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吾国与吾民-My Country and My people(英文版)-第69章

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    sutuousfeastinsideseen;butonlysuggestedbytheseleftoverstobe

    throotherefuseheapthenceptionisthereforeeverything;onh

    dependsverylargelythepoeticqualityoftheisshyofstraightportrayaland

    italething

    fortheigination

    hadchinesepaintingreinedntent;hophasison”nception

    oreatteroftheheadthanoftheheart;itruckablindalley;

    forart;arilytoourfeelingsandoursenses;wouldhave

    degeneratedintoathetinoauntoftechnical

    skillorcleveessofintellectualnceptioncangiveusgreatart;ifitfailstoachieve

    anatsphereandevokeinusasyathetiotionhisinallgreatpaintings;oodisthereforeeverythingthe

    draerelytosuggesttheabsenceofany

    boatnnearby;andthatabsei;it

    evokesinusaodofsolitudeanddesolationtheboatdriftacross

    bytheforceofthecurrentifitesaliveandfullof

    aningtousonlyhattheboathavedriftedacrosslikethat

    ifithadnotbeenleftalone;andthisleadstoareflectiononthedesolationofthe

    sceneotionsofavailisittopaintthesignofa

    boogrovebythebridgeunlessagihe

    peopleightbegatheredinthatehangsheavyandlifeis

    atpeace;andncanspendans

    rheutisndthequeensgirlhoodronoodis

    thereforeeverything;inpaintingasinpoetrythisleadsustoansiderationof

    ”atsphere;5othericvitality;”hehighestideal

    ofchinesepaintingforthelastfourteenhundredyears;sincehsiehhofirst

    enunciateditandotherpainterselaboratedanddiscussedandquarrelledoverit

    forustreerthatthechinesepaintersdidnotereaccuracyofdetail

    sutungposaid:”ifonecriticizespaintingbyitsverisilitude;onesunderstanding

    issilartothatofachild”buttakingaereverisilitude;hasthe

    paintertoofferus;afterall;isthepurposeofpaintingtheanshatthe

    artistshouldnveytousthespiritofthespathetic

    odinresponsethatisthehighestobjectandidealofchineseartwe

    reerhoakesperiodiountainstorefreshhis

    spiritintheuntainairandulateddustofurban

    thoughtsandsuburbanpassionsheoral

    andspiritualelevation;andhebravestheselfinraintolistento

    thethunderingongpilesofksandbrushwood

    andhideshielfinbaoogrovesfordaysinordertoabsorbthespiritoflifeand

    natureheshouldnveytousthebenefitofthatnionofnature;and

    nieofthespiritofthethingsasitisinstilledintohissoul;and

    recreateforusapicture;”surchargedoodsandfeelings;everchangingand

    ight;likeyiijen;giveusalandscapeof

    nestlingistsherocksandencirclethetrees;

    inergedinthegeneralistnessoftheatsphere;or;like

    niyiinlin;heghtgiveusapindesolation;htheuntryastretch

    ofblankenessandthetreessosparseoffoliagethatonlyafewdanglingleaves

    affectusbytheirlonelinessandtheirshiveringldinthepoosphere

    andthisgeneralrhythalldetailstenandonlythecentralinood

    reinsthatis”rhythcvitality;”ettijunshengtung;thehighestidealof

    eetagain

    thisisthessageofchineseart;thatitteachesusaprofoundloveofnature;forthe

    dofnaturethebestofelandscapes;likerots3giveusthe

    saatsphereandthesafeelingfoature;butintheportrayalofhunfor;

    theisdesubservienttothe

    forofnatureifthereisanyapprealehunforssuch;wesee

    notraaleforsuggest;

    notthebeautiesoftheirbodiesbutthelinesofthehehis

    anbody;espealebody;seetotobethest

    singularcharacteristifostsingulatrastbethineseand

    eartisthedifferenceinthesourceofinspiration;ureitselfforthe

    eastandthefeleforortheindasbeingre

    grotesquethanthatafelefigureshouldbelabelled”ntelation”orthatanude

    bathinggirlshouldbedetorepresent”septeer”todaynychinese

    arestillunabletorenciletheelvestothefactthatecivilizationrequires

    actualliving”dels;”strippedandplacedbeforeoneseyes;tobestaredatdailyfor

    te;beforeonecanleaeventhefirstessentialsofpaintingof

    ursetherearealsonyeersy

    ther”abovetheitelpiece;anduchasntelatea

    felefigurecalled”ntelation”thereisstilltodayalargeproportionof

    englishandaricansocietyuresintheirflatsby

    sayingthattheroosrentedfuished;andknotodoha

    vienneseporeoftheirfriendshavepresentedtheorchrists;

    theygenerallybanishtheanversationbycallingthesethings

    ”art;”andtheonesadethen”cr
………………………………

第102节

    azyartists”nevertheless;thefactreinsthat

    orthodoxepaintingisdionysianinitsoriginandinspiration;andthatthe

    sunabletoseeanythinghoutanaked;oearlynaked;

    hunbodyinitbolizesspringbyafatand

    bolizesitbyadancingnyhha

    faunchasingafterherandhechinesepaintercandelightinthefinelinesof

    acicadasbsofthecricket;thegrasshopperandthefrog;and

    theplatesuchpicturesonhishntinual

    delight;theepaintercannotbesatisfiedhanythinglessthanhenners

    liseuseordeleine

    thisdisveryofthehunbodyis;today;oneofthestpotentinfluencesof

    ecivilizationinchina;foritchangesthelookoflifeby

    ustbecalleda

    greekinfluenehtherenaissance

    anbodyanditsheartyavohatlifeisbeautifulagreatpartof

    theanisticenoughhoutanygreekinfluence;butthe

    proanbodyisbeautifulhasbeenstrangelylackinginchina

    once;hoanbody;

    likelytoforgetitthisdisveryofthehunbodyandaleforbr 》

    isboundtobeastpotentinfluencebecauseitislinkeduphoneofthestrongest

    ofhuninstinuchaschineseartisnotbeingtaughtin

    stoftheostoftheartschoolstheyareallpying

    feleanatofroundelsorfrolasterfiguresofclassicalgreekand

    ronsinthehe

    nude;foronlyeffeteartistscanregardthehunbodyiration;

    andonlyeffeteartistsakethepleaatallthean

    bodyissensual;andnecessarilysorealeuropeanartistsdonotdenythefact;but

    proadeagainstchineseartbut

    heroot;thetrendhassetinandisnotlikelytobestopped

    iv;architecture

    natureisalanarchitectureusuallyisactforunlikepainting;

    arpttopynaturearchitectureatter

    ofstonesandbrianshelterfroindandrain

    itsfirstprincipleility;andisoftenpurelysoeventothisdayhencethe

    untigateduglinessofthebestdefactorybuildings;schoolhouses;theatres;

    postoffices;railations;andrectilinearstreets;s

    forthefactthatantlyfeeltheneedtoescapetotheuntryforthegreatest

    differencebetanndistheinfinite

    rielitationsofouringenuitythebesthunnd

    cannotinventanythingbesidesblockh
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