Shanshui and Sansui: Differences and Influence in Landscape Photography
Updated: Mar 6
Shanshui in China and Sansui in Japan are two concepts focused on the artistic representation of natural landscapes, though their approaches and philosophies differ due to distinct cultural contexts. Let's examine their respective influences on black and white landscape photography.
Important sources of inspiration for my photographic work, these philosophical and technical principles have guided my creative approach for 30 years. They offer a simplified and "essential" interpretation of landscapes, which I particularly cherish.
In this article, I explore the relationships that can be established between these schools of thought and monochrome photography in the subtle art of landscape perception.
I also observe the divergences in interpretation and use of these principles between the native version from China, Shanshui, and the interpretation made in Japan, Sansui.
Shanshui and Sansui are two concepts that have transcended eras and continue to influence various forms of art, from painting to photography, reflecting philosophies deeply rooted in the culture and history of China and Japan respectively.
Contents of this Article:
1. Philosophy and History of Shanshui in China
The term Shanshui literally translates to "mountain-water" in Chinese. The philosophy behind Shanshui is rooted in Taoism and Confucianism, focusing on the harmonious relationship between humanity and nature.
Shanshui became particularly significant during the Tang period (618-907), with artists like Wang Wei, who is traditionally credited with founding monochrome landscape painting in China.
The development of Shanshui continued during the Song period (960-1279), where it became a major artistic form. Artists such as Fan Kuan and Guo Xi established stylistic conventions, such as the use of different brush techniques to represent elements like rocks, trees, and other natural features. Taoist philosophies of unity with nature were strongly present in these works.
During the Yuan dynasty (1271-1368), the "Four Great Masters" - Huang Gongwang, Wu Zhen, Ni Zan, and Wang Meng - brought significant innovations to the genre. The Ming (1368-1644) and Qing (1644-1912) periods saw the continuation and diversification of Shanshui, with artists like Dong Qichang, who theorized about the different styles that are still known today. Read my full article on Shanshui in China.
1.1 Artistic Influence of Shanshui
The concept of Shanshui, with its deep roots in Taoist philosophy and traditional Chinese art, has exerted a lasting influence on modern arts, well beyond the borders of China. In the realm of contemporary painting, Shanshui has been reinterpreted through modern techniques and various mediums, such as multimedia installations and digital painting.
Artists like Zeng Fanzhi or Xu Bing have incorporated the principles of Shanshui to explore modern themes, such as industrialization and the relationship between man and nature.
Shanshui's influence also extends to contemporary photography, where photographers use form and composition to capture the essence of "mountain and water." Shanshui also influences interior design, architecture, and even video games, where elements of natural landscapes are integrated to create an immersive experience.
This longevity and adaptability testify to the depth and versatility of the Shanshui concept, which continues to resonate across a wide range of artistic disciplines in the 21st century.
2. Philosophy and History of Sansui in Japan
The term Sansui is an adaptation of the Chinese concept and also means "mountain and water" in Japanese. It is rooted in Shintoism and Zen Buddhism, focusing on the simplicity and ephemeral nature of nature.
The concept of Sansui (mountains and waters) in Japan was introduced from China during the Nara period (710-794). However, it was fully developed and popularized during the Heian period (794-1185), where it was adapted to Japanese aesthetic and philosophical sensibilities, particularly Shintoism and Zen Buddhism.
During the Muromachi period (1336-1573), artists like Sesshu Toyo had a profound influence on the style of Sansui in Japan, incorporating techniques and principles from Chinese ink painting. In the Edo period (1603–1868), Sansui diversified with schools like the Kano, and movements like Nanga, which explored various aspects of this tradition.
In the 20th century and beyond, Sansui continues to influence not only painting but also other forms of Japanese art, including photography and architecture. It represents a unique fusion of Chinese influence with Japanese philosophy and aesthetics, while evolving through several significant historical periods. Read my article on Sansui in Japan.
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2.1 Artistic Influence of Sansui
Traditionally in Japan, Sansui has influenced not only painting but also garden design, ceramics, and Ikebana (Japanese floral art). Literary artists and poets such as Hokusai are known for incorporating the principles of Sansui into their works.
In a modern context, the concept of Sansui continues to exert a significant influence in the arts, shaping fields as diverse as photography, interior design, and architecture. In contemporary painting, artists like Hiroshi Senju integrate elements of Sansui to create works that are both modern and rooted in tradition.
The Nihonga movement, which aims to modernize traditional Japanese painting techniques, also features works heavily influenced by the concept of Sansui.
In photography, the philosophy of Sansui is present in the works of photographers like Hiroshi Sugimoto, whose minimalist images of landscapes and seas capture the essence of the present moment. Contemporary Japanese architecture, especially in the design of gardens and public spaces, often incorporates elements of Sansui to create harmonious and contemplative environments.
3. Representation of These 2 Concepts in Photography
In photography, the concepts of Shanshui and Sansui often manifest through the choice of subject, composition, and overall mood. For instance, photographs may focus on elements of nature that illustrate the philosophy of harmony and balance, utilizing techniques like reducing contrast or applying monochromatic tones to emphasize tranquility.
3.1. Shanshui and Minimalist Black and White Photography
Shanshui is thus an ancient artistic form focused on the depiction of nature. Shanshui landscapes often convey a transcendent emotion, a form of spiritual aspiration rooted in Taoism. In this tradition, the emphasis is on the grandeur and immensity of nature, encompassing infinite spaces and distant horizons.
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In the context of minimalist black and white landscape photography, the principles of Shanshui could be transposed by focusing on the essence of natural forms. The absence of color could be seen as an extension of the inherent simplicity of Taoism, a means to turn away from superficial distractions to focus on the core essence of things.
The representation of mountains, rivers, or solitary trees in black and white eliminates distractions and allows the viewer to concentrate on lines, shapes, and shadows (photo below). This approach to the philosophy of Shanshui seeks to go beyond mere visual representation to touch something deeper, something universally human.
3.2. Sansui and Minimalist Black and White Photography
In Japan, as opposed to the grandeur often associated with Shanshui, Sansui is more likely to focus on subtle details: the curve of a branch, the texture of a stone, or the way light plays on the water's surface. It's less about immensity and more about intimate moments, where a small corner of nature can reflect the entire universe (photo above).
In minimalist black and white photography, these moments can be captured in an exceptionally powerful way. The choice of black and white eliminates any potential distraction of color, focusing the viewer's attention on form and composition. By choosing to isolate these small details such as a leaf floating on the water's surface or a shadow cast on a stone, the photographer invites the viewer to a more meditative experience, in line with the Zen approach of Sansui (photo below).
In a more contemporary context, photographers like Michael Kenna (for his work on Japan) and Wang Wusheng (for his work on China) have been successful in capturing the essence of these philosophies in their works, although their approach may vary according to their own artistic vision.
4. Comparative Conclusion
While Chinese Shanshui can be seen as a quest for the absolute through the grandeur of nature, Japanese Sansui is an appreciation of the present moment through subtle and often ephemeral details.
Shanshui, therefore, would be an exploration of majestic lines and imposing forms, capturing the serenity and grandiosity of landscapes. Sansui, on the other hand, would be an ode to the details and discreet moments that contain the very essence of our relationship with the natural world.
In the context of black and white landscape photography, the distinction between Chinese Shanshui and Japanese Sansui lies primarily in the philosophy and aesthetics underpinning these two concepts.
The Chinese Shanshui, influenced by Taoist and Confucian principles, seeks to capture the grandeur and mysticism of nature. Therefore, it incorporates a wider range of textures and contrasts in the produced image to represent various elements like mountains, waters, and trees, in accordance with the philosophical complexity it embodies (photo below).
On the other hand, the Japanese Sansui, imbued with a Zen sensibility, focuses on simplicity, minimalism, and capturing the present moment. This approach could be reflected in the image by more streamlined photographs, highlighting harmony and balance rather than grandeur.
Both approaches offer different but complementary paths to explore nature through black and white photography, each rooted in its own cultural and philosophical heritage.
