How to draw Ink Painting: 3

Let's put a pause on the difficult theory for now and let's make paintings.　
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Let's interpret "Spirit resonance" as "How to express the feeling of heaven and earth".
It is important to know how one can acquire "Spirit resonance". In my opinion, one way is to take many trips, and draw while feeling nature with your eyes and senses.  You sketch over and over again; an important point being to go beyond Realism.
For example:
☆Fan Kuan (范寛 | はんかん, Years of birth and death unknown, ca.1023-32) and his《Travelers Among Mountains and Streams谿山行旅図 | けいざんこうりょず》Scroll. (〔National place museum国立故宮博物院〕{Taipei 台北})

Image: by Wikipedia Commons.
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Brief history：His master was Li Cheng (李成 | りせい), but later he decided to make mind a teacher, not people or objects. It was written as follows in the "Song Dynasty painting review宋朝名畫評　卷二".

「He lived alone in {Mt. Zhongnan 終南山} and {Mt. Hua華山}, where he made observations of mountains and waters that change throughout the four seasons. He was able to draw the true essence of the mountains, waters and weather, becoming a master of "Landscape painting". A master of "Landscape painting".

Commentary：Guo Xi (郭煕 | かくき) in『Linquan Gaozhi | 林泉高致集 | りんせんこうちしゅう』he explained 【Three types of perspective composition 三遠法】as:
1st 【Gao yuan】(高遠 | こうえん): "perspective in height: composition from below up the top of the mountain".
2nd 【Ping yuan】(平遠 | へいえん): "perspective on the level: composition to see behind mountains from the previous mountain".
3rd 【Shen yuan】 (深遠 | しんえん): "perspective in depth: composition to look into behind mountains from the previous mountain".
In Fan Kuan's painting, this picture he utilises the perspective of use Gao yuan.
References: see Web site "Kotobank dictionary" (コトバンク) URL:https://kotobank.jp/word/三遠
【Yudian cun】(雨点皴 | うてんしゅん) one of the blushing method that 【Cun fa】 (皴法 | しゅんぽう) made by him. Cun fa is how to draw mountain skin and rock wrinkles. Yudian cun is to draw a point like rain on the ground: It looks like rain if you draw small points continuously.
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難しい理論は別にしましょう。
☆水墨山水画では「天地の神気を如何に表出するか」と解釈しておきましょう。
【気韻】を如何に得るかが大事です。それは、「万里の路を行って描く」、つまり、自然に浸り、神気(しんき | 不思議な霊気)を肌で感じながら写生し、【写意】 を超えるまで写生しましょう。

先例を見てみましょう。
☆〔范寛〕(ハン, カン)(生没年不詳,1023-32頃も在世)と《谿山行旅図》軸(〔国立故宮博物院〕(台北))、
写真はWikipedia Commonsより。

生涯：〔李成〕を師としたが、「人や物を師とせず、心を師と
すると改め」、『宋朝名畫評 卷二』によれば、
「{終南山}や{華山}の山中に卜居(ぼくきょ)し、四季を通じ様々な気象の中で変化する山水の姿を観察し尽くして、ついに「山の真骨を写して自ら一家を為」したと評せられた」とあります。

作品解説：〔郭煕〕の『林泉高致集』にある【三遠法】(【高遠】、【平遠】、【深遠】)のうちの【高遠】(下方から山の頂上を凝視する構図法)(コトバンク解説で複数の辞書を見よう)。
【皴法】(しゅんぽう) の【雨点皴】 も創る。見どころ：主たる山のボリューム感