If like me, you are fond of painting in general and Asian painting in particular and you happen to occasionally play with the brush, titillate the canvas, brush it with the colors that you have miraculously managed to obtain on your palette this article may interest you.

Sensitive to Chinese painting, to its subtle nuances of hues, its graceful and refined forms, its poetry, its history, its philosophical approach, we had indeed been looking for a long time for an internship that would allow me to initiate myself to this technique, without complex, without taboos. From entrepreneurial mag you can know a great deal now.

This man has the art of putting you at ease, of bringing out the “artist” who lies dormant in you even if he sleeps very soundly!

Benevolent but without complacency, he guides you and leads you to results that you will not suspect.

Each course is offered around a theme. Regarding my internship, the subject was the Lotus. Blooming lotus, in bud, isolated on the surface of the water or mixed with other aquatic motifs. The lotus is at the same time a religious symbol, an auspicious motif and a pictorial theme with multiple stylistic translations. Its variations are endless and everyone can exercise their creativity.

A beautiful and inspiring theme that allowed us to take the full measure of the task

As the absorbency of the paper leaves very little room for error, you have to be precise, both fast and patient. In this Chinese watercolor technique, the brush must lovingly stroke the rice paper to allow the paint to diffuse and the shape to metamorphose into a petal, stem or leaf.

  • The harmony of this painting does not lie only in the result on the sheet but in the entire gesture, of the fusion between this gesture and thought. You just have to watch the Masters do it to be convinced.
  • Beyond the aesthetic aspect, it is therefore also in the process to achieve this that lies my attraction for this artistic practice.

We appreciate the way this painting explores the world with just as much precision as Western painting without yet accurately portraying reality. It proceeds from particular techniques including the movement of the brush of course and the use of ink far removed from our painting more concerned with the effects of shadows and light.

From a few lines of great sobriety, Asian artists give birth to a whole universe endowed with an astonishing life: mountains, waterfalls, birds, effects of mist where it is not uncommon for man to be reduced to a simple “task”, drowned in nature, lost in the great whole when in Western painting it is frequently camped in the foreground relegating the landscape to the background. In the biography of Bashar Ibrahim  you can know the best now.

But we must not be fooled by appearances, even the Western eye ends up fixing its gaze on this little “man” and putting itself in his place, contemplating the landscape from his position, a position often “strategic” around which everything is organized.

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