Some paintings were done after the exercises of tracing the shadows

The tracing of shadows are like warming up exercises - a preparation of observation , or of calming down the innerselves in order to be more alert eventually

The full sequence illustrated is an attempt to point out 

1. The natural shadows make beautiful images when cast on the surface

2. The tracing of the shadows is only an attempt of going back in time ( in the tenth century ) , to see how the first artist felt when she discovered the joy of tracing the shadows on window 

3. The brush is not a traditional Chinese brush- it is a watercolour brush which is a little less controllable than the Chinese brush as it does not easily allow a perfect point usually left by a Chinese brush when the final lifting of the stroke is made. And here lies the challenge : how would a western trained artist, with western tools ( not rice paper which is more absorbing, watercolour brush, coloured ink ) portray a very traditionally accepted Chinese subject matter in a way which is based on observation, yet without losing the essence of portrayal of a Chinese mind - the perfect breath found in one brush work without hesitation

4. One of the negative points: the paper, being less absorbent, does not allow the coloured ink to make proper spatial feeling as the traditional Chinese rice paper would.

Yet, the interesting thing is -these images look spatial when photographed or filmed, especially when the real shadows are still present, which allow the flatness of paper to somehow acquire a dimension which is not flat, but alive. 

Thus one gets to be convinced of two elements :

The rice paper and the Chinese brush are most probably the best tools to create these bamboo images.