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2021-03-01 23:20
2021年3月15日– 3月26日
共十個全天
Ten Full Days
10:00 - 17:00
（午休一小時 one-hour noon break）
山水觀的構成：風水與山水
The Constitution of Shanshui Landscape and Geomancy
丁羲元 林海鍾 鄭宇
Ding Xiyuan, Lin Haizhong, Zheng Yu
風水以及山水，是中國獨特的藝術表現和原理。中國人崇尚自然，主張應順乎自然，融合自然。中國是大陸，山峰秀美，河流縱橫，地形錯綜複雜，從數千年的地理探尋，經驗積累中總結上升為“風水”學說。
Feng shui and shan shui (ink landscape painting, lit. “mountains and water”) are philosophical and artistic principles, as well as modes of expression, unique to China. The Chinese revere nature and advocate that human should follow the way of nature and integrate it into his life. Geographically, China is a mainland, with beautiful mountains, rushing rivers, and an intricate and complex terrain. The theory of feng shui is the distillation of the accumulated knowledge and wisdom gained from thousands of years of geographical exploration of this terrain.
中國很早就進入農業社會，以農耕為生。很古就採用了陰曆，順乎農時，對陰陽、時序變化極為敏感。中國本土沒有宗教，一切以面對自然的實踐經驗為指導。中國的山水畫，以及園林等藝術，是人與自然的再體現，是第二自然，同樣反映人與自然的關係。山水畫及一切藝術的中心，對象是人，因此是人的思路、情緒和性格、審美觀念等的反映和體現。
Agricultural society, with its focus on farming, emerged very early in Chinese history. The lunar calendar, in use since ancient times, follows the agricultural seasons and is extremely sensitive to variations in yin and yang and in the order of time. There was no indigenous religion in China, so that all aspects of life were guided by the practical experience gained through encounters with nature. Chinese landscape paintings, scholar’s gardens and other art forms can be viewed as the re-embodiment of human and nature--a “second nature”--and also reflect the relationship between man and nature. Human is both the centre and the object of shan shuipainting, as well as of all other arts, and as such shan shui also is a reflection and embodiment of human thoughts, emotions, inner nature, and aesthetic concepts.
林海鍾作品《天目雪》
337.5cmx136.5cm 2014年 水墨設色 絹本
Tianmu Snow by Lin Haizhong
Ink and colour on paper, 337.5 x 136.5 cm, 2014
“風水”是指人與自然的關係，人是自然的一部分，人要融入自然，適應自然之規律。具體而言，人類選擇適宜的地理形勢，營造居住點，注重水源及其流勢，選擇土地肥美，避風易居，陽光朝向，交通便利之環境等等，因此將這一構想可稱為“風水”。
"Feng shui" refers to the relationship between human and nature; human is part of nature, and thus must integrate with nature and adapt to the natural laws. In practical terms, people would choose the most suitable geographical terrain, build settlements, scope out water sources and flow, identify the most fertile land, sheltered from the wind, with good exposure to the sun, convenient paths of transportation, and other elements crucial to a good living environment. This way of life and thought thus came to be known as "feng shui.”
圖片來自丁羲元《藝術風水》
Image from The Fengshui of Art by Ding Xiyuan
山水畫包容性最大，是一個大千世界，是一個天地，包羅萬象。山水畫包含了世界的法則，通過對山水畫的學習，可以找到一切的源頭。山水畫就是一劑良藥，在我們如今這個時代，它與現代並不是割裂的，現代被包融在山水中。
Shan shui landscape painting is the most all-encompassing form; it is an entire cosmos in itself, containing heaven and earth. Shan shui painting encompasses the laws of the world. Through the study of shan shui painting, one can trace the source of all things. Shan shui painting is also a panacea for our modern world. It is not separate from our era; rather, modernity is embraced by the landscape.
林海鍾作品《太行洪谷圖》
Taihang Honggu by Lin Haizhong
往期課程回顧視頻
課程介紹
山水觀的構成：風水與山水
The Constitution of Shanshui Landscape and Geomancy
（2021.3.15-3.26）
本課程分為兩部分，由丁羲元、林海鍾、鄭宇導師分別進行授課。
This course is divided into two parts, taught by tutors Ding Xiyuan, Lin Haizhong and Zheng Yu.
第一部分：丁羲元導師將分析山水畫的形成，闡釋山水中的五行觀念，并介紹山水所反映的風水理念。課程的講論將對照歷代名畫，從對畫作的分析中，闡述上述歷史和思想，對於山水畫的實踐者和愛好者來說是難得的學習機會。
Part 1: Ding Xiyuan will analyze the formation of shan shui landscape painting, explain the concept of the five elements as applied to landscape, and introduce principles of fengshui that are reflected in landscape art. Course lectures will compare masterworks of past dynasties and expound on the history and ideas elucidated above through detailed of the paintings. This is a rare learning opportunity both for practitioners and lovers of shan shui landscape art.
第二部分：林海鍾導師將以山水的造型學作為貫穿的線索，建立對山水畫的基本認識。具體先授筆法，以勾雲法與染雲法兩種筆法為主，對雲水這一基本傳統元素作臨摹與寫生。再進入山水畫的位置構成法，這是山水畫的核心，也是古人總結世界的形成法則。鄭宇老師將從實踐出發，延續海鍾老師的教學，帶領同學們完成臨摹，冊頁和參古法創作。兩周的時間內，就煙雲變幻貫以臨摹、寫生完成創稿。
Part 2: Lin Haizhong will use the modeling of landscapes as an entry point for guiding students towards establishing a fundamental understanding of shan shui art. Prof. Lin will focus first on brushwork, instructing students in the essential brush techniques of cloud and water painting, including gouyun (cloud sketching) and ranyun (cloud staining). Students will apply these techniques in copying from masterworks and in their own sketches. Next Prof. Lin will focus on the method of the compositional placement of elements, which is the core of shan shui art; it is also the method by which the ancients summarized the structure of the world. Continuing on from Lin Haizhong’s instruction, Tutor Zheng Yu will guide students in the application of methods learned to create copies of masterworks, album leaves and ancient styles. Within two weeks, students will have completed a portfolio of paintings created through both copying and sketching, that demonstrate the rich variations of clouds in landscape art.
導師介紹
丁羲元 Ding Xiyuan
丁羲元，藝術史家。1965年大學中國語言文學系畢業，1978年中國藝術研究院首屆研究生畢業，師事蔡若虹、王朝聞先生等，於美學師事宗白華、伍蠡甫先生，畫學師事王個簃、唐雲先生等。1984年參加中國美術家代表團訪問日本，開始打開廣闊國際視野，1987年再應日本國立學術振興會邀請赴東京研究日中美術史交流十個月。復於1988年赴美國堪薩斯大學等講學、講演。多年並赴歐、美、日各大博物館觀摩訪問，研究中國近代和晉唐五代宋元名畫，積有豐富的閱歷。自1985年至1995年間任上海美術館副館長，與國內外名家大師親交，廣有交流。近年又去臺灣藝術大學任客座教授，為碩博士班講授中國畫論導論和古書畫鑒定課程。
Ding Xiyuan is a noted art historian. He is a graduate of the Department of Chinese Language and Literature of the University in 1965, and in 1978 completed postgraduate degree studies at the China Academy of art, where his mentors included Cai Ruohong and Wang Zhaowen, Zong Baihua and Wu Lifu for aesthetics, and Wang Gefeng and Tang Yun for painting. In 1984, he was among a delegation of Chinese artists invited to Japan. In 1987, he was invited by the Japan Society for Academic Promotion to study Japanese and Chinese art history in Tokyo. In 1988, he was guest lecturer at the University of Kansas in the United States. Prof. Ding has conducted extensive research in major museums in Europe, the United States, and Japan, and is a noted authority on both modern Chinese painting and art of the Jin, Tang and Five dynasties periods. From 1985 to 1995, he served as the deputy curator of the Shanghai Art Museum, where he worked closely with celebrated artists both at home and abroad and engaged in extensive exchanges. In recent years, he was guest professor at National Taiwan University of Arts where he taught graduate courses in Chinese painting theory and the analysis and connoisseurship of ancient painting and calligraphy.
Prof. Ding is currently a senior researcher at the Shanghai Art Museum, adjunct professor at Fudan University, member of the Shanghai Chinese Painting Academy, and vice president of the Lin Fengmian Research Association.
林海鍾 Lin Haizhong
林海鍾博士，號臥霞散人、錢塘後來生，林泉閣主人，居錢塘西湖之畔。中國美術學院國畫系教授、博士生導師，中國美術學院書畫鑒定中心副主任。林海鍾傳承古意，主張以畫悟道為國畫的至高境界。其水墨蕭散簡淡，以禪為旨，而賦色之作則豔麗古雅，承唐宋遺意。代表作包括大英博物館藏品《牆》，靈隱寺大型壁畫《濟公行化圖》和國家博物館收藏的《鑒真東渡圖》。
Lin Haizhong, studio name Wo Xia San Ren, lives in Qiantang on the shores of West Lake and is master of the Lingquan Pagoda. Lin Haizhong is a professor and doctoral supervisor in the Chinese Painting Department of the China Academy of Art. As an ink painter, he is strongly influenced by Zen philosophy, valuing simplicity and advocating the possibility of painting as a practice of spiritual enlightenment. His works are grounded in the painting techniques of the Tang and Song dynasties. Representative works include Wall in the collection of the British Museum, the large-scale mural Jigong Xinghua in the Lingyin Temple, and Jianzhen's Eastern Journey in the collection of the National Museum of China.
Zheng Yu holds a Master’s Degree in Arts and Culture from the China Academy of Art (CAA) and a PhD in shan shui landscape painting from CAA’s Department of Chinese Painting, where he studied under the tutelage of Lin Haizhong. In 2010, Zheng was a member of the research group on traditional Chinese murals headed by Prof. Lin, and later participated in the creation of the monumental mural Jigong Xinghua in Jigong Hall of Lingyin Temple. He resides in Hangzhou and is presently teaching at the Hangzhou Centre for Buddhist Studies.
Appreciation of artworks by class tutors
The Fengshui of Art by Ding Xiyuan丁羲元著作《藝術風水》
林海鍾作品《武當真形圖》
314cmx118cm 2018年 紙本水墨
True Likeness of Wudang by Lin Haizhong
Ink on paper, 314 x 118cm, 2018
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- 欲在傳統藝術和傳統工藝領域起步和提高的人士
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授課語言：中文
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2021.3.15-3.26，共十個全天
10:00 - 17:00（午休一小時）
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元圓堂 | 英國王儲基金會傳統藝術學院中國中心
蘇州市姑蘇區十全街107號（近蘇大本部南門）
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