Splendor of the Times｜Feng Mei: Heaven, Earth, Human and Harmony

Splendor of the Times｜Feng Mei: Heaven, Earth, Human and Harmony—a Brushstroke of Brilliance

2025.09.28

Editor’s Note

During her tenure at the Academy of Arts & Design, Tsinghua University (AADTHU), Professor Feng Mei has dedicated herself to art education and cultivated a remarkable number of outstanding talents for the art world. As a witness to the Academy’s growth, she has taken on significant responsibilities and driven innovation in disciplinary development. Her artistic career has always resonated with the evolution of the China’s culture and arts.

Splendor of the Times: Artistic Imprints in Beijing’s “Ten Great Buildings”

An exclusive interview with Feng Mei

With a nurturing spirit that has shaped countless minds and a brilliant brush that brings art to life, Feng Mei has dedicated over half a century to artistic exploration and more than thirty years to teaching, carving a luminous chapter in the history of art education. Her mentorship has produced generations of exceptional talents, many of whom have emerged as leading figures in the world of art and design.

Her artistic journey has long been intertwined with the nation’s most significant cultural milestones. As a student, though not directly involved, she was deeply inspired by the passion of her peers and teachers who contributed to the decorative design of Beijing’s “Ten Great Buildings,” learning fervently from their dedication. Together with her husband, Professor Zhang Guofan, she co-created the mural Heaven, Earth, Human and Harmony, rendering the nation’s grandeur with majestic strokes. She has trekked through the cliffs of Beijing’s suburbs, the remote borderlands of the southwest, and the snow-capped peaks of Mount Tianshan, distilling China’s majestic beauty through her brush and revealing the essence of art through her plein-air practice. From the classroom to the studio, from the desk to the wilderness, she has remained committed to the principle of “educating through beauty, enlightening through culture,” casting a timeless artistic light across the river of time.

This is Professor Feng Mei from the Academy of Arts & Design, Tsinghua University (AADTHU).

Exclusive interview with Professor Feng Mei (right)

Taking pride in the Academy’s contribution to the decorative design of the “Ten Great Buildings”

On June 1, 1935, Feng Mei was born in Beiping (present-day Beijing). Her father, Feng Haiyan, studied at the National Beiping Art College, then under the presidency of the renowned painter Xu Beihong. A man of profound artistic talent, Feng Haiyan was accomplished in painting and calligraphy and also excelled in designing furniture, such as reclining chairs and writing desks. His artistic brilliance extended to music as well—he was not only skilled in various musical instruments and vocal performance, but also starred in Peking operas like “The Fisherman’s Revenge” and “Wang Zuo Breaking His Arm” on stage. From an early age, Feng Mei inherited her father’s artistic genes and developed a deep fascination with the arts.

During elementary school, Feng Mei’s “calligraphy exercises” and “hand-drawn maps” were often displayed on the classroom walls as exemplary models for her classmates. In middle school, she consistently ranked at the top of the art class and even independently illustrated comic books such as The Letter with Feathers. In high school, the celebrated artist Chen Jinyan recognized her exceptional talent and encouraged her to pursue formal training in fine arts. Thereafter, whether during her academic years or while working as a Chinese language teacher in a secondary school, Feng Mei’s passion for art never waned. She continued her painting studies at an amateur art school in Beijing, where she had the privilege of receiving guidance from distinguished masters such as Pang Jun (Xu Beihong’s last personal disciple) and the renowned oil painter Zhang Wenxin.

In the autumn of 1956, as the ginkgo leaves in Beijing turned from emerald green to brilliant gold, Feng Mei stepped into the Central Academy of Arts & Design (present-day AADTHU) with great anticipation as a member of the inaugural class in the Department of Decorative Design (now the Department of Visual Communication Design). Reflecting on her journey, she remarked: “What I never expected was that from the moment I entered the campus until today, I never left. One could say this place has been my ‘battlefield’ and ‘home’ where I advanced my studies, strived with dedication, contributed my efforts, and spent the rest of my life.”

Students of the class of 1956 from the Department of Decorative Design at a sketching class on the Baiduizi campus in November 1956 (Feng Mei, fourth from left)

First-year color theory class of the Department of Decorative Design, with instructor Liang Yulong guiding students in plein-air painting on the Baiduizi campus in 1956 (Feng Mei, center)

Xu Min, Feng Mei, Pang Xunqin, Liu Jude, and Wang Yuliang (from left to right) in Suzhou in 1979

In late 1958, to celebrate the 10th anniversary of the founding of the People’s Republic of China, Beijing embarked on the construction of its first ten large-scale buildings, collectively known as the “Ten Great Buildings.” At the time, Feng Mei was a sophomore in the Department of Decorative Design (renamed the Department of Decorative Painting in 1958). Though not directly involved in the project, she followed her mentors on visits to completed sites like the Cultural Palace of Nationalities and the National Agricultural Exhibition Center. There, she studied to sketch the exquisite decorative patterns, gaining invaluable insights and inspiration.

Feng Mei recalled that faculty and students from multiple departments, including Department of Interior Decoration, Department of Ceramic Arts, Department of Textile Design, and Department of Decorative Painting, were directly involved in the decorative design of the “Ten Great Buildings.” Though the students were still developing their professional expertise, they enthusiastically participated under the guidance of their instructors, primarily assisting with auxiliary tasks such as drafting design drawings.

“Both the interior and exterior decorations bear the dedication and hard work of our academy,” Feng Mei noted with pride. For instance, the column capitals of the Great Hall of the People were designed by Professor Cui Yi, while faculty from the Department of Textile Design contributed creative ideas for the design of carpets and curtains. Meanwhile, teachers and students from the Department of Ceramic Arts traveled extensively to places like the renowned “porcelain capital” Jingdezhen in Jiangxi Province and the pottery production hub Handan in Hebei Province, tirelessly refining designs for tableware and tea sets. Feng Mei expressed deep pride in the Academy’s contribution to these monumental projects.

According to Feng Mei, during that era, the Academy’s professionals contributed a vital part to the nation’s efforts to enhance aesthetics in every aspect of daily life, from clothing and food to housing and transportation. She reflected, “In the early years of the People's Republic of China, commerce was not yet fully developed, and practical items and furniture were in short supply. Even a simple white ceramic mug was highly sought after. It was only as the times progressed that design gradually gained recognition. The Central Academy of Arts & Design played a pivotal role in this historical process, leveraging its expertise to support national development and laying a solid foundation for the art and design industry in the the People's Republic of China.”

Fulfilling the call of the era through disciplinary development

Feng Mei recalled, “At the time, the Department of Decorative Design established three studios: one led by Mr. Yuan Mai, focusing on commercial art; another overseen by Mr. Qiu Ling, specializing in book design; and a third headed by Mr. Zhang Ding, dedicated to decorative painting. Although I personally preferred painting, I ultimately chose the more culturally-infused one in book design.”

Due to her outstanding academic performance, Feng Mei was appointed as a faculty member after graduation in 1961. She devoted herself wholeheartedly to teaching, compiling a textbook titled Fundamentals of Decorationcomprising tens of thousands of characters. She went on to publish several specialized works, including Decorative Figures, Decorative Patterns, and The Art of Decorative Figures Design. Additionally, she contributed to collaborative publications such as A Collection of Modern Decorative Paintings, and Nature, Imagination & Design.

Feng Mei has the habit of revising her lecture notes before every lecture, meticulously preparing illustrations and demonstration pieces. She also organized sketching trips for her students, taking them to the zoo, city parks, and Peking Opera theaters to draw from life. “In the classroom, I often sketched alongside students using models in ethnic costumes, creating works together with them,” she recalled. “When it was time to transform their sketches into finished designs, I would work with them one-on-one, guiding them through the revision process. This hands-on approach not only ensured a high standard of work but also meant their pieces were often selected for publication and exhibition.”

Professor Feng Mei and the Class of 1986 from Department of Decorative Design at a sketching session at Tanzhe Temple in 1987

Reviewing pattern design assignments with students from the Department of Textile Design in the 1990s

Cover design for Decorative Figures (1982)

On November 17, 2019, the AADTHU hosted the “Heaven, Earth, Human and Harmony—Zhang Guofan & Feng Mei Teaching Retrospective Artworks Exhibition”. In the 1950s, Zhang Guofan graduated from the Lu Xun Academy of Fine Arts, during which time he had also studied at the Academy of Arts, Architecture and Design in Prague, Czechoslovakia, while Feng Mei graduated from the Central Academy of Arts & Design. The couple later taught and created art together at the Central Academy of Arts & Design. More than life and professional partners, they became lifelong collaborators and companions on a shared artistic journey.

The exhibition displayed over 300 works selected from 500-plus pieces created by the couple. These works spanned a diverse range of types and themes, including design, crafts, sketches, teaching demonstrations, and paintings. As the first comprehensive public retrospective of their collective oeuvre, the exhibition not only honors their lifelong devotion to art and education, but also mirrors the evolution of art education in the People's Republic of China.

Poster for the “Heaven, Earth, Human and Harmony—Zhang Guofan & Feng Mei Teaching Retrospective Artworks Exhibition”

Porcelain plaque painted by Zhang Guofan for the VIP Lounge of Terminal 1, Beijing Capital International Airport

Feng Mei with students during her lecture series on Chinese Calligraphy and Ink Wash Painting at the Academy of Arts, Architecture and Design in Prague, 1995

At the opening ceremony, Ivana Grollová, then-Deputy Chief of Mission at the Embassy of the Czech Republic in Beijing, conferred the “Silver Medal of Jan Masaryk” upon the couple to honor their outstanding contributions to cultural exchanges between China and the Czech Republic. Yang Shengxian, a student from the class of 1975, presented them with a piece of seal-script calligraphy titled Exemplars of Teaching Virtue, conveying the deep respect and blessings of their students.

In his opening remarks, Ma Sai, then-Party Secretary and current Dean of AADTHU, highlighted that the two professors had pioneered an innovative path for traditional Chinese art and their works have become foundational to the academy’s artistic style. Their rigorous approach to teaching and their scholarly writings on art education have become essential textbooks in China’s higher art education, significantly contributing to the academy’s disciplinary development and theoretical framework. By aligning their personal artistic ideals with the broader social needs of the nation, they embodied the aspirations of an entire generation of artists.

Academic commitment integrated into national art projects

Amid her demanding teaching schedule, Feng Mei remained deeply committed to her artistic creation with keen sensitivity to the times. She actively participated in major exhibitions and the decorative design of public spaces. Her works were frequently selected for prominent exhibitions at home and abroad, earning numerous accolades.

In 1959, when the Central Academy of Arts & Design was commissioned to create murals for the auditorium of National Committee of the Chinese People’s Political Consultative Conference (CPPCC), faculty and students from the mural painting and book design departments set out on research trips to ethnic minority regions. It was during this project that Feng Mei left Beijing for the first time, venturing deep into the Honghe Hani Autonomous Prefecture in Yunnan, a remote southwestern border area of China. Recalling the treacherous mountain path to the village, she still felt a sense of trepidation decades later: “On our way to sketch in a village, we had to cross a mountain stream by walking along a narrow cliff only 20 to 30 centimeters wide. One misstep could have sent us plunging into the rushing river below. My classmate and I linked arms, pressed closely against the rock face, and inched our way across.”

In 1962, Feng Mei joined fellow faculty members on a sketching trip to Yanchi, on the outskirts of Beijing. “Sitting cross-legged on the edge of a mountain cliff, I became completely absorbed in drawing the distant terraced fields and serene villages. The wind was fierce up there that it threatened to flip my drawing board at any moment. I had to hold it down tightly while painting against the howling gusts,” she recalled with a smile. “By the time we returned to Beijing, my face was sunburned, wind-scorched, and badly chapped—it looked like a mottled mask of dedication. But underneath it all was a passion for art that never wavered.”

In 1974, while sketching in Shidu, a scenic area on the outskirts of Beijing, Feng Mei perched on a mountain ridge to depict the “Autumn Fields” in the valley below, using pen and light watercolor washes. Immersed in her work, she only realized upon finishing that she had been curled against the mountain wind for nearly an entire day, having captured the shifting light and landscape with her brush. Her prolonged stillness had left her legs numb and stiff, and when she stood, she stumbled unsteadily, nearly tumbling down the mountainside. It took several moments for her to regain her balance. This very painting, Autumn Fields in Shidu, Beijing Suburbs, later drew high praise from Mr. Zhang Ding, who was so struck by its exceptional artistry that he immediately made notes on its composition.

Photo with classmates Qiao Shiguang and Xia Yun from the Class of 1956 during her sketch trip in Yunnan in 1959

Group photo from a short-term training program in Nannington, Guangxi, 1977

From left to right (standing): Wu Guanzhong, Quan Zhenghuan, Feng Mei, Chen Jusheng; (seated, front row): Liang Suzheng, A Lao, Liu Weihe.

Feng Mei and Chang Shana viewing artworks together, 1995

Feng Mei’s classic creations are too numerous to list in full. Her enamel painting Sacred Realm recreates the contemplative beauty of Eastern aesthetics with luminous, shimmering craftsmanship. The four pieces of The Quintessence of Chinese Culture Series deconstructs traditional culture through the lenses of national treasures, folk art, Peking Opera, and lantern festivals, revitalizing heritage with contemporary artistic vision. Her sandpaper gouache painting Vitality harnesses a raw, textured surface to capture the vibrant atmosphere of a rural market in the early years of China’s Reform and Opening-Up, freezing in time the pulse of an era. The acrylic painting Crystallization employs geometric rhythm to interpret the symbiotic relationship between science and art, allowing reason and sensibility to merge on the canvas. Her work Rising, with its epic brushwork, documents China’s rapid ascent on the global stage, echoing the historic returns of Hong Kong and Macao.

Of particular note is the mural Heaven, Earth, Human and Harmony, co-created with Professor Zhang Guofan. This piece embodies the traditional Chinese philosophical ideal of “harmony between man and nature.” It was honored with an Award of Excellence at the National Mural Exhibition. Spanning a wide range of media and subject matter, these works not only reflect the cultural commitment of a scholar-artist, but also carry the distinctive imprint of contemporary China’s evolution.

The Quintessence of Chinese Culture Series I: National Treasures (enamel on wood panel, 70x70cm, 1991)

The Quintessence of Chinese Culture Series II: Folk Art (enamel on wood panel, 70x70cm, 1991)

Vitality (sandpaper gouache on board, 120x60cm, 1987)

Heaven, Earth, Human and Harmony (mural design, gouache on paper, 73.5x152cm) by Zhang Guofan and Feng Mei, 2003

Feng Mei consistently stressed the foundational role of traditional Chinese art. “I always feel a surge of emotion,” she remarked, “when speaking about the enduring excellence of Chinese traditional design.” Her love for the motherland revealed itself in subtle yet consistent ways—whether through her commitment to landscape sketching in teaching, or her dedication to calligraphy and line drawing traditions. All of these are a heartfelt tribute to her homeland. She firmly believed: “If an artist aspires to reach highest international level, they must first master the traditional Chinese art, before integrating new concepts.” These words also mirror her own lifelong artistic pursuit.