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paintings；anditesfroheplayingspiritliketaoisitistheeffortofthe
hunspirittogetathedru
thisdesireisunderstandableuchthescholarsspiritwas
restrainedintheralandpoliticalspheres；andinpaintingatleast；itdiditsbestto
reverthatfreedoniyiinlin13011374；agreatyuanpainterstdistinguished
forthisquality；said：”baoopaintingsarenotintendedrelytopaintthe
fugitivespiritinbreastdoicarehertheyareexactoot；herthe
leavesarethickorthin；orherthebranchesarestraightorcrooked”again；he
said：”anticbrush；
notintendedtopyreality；butrelytopleaseself”
oneshouldregnize；therefore；inchineseinkdraanfiguresand
landscapesofthesoutheschool；certaininfluencesofcalligraphyfirst；oneseesthe
sicstrokesinthetinglinesofthepine
treeoneseesthesaprincipleoftingusedinchineseingstungchichang
saidaboutpaintingtreesthateverylineshouldtallalong；andhihsaid
ofcalligraphythateveryslantinglineshouldhavethreetstungchichangalso
saidthat”；theyshouldapplythelaherunningscript；the
lishu；andthearchaicscript”oneseesalsointheholloherocksa
typeofscriptcalledfeipo；any
hollohecentreofthestrokes；andseesintheenthe
treesthehesealcharacterforthisisasecretleftusbyghao
ngfuhielffurther；theartistiportantcalligraphic
principle；forproperspacingistheveryfirstlaatedbypao
shenpoifthespaybesacrificed；as
ybeseeninyiiyujensatterinchineseingifthe
ntourofthecharacterisunsyetrical；butinrrectspacingisanunforgivable
offence；turecraftsnship
andoneregnizesfurtherinthesileunityofdesignofchinesepaintingsth
………………………………
第100节
e
ntrollingrhythfthebrush；calledfyitiansthe”nception9intheartists
ndtokeachinesedrato”eoutanception5ksiehyibefore
oneputsthebrushonthepaper；theartisthasadefinitenind；then
ashedraingoutthatnceptionthroughcertainstrokes；he
brooksnointerferenceofirrelevancies；andaddsathereto
preservetheorganicrhythandheessentialnceptionin
hisnd；heleavesoffforthatreason；thepicturelivesbecausethenception
behinditlivesitislikereadingagoodepigrathetheflavour
reinsthechineseartistsexpressthistechniquebysayingthat”thenception
precedesthebrush；andhebrushhasdoneitshenceptionstill
reins；forthechinesearensuatestersinsuggestionand”leavingoffat
therightnt”theylikegoodteaandoliveshgivea”backflavour；”
hinutesaftereatingtheoliveordrinkingthe
goodteathetotaleffeptyandalive；”eansextrevitalityupledyofdesign
chinesepoetrygiveschinesepaintingitsspiritasstatedalreadyinthediscussionon
poetry；itreoftenhappensinchinathaninthethatthepoetisapainter；and
thepainter；poetpoetryandpaintingefrohesahunspirit；anditis
naturalthatthespiritandinnerteewehaveseen
hoinginfluencedpoetryinperspective；becausethepoetseyeisthepainters
eyebuthepaintersspiritisthepoetsspirit；hohepainter
shoeiression；thesathodofsuggestion；thesaehasisonan
indefinableatsphere；andthesapantheisticunionhnature；h
oodandthepicturesquentare
oftenthesa；andtheartistndinpoetry
canalso；halittlecultivation；expresstheotherinpainting
first；issthequestionofperspective；eers；by
explainingonavery
highuntaintheperspectiveoneobtainsoftheahigh
altitude；say；fronaeroplaneflyingsixthousandfeetabovetheearth；stbe
differentfroheperspectiveontheordinarylevelthehigherthevantagepoint；the
less；ofurse；thelinesnvergetothisisalsovisiblyinfluencedby
theoblongshapeofchinesescrolls；the
foregroundatthebottofthescrolltothelineofthehorizonatthetopofthescroll
likethedeepainters；thechineseartistsoportray；notrealitybut
theiropressionsofreality；andhehodthetrouble
pressionistsisthattheyarealittletoocleverandalittletoological
halltheiringenuity；thechineseartistsarenotabletoproduceartisticfreaksto
startlethelaynthebasisoftheiriressioniss；ashasbeenexplained；the
theorythat”thenustpreaterial
reality；therefore；buttheartistsnceptionoftherealityisthepurportofthepainting
theyreerthattheyarepaintingforfelloanbeingsandthenceptions
stbehunlyintelligibletootherstheyarerestrainedbythedoctrineofthe
goldenantheiriressionissthereforeahuniressionisinpaintinga
picture；theirobjectistonveyaunifiednception；inesto
includeandtoleaveout；resultingintheffunglingquality
sinaryiortance；thegreatestpainsstbetakento
nceiveapoeticeptioninthesungdynasty；petitive
exanationsinpaintingundertheierialbureauofpainting；his
nsiderationofthepoeticeptionoverruledeveryotherstandardinvariablyit
hepaintinghebestnceptionthatischaracteristic
thatthebestnes
selves；sin
buttheingenuityliesinthestsuggestiveinterpretationofthatpoeticlineafeplesinations
wasaline：
baoosverahebridge
nypetitorstriedtoncentrateonthehecentreofthepicture
therean；hoboogrovebyitsside；
andhiddeninthatgrove；onlyashopsignbearingthecharacter”no
allandthispicturehehe
iginationanothersubjectgivenweiing：
atthedesertedferry；aboatdriftsacrossbyitself
thepoethadalreadyusedthethodofsuggestioninnveyingtheatsphereof
silenceanddesolationbyshohattheboat；leftalone；driftedacrossbytheforce
ofthecurrent；butthepaintercarriedthethodofsuggestionfurtherthewinning
picturehisfeelingofsilenceanddesolationbydrawinga
birdrestingontheboat；andanotheroneabouttoperchonitthepresenceofthe
birdsneartheboatsuggeststhattheboatanbeingswere
about
thereosphereofluxury
intheriodepainter；sickofpaintingreality；ryto
suggestbuthebleofasaxophohatgically
peratesthroughachaagneglassthatrestsonaansbreastthathides
undeeaththreequartersofatorcarhatgrazesoverthefunnelsofa
gunardliner；etc；；etcthechineseiressionistpainted；hoh
nsioninthebackground；aidpeepingout
andpouringoutabasketfulofrichnsdelicacies；likeducksfeet；ikhi；waln
………………………………
第101节
uts；
hazelnuts；etcofdetailthe
sutuousfeastinsideseen；butonlysuggestedbytheseleftoverstobe
throotherefuseheapthenceptionisthereforeeverything；onh