How to apply brush strokes in painting

Dear friends: This time let me discuss the principal brush strokes and their application in painting and calligraphy:

The word Feng means "blade." Chung Feng refers to the tip of the brush which touches the paper in a perpendicular position while making a line.

Center brush is the foundation of Chinese art, for it is the tip of the brush that produces the greatest linear effect. A center-brush line is hard-edged on both sides; therefore, it looks clear-cut, neat, and striking.

The expression of a healthy line is not confined merely to the outward appearance of a line; in fact, the built-in bone structure within the line is even more significant. This structure is primarily shown in center-brush work. However, some bone-like effect can also be achieved by side brush. How to achieve the "bone treatment of line"? The Chinese writings never indicate how. From a study of the greater Chuan and Lesser Chuan lines, I found the solution to the problem. The emphasis is on the two ends of the line. The ends should be rounded, not pointed. In order to make this kind of end, a "hidden tip," actually a folding of the tip of the brush, has to be used. The process is as follows: (see Fig. 113)

With the brush held upright, start from a, and in order to get the effect of a solid inner support, move the brush in the opposite direction to that which the line will finally take. This is just like a pitcher swinging his arm backwards before he throws the ball forward. While gradually increasing the pressure, paint to b, halt, no longer than a quarter of a second (or the water and the ink in the brush may run too much), fold the brush, and without delay move it in the opposite direction; the tip, now, while moving, is pointing to the left while the brush is going to the right. Maintaining an even pressure and speed, paint to c; as soon as the brush reaches c, flip back the brush, upward, at about forty-five degree angle, to d, actually a backlash, caused by the momentum of the stopping movement, like the braking applied suddenly to a moving car.

To explain the procedure is not difficult; however, to execute the line correctly, is. It calls for patience in perfecting the technique, for all the factors involved - pressure, speed, balance of the body must be in perfect coordination.

Since there a momentary but definite stop at each end of the line, at which time extra ink is deposited on the paper, this naturally results in two knob-shaped ends, and the whole line looks like a piece of bone.

The result is that there seems to be a tension built up between the two knob-like ends, as if the line were being pulled taut. Psychologically, the viewer may sense the elasticity of this line, and unconsciously feel excited; the Li (strength) effect is thus created.

Even without the bone-like ends, a line must convey the spirit of "bone treatment" - that is, the line must reflect the unweaving movement of the brush, which must be consistent in its speed to capture bone structure. Even though a line may be pointed at its end, as with "rat's tail" stroke or the tip of the bamboo leaf, the technique of steady speed will gave the appearance of bone-treatment.