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吾国与吾民-My Country and My people(英文版)-第70章

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    rielitationsofouringenuitythebesthunnd

    cannotinventanythingbesidesblockhouses;ouldings;a

    rotundahereandatriangulargabletherethestiressiveusoleur

    rialcannotpareutilatedand

    disinfeainstreets;eertoput

    thehereyethouredaresifthesetreeshtheirroughsurfaceandirregular

    shapeshadbeentheproduanarchitect;he

    aatureevendarestopaintthetreesgreenweareafraid

    ofirregularityedtheword

    ”drab”todescribeouroence

    ind;succeededin

    produodepaventsand

    reer

    resortsutilityistheansodeindustrialagehas

    aggravatedthesituation;especiallyhtheinventionofreinforcedncretethisisa

    syoloftheindustrialage;anditodeindustrial

    ostofthencretebuildingshaveforgotten;eventoputonaroof;

    because;ehaveevenprofessedtoseeaninspiring

    beautyintheneseenanytheirbeautyisthe

    beautyofgold:theyarebeautifulbecausetheysuggestthepoillionsthey

    expressthespiritoftheindustrialage

    yetbecauseolookatthehouseswebuildforourselveseverydayandhave

    tospendstofourdaysintheandbecausebadarchitecturecancrathestyle

    ofourliving;thereisaveryhundendtokeitbeautifulverysubtlythe

    houseschangethefaceofourtoiesaroofisnotjustarooftoshelterus

    frounandrain;butsothingthataffee;adoorisnot

    justanopeningtogetinside;butshouldbethe”opensesa”thatleadsusintothe

    steriesofpeoplesdosticlivesafterall;itkessodifferenceherwe

    knoilionpaintedgatehgoldenhobs

    onit

    theprobleshoakethebricksandrtaraliveandspeakthelanguageof

    beautyhoitakeitsaysothingtous;as

    europeanedhaspiritandspeakasilentlanguageofthe

    greatestbeautyandsublitytousletusseehohebestofchinesearchitecture

    triedtosolvethisproble

    thatofthe

    aintendenonyanycasesithas

    suthesprig

    ofplulosso梩ranslatedfirstintotheving;livinglinesofcalligraphyand

    sendarilyintothelinesandforofarchitectureithassupplentedthisbythe

    nstantuseofsyolictivesandithas;throughthepre
………………………………

第103节

    valentsuperstitionof

    geonentofpantheispelsregardforthe

    surroundinglandsent;h

    itsbestproductintheprivatehoandgardenitsspiritdoesnot;likethegothic

    spires;aspiretoheaven;butbroodsovertheearthandisntentedhitslotwhile

    gothiity;chinesetelesandpalacessuggest

    thespiritofserenity

    unbelievableasitsee;theinfluenceofcalligraphyesineveninchinese

    architecturethisinfluenceisseeninthebolduseofskeletonstructures;likepillars

    androofs;inthehatredofstraight;deadlines;notablyintheevolutionofthesagging

    roof;andinthegeneralsenseoffodproportionandgraceandseverityof

    telesandpalaces

    theproblefrevealingoilartothe

    problef”touch”inpaintingjustasinchinesepaintingtheoutliningstrokes;

    insteadofservingrelytoindicatethentourofshapesofthings;acquireabold

    freedoftheiroecturethepillarsinersand

    beainroofs;insteadofbeinghiddeninsha;arefranklyglorifiedandbee

    iortantelentsingivingstrutothebuildingsinchinesebuildingsthe

    eouswe

    silyliketoseethesestructurallines;asindicatingthebasicpatteofthebuilding;

    asicsketchesofoutlineinpaintingeworkisusuallyrevealed

    inhousesareleftvisiblebothinsideandoutsidethe

    house

    thisarisesfroheprincipleof

    ”fraongthevariousstrokesofacharacter;weusually

    etisanenvelopingsquare;his

    regardedasgivingsupporttotherest;andthisstrokeustkepowerfullyand

    kelonger;reobviousthantheothershavingobtainedsupportinthisin

    stroke;theotherstrokesit

    eveninthedesignofagroupofbuildings;thereisaprincipleofaxis》asthereisan

    axisinstchinesecharacterstheyplanningofpeiping;oldpeking;one

    ofthestbeautifulcitiesoftheoaninvisibleaxisof

    severallesrunningnorthandsouthfroheouterstfrontgate;rightacrossthe

    eerorsthrone;tothealhilltohis

    axisisiddle”orckang;andinother

    characters;likegheftp

    perhapsreiortantthantheprincipleofastraightaxisistheuseofcurves;wavy

    lines;orirregularrhythclinestontrastostclearly

    seeninthepleorpalaansionis

    based;initsessence;uponthebinationotrastofthestraightverticallinesof

    thepillarsandthecurvedlinesoftherooftheroofitselfntainsantrastbetween

    thestraightlineattheridgeandthesagginglinebelooourtrainingin

    calligraphyinainline;ay

    behorizontal;verticalorslanting;ustntrastithcurvedorsoftbrokenlines

    aroundittheridgeoftheroofisfurtherrebrokenbyonlyafeive

    tivesonlybythentrastoftheselinesarethestraightlinesofthepillarsandthe

    plesofchinesetelesand

    dsthederativepointofehasis

    ratherthanthepillarsortheendonotexistinfront梩helatterbeing

    proportionatelysllparedhtheroofitself

    abc

    threeierof

    ”nchtlruo;”

    andfauscauligraphist

    theoriginofthefausroofliracedtocalligraphy

    thetopoftheting;signifyingthe”roof”notethesagintheddleandthesgivenbychineseroofs

    thetopofcharacter”c”signifies”n;”butreselestheupperlinesofaroofnote

    alsothesureandtheupthelowerends

    notefurthertheprincipleofstructureinvolvedandappliedtochinesearchitecture

    notetherigidverticallihepillarin”antrastedhthecurveinthe”roof”

    andhotherhorizontalstrokesattachedtoitnotein”b”thecentralverticalcurve;

    htheotherstrokesclusteringaroundapointatitstopandstrangelybalancingone

    another

    theoriginofthesaggingroof;probablythestuniqueandobviouscharacteristif

    eiginea

    nneadicdaysandyetthereasonforitis

    obviousincalligraphynooneentsofchinesecalligraphycan

    failtoseetheprincipleofgracefullyshe

    greatestdifficultyistobringaboutstrengthofstroke;asitisaltogive

    strengthtoaperfectlystraightstrokeontheotherhand;aslightbentoneitherside

    diatelyafeelingoftensionitisonlynecessarytopointtothe

    gracefulsaginthe”radical”signifyingaroofinchinesecharacterstoseethatthisis

    noreiginationoftheauthor

    ourloveforrhythrredofstraight;dead

    linesbeeobviouseeredthatratedanything

    quiteasuglyastheedechinesearchitecthas

    perpetratedaestyledlighthouseshapedthingcalledthelakeexhibition

    rial;anditstandsthereadstthebeautiesoflakeli
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