In this episode, we will continue to learn about art through Huang Binhong’s works. The only artist today whose ink techniques can be mentioned in the same breath as Huang Binhong is his student Li Keran. His mastery of ink techniques may even surpass Huang, but his brushwork still needs strengthening.
Huang Binhong’s five brush techniques were “ping (flat), liu (dragging), yuan (circular), chong (strong), and bian (variation)”. He was highly skilled in applying the “Five Brush(strokes)” method. “Ping” refers to smooth and even brushstrokes like drawing lines in sand, with clear starting and ending points for each stroke. “Yuan” means rounded and full brush lines that are elastic yet not completely straight, suitable for trees and rocks. It points to applying the circular brushwork method of calligraphy to painting. Brushstrokes outline shapes smoothly like characters, using tip for starts and rotating for ends, with seal script’s starting-ending points seamlessly connecting. The lines exhibit grace while maintaining vigor, rounding yet avoiding insipid softness. “Liu” means controlling the brush’s force to finish strokes properly without loosening. The lines are stable yet textured, capable of bearing weight. It guides energy to coalesce and lengthen lines. “Chong” signifies force that seems to penetrate through the paper, exhibiting thickness and weight. It also refers to brushstrokes making a rolling sound upon contact. “Bian” is combining and alternating freely between ping, yuan, liu and chong,expressing oneself through variations like light-force, pressing-releasing, acceleration-deceleration, round-square, slow-fast brushwork.
Visual art theory in the West commonly emphasizes order and balance in textbooks, equivalent to composition and harmony in Chinese tradition.