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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