INTEGRATING FENG SHUI CONCEPTS INTO PAINTING CREATION Wei Dong University of Wisconsin - Madison, USA ABSTRACT Feng Shui has been widely applied and thoroughly invested into the built environment. As part of my practice, I have been focused on Feng Shui and the physical environment. I have traveled to over 100 near-vanished classical Chinese traditional villages to study how Feng Shui has been used in the built environment and have been making a documentary film titled, Feng Shui China (not publicly released yet). While studying Feng Shui in traditional Chinese architecture, in my research and creation, I have been combining and comparing classical Feng Shui concepts and Western environmental behavior studies. In my design, I have helped to build the Chinese Traditional Architecture and Feng Shui Culture Museum - which is the only museum that incorporates research and the practice of Feng Shui together for the public to visit in Taizhou, China. After evaluate the out come of all those above events, I realized that Feng Shui is not only applicable to the physical environment rather it is applicable in all aspects of traditional Chinese culture. For example, through painting: I have been trying to research and practice making creations of Chinese paintings for how to combine original Feng Shui concepts to architecture applications. The concept for those paintings was to let the paintings echo the contemporary society while retaining the deep meaning of traditional Chinese Feng Shui culture. Through my experimental work, the goal is to incorporate Feng Shui concepts to encourage other fields to take the same approach - of making new work with a background story deeper than the aesthetic, to bring in culture. Any field, whether it be painting, sculpture or design or the arts as a whole can bring in this type of thinking. During the painting process, I have developed the following concrete steps: first, analyzing several key concepts of traditional Feng Shui, second is to examine how the Feng Shui concepts have been applied to other areas of traditional Chinese culture, practically in architecture and gardens. Third, to identify the area in the painting creation process in which can be possible to integrate Feng Shui s concept the most effectively. The final step will be the practice and experiment - the integration of Feng Shui Concepts into Painting Creation applications. KEYWORDS Feng Shui, Chinese culture, painting creation process, integration 1
THROUGH CHI TO EXPERIENCE OF SPACE AND TIME IN PAINTING CREATION One of the most prominent examples of Feng Shui applications would be reflecting upon the Chi, the internal, invisible power. In architecture, the Chi makes the spatial relationship more balanced between the natural environment and human need. The Chi can be consolidated, dispersed, and can produce a positive or negative effect on user experience. In painting, there is the same effect. The Chi effects artists and their connection to the brushes to create a variety of shapes and lines with strong power and movement. The Chi can effect different parts of brushes due to their nature and design of a flowing brush. Through painting, the Chi can integrate the physical brush to the color within the brush, the artist s hand, and at the same time an entire body movement. Most importantly, the beautiful and physical effects of the Chi on the paper can truly reflect the internal value of the artist s Chi. For many of my paintings, I have been mentally prepared and generated the internal Chi before release it out. At the right time, then the Chi will explosively come out into the painting and be drawn on the paper almost as an emotional, spiritual, out-of body-experience. In my creations, I have used my Chi in the movement of brushes as well as through color. For example, some color is premixed and then applied - however I want each color to have it s own Chi, so I often times put the original color on the paper and then apply a liquid to make the color mix and bleed by themselves directly on the paper. Then nature of this Chi is truly beautiful and echoes the spirit of traditional Chinese Feng Shui concepts (Figure 1 & 2). Figure 1: Fall Celebration 29 in X 55 in (73 cm X 142 cm), 2015, Water Color, Gouache and Rice Paper 2
Figure 2: Summer Abstract 26 in X 26 in (67 cm X 67 cm), 2015, Water Color, Gouache and Rice Paper To express the Chi and the dramatic emotion in my paintings, I integrated traditional Chinese calligraphy techniques for all my painting lines. I use different kinds of calligraphy brushes in order to get many kinds and sizes of brush strokes. Sometimes there is no telling how the brush will interact with the rice paper; for example whether the brush is wet or dry or how different colors will have different effects. Because of these elements the process can result in many unique and unexpected outcomes. In my mind I am thinking about the invisible lines. This is a process similar to practicing Tai Chi where my hand executes the overall design or theme by using a variety of lines, dots, values, rhythms, and repeats. The entire painting process is similar to that of a magician, as one has to work their magic with the water as it contacts the rice paper. For me, the magic is the reflection of emotion, which comes from a combination of heart, mind, eyes, hand, and body. All together the lines develop a fluent rhythm that may start out broken and raggedy but they gradually become a smooth cohesive design, much like a composer orchestrating a composition for a symphony (Figure 3 & 4). Figure 3: Summer Fascination 29 in x 55 ¾ in (73 ½ cm x 142 cm), 2015, Water Color, Gouache and Rice Paper 3
Figure 4: Lucent Void 26 ¼ in x26 ¼ in (67 cm x 67 cm), 2011, Color and Ink on Rice Paper THE DYNAMIC BALANCING BETWEEN OPPOSITE ELEMENTS In traditional Chinese architecture and the gardens, the Yin and Yang - two opposite elements coexisting in harmony through Feng Shui are fully executed. For example, the solid wall with a big opening of window or hole, hard rocks balanced with vegetation, textured materials are balanced with water as a mirror reflection It is an identifiable space, balanced with mystery and partial spatial relationships. I have incorporated all of those architecture elements as well as the understanding of the Yin and Yang into my paintings. Every time I am working on paper, I think about the opposite elements that can enhance or create a balance with what I am currently working on (Figure 5 & 6). Figure 5: Winter Dance 27 in x 27 in (68 ½ cm x 68 ½ cm), 2014, Water Color, Gouache and Rice Paper 4
Figure 6: Golden Eve 26 in X 26 in (67 cm X 67 cm), 2012, Water Color, Gouache and Rice Paper I m always searching to bring dynamic balance to opposite elements in my creative work. Sometimes we as artists prefer to work only from a single perspective, but I believe that if we expand our perspectives, we will be able to achieve greater enrichment. This dynamic balancing process originates from my understanding, appreciation, and practice of Yin and Yang concepts. Positive and negative compliment and enrich each other. They co-exist harmoniously, producing good energy for the next phase of the process. For all my paintings, I take this approach. When I m working with large, wet brushes, I m already thinking about how I can use dry brushes to balance it. When I m using large brushes and broad strokes of color, I m already thinking about how I can use small, elegant lines to make connections. When I m creating bold, emotional backgrounds, I m already thinking about how I can use more logical thinking for the foreground. When a painting is becoming very practical and realistic, I begin thinking about how I can balance it with more abstract and spiritual ideas. When I m using my brushes freely and following my hand and my heart, I m already thinking about how I can use my eyes and mind more strategically. I believe painting is a process of multiple layers. Even more, it is like the life process of planning, changing, rethinking and revising. Like a lot of artists, I place a lot of importance on the core basics of drawing and the ability to recreate an object s physical appearance in threedimensional space. But what I really want to communicate through the dynamic relationship between volume and empty space is an object s essence. My painting process is the reflection of the balance of Yin and Yang energies. Yin and Yang cannot be separated, they cannot stand alone as separate; throughout any process they are constantly coexisting, integrating, and dynamically balancing. On my paintings, the lines and positive forms are visible, but I am really thinking about the space around the forms, the negative space. For example, when I am painting an individual square I am also thinking about the space between the squares. 5
CYCLING The third concept has integrated in my painting is the Feng Shui concept of Cycling - from the sun s movement from east to west, season after season - it creates a concept of beauty, hope, and sense of renewal. From the hard edge of winter, one can remember the softness of the coming spring - or during the harsh summer sun there will soon be the beauty of fall. For me the four seasons are the metaphor I use to represent time, space, and the experiences of life (Figure 7). Figure 7: Rhythm Renewal 38 in x 158in (97 cm x 400 cm), 2013, Water Color, Gouache and Rice Paper In this painting the color gradations behind the tree branches represent the natural life cycle. The changing seasons are unified in one painting and represent the I Ching, meaning that even though our lives are always changing, there are some principles that never change. To paint the branches and create a dynamic balance between the forms and the open spaces I again turned to classical Chinese calligraphy and design principles. These traditions helped me express the rhythm of nature s seasons and our changing human lives. Figure 8: Hushed 26 in x 26 in (67 cm x 67 cm), 2014, Water Color, Gouache and Rice Paper The spring season represents the birth of new life and the period of awakening. My intention here was to use the unique characteristics of Chinese brushes and rice paper to create an elegant flowing line that could represent the energy of spring. I chose to paint willow tree branches because they work well with the sweeping lines of Chinese calligraphy. This painting has several 6
kinds of lines: character lines, meaning lines, movement lines, and value changes. In organizing those lines, I used design principles to form negative and positive space. I used solid lines, empty space, and value variations to create depth and to create a clear focal point where the viewer s eye should pause and rest. I wanted to bring the painting to life with movement and flowing energy throughout, but still leave enough empty space for the viewer s imagination (Figure 8). Figure 9: Encompassing Colors 27 ½ in x 27 ½ in (70 cm x 70 cm), 2014, Water Color, Gouache and Rice Paper I started this painting by splattering paint. I knew I wanted to focus on expressing my emotional reaction through my choice of colors and the way they interacted with each other. As an artist, I am often inspired to go in a completely new direction. After I finished painting the first layer, I turned the paper over and suddenly I could imagine the whole finished composition: the middle ground, back ground, and foreground, so I finished the painting on the reverse side. It s all about using what you already know to get new results (Figure 9). Figure 10: Summer Lush 26 ½ in x 53 ¾ in (67 ½ cm x 53 ¾ cm), 2015, Water Color, Gouache and Rice Paper 7
In many of my paintings, I try to create a dynamic that balances and integrates Chinese and Western painting techniques and approaches. In this particular painting about seventy-percent was done using traditional Chinese techniques. I started by pouring water onto the paper to get it wet. Then I put color onto the wet paper and really let the color move and blend freely. I then used a hair dryer or a spray bottle to spritz the colors to encourage movement and mixture. This process results in a feeling of mist, blurriness, and vagueness. I also used dots and took into account the reactions between varying degrees of dryness in the paper and the resulting color. When the paper is very dry, the dots become a different color against the background. It is a matter of timing when you decide to apply the second, third, and fourth color layers (Figure 10). Figure 11: Rice Field Terrace 28 in X 55 in (73 cm X 142 cm), 2012, Water Color, Gouache and Rice Paper The inspiration for this painting comes from a Chinese rice field terrace. The rhythm and the beauty of the curves are intended to dazzle the viewer. To create these elegant rippling lines I used many colors and various sizes of Chinese paintbrushes. The lines are not meant to be outlines, but to represent changes in values, colors, and shapes. I also used twisting gestures for visual enrichment and to suggest the movements of a dancer or of Chinese silk. My general idea was to treat this painting like a visual symphony (Figure 11). Figure 12: Autumnal Twilight 26 in X 26 in (67 cm X 67 cm), 2013, Water Color, Gouache and Rice Paper 8
This painting was really about managing the process; managing the balance between the initial intention and the final outcome. The painting started with the ink, water, and the color freely flowing on the rice paper and allowing these elements to follow their own inclination and movement. This method always leaves me no choice for I allow these elements to move freely on their own at first. The results always inspire me and ultimately bring the painting to life (Figure 12). Figure 13: Winter Calm 26 ¼ in x 26 ¼ in (67 cm x 67 cm), 2011, Water Color and Ink on Rice Paper Even though the trees are dead, the sceneries calm and peaceful. In classical Chinese painting, white space is not considered unfinished or empty. Instead it can suggest something with physical properties like clouds or water and it also leaves space for the viewer s imagination to fill. Here I used a variety of white shapes for snow. Even when I painted the solid branches and twigs I kept the shape of the negative space in the front of my mind so that the white spaces would leave room for the imagination to rest (Figure 13). Figure 14: A Pearl Quilt 26 in x 26 in (67 cm X 67 cm) 2014, Water Color, Gouache and Rice Paper 9
In the above painting, I paid more attention to Western realism to capture a sparkling winter s day. The blue is highly saturated while the whiteness of the snow provides a dramatic contrast. I wanted to really portray the freshness of winter, as if you can feel the crispness of the clear day. By combining Western painting techniques and colors with the properties of rice paper, I was able to bring greater spatial depth to this series (Figure 14). REFLECTION I would like to quote from Professor Terry Boyd, University of Wisconsin-Madison as a reflection of my works. The (Wei s) paintings are neither Eastern nor Western in style but qualities of both contribute to his process of creating a unified whole from the unpredictable interactions of paper and paint, just as in life, nature creates balance and harmony in a world experiencing profound change. Through his painting, Wei Dong provides a way of capturing universal ideas about the powerful force of nature that gives life to our universe and all of the complex, beautiful, terrible interdependent beings and events that exist within it. And his work gives evidence of the power of nature to restore balance in the world if we seek its wisdom and ways. (Dong, 2016, p.9) REFERENCE Dong, Wei. Long Journey Searching. ISBN 978-0-9755089-6-1. Harmony Arts and Design Studio, LLC. 2016 Corresponding Author: Professor Wei Dong Department of Design Studies University of Wisconsin Madison, USA Email: weidong@wisc.edu 10