In the west the level of appreciation for Chinese Brush (Ink) Painting is just beginning to bud. As the general consciousness continues to rise so too will the west's affinity for the extraordinary art form called Chinese inks. The more you learn about this medium the more amazing it will become and the more you'll appreciate Ms. Zhao's mastery.

     Let’s begin with just 5 short paragraphs about some of the history of this art form and a little about the link with calligraphy. Throughout world history many have regarded calligraphy as one of the highest forms of art. In China it can be traced to the beginning of recorded history. Perhaps Chinese Brush (Ink) Painting can go back just as far but most see around 500 B.C. as it’s birth date. These two art forms have much in common and in some ways depend on each other.

     A time of strong growth for Chinese Brush (Ink) Painting was from 200 B.C. to about 400 A.D. Around 220 A.D. the Han dynasty fell and a movement arose in which a number of writers began extolling the virtues of self-development, personal joy, romance, and spiritual enlightenment in their poetry. It struck a deep chord perhaps as a distraction from what was for most people a very hard life. Somewhat in response to these writer's poems, more and more calligraphers and other artists took up ink painting in earnest and incorporated that poetry in their art using the calligraphic style.

     By the 5th century the art form had developed so much that certain principles for Chinese ink artists were codified, perhaps most significantly by a master artist of the time Hsieh Ho. His six principles have endured and are heeded by all serious ink artists to this day. Taken as a whole the strict principles emphasize the significance of spiritual centeredness as well as oneness with your “subjects” whenever you attempt anything in the medium.

     In the Tang Dynasty of 618-907 culture flourished. Music, dance, and art in general enjoyed increasing freedom and appreciation. This continued with the Sung Dynasty of 960-1279 and ink artists in particular enjoyed a strong, steady growth in appreciation. This long period of growth through the Tang and Sung Dynasties perhaps reached it’s pinnacle with King Zhao. Before King Zhao artists and calligraphers were generally regarded as little more than lowly servants. But Zhao was an accomplished ink artist and so the status of ink artists rose significantly.

     Then came the Mongolian invasions and about 1115 King Zhao was captured and taken away. In somewhat cloaked defiance, for fear of Mongolian reprisals, ink artists included poetry and subtleties in their art that spoke out against what was happening. This art once again struck a deep chord with the people. Ever since the status of Chinese ink artists and their art has been secure and endured even through repressive times like the Mao revolutions and regime of 1949 - 1976. So from King Zhao to Lihua Zhao Chinese Brush Painting has enjoyed increasingly high regard and played a significant role in the life of Chinese people, and indeed all people around the world.

     The rest of this treatise is devoted sharing a little about how the Chinese ink artist works. The true Chinese ink artist makes no preparatory sketches, uses no models, no photographs, nothing but what comes out of their "heart" at the moment of application. Then, unlike most western artists, each stroke or movement or line is one single action from beginning to end. You do NOT employ several steps or short strokes to make a line or phrase, stopping and starting. Nor do you alter, adjust, or change anything. Once applied that's it. Either you got it "right" or you didn't. Thus being centered spiritually, what some ink artists call being in "kung fu," is essential. And if you’re not at peace in “kung fu” and in oneness with your subject then you’re not likely to get any stroke “right” in this medium. So in this regard Chinese brush painting is actually several levels beyond classic poetry. It is virtually unheard of for any poet at any level not to edit and do rewrites. Nonetheless the great affinity between Chinese inks and poetry is why in part you usually see to this day poetry included in the art.

     Words like right and wrong are inappropriate in some ways. For a virtuoso like Lihua Zhao the better perspective is whether or not the artist was ready to make that movement, line, etc. For her the result of application can only be a reflection of her readiness to apply a defining movement at a particular time, in a specific way. What results "is ... what it is." The artist is then called upon to respond. But if mind, heart, and soul are not in concert, with one accord, the result can be discord.

     There is always tension in the creative process, no more so than with Chinese brush painting. So even when the artist is in harmony the movement or expression may not be what the artist had "in mind" even though it came from her heart and she was in readiness. While this realization is always true for all ink artists, with masters like Ms. Zhao its more like a dance in which lots of little variations are accepted since your dance partner is really the spirit, your Karma, etc. The "result" is seen and accepted. It is understood to be the truth of what you in fact did have "in mind" whether you were aware of it or not. Many artists of Lihua Zhao's caliber "know" they are ready when they have nothing in mind. At that causal nexus, that coming together in a defining moment, there is a calming presence that also brings an idea, a feeling, a concept. The "idea" however is not presented in the sense of western rationality. They are more in keeping with Lihua's metaphors of dance and music. Once presented, then WITH that "in-the-present-moment-spirit," the artist's movement or application is made.

     Obviously much more can be said about the spiritual side of this amazing art form, but for our purposes perhaps you can see how the process of creation between artist and art is a dynamic, its relational. While this dynamic is true of nearly all creative endeavors, no where is it more true or more essential than in Chinese brush painting. When creating in Chinese ink the art talks to the disciplined artist as much as the artist creates or gives harmony, beauty, meaning, and life to the art. After each stroke (expression, movement, phrase) the artist must again reflect, rediscover, re-center and then dare to act again in concert with the spirit, all the while not knowing exactly what will result. For an artist like Ms. Zhao each stroke can be a divine act of faith.

     The foregoing is only the beginning. There are very strict disciplines according to the classic school about how to hold the brush, how to sit, etc. Violinists, pianists, and golfers to name a few know about the importance of details like position, grip, posture, etc. How a single movement begins and ends will invariably effect the entire work.

     Proper preparation by the artist is therefore paramount. For example, in golf a round of 18 holes can take up to 6 hours. And before each stroke, the level of preparation regarding so many things that the serious golfer must consider is highly disciplined and exacting physically, mentally, emotionally, etc. The well-practiced and properly schooled golfer will always be very prepared and ready before each and every stroke. In addition the golfer must take into account the results of the last stroke, how the ball lies, what can be done next, adjustments for ever changing environmental conditions, and finally exactly how to perform that stroke. However, after all that for each and every stroke, the actual amount of time in application, the time of contact between club and ball, is less than 10 seconds even with a score of 90! A similar dynamic is applicable to Chinese inks.

     The need for such discipline is also obvious when you consider the medium. Lihua often uses cotton paper. If you've ever spilled ink on a blotter then you have a small clue. In Chinese ink the endeavor in part is to express your thought, or what is more true for this medium, your feeling or heart in a clean and efficient manner. You "say" only what is needed, do only enough to suggest and evoke. In this regard Chinese inks, like calligraphy, is at heart symbolic art, like poetry. This minimalist approach can be seen in many of Ms. Zhao's works. Her ink artworks that are more expressive, fuller, usually are so to express stronger/larger feelings/concepts. Hopefully you’re beginning to see why so many regard this medium as the highest and most disciplined of all the painting arts.

     Many in the west wonder why there are so many black and white compositions, why so little or no color. In western thought black is not a color but the absence of color. This is not so with Chinese ink artists. For them black is a color just like any other. Especially for black ink purists, but for all Chinese ink artists, the black ink can contain the full spectrum of color. Furthermore, when applied by an artist of Ms. Zhao's caliber, the black ink can reveal virtually all other colors, even white ... for the those who have eyes to see. How such artists like her do it is way beyond the purview of most professional visual artists.

     Today, while black is still far and away the predominant color, more and more Chinese ink artists employ other colors, albeit usually as accents or suggestions. In some contemporary artworks there is no black. However, you can be sure that if the artist is at all disciplined and appropriately schooled they were first taught using only black.

     Finally, a suggestion is offered that is hopefully made in the tradition of this art form. With high regard for the depth of Chinese inks and in respect for the extraordinary history and level of discipline required, it might be useful as you explore Ms. Zhao's mastery to remember that ...