Bio: Dottie Blair grew up in the Far East and has always loved Chinese painting – landscapes in particular. She finds them peaceful to observe and satisfying to create.
Traditional Oriental art is drawn from life. Gnarled bent trees cling perilously to craggy mountains, swathed in swirling mists; temples and pagodas, both modest and ornate, grace lovely placid river banks and small bustling villages; tiny bridges cross small streams far below thunderous waterfalls; all the while, simple people go about daily chores.
Chinese painting is learned by copying the works of old masters. Skill and technique develop through practice as the artist gains confidence and ability. As important as the finished product is the merit of peace and tranquility gained through working. The Four Treasures – a bamboo brush, an inkstone, a stick of dried compressed ink made from pine soot, and “rice” paper are the only simple tools needed to step into this world of wonder.
Dottie began her studies in Taiwan with Professor Nancy Tao, later continuing with Ming Liu. After several years of study, Ming bestowed upon her the honor of a studio name – Misty Peak Pavilion. This became the name of her website – mistypeakpavilion.com.
An active member of the Sumie Society, she pursues her interest in Chinese painting at every opportunity. Her works hang across Europe, Canada, Hong Kong, Taiwan, and in homes and offices across the United States.
Artist Statement: My paintings exemplify my passion for Chinese temples and palaces. I love painting them and I suppose that may stem from the fact that I played in one as a child – a thrill I can still recall. It was across the street and down the block from my house and all the neighborhood kids gathered there every day to play.
It wasn’t until I began to study painting that I learned to “see,” rather than just to look. I work a lot from photographs, sometimes putting a couple of them together to get everything I want into a scene. I also work from art and travel books and photos of the works of old Chinese Masters. I am inspired by many of them and frequently base a painting on one of their works.
I try to show as much detail as possible when I paint, because that’s what makes it interesting to me. Simply the outline of a pagoda doesn’t show you the temple bells hanging from each corner or an old monk who may be peering out of an archway. I want to see everything and I want to show it to you as well.