Landscape, Garden and Feng Shui, continued...
The feng-shui master determines the flow of chi through the landscape, where it collects and remains, and where it disperses and travels, by analyzing the patterns and configurations of mountains and rivers. Topographic features are divided into two categories according to the Form School of feng-shui. They are called shan and shui. Raised topographic formations are called shan, literally mountains; topographic depressions are called shui, literally waters. Shan-shui is the Chinese word for landscape.
According to Chinese traditions a pantheon of spirits is present in the mountains. The mountains are a link between these spirits and human beings. Spirits may inhabit particular mountains considered important, but are not confined there. Much depends on your seeking friendship with them and their relationship with you. The spirits are synonymous with nature, and often appear in the landscape as dragons. Why dragons? Andrew March writes:
Because none but the magic dragon can lie low or fly, be big or small. The magic dragon writhes and changes, unknowable in its subtle origins. Mountain ridges having life breath will start to run east and then suddenly turn west; you can’t pin them down – off they go in all directions. Surely nothing but the magic dragon as effectively expresses the writhing, meandering, flowing permutations of mountain ridges.
The circulatory system of the dragon is revealed through the patterns and directions of the landscape along mountain ridges, outlines of mountain peaks, rock outcrops and boulders, alluvial formations, watercourses and ponds. The first function of the mountain ridge is to deliver and store chi in an auspicious place. If the system of mountain ridges is the circulatory system, chi is its pulse. The dragon’s blood, chi surges through the veins of the dragon. Water points to the path that chi takes through the landscape. By observing the flow of streams, the pulse of the dragon can be traced to the source where chi begins to influence the site.
The natural flow of beneficial chi is sought in topography that meanders, flows and undulates through the landscape. Gentle forms are considered beautiful and enhance the opportunity for a calm state of mind.
Because water is the element in which dragons love to play, water helps to intercept and hold chi after it has been delivered from the mountain behind the site. Therefore, it is beneficial for water to be present in front of the site. A stream bestows a site with good fortune and kindness when it meanders and flows gracefully, embracing the site as if not wishing to leave. It is very good if water flows both from the left and the right. It is better if these watercourses meet and best if they remain in the vicinity. Steven Feuchtwang’s scholar said:
The dragon follows the watercourse, and the meeting place of the waters is the meeting place of the dragons, where the virtues of hill and stream are united and the grass is green. Such a place being found, the conformation of the land is observed, and if there appears no outlet for the good influence in the air, it is pronounced an auspicious site.
When chi collects, it manifests in an auspicious site. An auspicious site is a place of refuge, nestling in the embrace of the landscape. The atmosphere is open and bright. It faces the direction that allows it to benefit from the qualities and characteristics of physical phenomena and the surrounding landforms. Protected from the harsh cold winds of winter by the hills rising behind it and on either side, it is open to the cool moist winds of summer. It is like a comfortable armchair. The soils are well drained and high in nutrients. Steven Bennett writes:
An auspicious site integrates the human life cycle with the greater cosmic process of which humans are a functioning part. A site is one’s locus in the vast diversity of nature. It is more than just a physical dwelling. It is a configuration in space, a cosmos in miniature following the same patterns of constancy and change that determines the larger cosmic process
Although chi remains when it meets the water, it disperses when it rides the winds. If the vital energy emerging from the ground is able to flow out of a broken vein, it ascends into the air and blows away. If chi is prevented from blowing away, a natural balance is struck between the incoming flow of chi and its release beyond the site. While the first function of the mountain ridge is to deliver and store chi in an auspicious place, its second function is to protect a place from noxious and excessive winds. When the vital energy emerges from the ground and ascends into the air, it can be kidnapped by these noxious winds and blow away. You want to prevent this by avoiding a broken ridge or vein so malignant winds will not penetrate the site and infect it with noxious energy. The Water Dragon Classic says:
If the wind shakes the willow branches or bends the grass, whether passing over the position or not, it will mean trouble and even meandering water will not justify the site.
The antithesis of chi is sha, translated as “secret arrow.” Sha is an expression of an evil influence. Sha travels in straight lines and straight lines directed at buildings or landscapes are considered harmful. Sha makes its appearance in channelized streams, straight roads, telephone lines, railroad tracks, or rooflines of other houses. When the Chinese were subjected to these evil influences brought by 19th century Western attempts at industrialization, they revolted. Missionaries in China considered Chinese reluctant attitudes as obstacles to progress.
Landforms surrounding the site are all significant. The massing and shape identified by the presence and predominance of the Five Operations indicates the manner in which chi flows through the landscape. Wood mountains rise steeply, bold and high to a rounded top. Fire mountains rise to a high sharp point without yielding, like a volcanic cone. Earth mountains are soft lower flat-topped plateaus. Metal mountains are gently rounded mounds. Water mountains are wavy plateaus with contours resembling an elongated lake. A landform may be composed of more than one operation, and is identified by the dominant operation.
The relationship and setting of landforms is an expression of the interaction of the Five Operations. This interaction is present through orders of production and destruction, which are also indications of luck or misfortune, and auspicious or inauspicious qualities of the site. The Order of Production is said to be the process by which the operation of one constituent part of nature serves as the main contributing element in the formation of another. Wood serves as fuel to produce Fire, Fire serves as combustion to produce the ash of Earth, Earth serves as rock formations and joints in which to produce Metal, Metal serves as molten material producing steam that becomes Water, and Water serves as a vehicle to supply nutrients to produce Wood.
The Order of Destruction is said to be the process by which the operation of one constituent part of nature serves as the main contributing element in the deterioration or erosion of another. Metal as molten material destroys Wood, Fire melts Metal, Water extinguishes Fire, Earth absorbs Water, and Wood draws resources from Earth. In both Orders of Production and Orders of Destruction, the interaction of one operation with the other is supported, weakened or hindered by the presence of any of the other operations.
You look at a classical Chinese landscape painting. You notice that when landforms are composed from foreground to background in the sequence of Mutual Production, the painting will likely be an expression of auspicious qualities and conditions, like love and beauty and well being. Similarly, when landforms surrounding a site are so arranged from foreground to background in the sequence of Mutual Production, the site will more likely possess auspicious qualities. This applies, as well, to the setting of stones in the garden
Whereas, when landforms depicted in a painting, in the environment and in the garden are arranged according to the destructive pattern, they will likely be expressions of inauspicious qualities and conditions, even if the landforms are beautifully shaped.
All components of the universe are divided into the major and minor directions of the compass: South, East, North, and West. The feng-shui master uses these four directions to define each site. South is to the front, East is to the left, North is to the back and West is to the right. Each direction is associated with a celestial animal, a season of the year, and a season of one’s life.
South is the realm of the Red Phoenix. Sloping downhill and open to the sun, the Red Phoenix invites warmth and growth. Chinese manuals refer to this as the Bright Yard. In China, South is the direction from which the warm wet monsoon winds carry life giving rains for growing crops. South is associated with summer and youth.
North is the realm of the Black Tortoise (or Black Warrior), shaped as if bending its head down onto the back of the site. Black Tortoise is the base of the Main Mountain, which protects the site from the harsh winter winds. North is associated with winter and old age. Chi is released to the site where Red Phoenix and Black Tortoise meet.
East is the realm of the Azure Dragon, associated with spring, youth and growth. Azure Dragon is also emblematic of peace. West is the realm of White Tiger, associated with autumn, harvest and maturity. White Tiger is emblematic of strength and bravery. The main task of these two is to attach to the Main Mountain, embrace the site and delineate the undulating mountain ridge that calms the winds. It is best if the mountain of the peaceful Azure Dragon rises higher than the mountains of the brave White Tiger of the West; it is best if White Tiger, tamed by the peaceful East, appears prostrate before Azure Dragon, and is not shaped as if ready to pounce. Steven Feuchtwang cites the Yang Chai:
All dwellings are very honourable which have on the left flowing water, which is the Azure Dragon; on the right a long path, which is the White Tiger; in the front a pool, which is the Red Bird; and behind, the hillocks, which are the Black Warrior.
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You are continually amazed at the parallels between feng-shui and the natural process as revealed in geomorphology, the study of landforms. The prescriptions of feng-shui for settling in one place while avoiding another correlates so closely with ecologically sensitive land use planning. They both point to something similar, each with their own vocabulary. When feng-shui says avoid the spiny back of the Dragon it is equivalent to a landscape architect saying avoid the eroding bank of a meandering stream. They both suggest it is best not to place your house where it is likely to fall into the creek. Likewise, they would both say it would be foolish to place your house near power line rights-of-ways, whether it is to avoid being stabbed with secret arrows called sha or to avoid high voltage electrical discharge.
You’ve left the clearing and the circle of oak trees. It is late and the full moon is low in the eastern sky. Even without a flashlight, enough light filters through the birch, maple and beech trees to help guide your way. You’ve taken this path many times and know it almost like the back of your hand, although you never walked it at this time in the evening. You approach a spot where the slope dramatically drops and then levels off. To the side there is a granite rock outcrop surrounded by a small and clearly identifiable stand of pine trees. It beckons your presence. You walk over and, as earlier, you become aware of the setting, the streams flowing in the ravines, the landforms embracing the site, and the composition of hills as if set for some imaginary celestial fields. You know that you have discovered another special place and hear the words of an ancient Chinese practitioner cited by Andrew March:
At a true site … there is a touch of magic and light. How so magic? It can be understood intuitively, but not conveyed in words. The hills are fair, the waters fine; the sun handsome, the breeze mild, and the sky has a new light – another world. There is peace amid confusion, a festive air amid peace. One’s eyes are opened upon coming into its presence. If one sits or lies, ones heart is joyful. Here the breath gathers and the essence collects. Light shines in the middle and magic goes out on all sides, while above or below, to the right or left, it is not there. Try to understand!! It is hard to describe.
References
Steven Bennett. “Patterns of the Sky and Earth – A Chinese Science of Applied Cosmology.” Chinese Science 3: March 1973.
Jan J.M. DeGroot: 1897. The Religious System of China. Vol.III. Book 1. “Disposal of the Dead.” E.J. Brill Publishers, Leide.
Joseph Edkins. “Feng Shui.” Chinese Recorder. March 1872, April 1872, May 1872.
Steven D.R. Feuchtwang: 1974. An Anthropological Analysis of Chinese Geomancy. Vithagna, Vientiane, Laos.
Maurice Freedman: 1966. Chinese Lineage and Society: Fukien and Kwangtung. University of London, Athlone Press, New York.
Michael Loewe: 1981. “China.” Oracles and Divination. Shambala Publications, Boulder.
Andrew March. “An Appreciation of Chinese Geomancy.” Journal of Asian Studies. Vol. XXVII, No. 2, February 1968.
Joseph Needham: 1956. Science and Civilization in China, Vol. II. Cambridge University Press, London.
Steven Skinner: 1984. The Living Earth Manual of Feng-Shui. Routledge & Kegan Paul, London.
Arthur Waley: 1958. The Way and its Power. A Study of the Tao Te Ching and its Place in Chinese Thought. Grove Press, New York.
Han-ch’ing Wang: 1981. Feng-shui and Traditional Chinese Domestic Architecture. M.S. Thesis, Cornell University, Ithaca.
Richard Wilhelm and Cary Baynes: 1967. The I Ching. Bollingen Foundation, New York.
Hong-Key Yoon: 1976. Geomantic Relations Between Culture and Nature in Korea. Chinese Association for Folklore, Orient Cultural Service, Taipei.
Special thank you to Dorotha Carl for reviewing my earlier drafts.
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