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home·artworks·Light of dawn on the monastery
Light of dawn on the monastery by Shitao

plate no. 4619

Light of dawn on the monastery

Shitao, 1669

oilInk and wash paintinglandscapemountainstreesfoglandscapearchitecturemonastery
some experience helpful

Recreating this painting will help students develop skills in creating atmospheric perspective and using varied brushstrokes to suggest texture and form.

technical profile

palette complexity
2
brushwork visibility
4
value contrast
4
compositional simplicity
3

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Prepare the paper with a light wash of diluted brown ink to mimic the aged paper.

  2. step 02

    Lightly sketch the basic shapes of the mountains and trees, paying attention to their relative sizes and positions.

  3. step 03

    Begin with the distant mountains, using very diluted ink and soft brushstrokes to create a hazy effect.

  4. step 04

    Gradually build up the values in the foreground mountains, using darker ink and more defined brushstrokes.

  5. step 05

    Add details to the trees and monastery, using a fine brush and concentrated ink.

  6. step 06

    Create the fog effect by carefully blending the edges of the mountains and trees with diluted ink.

  7. step 07

    Add final details and textures with dry brush techniques.

  8. step 08

    Allow to dry completely.

color palette

primary · black ink · sepia

secondary · burnt umber

Use varying dilutions of black ink to achieve different values. Mix sepia or burnt umber with black for warmer tones.

techniques

  • ·ink wash
  • ·dry brush
  • ·atmospheric perspective
  • ·gradation
  • ·blending

common pitfalls

  • →Overworking the details
  • →Using too much ink at once
  • →Creating harsh lines instead of soft transitions
  • →Ignoring the importance of negative space

materials

surface · rice paper

required

  • ·Chinese calligraphy brushes (various sizes)
  • ·black ink stick or ink
  • ·ink stone or small dish
  • ·rice paper or watercolor paper
  • ·water
  • ·felt mat or newspaper

optional

  • ·sepia ink
  • ·burnt umber watercolor
  • ·palette
  • ·water dropper

Practice brushstrokes on scrap paper before applying to the final piece. Use a soft brush for washes and a stiffer brush for dry brush effects.

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