Foundational Philosophy
"Gewu" refers to investigating the nature of things, while "zhizhi" means gaining knowledge through that process.
For artists of the Song era, observing nature was not about capturing its surface, but about perceiving its underlying essence.
In painting, this way of thinking brought a shift from passive depiction to intentional choice.
To observe nature is not to imitate it.
Only through understanding can expression become meaningful.
Instead, a curve, a branch, or a gesture would suffice to express the whole.
What the artist chose to retain became the very space where meaning could emerge.
In this sense, gewu zhizhi took form through acts of framing and composition.
The circular shape of the tuanshan, or round fan, provided a natural boundary for the painter’s gaze.
When confronted with a field of blossoms, which one should be chosen as the starting point of a scene?
Which branch, when placed beside it, best conveys a feeling or idea?
Qing Dynasty painter Li Fangying once wrote:
“Among the tens of thousands of blossoms before the eye, only two or three truly delight the heart.”
A perfect expression of what it means to choose with intention.
Slide left or right to frame. Select the part of the landscape that draws your attention.
Subjective Expression, Seasonal Fidelity
For artists of the Song Dynasty, artistic creation grounded in gewu zhizhi was not a subjective reconstruction of nature but a humble form of dialogue with it. Through gewu, the investigation of things, artists attuned themselves to the rhythms and structures of the natural world. Through zhizhi, the pursuit of understanding, they transformed this insight into poetic and measured expressions.
Seasonality was central to this way of perceiving. Painters often selected their motifs according to the progression of the four seasons. These were not decorative symbols but distilled fragments of nature, deeply observed, reflected upon, and intentionally chosen.
Seasonality was central to this way of perceiving. Painters often selected their motifs according to the progression of the four seasons. These were not decorative symbols but distilled fragments of nature, deeply observed, reflected upon, and intentionally chosen.
In Framing the Seasons, I selected four tuanshan (round fans), each carrying strong seasonal associations. This choice pays homage to the Song painters’ sensitivity to natural rhythms. It is an embodiment of painting in accordance with the principles of nature. Within the fan’s limited surface, composition becomes an act of restraint and resonance. Careful selection gives rise to emotional depth and layered meaning, allowing a subtle and profound connection to emerge between nature and the human heart.
As Song painters once said, “To depict life is not to capture its appearance, but to convey its spirit.
As Song painters once said, “To depict life is not to capture its appearance, but to convey its spirit.