The significance of using split brush

Dear friends,

Let's continue our study of the significance of using the split brush.

To obtain a split brush, one should first get rid of most of the water contained in the brush. Then, exert some pressure to push the side of the brush against the edge of the ink stone, or any other hard surface such as a palette or dish. While the brush is in close contact with the hard surface, twist it slightly to the left and move the brush downward; this forces the brush to open and form a comb-like brush, like many tiny brushes linked together (see figure a).

It will stay that way, for the brush is dry, and the friction between the hairs holds the brush and keeps it from springing back to its original state. One can keep this split state as long as the water and ink in the brush are adequate. Too little ink makes the brush too dry to obtain a sufficient image on the paper; if too wet, the brush may spring back, and the split state is broken.

If one moves the brush in a straight direction, the result will be a wide line, actually made up of a group of lines (see figure b). If the brush is drawn crosswise, then a narrow line results (see figure c), a line more easily achieved through center brush. By changing the direction of the line (see figure d) many variations can be effected. Notice that in the first and last strokes, a folding split brush was used.

One can paint in any direction with a split brush, but the split, as originally made, must always be maintained. Therefore one must constantly maneuver the brush so that it is moving in a direction that will not disturb or alter the original split. Otherwise, the split state will ruined. These are the basic elements of split-brush technique.

Feathers can be obtained using this technique with very little pressure exerted. The speed is very fast. Thus, a light feathery effect is produced.

In drawing feathers of a bird's wing we can vary the moving angles. Through twisting the split brush, different shapes and types of feather are produced. Some softer and shorter; the others, longer and stiffer. Also, by changing the pressure of the brush, some feathers are narrower, some much wider.

Drawing and painting do not mean merely a combination of lines; they imply form, texture, light and dark contrast - an entire structure - and, above all, a unity and lively expression. Split brush is often used to achieve these results.

In calligraphy, especially the "Grass Style," because of the exhausted ink in the brush or a fast turning, split brush occurs often, adding to the textural effect. In calligraphy, the term Fei Bai, or "flying white," is employed. It suggests the feeling of inner space within a Po Pi line.

Whenever a split brush effect is achieved, that portion of the stroke is proceeded by a sudden, heavy pressure of the brush, which causes the brush to split, and gives interest to the expression of the line. Split-brush technique is especially useful when one paints animals. The pressure must be very light, and the speed, as in painting birds, must be quite swift, so as to achieve the fluffy effect. The brush should be kept fairly dry, yet, at the same time, each stroke must be definite and strong, or else the whole image can be ambiguous and lack strength.

Split brush should not be confused with "slip brush". Slip brush is the result of too much speed, especially at the end of a line. It is not a solid line, and the shape is obscure. It is without strength, and consequently not alive. However, slip brush is useful for painting fluffy feathers and furs. It would be a mistake to use it in painting bamboo or orchid leaves, which should be done at a slower speed than slip brush to achieve solidity.

More brushwork will be discussed next week.

-- David Kwo