Turning and folding with Chinese brush

Dear friends,

I shall now move on to introduce turning and folding in using the Chinese brush.

The turning and folding of the brush, movements which effect a change in the direction of the line, are as important as the changing tempo of rising and falling rhythms in music and dance. Each change will inevitably involve a momentary halt, and this is a preparation for the succeeding movement. As a line is being drawn, the bristles are bent to some degree; turning or folding the brush serves as a rest, at which time the brush springs back and regains its elasticity, and is thus ready to make a new line.

In painting and calligraphy there are bound to be many such fleeting hesitations and halts, which, owing to the changes of pressure and speed, produce variations in the lines. In calligraphy, this technique is used in almost every word to give character and interest to a line or to the composition as a whole.

Turning brush or chuan pi is the movement of the brush as it is twirled on its axis. If the brush is in a side position, this is called rolling. Turning involves two actions, a twist of the brushholder, and a change in the position angle of the brush.

The picture shows how the brush is turned in making a line. The horizontal line starts from a and halts briefly at b where the brush handle is rotated slightly to the left. The next movement is from b to c, where again there is a halt; here, the brush handle is twirled slightly to the left and downward to d.

But d usually exists "in the air" above the line itself. Note that the handle was turned right during the movement from b to c, but left at c. As to the vertical line illustrated in Figure 144, the line goes from e to f, where at the halt the brush holder is rotated to the right; as the brush moves downwards, the handle is slightly turned left all the way down.

Folding brush or cheh pi is used when a sudden change of direction is desired, usually when the brush is in a tilted position. The brush tip is actually folded over, resulting in a sharp shape, a stroke used for example to capture the abrupt twist of a blade of grass or reed. This technique is essential particularly for a calligrapher, for within every word there is cheh pi.

In painting, turning, rolling and folding brush are often employed to portray vine subjects, such as grapes, squashes, gourds, morning glories, etc. In painting vines, the brush should be used freely, as if a horse were galloping in a field. However, the rider must be in full control, and lead the horse in the right direction. In other words, all the free arrangement must be disciplined, i.e., the principles of composition.

Notice the joints wherever a change of direction occurred. Every new direction is indicated on the illustration by an arrow. In the Mad Grass style, the turning technique is most evident. Turning, rolling and folding techniques are important means of bringing out the dancing spirit of the lines, the vigor and vitality of a work of painting or calligraphy.

The above analysis of the major strokes by no means exhausts the range of Chinese brushwork, for the art combines and utilizes the various strokes and techniques in myriad ways, just as infinite and widely varied sounds are produced in music by the combination of the seven basic notes.

Watching a true master at work, as his brush tips, rises, twirls, hails and glides, all in one continual, flowing movement, an onlooker will inevitably conclude, "Why, the brush is actually dancing!" I have experienced this reaction many times.

-- David Kwo