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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