Mustard Seed Garden Manual of Painting, Vol. 3

...shapes of the birds. What is not fully recorded in these illustrations should be sought out through your own imagination and observation of their spirit original: 意 (yi), referring to the conceptual intent or "idea" behind the form.

The Sequential Method of Brushwork for Painting Birds and Feathers

When painting a bird, start with a single long stroke for the upper mandible original: 愕 (e), referring to the upper part of the beak. Next, complete the rest of the upper mandible. Then, draw a single long stroke for the lower mandible, followed by completing the lower mandible.

When dotting the pupils original: 點睛 (dian jing), the crucial final step that "brings the bird to life", you must use the corner of the mouth original: 呀口 (ya kou), the gap where the mandibles meet as your guide for alignment. Next, paint the head and the crown. After that, paint the mantle feathers suomao (簑毛): literally "rain-cloak feathers," the long, shaggy feathers on a bird's back and the wings. Then, paint the chest and the belly, continuing down to the tail. Finally, add the thighs original: 腿椿 (tui zhuang), the fleshy "stump" of the leg and the claws.

In essence, the bird’s form never departs from the shape of an egg. By observing this principle, you will find the techniques fully realized in the following formulas.

Formula for Painting Birds and Feathers

First the beak, then the eyes; the upper lip is the guide.
Leave room for the eye while drawing the head; the forehead meets the cheeks.
Write out the back; the shoulders form a half-circle.
Use large and small dots to break the pattern on the wings original: 破鏡 (po jing), "breaking the mirror," a technical term for painting the markings on wing feathers.
Short, long, sharp, and fine—carefully taper the flight feathers.
Slowly let the small tail emerge; then fill in the plumage.
From the wing-spine to the back, then the chest and belly.
The ankles come forward at the end to complete the whole.
The feet may grasp a branch, or be tucked in a clenched fist.

Complete Formula for Painting Birds The head, tail, wings, and feet; dotting the eyes; and the various postures of flying, singing, drinking, and pecking

You must understand the bird’s whole body,
Which fundamentally originates from the shape of an egg.
Add a head and tail to the egg-shape,
And the wings and feet are gradually added.
The spirit of flight lies in the wings;
They must flutter and turn, swift and light.
To raise the head, the beak must be open,
As if one can hear its song from the branch.
When resting on a branch, place the feet securely;
Treading firmly and quietly, without alarm.
To fly, the tail must move first;
Once the tail stirs, the bird rises high.
Once you capture this expansive movement,
It will seem to hop between branches without stopping.
This is the formula for the whole body,
Which can be applied to all types of birds.
Furthermore, there is the method of dotting the eyes,
Which is especially capable of conveying the spirit.
Those drinking look as if they are descending;
Those eating look as if they are competing.
Those in anger look as if they are fighting;
Those in joy look as if they are singing.
Whether roosting in pairs or moving up and down,
You must capture the feeling of them looking toward one another.