Tickets
Museum Hours
Thu–Mon: 10 AM–5 PM
Tue–Wed: Closed
Location
200 Larkin Street
San Francisco, CA 94102
415.581.3500
Become a Member Plan Your Visit Shop
Tickets
Background Information

A Visual Vocabulary of Brushstrokes

In Chinese brushpainting, the artist can achieve a multitude of effects by varying such factors as the speed and pressure applied to a brush, the size and type of brush, the amount of moisture, the manner in which different shades of ink or colors are loaded onto the brush, the angle at which the brush is held, and the type of paper or silk used for painting. These examples, drawn from the museum’s collection, represent some of the more common techniques.

 
Brush painting of three ducks with strokes depicting plants
View Gallery
9 Photos

Examples of Brushstrokes

1
9
Xieyi: Free and spontaneous, primarily in ink, sometimes with light color tints, favored by scholar painters. (Detail: B74D1)
Broken Ink: A method of “breaking” the wash with deeper or lighter ink tones while the first layer of ink or color is still wet. (B87D1)
Dry brush: Ink is used sparingly with little moisture in the brush. (Detail: B69D41)
Gongbi: A careful, precise style with meticulous attention to details, forms, and standards, usually associated with works in color. (Detail: B66D2)
Another Example of Gongbi: A careful, precise style with meticulous attention to details, forms, and standards, usually associated with works in color. (Detail: B65D49.k)
Boneless: Painting without outline in colors or ink. Sometimes different colors or shades of ink are loaded on to the same brush, enabling the artist to achieve various effects with just one stroke. (Detail: B69D15)
Outline drawing (baimiao): Outline drawing in ink without color, shading, or wash. (Detail: B70D46)
A very wet, free application of ink resulting in ink blobs, broad strokes, or saturated areas of wash. (Detail: B87D1)
Broken Ink: A method of “breaking” the wash with deeper or lighter ink tones while the first layer of ink or color is still wet. (B87D1)
Brush painting of three ducks with strokes depicting plants
Brush painting in black ink depicting a flower on the left and gray tones to the right
Brush painting of three small buildings in a forest, with a figure in the foreground
A detailed brush painting Chinese deity wearing a crown
A painting of red, pink, and white flowers and green leaves
Abstract brush painting with a black circular shape in the middle of the frame, and yellow and gray in the backgrond
Outline drawing of flowers in ink against a yellow background
An abstract brush painting resembling a splash of black ink radiating from the lower left corner
Brush painting in black ink depicting a flower on the left and gray tones to the right
Xieyi: Free and spontaneous, primarily in ink, sometimes with light color tints, favored by scholar painters. (Detail: B74D1)
Broken Ink: A method of “breaking” the wash with deeper or lighter ink tones while the first layer of ink or color is still wet. (B87D1)
Dry brush: Ink is used sparingly with little moisture in the brush. (Detail: B69D41)
Gongbi: A careful, precise style with meticulous attention to details, forms, and standards, usually associated with works in color. (Detail: B66D2)
Another Example of Gongbi: A careful, precise style with meticulous attention to details, forms, and standards, usually associated with works in color. (Detail: B65D49.k)
Boneless: Painting without outline in colors or ink. Sometimes different colors or shades of ink are loaded on to the same brush, enabling the artist to achieve various effects with just one stroke. (Detail: B69D15)
Outline drawing (baimiao): Outline drawing in ink without color, shading, or wash. (Detail: B70D46)
A very wet, free application of ink resulting in ink blobs, broad strokes, or saturated areas of wash. (Detail: B87D1)
Broken Ink: A method of “breaking” the wash with deeper or lighter ink tones while the first layer of ink or color is still wet. (B87D1)

The brushpainting artist can achieve a multitude of effects by varying such factors as the speed and pressure applied to a brush, the size and type of brush, the amount of moisture, the manner in which different shades of ink or colors are loaded onto the brush, the angle at which the brush is held, and the type of paper or silk used for painting. Above are examples, drawn from the museum’s collection, which represent some of the more common techniques.

Related Resources

Activity

Create an Abstract Dreamscape

In this activity, you will create an art piece inspired by the work of Bernice Bing. 

GRADE LEVEL: Early Elementary School (K-3), Elementary School (4-5), Middle School (6-8), High School (9-12), College and Beyond
https://education.asianart.org/wp-content/uploads/sites/6/2022/12/MEDIA-65680-600x450.jpg 1x, https://education.asianart.org/wp-content/uploads/sites/6/2022/12/MEDIA-65680-1200x900.jpg 2x

Activity

Ancient China: Design Your Own Bronze Vessel

If you were to design a bronze vessel for a friend who has done something important for you, what shape would you make it? How would you decorate it? Would you use designs like the ones on the bronze vessels in the museum? What would you inscribe on it?

GRADE LEVEL: Middle School (6-8), High School (9-12)
https://education.asianart.org/wp-content/uploads/sites/6/2022/01/Bronze_Vessel_Rhino-600x450.png 1x, https://education.asianart.org/wp-content/uploads/sites/6/2022/01/Bronze_Vessel_Rhino-1200x900.png 2x

Activity

Reflection: I was, I am, I will be

How would you answer Chanel Miller’s “I was, I am, I will be” prompt? Would your answers look like Miller’s, or would they look different?

GRADE LEVEL: High School (9-12), College and Beyond
https://education.asianart.org/wp-content/uploads/sites/6/2021/10/Chanel_Miller_Gallery-600x450.jpg 1x, https://education.asianart.org/wp-content/uploads/sites/6/2021/10/Chanel_Miller_Gallery-1200x900.jpg 2x

Activity

Reflection: Inside/Outside

Visible from Hyde Street outside the Asian Art Museum are Chanel Miller’s I was, I am, I will be, Jas Charanjiva’s Don’t Mess With Me, and Jenifer K Wofford’s Pattern Recognition.

GRADE LEVEL: Middle School (6-8), High School (9-12), College and Beyond
https://education.asianart.org/wp-content/uploads/sites/6/2021/10/artists-600x450.jpg 1x, https://education.asianart.org/wp-content/uploads/sites/6/2021/10/artists-1200x900.jpg 2x

Activity

Mapping Your Special Space

Personal Space (2001), a layered, dreamlike painting by Kolkata-based artist Jayashree Chakravarty, is an imaginary map built up from painted strips of paper. In this activity, create your own map based on your special place.

GRADE LEVEL: Elementary School (4-5), Middle School (6-8), High School (9-12), College and Beyond
https://education.asianart.org/wp-content/uploads/sites/6/2021/07/Jayashree_Chakravarty_01-600x450.jpg 1x, https://education.asianart.org/wp-content/uploads/sites/6/2021/07/Jayashree_Chakravarty_01-1200x900.jpg 2x

Activity

teamLab-inspired Chigiri-e

Make your own torn-paper collages inspired by the images created in the teamLab experience.

GRADE LEVEL: Elementary School (4-5), Middle School (6-8), High School (9-12)
https://education.asianart.org/wp-content/uploads/sites/6/2021/07/Crows-are-Chased-Black-in-White-600x450.jpg 1x, https://education.asianart.org/wp-content/uploads/sites/6/2021/07/Crows-are-Chased-Black-in-White-1200x900.jpg 2x