It is said, "The form is born ahead of the brushwork," and "The spirit dwells in the painting when it is done."

“Among those who study painting, some strive for an elaborate effect and others prefer the simple. Neither complexity in itself nor simplicity is enough.”

“Some aim to be deft, others to be laboriously careful. Neither dexterity nor conscientiousness is enough.”

“Some set great value on method, while others pride themselves on dispensing with method. To be without method is deplorable, but to depend entirely on method is worse.”

— Lu Ch'ai (Wang Kai), 17th century Master of Ch'ing Tsai T'ang, (Chinese brush painting)

Two years ago I signed up for a Chinese Brush Painting class at the Museum of Fine Arts in Boston. Little did I know that for the first six months I'd be doing the bone stroke and usually incorrectly. Then one Friday Ms Yang said, "Good, you can move on to next part of the bamboo."

Twelve of us —all at differing levels and with different backgrounds—meditatively learn the proper brushstrokes.It's a fascinating array of twelve people representing eight different occupations, five nationalities, and traveling to the MFA from Boston, or an hour away or from another state.

And once a year Ms Yang has a show at the Buddhist Center and all her students have a piece in the show. (Often people re-do the same piece several times—or many many times— before it is acceptable.)

When it is accepted one of the curators in the Chinese Art Department mats it with a traditional silk mat.