Chinese Brush Painters’ Society Anne Allan, Secretary ... · PDF file16.06.2016 · Issue 107 -Page 2 of 10-Derbyshire Open Arts Exhibition Bank holiday weekend – 28-30 May...

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Snippets I am reporting on the excellent workshops run by Shuhua. It is always a delight to welcome Shuhua all the way from London and he once more inspired us to paint both traditional and contemporary works. See the report later in the newsletter. We have had a change of plan for the September workshops. We have cancelled the proposed weekend workshops of the 3 & 4 September and replaced them with a workshop on Saturday 17 September as well as a visit to Hai Shuet Yeung’s studio in August for a workshop – details of this and the booking form are enclosed with this newsletter. I would like to thank our member from London, Sue, for her interesting account of her visit to The London Original Print Fair recently. Do let me know if you attend art-related events that you feel will be of interest to other members. I am always seeking contributions. We hear that Kaili fell and broke her hip but is doing well with her replacement. We wish you a speedy recovery, Kaili. and look forward to your workshops in July. See enclosed notice for details and booking form. Just a reminder – if you haven’t yet booked for Maggie’s workshops in June – do so quickly before all places are taken. Happy painting. Anne

Poster We have a poster advertising the Group. Let me know if you can display one for us.

Welcome We would like to welcome Libby Steele (Halifax); Marisa Andresco (Lindley, Huddersfield); Ann Hooper (Washington); Kathryn Gander (Lanchester, Durham); Chris Drew (E Herrington, Sunderland); Ashley Craven (Chester-le- Street); Joyce King (Riddlesden) as new members. We hope that you will enjoy your membership and look forward to welcoming you to future workshops.

We will soon be planning the content of our workshops for next year. Please let me or any of the committee have your ideas.

Sunday 12 January 2014

Buildings and Boats

in the Landscape

Nick Hornigold

Saturday 25 January 2014

Flowers with bird

in gongbi style

Anne Allan

Saturday 22 February 2014

AGM

Reading calligraphy

Brian Morgan

CChhiinneessee BBrruusshh PPaaiinntteerrss’’ SSoocciieettyy

((YYoorrkksshhiirree)) May 2016

Issue 107

A n n e A l l a n , S e c r e t a r y 9 6 W i l l o w f i e l d R o a d H A L I F A X H X 2 7 N F T e l 0 1 4 2 2 3 6 8 4 8 2 e - m a i l m a i l @ c b p s y o r k s . c o . u k w w w . c b p s y o r k s . c o . u k

Events diary

Please make a note in your diary of the following dates

Programme 2016 If you have any specific requests for topics, we will try to include them. All ideas are most welcome.

Saturday & Sunday 18 & 19 June 2016

Misty lotus

Painting a watery landscape with a

hake

Maggie Cross

Saturday & Sunday 16 & 17 July 2016

Blue/green landscape

Fish & dragon

Kaili Fu

Wednesday 10 August 2016

Workshop with

Hai Shuet Yeung at

The Landings, Grimsby

Workshop dates – 2016 Our hall at Pool has been booked for the following dates. Please remember to reserve them in your diary. Notices and booking forms for each of them will come out with the newsletters at the appropriate time. Sat & Sun 18 & 19 June – Misty lotus & painting a water landscape with a hake – Maggie Cross Sat & Sun 16 & 17 July – Blue/green landscape & tba - Kaili Fu Wednesday 10 August 2016 – Painting workshop – Hai Shuet Yeung - Grimsby Sat 17 September - tba Sat & Sun 1 & 2 October – tba - Xiao Bai Li Sat & Sun 29 & 30 October – tba – Pauline Cherrett Sat & Sun 19 & 20 November –Landscapes in winter; 3 Friends of Winter – Marion Dearlove Sat 3 December – Chinese 3D paper folding – Stella Yeung Please note: There is a change to the September date. We will be having a one-day workshop on Saturday 17 September and not the 2 days as previously advertised. We will also have a workshop with Hai Shuet Yeung in Grimsby on 10 August.

Saturday 17 September 2016

tba

Obituary It is my sad duty to let you know of the death of one of our members, Eric Whalen, from Stocksbridge. Eric has been a member of our group since 2011 when I met him at the Holmfirth artWeek. He enjoyed receiving the newsletter each month though, sadly, was unable to join us at our workshops. He enjoyed his Chinese Brush painting (and his other art forms) and kept in touch with me. He gave me an extremely warm welcome when I called at his home for a chat about CBP. He was a joy to know and I will miss him. We send our deepest condolences to his niece, Diana, who always accompanied and cared for him.

We have a poster advertising our group.

So if you know of anywhere where we could display one,

please ask me for one.

Issue 107

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Derbyshire Open Arts Exhibition Bank holiday weekend – 28-30 May 2016. Many events are taking place across the county with 294 artists taking part. You may like to see for yourself at http://www.derbyshireopenarts.co.uk You can download the full 25-page booklet. You may be interested in:

Ron Brooks, a Chinese Brush Painter, who is exhibiting and demonstrating at

Cherrytree Studio, 247 Nottingham Road, Ilkeston. DE7 5AT01158 493651 • [email protected] The Cherrytree Studio is on the A609 Nottingham Rd, just below a small island at the junction of Cavendish Road opposite Shaw St and the Magic Wok. Parking is in the surrounding streets, Sunday parking on Nottingham Road.

Ashmolean Museum, Oxford Pure Land: Images of Immortals in Chinese Art

1 March – 2 October 2016 in Gallery 11 The website for this exhibition tells us that

‘Pure Land is the name given to the realm of the Buddha and other deities depicted in paintings since the Tang dynasty (AD 618–907).

Pure Land Buddhism is particularly associated with the cave temples at Dunhuang in northwest China, near the eastern end of the Silk Route.

During China’s war with Japan in the 1940s, many artists took refuge in Sichuan province, and from there some journeyed to Dunhuang and painted copies of the famous cave temple murals. This display shows rare examples of their work alongside other images of popular deities, particularly Guanyin, in paintings, textiles and porcelain.’

There are many examples in the exhibition of interpretations of the 8 Immortals.

Further information can be seen at: http://www.ashmolean.org/ashwpress/easternart/2016/03/01/pure-land/

Open Garden Now for something entirely different. Jefferson Conway used to be a member of our group but then he got bitten by the gardening bug and he and his wife, Susan, have created the most magnificent garden behind their home. You walk down a typical cul-de-sac and round the side of their home with its pocket-handkerchief front garden to wonder at the vista, which opens in front of you. The view opens on to a massive valley and the garden falls away down the hillside in a series of beautiful mini gardens, each with different themes. It is spectacular! This year it is opening on the weekend of 23-24 July 2016, 12 noon to 4.30 pm. Jefferson will also be displaying some of his paintings – maybe CBP ones? See the entry on the NGS website for further details. The address is - Jefferson and Susan Conway, 23 Dalesford, Haslingden, BB4 6QH, 01706 213934 http://www.ngs.org.uk/gardens/find-a-garden/Garden.aspx?id=33069 It is wonderful =- and I hope to be returning to see more!

Exhibitions/Courses

Virtual Collection of Asian Masterpieces I love this resource as where else could you see fantastic items housed in all the world’s major museums without travelling all over the world? In addition, it gives you an inspirational object to look at each day! I do not do it every day but I do catch up on all the objects from the previous month. I have had some positive feedback from those who have looked at the website and I hope this will encourage more of you do to so. You won’t be disappointed!!! My choices from the masterpieces uploaded to the website over the last month are: 1 April 2016 – a beautiful painting, c 1714, of birds and grasses on antique silk held in the collection of The Röhsska Museum Gothenburg, Sweden. 26 April 2016 – a green and blue painting on a folding screen of the immortals' feast on Yoji Pond. This is one of the most precious relics of Gyeonggi Provincial Museum, Korea. 1 May 2016 – Lady holding a lotus flower – painting by 20th century artist, Lin Fengmian held in the National Gallery, Prague. 11 May 2016- 17th century Qing dynasty carved lacquer box held in the Museum of Ethnology, Hamburg 17 May 2016 – 18th century painting on silk Battle at Qurman held in the Museum of Ethnology, Hamburg But there are many more! To see the artefacts and to read their descriptions, visit http://masterpieces.asemus.museum/masterpiece/ofTheDay.nhn

More than 120 worldwide museums are involved in this project. The idea is that museums holding significant collections of Asian art will contribute images of their masterpieces with associated stories – written or video – about them. Each day a new ‘masterpiece’, housed in one of the participating museums, is uploaded to the website as Masterpiece of the day. You can then look back over time at previous masterpieces. Please let me know your favourite ones. This is a fantastic way of broadening our knowledge of Eastern culture. Has anyone taken up the challenge to view the objects on a daily basis? If so, would you like to send me a comment about any objects that you find particularly fascinating for adding to the newsletters? I keep hoping that some of you will do this!!!! Anne

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London Original Print Fair – May 2016 The gracious halls of The Royal Academy hosted The London Original Print Fair in mid May. On their stand, Art China UK was promoting several artists, whose biographies and works can be found here: http://www.artchinauk.com Chinese Artist He Kun was in London and on the stand to demonstrate his reduction method of printing. This approach uses only a single block to cut, then re-cut each layer to build the final image. This naturally has implications for planning, sequencing and consistent technique, however the advantage is perfect registration and either a single original print or an unrepeatable print run. He Kun's prints are realised with oil-based inks, 60x90cm in size. He hails from Simao (now Pu’er), Yunnan Province where he lives. Complimenting his printing, He Kun spoke of his other interests in local tea and coffee production and in a hotel, which showcases his prints and paintings, with sculpture in the lush gardens. Through an interpreter, I asked about his fascination for this method. I understood his reply to be that he was drawn to the mental challenge, the complexity of the cutting and the diversity of shading that can be achieved within a single colour, even black. I could appreciate this on his prints - although possibly some other aspects of the explanation may have been lost in translation. The Print Fair overall displayed an overwhelming diversity of contemporary prints. There were also tucked-away, exquisite C19th etchings of rustic scenes, which would have originally illustrated stories and been book-bound, so works spanned centuries and price ranges. Visitors seeking highly dramatic, abstract original prints (perhaps to cover expansive walls) were captivated by the lush thickness and contrasting colours of the printing oils, and were clearly delighted with their discoveries. My interest in some classically-printed woodblock images is to enjoy the ‘spirit’ of the subject, in turn, applying this to Xieyi painting. Some traditional Chinese and Japanese woodblock prints capture this essence in simplicity, stillness and purity of natural colours. I find this informs drawing and illustration, appreciation of natural pigments and my decidedly 'Chinglish' brush painting. Within the British tradition of printing by hand, I admire Laura Boswell - http://www.lauraboswell.co.uk Following a residency in Japan, her techniques developed remarkably and, now, her prints increasingly gain recognition and are widely collected. Her Japanese water-based colours inspire, and her earlier prints of the Isle of Wight and English countryside echo Eric Ravilious. Susan White Thank you, Susan, for sharing your visit with us.

Brown peony (after a

painting by Wang Shao

Qing) – Ian Davidson

Members’ paintings

Brown lotus – Ian Davidson

Examples of 2 of Shuhua’s

paintings

Camellia on sized paper in

the gongbi style – John

Eagers

Once again, I am most grateful to Charles for not only

taking the photographs of Shuhua’s demonstrations and

of all our members’ paintings, but also for sending them

to me so promptly so that I can include them in the

newsletter and on members’ galleries. Thank you,

Charles.

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Saturday 21 May 2016 – Painting landscapes – Shuhua Jin We were extremely pleased to welcome the return visit of Shuhua to our group to run our workshops. He took 2 quite different topics for the 2 days – landscape on the Saturday and gourds and lotus in contemporary style on the Sunday. Saturday: Shitao was an artist and poet of the early Qing dynasty.( 1644–1911) Born Zhu Ruoji in 1642 (died 1707) as a member of the Ming Royal family, in Quanzhou County in Guangxi province, Guilin, he survived the invasion of the Manchurians and became a Buddhist monk moving to the Yellow mountains and then to Nanjing and Yangzhou where this landscape painting was likely to have been painted in its green and burnt sienna colours. In 1690 he moved to Beijing, became a Daoist monk in1693 and moved back to Yangzhou. He continued to paint and became one of the most famous and important artists of his time. Whilst he is known for his landscape paintings, he painted all subjects. His work is expressive and was innovative in his day. Shuhua told us that whilst it would probably take some 10 days to paint a picture similar to this one of the original size, we would be doing it in a day as we are using it as a means by which we can learn the techniques of line, rendering, dotting, wash, and colour. Shuhua recommended that we use ground ink as that is more stable when used than bottled ink. It is important to load the brush correctly. The brush must be washed thoroughly, filled with water, dried on the side of the water pot, then filled in light ink, dried and then dark ink added to the tip. Shuhua used a brown-hair brush. He pointed out the composition – being of 3 parts, foreground, middle ground and distance. He lined up the middle ground rock with the centre of the paper (which is about 2.5 times in length to width) and with medium ink and the side tip of the brush, drew lines to denote the rocks in the middle and foreground areas. He added some texture strokes in the middle area drawing the texture strokes upwards. He completed the outlines by drawing the peninsular and the distant islands. Using darker ink, Shuhua showed us how to add more details to the darker areas of the painting, more texture strokes and, using the side tip, redrew many of the lines. He added dots, dashes, and fine brushwork to denote tress. He emphasised the peninsular area with horizontal strokes of varying ones of ink with a carefully drawn tree on the end of the peninsular. Details cannot be successfully done over damp areas – wait until they are dry or the lines will blend in too much. Finally, Shuhua showed us how to complete the composition by drawing and shading the distant islands in a similar manner.

Landscape by Shitao

Early stages of Shuhua’s version

of Shitao’s landscape

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After lunch Shuhua showed us how to complete the landscape painting by re-emphasising the shaded areas, drew the village houses, added ink dots for the trees around the village, lines for some tree trunks and dots to lead the viewer’s eye around the painting. Shuhua then showed us how to apply washes to bring out the form of the landscape. He washed light ink over the dark textured areas, using the side tip of a large goat brush. If there is too much water, he blotted it with kitchen towel. He added burnt sienna wash to the tops and light areas of the mountains, indigo on the darker areas and green (yellow + indigo) on the fronts of mountain slopes. Further texture stokes and lines can be added – but only when the painting is dry or the ink will spread. To complete the painting we would need to add our seal (this is the main authentication for any painting) and some calligraphy – a poem, or a saying, or just your name. Shuhua then showed us how to write fish village and 2016 year in both standard and running script.

See the cursive script examples for the

year and Fish village alongside the

other styles

After showing us some samples of his work (see next page), he then took a contemporary landscape painting and demonstrated how to achieve it. He drew the outline of the mountains in light ink. To keep the sky within the outline, Shuhua added clean water to the sky leaving a good gap before the outline. He picked up blue colour wash and, with the tip of the brush pointing to the outline of the mountains, added blue to the sky working quickly along the skyline. The colour should then spread evenly without leaving a watermark or extending beyond the outline. Shuhua explained that we should complete the landscape using the techniques that we had used in the previous landscape composition without the colour washes. Shuhua showed us how the nature of the xuan paper means that the first stroke applied to the paper bonds to it and successive strokes will go underneath. This can be a useful characteristic to exploit. Shuhua recommends triple xuan as a mounting material. As a final demonstration, Shuhua painted a spray of plum blossom on a xuan fan, which was already mounted. This was a very full and informative workshop and the buzz in the room showed how much everyone was working hard. You can see a few samples of the work produced later in this newsletter.

2016 year in both running script

(left) and standard script (right)

Fish village in running script (left)

and in standard script (right)

Plum blossom – Fragrant Spring. See the next page for further examples of Shuhua’s work

Contemporary landscape

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Sunday 22 May 2016 – Shuhua Jin – Gourds and contemporary lotus

Shuhua planned 2 quite different but related exercises to keep us on our toes during this workshop – a painting of gourds by Xu Gu and a contemporary interpretation of lotus by Shuhua, when he kindly offered to share his unique techniques with us. Shuhua suggested that we should prepare the background/foundation of the abstract lotus painting, which we would complete in the afternoon. This would allow the painting to dry. I am reporting on the process for the painting of the whole picture later on. Initially, Shuhua explained a little about the Shanghai school, which came to prominence in the late 19th and early 20th centuries. It is characterised by a fusion of eastern and western art styles and became internationally known for its freestyle (xieyi). More colour became involved. The style focussed less on the symbolism held so important by the literati artists and more on the visual content of the painting (as in the west). Initially it appealed to the newer wealthy merchants living in the Shanghai area and artists in the Shanghai school came from all over China (not just Shanghai). The group moved to Hang Zhou and today these 2 cities are still connected through art. However, the Shanghai school failed to overcome the influence of the traditional literati who were better funded and it became increasingly difficult to balance both the increased colour of western art with the ink of Chinese art as well as balancing the 2 cultures. There are many famous artists within this school – especially the 4 Rens and Xu Gu.

Shuhua introduced us to the main influence of his art – the Qing dynasty (1644-1912) artist and poet Xu Gu (1824-1896). Xu was born in Xinan in the Anhui province, and later lived in Guangling. Xu was an army official, and then later a monk. When painting he used the side of the brush in a fluent and bold style and particularly used the side of the tip when producing expressive lines. Shuhua told us how art students still have to spend at least half term of their studies just copying his lines to improve theirs! Shuhua then showed us how to paint the gourd composition. Using a large brush with fairly dry light ink and darker ink in the tip, he used sidestroke to paint the leaf shapes. Working from the centre down the leaf and back up and then down again, he created different shapes. He added more dark areas to the leaves whilst they were still wet and checked that he had left blank areas within the composition. Changing to a slightly smaller (but still large) brush, Shuhua he split the hairs and using dry light ink painted the stalks of the gourds and added some dots. Xu Gu’s line – centre point with a pause at the beginning and at the end of the line. With light ink on a dry brush, he drew the outlines of the gourds using the side of the tip of the brush and interesting lines. He added a blue/green wash (mineral green plus indigo) to the gourds and left them to dry. He then returned to them and with darker ink emphasised some of the lines around the gourds. He then added branches and veins in darker ink. In some areas, he drew a second parallel line staring maybe halfway down the length of the line, to give interest. He added final touches to bring emphasis to some leaf clusters.

Gourds – Xu Gu

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Contemporary lotus painting: Shuhua showed us how to approach painting in the style of his contemporary lotus painting. He began by applying a pale wash of burnt sienna, burnt sienna with some tea (!), and then the same wash with some yellow added. He applied this whilst resting the paper on a bamboo brush mat in order to produce some texture on the paper. He added more texture with scrunched xuan paper dipped in the wash and in light ink. He added dots and dashes in pale ink and in pale indigo and added drips and small blocks of colour. He aimed to make the whole wash pale and interesting to act as a background to the later composition. Once enough texture had been applied he left the paper to thoroughly dry. In mid-tone ink, Shuhua now drew out his lotus composition including straight and curved lines in a composition that takes your eye up through it. Some lines were double, some broken, sometimes he split the hairs of the brush to add texture, some lines were ‘shaky’ – all adding interest. The lines are most important. He then went back and strengthened some by darkening them, added dots etc. When the ink understructure of linework is dry, Shuhua showed us how to apply washes to areas. He used pale colours of mineral green, yellow, burnt sienna and ink and used vertical sidestrokes ensuring that the wash is not carefully contained within the lines. He added more washes as he saw fit, replaced the bamboo mat underneath the painting to add more texture and worked over the painting but all the time ensuring that the wash did not encroach on to the lotus flowers. Finally, he applies a dilute burnt sienna wash to the shadow areas of the lotus flowers, but keeping them white just by means of unpainted paper. As the painting dried, he strengthened the composition and areas of texture before finally adding the calligraphy and seal. As can be seen from the examples painted by members of all the exercises, these were highly successful workshops, in which Shuhua not only encouraged us to paint traditional CBP but also to use the medium in a more free and contemporary way. Thank you, Shuhua, for giving us some different aspects of CBP and for running these brilliant workshops.

Contemporary lotus by Shuhua Jin

Examples of Shuhua’s cards

Shuhua painting the preparatory wash. Notice the bamboo

mat beneath the xuan paper to provide

texture to the washes.

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OAS Newsletter The latest newsletter from Oriental Art Supply is now available at this link: http://www.orientalartsupply.com/news/ Whilst it is advertising the products that OAS has for sale, it has a very interesting article about Chinese papers. If you do not know anything about OAS, it is a company run by the family of Ning Yeh, who has spent many years teaching the art of CBP in the USA and who produces some excellent books and resources which many of us use – in particular ‘Chinese Brush Painting – An Instructional Guide’ and ‘108 Flowers’(4 volumes).

Members’ paintings – mostly unfinished

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SACU - Society of Anglo-Chinese Understanding As members of this group, we receive a copy of the magazine ‘China Eye’ each month and an email version of a monthly newsletter. In the past, it has not been possible to let everyone read the magazine and, whilst I have usually taken anything related to Chinese art from the newsletter, I have been unable to let you know about all the other cultural activities taking place. We now have the following offers: 1 to receive our own copy of China Eye electronically. 2 to receive our own copy of the newsletter electronically. To do so, you can send an email to Chris Henson (who is also a member of our group) on ([email protected]) if you would like to receive the newsletter and / or receive a PDF copy of China Eye. They are two separate mailing lists and Chris will add you to whichever you prefer, or both. Chris asks me to tell you that the PDF of China Eye will be available for viewing or download at Dropbox, an internet storage facility, rather than sent directly to you (so he will not clog your incoming mail allowance with it)! A note from Jill reminds me to tell you that the pdf copy of China Eye runs to about 40 pages, so be aware of this if you plan to print your own copy. You can try this and you always have the option to unsubscribe if you don’t find it is of interest. I would like to thank Chris for this very kind offer. Whilst writing about SACU, I would like to mention that another of our members, Brian Morgan, organises local meetings of SACU and always encourages us to join them. Some members have done so and have enjoyed the broadening of their understanding of Chinese culture. Brian can be contacted on [email protected].

National CBPS If you are a member, the committee of the national group would like to encourage you to submit your work, particularly around these themes (see below), for publication in the national newsletter. 2016 July – Bats and other Symbols of Luck and Happiness 2016 October – Autumn Landscape 2017 January – Cockerel 2017 April - Giraffes and Camels If you are not yet a member, why not join? See below for details.

Stamps I would like to thank all of you who always give me your used stamps. Thank you so much. If you do not already save used stamps, can I beg them from you, please, as we collect them to raise funds for RNIB (we used to send them to ‘Guide Dogs for the Blind’ but they no longer want them). They need to have a clear ½” (if possible) of paper all round the stamp. If you can help, I will be very grateful. Anne

Workshop Fees As you know, I must have fees for any workshop beforehand so that I do not have to spend time sorting it out on the day. However, this doesn’t mean that I cannot take bookings for future workshops at a workshop! I seem to have misled you - sorry! If you have the form and your cheque/cash for a future workshop, please let me have it at any workshop and I will be happy to process it later. That way you will save the cost and trouble of posting it! No problem! If you cannot print out the forms, just write the details on a piece of paper. That is fine! It is not a happy situation when members have to lose their money when they do not attend a workshop for which they have booked. However, costs have to be covered, as we are sure you will understand. So to clarify our position: if less than 7 days’ notice of cancellation is received, the full fee will be payable, except in extreme circumstances when it will be at the discretion of the officers and committee to recommend that a refund can be given. We hope that this is fair to everyone.

Chinese Brush Painters Society

As you know, we are the Yorkshire Group of the national Chinese Brush Painters Society. If you would like to join the national Society, contact Treasurer/Membership Sheila Bell, 42 Hartley Meadow, Whitchurch, Hants RG28 7BW 01256 893658 [email protected] download an application form from the website. You can see details of the Society on the website: www.cbps.co.uk where you can also see some inspirational paintings. Members receive a most informative newsletter 4 times a year and a calendar of paintings by members once a year with the October issue. Membership costs £24 pa (individual, £26 pa double) and membership runs from January to January. If (when?) you join, please will you let me have your membership number so that I can add it to our database?

Our Group’s Website I hope that you are all aware that we have our own website at www.cbpsyorks.co.uk On it, there is a section where each of us can have our own gallery of paintings. So if you would like your own gallery to show your paintings, please let me know. I will need photographs of your paintings, along with a title for each of them. If you are able to reformat them it would be ideal if you could make them 400 pixels wide, but don’t worry if you can’t. I will do it. You can send these photographs to me by email, by post or you can always bring your paintings to a workshop and Charles will photograph them for you. I would also like to add a few words about you (see the other galleries for ideas!). It would be good to have a gallery for every member – so please join in! Do use the website and send me your comments!