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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
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Examples of Brushstrokes

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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.

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