按键盘上方向键 ← 或 → 可快速上下翻页，按键盘上的 Enter 键可回到本书目录页，按键盘上方向键 ↑ 可回到本页顶部！
————未阅读完？加入书签已便下次继续阅读！
possessingaunityofvent；defyingitationorrrection；foranyrrectionis
iediatelydetectedasdishaiousincidentally；thatis
issodifficult
thattheassticprincipleisnot
oeat”bones”and
”tendons”ofstrokes；althoughtheirphilosophiciorthasneverbeennsciously
laidbareuntiloneestothinkofeansbyhcalligraphycanbe
deintelligibletotheeietalentedauntofhih；
said：
intheingofthoserengthofstroke；thecharactersare
”bony”；intheingofthoseskilfulingivingstrengthofstrokes；the
charactersare”fleshy”eatis
called”sineing；”andingthatisfoiloffleshandalled
”piggying”aingthatispoingthathas
neitherpoweorsinewsislikeaninvalid
thedynaoventresultsinaprincipleofstructurehis
essentialtoanunderstandingofchinesecalligraphytherebeautyofbalanceand
syetryisneverregardedasthehighestforoneoftheprinciplesofchinese
ingisthatasquareshouldneverbeaperfectsquare；butshouldbehigheronone
sidethantheother；andthatttriilar
………………………………
第97节
in
sizeandpositionthisprincipleiscalledshift；or”posture；”sabeauty
ofntutheresultisthat；inthehighestexalesofthisart；wehave
strusinglyunbalancedandyetsohoaintainthe
balanandbeautyofrelystatic
proportionsisthedifferencebetanstandingorsittingina
restingpositionandthesnapshotofansick；orofafootball
playersenttheballsoaringthroughtheairjustasthepictureofalady
tossingherheadisresuggestiveofventthanonehherheadonastraight
level；sothechinesecharacterstenhtheirtopstiltedtoonesidearepreferred
artistietricalheadthebestexalesofthistypeof
struenglung；ers
givetheeffectofbeingalainin
balanpleofthisstyleistobeseenintheingsofyu
ylijen；chaiofthentrolyuan；positionverylargelyto
hisrenoofhighorder
deartisinsearsandexperintingonnesofstructureand
pattesithasnotfoundtheetithassupressionoftryingtoesostapparentcharacteristicistheeffort；notto
sootheusbuttojaronoursensesforthisreason；astudyofchinesecalligraphyand
itsanistisofthenaturalworldin
thelightofthisanistiicvitality；givesproseofgreat
possibilitiestheprofuseuseofstraightlines；planes；andnesstrikingoneanother
atdifferentanglescanonlyexciteus；buttheycanneverbealivehbeautythese
planesnes；straightlinesandtohaveexhaustedthede
artistsingenuityainsyetforsoeartistto
strikeapioneerpathbypractisingenglishcalligraphyyears；
andthen；ifheistalentedandreallyunderstandstheanisticprinciple；hewillbe
abletoessquare；inlinesandfortrulyhyofthe
naofanart
thefullsignificanceofchinesecalligraphyasthebasisofchineseaestheticswillbe
seeninastudyofchinesepaintingandarchitectureinthelinesandpositionof
sandstructuresofchinesearchitecture；weshallbe
abletoregnizetheprinchinesecalligraphythesebasic
ideasofrhythfodatspheregivethedifferentlinesofchineseart；like
poetry；painting；architecture；porcelainandhousederations；anessentialunityof
spirit
iiipainting
chinesepainting；thefloure；isdistinguishedbyaspiritandan
atsphereallitso
epoetrythatdifference
ishardtograspandexpressithasaosphere；visibleine
painting；butessentiallydifferentandachievedbydifferentansitshoain
enoofterial；rkedbythenyblankspaces；anideaofposition
deteedbyitsoonyandrkedbyacertain”rhythcvitalityanda
boldnessandfreedofthebrushpresstheonlookerinanunforgettable
nnersohohepicturebeforeushasundergoneaninnerprocessof
transfortionintheartistsnd；shoofitsirrelevancies；itsdishaies；and
givingusonlyapletelysatisfying
itthedesignisreobvious；theelinationofterialrerigidlycarriedout；
thepointsofntrastandncentrationeasiertotrace；andhatthe
artisthasinterferedaterialrealityandpresentedittousonlyasitappearsto
hihoutlosingitsessentiallikenessorintelligibilitytoothersitissubjective
odeepainting；and
nnitnagestoachievea
decidedlysubjectiveappearanceofthingsakingntortionsitdoesnottry
topaintallbeforeoneseyes；anditleavesagreatdealtotheonlookersigination；
etriesthendiateobjebranchisgiveninthe
ureandleftthereasperfectandyet；hallthissubjectiveinterference
aterialreality；theeffectisnotajarringassertionoftheartistsego；buta
pletehayhnaturehohisachieved；andhohispeculiat
traditiongrowup
thisartistictraditiondidnotebychanceorbyanaccidentaldisveryits
dup；ithink；inthe；
andthislyrianspiritandcultureforust
reerthatchinesepaintingiscloselyrelated；inspiritandtechnique；tochinese
calligraphyandchinesepoetrycalligraphygaveititstechnique；theinitialt
ineditsfuturedevelopnt；andchinesepoetrylentititsspiritfor
poetry；paintingandcalligraphyarecloselyrelatedartsinchinathebestwayof
understandingchinesepaintingistostudytheseinfluencesintothe
buildingofthatpeculiartradition
brieflystated；thispeculiartradition；；istheresultof
todeepaintingisgoingthrough；butetothe
historyofchinesepaintingintheeighthcenturytheyaretherevoltagainstthe
subjectionoftheartistslinestothepaintedobjects；andtherevoltagainsta
photographiaterialrealitychinesecalligraphyhelpeditto
solvethefirstprobleandchinesepoetryhelpeditoverthesendastudyofthese
revoltsandofthegenesisofthisartistictraditionoseehinese
paintingcatohaveitspresentcharacter
thefirstproblefchinese
………………………………
第98节
painting；andofallpainting；is；shallbedoneh
thelinesorstrokesaspaintisputchecanvasorinkonthesilkitisapurely
te；theproblef”touch”butnoartistcanescapeit；andthetouch
usediheechanicallyusedto
traofitsownsooneror
later；tiredofit
itisthesarebellionodeart；arebellioneupin
chinahzuc700760；
”ahorse；”hyplonju；anteorarychinese
paintkr；hhoicstrokesand
stekyof
thethk
rultlvatlonoffaiiualhyandstillrein
akintoitintechnique
andasteryofthebrush；distinguishedbyitsboldnessandfreedoinsteadofncealing
theline；theartistglorifiediteprinciple
inchinesearchitecturethusinplaceofthedeadandservile
linesofkukaichih346407or