High quality brushes for watercolor, Chinese and Japanese calligraphy. Chinese painting materials Which Chinese watercolor brushes are suitable
Department of Education of the Administration of Yurga, Kemerovo Region
Municipal budgetary educational institution
Municipal budgetary preschool educational institution
"Child Development Center - Kindergarten No. 18 "Teremok"
"Chinese painting Wu-sin"
Extracurricular activities using ICT
for older preschool children
Yurga 2015
Educational area:
Artistic and aesthetic development , cognitive development , social and communicative development , speech development .
Target:
Familiarization of children with traditional Chinese painting Wu-sin.
Tasks:
- develop visual attention and perception, auditory memory, figurative thinking and spatial orientation;
- to acquaint with Chinese painting Wu-sin;
- to form an idea about the features of drawing bamboo, birds;
- cultivate aesthetic feelings from contact with the beautiful.
Materials and equipment:
Gouache paints, brushes, water, napkins, album sheets, a laptop, a projector for showing the presentation "Chinese Wu Xing Painting", a multimedia center for playing the audio recording "Chinese Traditional Music".
Lesson progress
Educator: I suggest you take a trip. Tell me, who has already travelled? What did you travel on?
Children's answers.
Today we are going to China.
Game - drawing "Connect the dots":children are invited to connect the dots from 1 to 17. What did you get?
Children: - Airplane.
Game - airplane travel.
Shall we play airplane? Yes!
And let's fly!
You are all wings, I am a pilot.
Received instruction -
Let's start piloting.They build one after the other.
We fly in the rain and in the blizzard. Woo!
We see someone's shore. Ah-ah-ah-ah!
Ry-ry-ry, - the engine growls.Make circular motions with your hands.
We fly above the mountains.Children move around the playground.
Here we all go down.They squat on one knee.
To our runway!
Well, our flight is over.
Goodbye, plane. They wave their hand.
caregiver : Here we flew with you to China. Here we will get acquainted with the Chinese painting "Wu-sin".
Show presentations. Chinese traditional music sounds.
caregiver : Guys, sit down and look at the screen.
Slide #1
K.zh.u-sin appeared in ancient times. She has great originality.
Slide number 2
Wu Xing is a system of 5 primary elements: wood, fire, earth, metal, water. The entire worldview of ancient China is based on it.
Slide number 3
The Yin-Yang mandala, consisting of white and black drops, describes the laws of the surrounding reality. it is this mandala that is the key to understanding Wu-sin. Yang, white is the beginning of heaven, Yin - black is the beginning of the earth.
Yang gives energy, and Yin accepts, qualitatively transforms energy. The sky gives rain, light, heat, and the Earth absorbs all this and gives rise to various forms of life, such as grasses, trees, animals.
In Wu-sin painting, the task of the artist is to convey the essence of the subject, and not its form. To do this, we need to learn to see not with the mind, but with the eyes.
Slide number 4 (strokes)
Wu-sin painting is a 5-stroke painting.
Wood and Fire - strong and fast movements (masculine Yang)
Metal and Water - slow and thin movement (feminine Yin)
Smear Earth - underlies all 5.
Slide number 7
Wood is a stroke of directness, straightness. Repulsive movement from point to point (shoulder moves)
Slide #8
Fire - stroke flash, flight of fancy (wrist moves "boat shape")
Slide #9
To the Earth - a shapeless smear, press the brush
Slide #10
Metal - elongated lines. Calming, fluidity (elbow movement)
Slide #11
Water - swab rotate, twist (finger movements)
Slide number 12 (conclusion)
The philosophy of the 5 elements of Wu Xing is the basis for the entire Chinese culture. The most important thing is to learn to feel the brush and make the strokes you need. The brushstroke is the basis, it came from calligraphic strokes.
Fizminutka:
On the road we go. Children are walking
The way is far, our home is far.
It's a hot day, let's sit in the shade.
We will sit under the bamboo. sit down
We lie under the bamboo. lie down
Let's go, let's rest.
Slide #13 (Bamboo)
Today we will draw a bamboo plant.
Slide #14 (equipment)
Slide #15
Depicting bamboo, most often it is painted in monochrome.
We collect black paint on the brush.
Slide #16
Draw a bamboo stem. We just lean the bristle of the brush against the paper and simply push it with our eyes. Dot-line, dot-line…….. going beyond the edge. Each part of the stem should be straight, the distance between the nodes is the same. We dip the tip of the brush into black paint and mark the knot on the barrel.
Slide #17 (front leaves)
Leaves are fire. Let's twist the wrist. We touch with the tip, then with the whole brush and finish with the tip. Pay attention to the arrangement of the leaves. Dip the brush in black paint, apply the front leaves (create a fan). Each sheet is one touch to the paper. How many strokes, so many leaves.
Slide #18 (secondary trunks)
We dip the brush into water, check the color on the palette. We draw secondary bamboo trunks. The first plan - dark colors, the further - lighter.
Slide number 19 (secondary leaves)
We draw the leaves of the second plan with diluted paint.
Slide number 20 (thin twigs)
Add thin branches with the tip of the brush. Bamboo sprigs beat like a fantanchik, rhythm is important. Let's not forget about the overall composition. And the bamboo is ready.
Slide number 21 (talk about caliber)
Imagine that you are inside a painting. Tell me what's going on around? What do you think this bird is doing here?
Draw it yourself.
Slide number 22 (bird)
I propose to start drawing with the beak and eyes. The plumage and the general picture of the feathered are built from them.
Slide number 23 (total)
Well done! You have drawn bamboo well. Let's enjoy our work.
Educator: Children, it's time for us to return to Russia, to our kindergarten. Let's say the magic words: "One, two, three - turn around and be in Russia."
Children say magic words.
Reflection.
The teacher offers the children to choose a candy:
Guys, if you liked everything today, and you think that everything worked out for you, take a yellow candy for yourself, if you think that you didn’t like it very much - red, and if the trip didn’t bring you pleasure at all - blue.
Children choose sweets.
In watercolor painting, the quality of materials is an important factor. Therefore, I now and then test different brushes, paints, paper.
I have long been addicted to Chinese brushes for painting and calligraphy, so I rarely buy a traditional “squirrel” - they are too soft and poorly assembled. But since the students ask me, I decided to buy a new squirrel brush. Suddenly the quality has become better, and it can be recommended? .. I chose the most decent of the available ones in Leonardo - brush No. 10 from Gamma. In gluing, it is assembled beautifully, in a thin tip. The price is quite democratic, 278 rubles.
Let's compare this brush with a similar Chinese one made of sheep's wool.
This is what the brushes look like when washed and dried. Chinese continues to hold its shape.
When working, the shortcomings of the assembly of the squirrel brush from Gamma become apparent. After the first stroke, the hairs of the brush diverge, and the thin tip can no longer be collected ... For the next even stroke, the brush will have to be stroked so that it takes an even shape. But the Chinese soft brush of the same size and shape holds its shape perfectly. And she's more fun to work with.
If you flatten the brush a little, it becomes clear why this is happening. See what an even “haircut” the Chinese brush has, and what chaotic hairs, and even with hooks, the Gamma brush:
That is why I have not been working with squirrel brushes in their pure form for a long time. And many people ask me what is special about traditional Chinese brushes, and where can I buy real, high-quality ones? I already wrote about this - I talked about my brushes.
And here's a pleasant surprise. After this publication, the Blue Phoenix company contacted me and asked me to test their brushes, how suitable are they for watercolor painting? I take my hat off to the professionalism of these guys! The brushes were sent quickly, in good quality packaging. Now I can be sure that this store can be trusted!
So, the results of testing the brushes sent to me.
All brushes are of excellent quality. Superbly assembled. Pile, if it comes out, then 3-4 hairs at the very beginning of use.
However, you need to understand that these brushes were created for traditional Chinese painting and calligraphy, so they are specific. The most unusual handle length and brush balancing. These brushes cannot be held close to the pile, as you are used to holding a pen. Traditionally, such brushes are held by the center or the very tip of the handle. This gives freedom of movement and a beautiful stroke. It's the one that's supposed to be. To what extent can these brushes replace the watercolor brushes we are used to?
Hard Contour Brush 1503.
Handle length 20 cm, brush length 1.5 cm, diameter at the base of the brush 0.3 cm. Composition: hare hair.
But calligraphic lines - carnations are very easy for her to make. For writing small characters, I think it is very good. However, it is hardly suitable for watercolor work.
Hard brush 2005.
Handle length 22 cm, brush length 2 cm, diameter at the base of the brush 0.5 cm. Composition: high-quality wolf hair.
Quite soft, something between a squirrel and a column. You can make small fills. Good for drawing leaves. Gives a beautifully designed smear with a fine tip.
Hard brush 3609
Handle length 23 cm, brush length 3.6 cm, diameter at the base of the brush 0.9 cm. Composition: wool from the tail of a wolf and sheep wool with a slight addition of synthetics.
Great brush! Analog column. A wide range of actions - from large fills (up to A4 format) to thin lines. Perfectly collected, elastic, holds water well and gives it away. Very pleasant to work! I can say that this universal brush is my favorite of all presented. It is good precisely as a quality brush for beginners - easy to work with, predictable in behavior, comfortable in the hand.
Combination brush 3808.
Handle length 24 cm, brush length 3.8 cm, diameter at the base of the brush 0.8 cm. Composition: high-quality sheep wool and wolf hair.
It is this brush that is shown above in comparison with the squirrel.
The brush is soft but firm. Good quality squirrel analogue. Good for fills up to A3 format. Similar to the squirrel brush, it requires a fair amount of water, but the brush is well built and can give a beautiful stroke with a fine tip. The brush handle seemed thick - it's not very convenient for me.
Hard brush 3909.
Handle length 22 cm, brush length 3.9 cm, diameter at the base of the brush 0.9 cm. Composition: horse bristle, raccoon fur.
Elastic long pile. A great brush for painting bamboo leaves... In watercolor it will be useful for masters working on large formats (A3 and larger), but not for fillings, but for large and small dynamic strokes. The elongated pile does a great job with fine lines, creating a very beautiful stroke in the shape of a bamboo leaf with a thin, elegant tip.
Hard brush 4810.
Handle length 23 cm, brush length 4.8 cm, diameter at the base of the brush 1 cm. Composition: high-quality horse hair, pig hair and a small amount of sheep wool.
Elongated elastic pile. For us, this is a strange brush - it is similar to a linear brush, but only very thick. That is, like a linear one, it is difficult to control it - its tip lives its own life. It will be good for masters who appreciate the dynamics and spontaneity of strokes in watercolor painting. She can make fills in A4-A3 formats. But in general, this brush is for more virtuoso work.
In this video clip Andrei Shcherbakov (Master U-sin), artist and teacher Wu-sin painting talking about this technique. The video says that the basis of Chinese painting U-Sin are two main principles.
First principle allows the artist to work out his psychological qualities through movement. It is believed that a person's problems, his psychological troubles, stiffness, are associated with limited movements. Movement is energy, and working with energy, we are working on some specific qualities of a person. And the study of these qualities helps people further in life.
Second principle - that's the system Wu-sin. There are 5 qualities of energy - wood, fire, earth, metal, water - in painting, each of them corresponds to a certain movement, and only with these five types of strokes does the artist Usin paint his paintings. While practicing the movement, the body should be relaxed and the mind concentrated. Particular attention should be paid to the relaxation of the shoulder area. The waist, chest and back of the head, interacting with each other, stretch the spine like a string, aligning the person's posture and normalizing the qi flows. In a special way, they hold a writing brush. The arm should be relaxed from the shoulder to the very tips of the fingers. It is as if a person takes and holds a ball, and puts a brush into this ball.
There are 2 ways to hold the brush: more artistic and more calligraphic. With the artistic method, all fingers touch the brush (as in the video clip). Calligraphic is associated with tighter control over the brush: the index and middle press on the brush on one side, the ring and little fingers compensate for pressure on the other, the thumb fixes the brush. In both cases, the Palm and Hand are both strictly fixed and relaxed.
5 types of energy - 5 types of strokes.
1. “Wood” is a strong direct energy. This movement is done from the shoulder with a slight turn of the body. The brush is pressed against the paper, and with a powerful direct movement we transfer the brush to another point. Here again we emphasize the brush, putting a dot. Here we have a straight strong stroke - the beginning of the male Yang energy. Working through this movement, the artist gradually transfers it into his life. The same happens with the energy of “Fire”.
2. “Fire” is speed, fleetingness, the movement of a brush, like the flight of a butterfly. Taking the brush, we make fluttering movements with the brush, working with the wrist. When the brush touches the paper, this movement forms such a brushstroke that looks like a boat.
3. The energy of the “Earth” is characterized by a certain structure. These are simple dots formed as a result of a single brush stroke. A few dots, placed tightly, will create a soil-like structure.
4. Energy "Metal" is something gentle, flexible, feminine, so the movements are smooth, long. “Metal” is the beginning of the “Yin” energy. The elbow works in the “Metal” movement. The most characteristic smear of "Metal" resembles a blade of grass, a leaf of a wild orchid, leaning over itself. The movement is associated with a gradual increase in pressure as you move forward and then an equally gradual raising of the brush. Breathing is deep, measured, gradual. Here we will just begin to understand what qualities a person works out by drawing these strokes. If there is no softness, tenderness, subtlety in him, then, for sure, he will be able to do this smear with great difficulty.
5. The last element is “Water”. This is a feeling of rotation, involvement in the cycle, immersion, old age, confusion. In this movement, we work with our fingers. With the help of “Water” you can create the trunk of an old tree by moving the brush forward using rotation.
In Wu-Sin painting, the task of the artist is to convey the essence of the subject, and not its form. And for this you need to develop your perception of the world, learn to see not with the mind, but with the eyes. In order to correctly depict an object, in order to convey all its vitality, a person needs to understand what stroke (to draw it). To understand means to see the essence, to see which movement prevails in this subject: masculine directness, perseverance or feminine flexibility, for example. Explosive transience or watery diving into something very deep. Or is it generally something structural, neutral.
MIt took us a very long time to open U-Sin painting classes. And now all the agreements have been reached and now the master is with us Andrey Shcherbakov! He is one of the most famous teachers of Chinese painting and calligraphy in our country. .
According to the number of elements in U-Sin painting, there are five first movements, which, in fact, are the language of this pictorial tradition. To draw something, you need to feel the element of this object, to see its true nature. How to see this, begin to better understand yourself and the world around you, how to develop your sensitivity and intuition? The answer to these questions is given by U-Sin painting.
Andrey Shcherbakov shows the main strokes of U-Sin painting
The language of painting U-Sin opens up limitless horizons for creativity and self-knowledge.
Maxim Parnakh talks about the essence of U-Sin painting in an interview with Andrey Shcherbakov
Difficult? Easily!
Already in the first lesson of Wu-Sin, you will write an excellent work - even if you have never painted before. However, you should not aim at the result, the process itself and your meditation with a brush in your hands and paints on the table are much more important. One of the most valuable results of Wu-Sin painting is the expansion of your consciousness beyond the mundane mind. No less valuable will be the resource of artistic vision you have acquired, which expands the perception of the surrounding reality, giving freedom of thought.
Mastering Wu Xing painting will allow you to paint a good picture in both Chinese and European style after some time. How long it takes is up to you.
The work of Andrey Shcherbakov
I invite you to join our Wu Xing painting classes this summer. The basis of wu-xing painting is the art of feeling nature, the art of interacting with the outside world. This is essentially what we are learning in our painting of the five primary elements.
Today I present to your attention a very large and informative interview. Quite unexpectedly for me, it turned out not just big, but gigantic. But they still did not dare to divide into two parts - the format of one post is the most convenient. If the concepts of “Chinese painting” and “wu-xing” are unfamiliar to you, I advise you to read the previous article - in which you will find a lot of useful information, paintings and videos. Well, if you have already read it, then I recommend not to miss this interview. So make yourself a good cup of green tea or coffee or whatever you like, sit back and read.
Speaker: Andrey, please tell me what you found interesting in wu-sin painting, why do you do it? What does this painting give you and why exactly it, why not another technique?
AS: This is an interesting question. For me, Wu Xing painting is, first of all, a guide on the path of spiritual development. For me, this is a practice of self-development, first of all, and only then - a type of self-expression or an artistic technique. Wu Xing painting contains a vivid demonstration of the principles of Taoist and Buddhist philosophy.
Here it is important to understand the difference between real development practice and simple self-expression. Self-expression is simply spitting out whatever is inside or outside onto the sheet. Practice is a constant work on oneself, on one's own limitations, on one's own movements and one's own vision. If self-expression is directed outward, then practice is always inward.
Speaker: But what about teaching, because it has an external orientation?
AS: Well, it depends on the point of perception, because formally, painting is also directed outward. The practice of self-development can be anything: teaching, business, personal relationships, and much more. The main thing is to fix the point of perception correctly. 
Speaker: Can you elaborate on how the principles of Taoism and Buddhism are embodied in this art?
AS: Let's start with Daos. The basic principle is the so-called "doing nothing" (无为 wu-wei) and following the natural path. Wuwei is very clearly demonstrated by drawing “from the stain”, when you first apply the stain, then, with a minimum of modifications, turn it into an object. In painting, Xing has no sketches. The drawing is formed by quick strokes and spots. Thus, you never know exactly what will happen in the end. When you draw in this way, you understand that there is no way to spoil the drawing, because any unexpected blot can organically fit into the integrity of the drawing, if you follow naturalness, you do not impose too much of your own on the drawing. Thus, it turns out that it is not the author who forms the drawing, but the drawing helps the author to take the next step in self-development.
This type of drawing is very helpful in increasing the flexibility of the mind and body. If a person is seriously engaged in wu-xing painting, then new horizons of life will surely begin to open before him, because he begins to see more. It must be understood that the root of dissatisfaction with life is usually just too much stiffness and rigidity in judgments, thoughts and actions. It is worth starting to work on the flexibility of the mind and body, and life will begin to change. Wu-sin painting is one of such practices.
Walker: what about Buddhism?
AS: It's all about non-attachment. One who perceives wu-xing painting as a practice should strive, by all means, to free himself from attachments. First of all, attachment to the results of their work. I even, at one time, did such an interesting practice. First you work on a painting for a long time, and then you burn it. At the same time, the most important thing is to initially know that you will burn it later. In short, it is important to understand that it is not the artistic result that is important, but those inner discoveries that the artist made while painting a picture.
You should also not become attached to your own style, on the contrary, you should be in constant search for something new. Here, by the way, there is a huge difference with the psychology of an ordinary artist, for whom there is nothing more important than their own style.
In fact, the binding of strokes to the 5 elements of Wu Xing, like any artistic canon, is all that an artist who practices Wu Xing must discard over time, in search of the very truth that cannot be uttered in words.
Speaker: In the announcements about wu-xing painting, it is said that this technique has an art-therapeutic influence. What exactly are we talking about?
AS: Yes, there really is an art-therapeutic influence. This influence is also noted by professional psychologists, for example, Julia Zima (https://komninus.livejournal.com/49143.html). Many psychologists have adopted this technique. I know that the Kiev Art Therapeutic Association uses Wu Xing painting in its work with clients.
The first level of this art therapy influence is that, by relaxing certain bodily clamps, a person can get rid of mental clamps. This fact is known from the theory and practice of body-oriented psychophysics.
The second level is that by liberating his movements, a person gets acquainted with a new way of interacting with reality. Here the influence of our painting is very easy to understand and trace. For example, a person in life is too direct and can only give slaps to the right and left, but is unfamiliar with flexibility in principle or has already forgotten what it is. This often happens to women who have forgotten their femininity. This person will only get straight, hard strokes of "Wood", and flexible - "Metal", will be a new type of action. And if a person masters it, then this can be a big step forward.
The third level is work with images. Here we come to Jungianism. To understand how the work with images is going on, I will give one working example. It is known that the Tree is an archetypal and important image for every person. The most interesting thing is that everyone has their own subconscious tree, and the subconscious drawing of a tree can say a lot about a person. And if you start working with this symbol, show a person that there are other types of trees, achieve the plasticity of his "inner tree", you can achieve very good results.
It is interesting how much success this technique can bring in the field of real therapy. My teacher, Maxim Parnakh, specializes in working with disabled children. With the help of the U-Sin Painting technique, he often “pulled out” children from cerebral palsy. 
Speaker: Philosophy is more or less clear, now let's talk about technology. As far as I remember from the video, you draw bamboo leaves with the movement of the fire element. Is there a contradiction here? Green living leaves and suddenly the element Fire?
AS: With the Fire technique, you can draw not only leaves, but also fish, birds, flower petals and much more. Why so? The question seems to be simple, but the answer is a little deeper than it seems. U-Xing, translated from Chinese, is still not five elements, but five movements, the hieroglyph "xing" is translated, first of all, as movement. Therefore, if we are talking about wu-xing, then this will be the world of energies, because energy is a measure of movement. The five "elements" of Wu Xing are the five qualities of movement. Understanding this fact entails very interesting metamorphoses in the understanding of the world. I write about this in some detail in this article about Wu Xing: https://komninus.livejournal.com/39986.html
Fire is a fleeting and explosive movement. If weak, then it is like the flight of a butterfly, if strong, then it is like a bomb explosion. And they draw with them everything that is endowed with a fleeting nature. In plants, the leaves are the most mobile, they fall in autumn and grow in spring, they sway in the wind, constantly changing direction, but the tree trunk is not endowed with such dynamics, it is much more static and solid.
Many flowers are painted with the same “fire” movement to emphasize the transience and brightness of their life. These are the same in nature and fish with birds, these are the most elusive creatures in the world. The transmission of such transience occurs with the help of a quick movement of the wrist, because this part of the hand is capable of the fastest movements.
Presenter: What material do you use for drawing? Paper is understandable, but still? Ink, Ink, gouache, watercolors? If there are different materials, could you tell me what is the difference when working with each of them? Do you associate colors with usin? Do I need to use special brushes and paints for drawing? What exactly?
AS: When answering such questions, I always remember that Wu Xing is metaphysics, that is, it is above form. Therefore, wu-xing painting can be painted with anything and on anything. The more I do this, the more I am convinced of the correctness of my opinion. Another thing is that with quick strokes you will be able to draw
Chinese brushes for calligraphy. It will be more "Chinese" and much easier to learn. And so, in general: complete freedom.
It is known that wu-xing is associated with colors - wood, for example, is turquoise, fire is scarlet, etc. Some modern practitioners, such as Jun Yuan Qigong, use wu xing color therapy. Personally, I am a supporter of awareness, and not stupid following someone else's opinion. From personal experience, I have not yet found objective links between one and the other. Personally, it seems to me that here, just, everything works the other way around. A person first inspires himself that the turquoise color and the liver are somehow connected, and then he already applies this type of self-hypnosis.
The connection between wu-hsing and the color of the picture is quite possible, but then it is necessary to approach the issue more comprehensively. For example, Gauguin's paintings are filled with contrasts of cold and warm, which awakens a real boiling of emotions in the heart of the beholder, so the contrast of cold and warm tones is the energy of "Fire". But the monochrome Japanese sumi-e painting often evokes a feeling of calmness or even sadness, and therefore such a contrast of dark and light can be attributed to the energy of "Metal" and so on.
Presenter: In what scale do you like to work in monochrome or color most of all?
AS: To be honest, I'm all for diversity. As mentioned above, in wu-xing painting, the artist does not have the task of creating his own style. Style, like another form, seems to come from outside, parallel to the tasks that are currently facing. Among my works you can find both color and monochrome. Lately, I've been more inclined towards monochrome painting, but I think this is also temporary.
Presenter: Which style of Chinese painting is most appealing to you? Here, for example, I am mountains-waters and birds are not at all interested. I wonder if any conclusion can be drawn from this? After all, there are also 5 styles.
AS: Oh, well, I don’t know if it’s worth drawing any conclusions here. As you know, only an amateur psychologist seeks to instruct all diagnoses at once. Of course, there are 5 styles, this is true, but there is a different classification. Again, the matter is not in the form, but in the movement of the gaze across the picture. How the eye moves, how it moves from object to object, that's really important.
I also love landscapes filled with fogs and mountains. My favorite Chinese artists are Ma Yuan and Xia Gui, who lived during the Song Dynasty.
Speaker: Is it true that anyone can learn to draw?
AS: Yes it's true. Wu Xing painting is a technique in which, in just 2 months, you can reach a very good level, even if you started from absolute zero. The fact is that modern academic techniques, both Chinese and European, are often oversaturated with details that a person absolutely does not need at the first stage. And knowing the structure of the modern psyche, we can safely say that they rather insecure than free a person. Wu-xing painting gives the essence, without any frills, and therefore it is very easy to learn to draw from scratch in this technique.
Often people think that in order to learn how to draw, some special talent is needed. This is absolutely not true. Over the past few years, I have produced over a thousand students. Statistics show that the only thing you need to succeed in this area is to have a clear intention to learn and work hard on yourself. The two main obstacles are laziness and intellectual impotence. Laziness and intellectual impotence complement each other and just create that vicious circle from which 90% cannot get out: I won’t, I don’t want, I can’t ... Intellectual impotence is especially dangerous for a man, because it is followed by real impotence.
Speaker: Why, having delved into the essence of Wu Xing painting, do you paint in the Chinese style, and not in your own, for example? Can a Russian person also have a Chinese worldview?
AS: Interest Ask. In fact, at the first stage, the Chinese style was interesting to me insofar as it was. You can look at my early paintings, they often have nothing to do with China at all.
Here are some examples:
