In conjunction with the Ceramics studio at JamFactory, Kirsten Coelho, lecturer in Ceramics at the South Australian School of Art University of South Australia, organised a five hour weekend class. The session was open to anyone - students, emerging and established practitioners. The interest was overwhelming with over 40 people attending the session. Jingjing explained how “contemporary attitudes in China to blue and white are developing as a combination of traditional Chinese ideas of decoration and aesthetics and distinctly western ideas of the decorative.

(Left) By referring to classical examples Jingjing demonstrates correct use of 'chicken head' brush.
(Right) Participants in class applying technique

In China artists struggle with notions of authenticity. To keep characteristics of tradition in their work - or to look towards the west for aesthetic considerations - is a big question. In China there is a continuous dialogue of conflict of what it means to be Eastern or Western and traditional or contemporary”.

Jingjing provided palettes of ball milled cobalt oxide - tempered with a small amount (3% to 5%)
of black iron oxide to give the resulting blue a bit more chromatic interest. Everyone was given a selection of traditional ‘Hake’ style brushes. Jingjing showed how to use the ancient method of ‘poncing’ to transfer outlines of designs from one surface to another by means of pierced tracings. Porcelain blanks were supplied and everyone fell steadily to work.

A special feature of the class was the chance to learn the arcane secrets of correct use of the infamous ‘Chicken’s Head’ brush - a split bamboo handle holding a drooping cockscomb of brush bristles that allow skilled users to colour in broad areas as well as draw finer details. This proved to be very popular and everyone had a go.

It was interesting to see how people, learning from demonstration of a few aspects of the classical Chinese model of brushwork, soon adapted what they had been shown to make new versions from old. Australian potters using these techniques are creating new ideas when they integrate western and eastern ideas of the decorative.
It is difficult for contemporary Australian potters to comprehend the significance of a culture of widely shared craft skills and deep historical precedent. Australian practitioners tend to be individual studio practitioners and they are, by and large, remarkably free to borrow from any modern art movement; to use collections, museums, publications, travel, technology and information to absorb influence from remote locations and diverse and sometimes ancient cultures - occasionally in ways
that can seem like a random feast of post-modern appropriation.

This is a remarkable freedom - which makes appreciating and understanding a skill like brushwork
all that more important. If craft practice steps too far away from its skills, standards and aesthetic guidelines it comes somewhat adrift - we end up with works that say little of the identity or abilities of the makers, do not reflect upon or express anything about the times of their making and which ultimately provide little long term engagement with the work or the ideas associated with it.

Cultural and craft traditions in China provide strong and well-established guidelines and standards for most practise. Pottery is no exception and makers in the East are more likely to be aware of historical precedent and principle to guide, regulate and inspire the learning and exercise of craft skills.

Brushwork is no exception. For example in China students, artists and connoisseurs alike would probably have been familiar with brushwork guidebooks like The Tao of Painting or its abbreviated form known as The Mustard Seed Garden Manual of Painting, which is also known as the Chieh Tzu Yuan Hua Chuan - the complete edition of which consisted of thirteen books arranged in three parts. Part 1, on painting landscape, appeared in 1679 and constitutes the first edition of the Chieh Tzu Yuan. It in turn comprises five books: one on general principles and standards, with historical notes and a section on colours; Book of Trees; Book of Rocks; Book of Jen-wu (People and Things); and a book of additional plates showing examples of landscape painting. Other parts of the book went on to comprehensively explain how to paint flowering plants, feathers and fur, grasses, bamboo, insects etc.

Like anyone who has ever tried brushwork, participants in Jingjing’s brushwork class found having a guide or being shown an example is one thing - learning how to do it is another. The vigorous amount of work done and the variety of ideas and interest shown by all who attended is testimony to brushwork’s inherent interest and the desire amongst practitioners to learn more of this special and highly rewarding skill.

Stephen Bowers works with ceramics and is Field Researcher with the Australasian Institute of Backyard Studies, he is currently Managing Director of JamFactory Contemporary Craft and Design