Ten Full Days
10:00 - 17:00
（午休一小時 one-hour noon break）
The Constitution of Shanshui Landscape and Geomancy
丁羲元 林海鍾 鄭宇
Ding Xiyuan, Lin Haizhong, Zheng Yu
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.
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.
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
"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.”
Image from The Fengshui of Art by Ding Xiyuan
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.
Taihang Honggu by Lin Haizhong
The Constitution of Shanshui Landscape and Geomancy
This course is divided into two parts, taught by tutors Ding Xiyuan, Lin Haizhong and Zheng Yu.
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.
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.
丁羲元 Ding Xiyuan
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.現任上海美術館研究員，復旦大學兼職教授，上海中國畫院畫師，林風眠研究會副會長等職。
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
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.鄭宇，字正宇，現居杭州。中國美術學院文創碩士。中國美術學院國畫系山水專業博士，師從林海鍾老師。2010年參加林海鍾教授中國傳統壁畫研究組，從事靈隱寺濟公殿壁畫《濟公行化圖卷》創作以及壁畫研究，同期任教杭州佛學院至今。
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》
314cmx118cm 2018年 紙本水墨
True Likeness of Wudang by Lin Haizhong
Ink on paper, 314 x 118cm, 2018
10:00 - 17:00（午休一小時）
元圓堂 | 英國王儲基金會傳統藝術學院中國中心
+86 512 65309863