Issue 4 – By; Zuha Rasheed Glenn Parsons is a philosopher and associate Professor at Ryerson University in Toronto. His interests include aesthetics, metaphysics and philosophy of science. His current […]
is a network of scholars and artists devoted to studying, practicing, and promulgating theoretical and practical knowledge concerning Shanshui 山水 (Mountain and Water, or Landscape) painting.
Shanshui is one of three Chinese painting genres.
Its subject can include but is not limited to depicting forms and spaces in nature, including trees and rocks, mountains, and hills. Its subject matter can also reference a human state or the painter’s realm and mind.
The notion of Shanshui transcends dichotomies of ancient and contemporary.
Historically, the theoretical discussions behind Shanshui painting date back to before the fourth century CE, while the specific materials used in its practice originate in Chinese antiquity before the early Han period (202 BC-220 CE). The versatility of such materials makes them very contemporary.
Our project aims to foster more knowledge on Shanshui painting to create more excellent dialogue and exchange between diverse cultural and artistic approaches.
While expanding our Western-based vision of art and reality, the study of Shanshui teaches a new consciousness rooted in a greater awareness of our environment. It helps to achieve a sense of synergy within the world around us.
Is published quarterly and focuses on contemporary and traditional Shanshui (painting) theory and praxis.
Publishing a magazine, organizing exhibitions, seminars, conferences, and workshops to spread the values and visions of Shanshui and expand their historical influence.
Is based on scholarly research and the reinterpretation of traditional texts and practices in a contemporary context. We believe that the artistic manifestations of Shanshui are constantly evolving.