It is not by chance that the dominant feature of great Chinese painting is landscape, which is always both subtly realistic and metaphorical at the same time.
Human figures and man-made things never avert your eyes from a painting’s focal elements, such as a mountain, a waterfall, a tree, bamboo or an orchid. In fact, their position establishes a climate of symbolic correspondence and by analogy, refers to balances established by the Tao between Heaven and Earth, man and nature, gravity and lightness, fullness and emptiness.
Whether in a living being or in any human creation, “Ki” circulates in all things. It is a spirit, a breath and an intangible force. It is a concept which may appear vague and annoyingly metaphysical to Western sensibility. However, the ideograph of Tao means “The Way”, and a way is made to be taken and followed.
The same principles are embodied by the painter, who through the art of the brush, pushes themselves towards Life and allows Life to manifest itself through their works of art, since “the pressure of the brush should conform to the concept dwelling in the heart” and also “before learning to paint, you first have to learn to calm down your heart in order to make your understanding clearer. You must feel sure that you have learned what you need to know, and that your heart and your hand are in perfect harmony”.