Unlocking the Secrets of Chinese Painting Composition
A Journey Through Chinese Art
As a scholar with five years of living and studying art in China, including the prestigious Central Academy of Fine Arts (my dissertation focused on Chinese free-hand style painting!), I’m passionate about sharing the secrets of this ancient art form. Presentation of my pictures HERE. More articles on The Essence of Chinese Painting HERE.
Welcome back to part three of our series, “The Essence of Chinese Painting”! Today, we delve into the fascinating world of composition in Chinese painting.
Structure and the Four Phases
Pan Tianshou [1], a 20th-century Chinese art intellectual, played a pivotal role in establishing the Central Academy of Fine Arts. Notably, Pan introduced a structured approach to Chinese painting, proposing four key phases: qǐ – chéng – zhuǎn – jié (起 承 转 结) (Fig.1)
fig. 1
Pan Tianshou’s Four Phases in Action: A Closer Look at a Lotus Painting
Let’s see how Pan Tianshou’s four phases play out in practice. We’ll analyze one of his lotus paintings (Fig. 2) to illustrate each stage.
Phase 1: qǐ (起) – Initiation
The first phase, qǐ, translates to “beginning” or “initiation.” This stage involves establishing the composition’s foundation, often with light washes or basic brushstrokes.
Phase 2: chéng (承) – Continuation
Next comes chéng, meaning “continuation” or “development.” Here, the artist builds upon the foundation, adding layers of detail and color.
Phase 3: zhuǎn (转) – Transformation
The third phase, zhuǎn, signifies “transformation” or “shifting.” This stage introduces a shift in the composition, perhaps through a bold element or contrasting color, to create visual interest.
Phase 4: jié (结) – Conclusion
Finally, jié translates to “conclusion” or “resolution.” This final stage involves tying the composition together, ensuring a sense of balance and completeness.
By analyzing a specific painting through these four phases, we gain a deeper understanding of Pan Tianshou’s structured approach to Chinese painting composition.
fig. 2
Wandering Through a Picture
In his explanatory sketch featuring a strong branch (fig.1) and lotuses (fig.2), Pan employs cross stitches to block the optical path of the eye. This technique directs the viewer’s gaze and creates visual interest. Often, small twigs or blades of grass provide an alternative path for the eye, diverting from the main flow of qi (气 qì). This deviation increases tension in the picture and acts as auxiliary lines, forming imaginary centers outside the picture’s boundaries. These elements extend the optical surface beyond the sheet’s format.
The term qǐ 起 (literally “to rise, to start”) refers to the entry point where the viewer’s eye begins its journey through the picture. Chéng 承 (literally “undertake”) describes the process of traveling through the painting from the entry point to the location where the path changes direction. Zhuǎn 转 (literally “turn”) signifies this crucial turning point in the visual journey.
The term jié 结 (literally “merge, unite”) describes the point where the eye’s path turns and starts to return. This principle is well illustrated in a typical example (fig. 3). It demonstrates that the “jié section” is not defined by a concrete line. Instead, it is more elegant and common to create an imaginary connection, a principle known as yì dào bǐ bù dào (意 到 笔 不到, “the sense arrives, but the brush does not”). (fig. 4)
fig. 3
Establishing Connections in Painting
This principle is occasionally used to establish a connection between qǐ (the starting point) and the main part of the painting. For instance, the tip of the boat (fig. 4) points to a seemingly random blob. The colophon is cleverly positioned; horizontally written through the middle of the picture, the characters resemble a sandbank, creating an additional optical level. Simultaneously, Pan Tianshou successfully divides the overall picture into an upper and a lower area, forming two distinct image levels.
fig. 4
Off-Center Composition
As mentioned earlier, most Chinese paintings do not place the objects in the center. Often, the middle is completely free. When constructing a picture, it is essential to relate the painted areas to the empty spaces to enable the flow of qi (qì 气). Even within the painted areas, empty spaces are incorporated. For example, Chinese painters use the “dragon’s eyes” (lóng yǎn 龙眼) technique to create these spaces (fig. 5). This approach maintains balance and harmony, enhancing the overall composition and visual flow.
fig. 5
Integration of Empty Spaces in Chinese Art
Chinese art theorists often refer to the board game 围棋 (wéi qí), also known as Go, where the incorporation of empty spaces is crucial. Painters frequently explore the 4 phases—qǐ (start), chéng (undertake), zhuǎn (turn), and jié (merge)—to push creative boundaries. In the last example (Fig. 6), a painting by Zhū Dā [2] focuses on zhuǎn (turning). The depiction of a twisting wild goose became a motif that influenced later painters, such as Biān Shòumín [3]. This approach highlights the dynamic interaction between filled and empty spaces, enhancing the visual and conceptual depth of the artwork.
fig. 6
Summing Up: The Art of Flow and Balance
In the realm of Chinese painting, the integration of empty spaces and the meticulous journey of the viewer’s eye through the artwork create a harmonious and dynamic composition. From the foundational principles of qǐ (start), chéng (undertake), zhuǎn (turn), and jié (merge), to the thoughtful placement of objects and empty spaces, Chinese artists masterfully guide the viewer through an intricate visual and emotional experience.
The references to Chinese calligraphy, classical painting techniques, and even the strategic game of 围棋 (wéi qí) all highlight the profound depth and complexity of this artistic tradition. These elements collectively contribute to a rich tapestry that invites viewers to immerse themselves fully in the artwork, discovering new layers of meaning and beauty.
As we explore the interplay between the painted and the unpainted, the visible and the implied, we gain a deeper appreciation for the subtleties of Chinese art. The delicate balance of qi (气) flow and the strategic placement of visual elements not only create a compelling aesthetic but also evoke a sense of timeless wisdom and tranquility.
We invite you to explore the diverse collection in our gallery, where each piece tells a unique story and exemplifies the fusion of tradition and innovation. Discover the beauty and intricacy of Chinese calligraphy, painting, and abstract art, and let the journey of your eye through each artwork bring you a deeper understanding and appreciation of this extraordinary artistic heritage. Visit our gallery today and embark on your own visual journey.
Illustrations
Fig.1: Pān Tiānshòu, the structure of an image. Illustration from his textbook on Chinese painting.
Fig.2: Pān Tiānshòu: Morning greeting (映 日 图 yìngrìtú, 99×163 cm)
Fig.3: Pān Tiānshòu: A trunk of red paint alone lifts the sky (一枝 红艳 独 撑 天 yī zhī hóng yàn dú chēng tiān)
Fig.4: Pān Tiānshòu: After the rain, the 1000 mountains look like cast iron (雨后 千山 铁铸 成 yǔhòu qiān shān tiě zhùchéng. 1961, 132.5 × 44 cm)
Fig.5: Fù Bàoshí (Fù Bàoshí 傅抱石, 1904-1965) dragon eyes (picture: girl 侍女 shì nǚ)
Fig.6: Zhū Dā: picture scroll with reeds and ducks (芦 雁 图轴 lúyàntúzhóu, 33 x 103 cm)
Fig 7: Biān Shòumín: appreciation of reeds and ducks (芦 雁 图 欣赏 lú yàn tú xīnshǎng). When giving the title, he refers to the picture of Zhu Da.
footnotes
(1) Pan Tianshou (Pān Tiānshòu 潘天壽; 1897–1971) was an important painter and teacher. He studied painting with Wu Changshuo (吳昌碩, 1844-1927) and laid the foundations for modern training in traditional Chinese painting. During the Cultural Revolution until he died in 1971 he was subjected to persecution and reprisals.
(2) Zhu Da (Zhū Dā 朱 耷; also known as Bādà Shānrén 八大山人 1625 – 1705) was a Chinese painter and calligrapher of the Qing Dynasty.
(3) Biān Shòumín (边 寿 民 1684 – 1752) belonged to the “Eight Eccentrics of Yangzhou”. (揚州八怪 Yángzhoū Bā Guài)
THIS ARTICLE WAS PUBLISHED IN GERMAN IN 2019 BY OE-G.C.F.
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