Secrets for Painting Branches

When painting branches, one must observe with great care. Flowers and leaves are born from the branch. Their intertwining creates a play of light and shadow, hiding and revealing. Follow the branch down to reach the root. They are like the four limbs of a person; the branches and trunk are the body. The branches of woody flowers should appear aged and weathered. This naturally distinguishes them from herbaceous flowers original: caohua (草花), referring to soft-stemmed plants like peonies or lilies. The rules for the color of the bark and the shape of the branches have been provided previously. Wishing to convey the inner spirit of the plant, I now present these secrets in verse.

Secrets for Painting Flowers

The flower is born from the stem and the calyx di (蒂): the green base or "button" that holds the petals together. Though the flower is the master, it relies on the branches and leaves. If the flower is not painted with proper proportion, even the finest branches and leaves cannot save the work. One must first capture the captivating form of the flower, and the branches and leaves will naturally gain grace. The application of color must be light and airy; then a tender, life-like appearance will emerge. The flowers should always seem as if they are about to speak; this creates a quality that moves the human heart. This is why the brushes of Xu and Huang referring to Xu Xi and Huang Quan, two rival masters of the 10th century who defined the "boneless" and "outline" styles of flower painting have maintained such high reputations for a thousand years.

Secrets for Painting Leaves

Where there is a flower, there must be leaves. The rendering of leaves must also be excellent. They must layer and overlap to partially hide the trunk; their fluttering and turning should be as beautiful as the flower itself. Capture their swaying state under wind and dew. Distinguish the front from the back by varying the depth of the ink or color. The leaves of flowering trees are all different, and they change with the four seasons. In spring and summer, they are lush and flourishing; in autumn and winter, they endure frost and snow. Only the plum blossom original: mei (梅) is unique among flowers: when it blooms, not a single leaf is seen.

Secrets for Painting the Flower Base and Stamens original: 畫蔬蒂訣. The character "蔬" (vegetable) is likely a transcription error for "蕊" (stamen/pistil) or "蘂", as the text focuses on floral anatomy.

To paint a flower is to capture the whole entity: the calyx on the outside and the heart xinrui (心蕊): the central reproductive organs of the flower, the stamens and pistils on the inside. The heart grows from the calyx; the inner and outer parts correspond to one another. Fragrance is breathed out from the heart; the fruit begins its growth from the calyx. Whether the flower faces forward or away, the heart and calyx must be placed appropriately. The heart must emerge from the petals, and the calyx must be attached to the branch. A flower possessing these two is like a person having eyebrows and a beard—they are the essential features of its character.

The Origins and Lineage of Painting Methods Birds and Feathers

In the Six Principles of the Poets original: shiren liuyi (詩人六義), referring to the categories of the Classic of Poetry, one gains much knowledge of the names of birds, beasts, plants, and trees. The Monthly Ordinances original: yueling (月令), a classic text describing seasonal rites and natural phenomena likewise record the times when the birds sing or remain silent.