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吾国与吾民-My Country and My people(英文版)-第55章

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    alakesupthethreadofthesendinitsfirstunitthe”ahs”and”buts”but

    variesthesendunittheexarksrelyservetoindicate

    thattherearetkindsof”yeses”and”noes”noticethaththeexception

    ofthesendunitofthefirstupletalltheunitsareproperlybalancedintone

    butoreinterestedintheinnertechniqueandspiritofchinesepoetrythanin

    itsprosodybyagicrealfbeautyhowdid

    itthroandatsphereoveranordinarylandscapeand;hafew

    otionhowd
………………………………

第81节

    id

    thepoetselectandelinatehisterialandhoithhiso

    andkeitgloicvitalityinhetechniqueofchinese

    poetryandchinesepaintingreallyoneandthatchinesepoetsarepainters;

    andpainters;poets

    thestrikingthingaboutaginationanditskinshipin

    techniqueostevidentinthehandlingofperspectiveherethe

    analogybetostpleteletusbeginh

    perspectivethathelinesoflipo701762

    abovethensfacearisethehills;

    besidethehorsesheadergetheclouds;

    antravellingonhorsebackona

    highuntainpaththeeaninglessatfirstsight;willbe

    found;ontsuseoftheigination;togiveusapictureasapainterwould

    paintitonhiseobjectsinthe

    foreground”thensface55and”thehorseshead”tosetoffthedistantview

    entirelyapartfrohepoetiountains;one

    realizesthatthescenerybythepoetasifitingona

    flatsurfacethereaderhensee;asheactuallyseesinpaintingsorsnapshots;

    thathilltopsseeorisefrohensfaewherein

    thedistanalinebrokenbythehorsesheadthisclearlypossibleif

    thepoetonhorsebackandthecloudslyingonalohe

    distanaginehielfonhorsebackonahigh

    untainpathandviethesaperspectiveasthepoetdid

    inthishroughthistrickofperspective;thesepenpicturesgainabold

    reliefiossibleethodsitcannotbesaidthatthechinesepoetswere

    nsciousofthetheoryofthistechnique;buthadinanycasefoundthetechnique

    itselfhundredsofexalesghtbecitedhthistechniqueofperspective;wang

    estdescriptivepoet;said:

    intheuntainsanightofrain;

    andabovethetreesahundredsprings

    ofurse;itrequiresalittleefforttoigine”springsontreetops”he

    exactheoriginal;butexactlybecausesuchaperspectiveissorareandcan

    onlybefoundountaingorges;fog;afterthepreviousnightsrainfall;

    aseriesofetreesinthe

    foreground;thereadergainsaclearperspectiveotherpossibleashthe

    forrexalefroipo;theartliesintheselectionofanobjectintheforeground

    tosetitoffagainsttheobjectsinthedistance;likeclouds;cascades;hilltopsandthe

    lkyhenpaintingthesetogetheronafiatsurfacethusliuyuhsi772842

    e:

    foranautuscene:severaldotsofhillsoverthewall

    thepicturetechniquehereisperfect:thehilltopsappearingasseveral”dots”overthe

    thehillsinthissense;an

    understandliliatic

    works:

    firstthehillsinthepainting;

    thenthepaintinginthehills

    thepoetseyeisthepainterseye;andpaintingandpoetrybeeone

    thisaffinitybetorenaturalandapparentwhen

    ilarityofteilarityofthes;

    andthefasoverse

    inanycase;thepainterafterfinishinghispaintingusuallyesaverseatthetopin

    thosevaorelateronwhen

    ingproperbutthisaffinityisresponsibleforanotherpointin

    pressionistictechniqueitisatechniquehgivesa

    seriesofiressions;vividandunforgettable;andleavesrelyaflavour;an

    indefinablefeelingbehind;hereaderssensesbutdoesnotsatisfyhis

    understandingteintheartofsublition;suggestion

    andartisticrestraintthepoetdoesnottrytosayallhehastosayhisbusinessisbut

    toevokeapicture;kingapensketchbyafe;clearstrokes

    hencearosethegreatschoolofpastoralpoets;specializinginlandscapepaintingsand

    usingtheiressionistictechniquesuchstersinpastoralpoetryaretao

    yflqnrg373437》hsiehlingyun385433;ei

    ingthetechniqueispracticallyuniversalhchinesepoetsof

    terknoochiehitissaidthat”thereispoetryin

    hispaintingandpaintinginhispoetry;”becausewangself

    hislikethe

    follotenbyoneinspiredbythespiritofchinesepainting:

    adstthestlikeautushowers;

    shallohestonyrapidsflow;

    itsspraysbesprinkleoneanother

    upanddoheegretsgo

    桾heliianchiarapids

    andhereetotheproblefsuggestionsodeepainterhas

    attetedtheiossiblebytryingtopaint”thesoundofsunshinegoingupstairs;”but

    theproblefartisticlitationshasbeenpartlyoverebychinesepaintersby

    theuseofsuggestion;reallydevelopedbythepoeticartonecanactuallypaint

    soundsandsllbythethodofsuggestionachinesepainterthe

    soundoftelebellshoutshohebellsatallonthecanvas;butpossiblyby

    relyshopleroofhiddenangtrees;andtheeffectofthe

    soundonnsfaell;

    selftopictorialhandlingthusachinesepoetdescribingthefragrance

    oftheopenuntrye:

    ingbackoverfloarethe

    horseshoofs

    nothinghanpaintingaflockofbutterflies

    flittingafterthehorseshoofs;achinesepainter

    actuallydidbythesatechniqueofsuggestion;thepoet

    liuyiihsieaboutthefragranceofaurtlady:

    inher
………………………………

第82节

    neesfroerverliontowers;

    thelightofspringfloodsthepalacebowers

    totheurtshees;andonhercarvedjadehairpin

    alightsadragonfly;assheisuntingtheflowers

    thelinessuggesttothereaderthebeautyandfragrancebothofthecarvedjade

    hairpinandoftheladyherself;abeautyandfragrancehedragonfly

    frohisiressionistiethodofsuggesting

    thoughtandsentintsbolicthinkingthepoetsuggestsideas;not

    byverbosestatentsbutbyevokingaodsthereaderinthattrainof

    thoughtsuchthoughtsareasindefinableasthesceneisclearand

    vividpiuchinthe

    saainchordsintheosuggesttheentrance

    ofcertaincharacterslogically;thereislittlennectionbethesceneryandthe

    nsinnerthoughts;butsyolicallyandetionally;thereisannectionthe

    thod;calledhsing;orevocation;isasancientasthebookofpoetryintangpoetry;

    forinstanbolic

    thod;entioningthethoughtstheelvesthushe

    pastgloriesofnankinginthefolloannerinhispoenapaintingof

    chinling:

    therainontheriverisstlike;andthegrassonthebanksishigh

    thesixdynastiespassedlikeadreaandforlosthebirdscry

    stheartlessofallarethehepalacewalls;

    evennoilegreen;luridresplendourtheylie

    thesilelongindhis

    nteorariesofthepastglor
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