In 1928, Lin Fengmian, who had just studied abroad and returned from France, established in Hangzhou the National Arts Institute, the first higher learning arts institute in China upon invitation of Cai Yuanpei, the chief education minister at that time, and took the post of the first president of the institute. In the next year, its name was changed into Hangzhou National Academy of Art. In the decade when Lin Fengmian was President of Hangzhou National Academy of Art, he has cultivated a batch of excellent international-level artists, such as Zao Wou-ki, Chu Teh-chun, Wu Guanzhong, Shiy De-jinn, Chao Chunhsiang, etc. Except relocation to Sichuan in the Anti-Japanese War with the school, f rom 1928 to 1951, Lin Fengmian spent his prime days by West Lake of Hangzhou. The charm of West Lake gave him the best topic and inspiration. Wu Guanzhong once said that before 1937 in Hangzhou, Lin Fengmian has led the most tranquil life. The period is his starting point for arts education. His attachment to Hangzhou was more than that to his hometown in Meixian County of Guangdong. In his late years, Lin Fengmian presented "Everlasting Youth" inscription to numerous scholars in Hangzhou. He thought that his reminisce about Hangzhou is youth and finenese.
In Lin Fengmian's various landscapes paintings, there is always strong personal mood and characteristics . Among his paintings, willows at West Lake of Hangzhou present the most lyric flavor. These seeming soft and elegant works have actually derived from longterm research of the painters. Li Lintsan, the late Curator of Taipei Palace Museum, also graduated from Hangzhou National Academy of Art. In his memory, the willows of West Lake under the brush of Lin Fengmian are like this: "Teacher like painting weeping willows at West Lake the most when they are presenting yellowish tint, accompanied with intermittent indistinct bridges and dream-like remote mountains. There is a strand of floating cloud in the sky, as if being made by a large stroke at random. However, at the thought of the hills of papers in his studio, I come to realize that it is the strenuous practice that has enables the stroke in right track. In genuflection, we are convinced! - Teacher' s oil painting is heavy and profound, but West Lake painted with ink is so light and uninhibited. Sagacious mind changes according to situations and times. We disciples just fall short by large extent." (Li Lin-tsan, 'My Teacher Lin Fengmian', "Mentors Record in Arts Circle: Snow Mountain and Old Friend Sentiment, West Lake", Hsiung Shih Art Books Co. Ltd., Taipei, November, 1991, pp. 79-80) However, living by West Lake, he had not painted West Lake and the "Waving Willows and Singing Orioles" of West Lake. Till the painter left Hangzhou, it appears out quietly with the distinctive memory.
Shiy De-jinn - another disciple of Lin Fengmian; In 1979, he published a work named Innovation Pioneer of Chinese Painting, in which he pointed out that Lin Fengmian did not begin to paint West Lake until moving out of Hangzhou. Shiy De-jinn pointed out: In so many years he stayed by West Lake, he had never paint West Lake. He reminisced about West Lake only after her had left West Lake. Then his paint has displayed the real outlook of West Lake. Beautiful sceneries of West Lake become vividly visible before the eyes. "(Shiy De-jinn, "Innovation Pioneer of Chinese Painting – Lin Fengmian", Hsiung Shih Art Book Pte. Ltd., Taipei, 1979, color illustration, p. 60). Lin Fengmian has revealed that he seldom makes sketch of the scenery. At the mention of objectives for depiction, most have come from memory and experiences. He has long held the view: "Western arts are dominated by imitation of the nature, so it inclines to writing realistically. Orient arts are aimed at depiction of imagination, so it inclines to the freehand brushwork" (excerpted from Lin Fengmian's 'Prospect of Western and Orient Arts' published in 1926). In pursuit for integration of western and orient arts for his life, Lin Fengmian naturally inclined to freehand brushwork in production of ink painting, together with reflection of cross-epoch characters. He has written like this: "I seldom paint before the prime nature. Only in my study and collection of materials can I make realistic depiction of the nature, research into the nature and understand the nature. In creation, based on the material I collected, I use my memory and techniques to paint. When painting spring of West Lake, I will recall the lake and mountains, verdant willows and the long dike. These are the most distinctive features of West Lake. Others that fail to come in mind may be insignificant. I outline the nature generally in this way." (Refer to Lin Fengmian's Lyric, 'Expressive and Other' published in 1962, "Theory, Works and Life of Modern Artists - Lin Fengmian, Academia Press, Shanghai, March 1988, p. 106)
The clear and elegant colored ink work of "Green Willows", "Green Willows, West Lake" also named "Willows" has once been collected in many publications of Lin Fengmian's significant works. Lang Shaojun, author of Lin Fengmian Album of People's Fine Arts Press of Tianjin, affixed the works in 1950's. In the exhibits catalog in The Approach of Lin Fengmian - Commemoration of Lin Fengmian's Hundredth Birthday, affixed it in 1960' s. No matter in what argumentation, it is obvious that the critics agree that the painting "Green Willows, West Lake", should have been finished in "Shanghai Period" when he endeavored alone (said Lan Shaojun). In the artist's many similar productions, "Green Willows, West Lake" has depicted the willow by West Lake in early spring, presenting freshness. In the painting, Lin Fengmian has displayed his forte in integrating ink color, watercolor and ink color. Sometimes even oil color is used to attempter the color, so as to apply colors to spatial atmosphere and effect of light and shadow change. Thus there is more concentrated artistic conception and stronger emotion. Such mode of expression has been influenced by the style of western impressionism.
Writers and poets since ancient time are fond of West Lake in Hangzhou. Lin Fengmian is no exception. He has used unique "Lin Fengmian Style" and "layout on square paper" to depict places of interest by West Lake and marvelously present a whole new feeling. Lin Fengmian is quite familiar with the essence of Western culture and at the same time is able to comprehend the spiritual connotation in Chinese culture and landscapes. In his painting of weeping willows on West Lake, he did not feel content with the beauty of traditional f reehand brushwork. He integrates personality and poetic sentiment into the landscape painting. In the trend of 20th century when modern fine arts emphasizes personality of the artists, Lin Fengmian had long practiced in person and carried it forward. That has far-reaching index significance in the history of Chinese fines arts.
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