationship between Chinese painting and calligraphy and the scholars of old practised both arts, it does not follow that a master of calligraphy is necessarily an artist. There are many problems in painting which can not be overcome by the calligrapher, though the materials are the same. The brush must be handled differently, and there is the need for harmonious application of colour and, above all an eye for composition to produce a balanced work of art.
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