architecture

The illustrations are a wonderful source of reference and inspiration for the beginning and intermediate painter. There are plenty of examples to get you started if you're thinking of trying something new and aren't quite sure how to approach it. The sections I find myself using all the time are trees and human elements.

I learned from a teacher when I was living in Japan, so the bad translation doesn't bother me. I use this book for the images, which is what you really should buy it for. If you want something more of step-by-step instruction for the very beginner, this book isn't it.

While the English translation leaves much to be desired, this book is THE classic manual of traditional Chinese painting. It is a must for the library of any fan of Chinese brush painting, but it should not be the only book used for instruction, especially if you don't have a teacher. Since the true original book was written in the 17th century, it was printed with woodblocks, so the subtleties of ink shading are not very well illustrated.

However, it is an excellent summary of the myriad of brush techniques, especially for rocks and trees. I highly recommend it as a reference book for anyone serious about Chinese brush painting.

If the translation were better, I would give it 5 stars. Unfortunately, this is the only English version in print, as far as I know. But once you know how to paint, most of the words are not important anyway.

The Mustard Seed Garden Manuel of Painting had been a standard reference book for Chinese beginners of painting for a long time (though it ceased to be so quite a while ago). It remains a valuable summary of styles and methods in traditional Chinese paintings, and is of a lot of historical interests because it represents the scope and perspective of the authors some 300 years ago. It is really a fun book to read, but it would be dangerous to use the book as a guideline for appreciating traditional Chinese paintings cause this book was, after all, compiled with a very strict ideology of paintings, even ignoring and misinterpreting many art-historical facts. I would have given the book a 10 if this was not a bad translation. First, we have to admit, it is an old translation. For whatever reasons which I suspect are related to the fact that the book was first published at 1956, there are simply many wrong translations in the English text. If you can read Chinese, I bet you would hardly resist the temptation of giving the book a thorough revision. I often laughed hurting my stomach when I read it. I will leave you to judge whether it's a good aspect or a bad one of this book.