Huǒ hēi àn (Chinese: 火黑暗) is an ancient Chinese system of aesthetics believed to serve as the philosophical polar yang to feng shui's yin. It was originally described as an art of only theoretical use, although it was eventually adopted as the de facto alternative to feng shui.
The words 'huǒ hēi àn' translate as "fire-darkness"in English. This name refers to a passage from the Zhangshu (Book of Burial) by Guo Pu of the Jin Dynasty:[1]
Qi vapors in the fire, and is lost in the darkness. [1]
Unlinke feng shui, huǒ hēi àn values diagonal and non-orthogonal arrangements, closed spaces, corners, dim lighting, blocked pathways, and jade statuettes of snakes (a trademark of the art).
Early practitioners of the aethetic system were considered cruel, brash, and unpleasing to human tastes in their creations. However, like the dark motifs of Gothic architecture (believed by some to be a Western analogy of sorts), huǒ hēi àn grew to mainstream acceptance at various points in Chinese history. The mixing of the grandiose and unseen blended to give many a feelings of mystery and excitement.
The art of huǒ hēi àn countermands many of feng sui's stylistic imperatives, such as screen walls facing the main entrance of the house, talismans to ward off evil, and elevated landscapes to the anterior of the house. Additionally, huǒ hēi àn enjoins the presence of ponds, pools, wells, and indeed, water sources of any kind. In fact, this prohibition was the origin of the now-canonical Chinese rock garden.