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www.192.twina,thatthe
inineforsinspirationforthehighestideal
ofperfectrhythelyhappy
iingadragonfly,afrog,agrasshopperorapie
observation,itseethereforethatthespiritoforesensual,re
passionate,refulloftheartistsoore
oreinharnyayexpressthis
differencebyusizslanguageaadsayingthateseartis
apollonianart,ousdifferenceis
possibleonlythroughadifferentuandingandappreassuch.
sofartarsofrhythnhasnotplayedthedonantrok
hasalings.curiouslyenough,thiscultof
rhythrathedevelopntofesecalligraphyasanart.
thestrangepleasurederivedfrotelatingapictureofbarrenrocksdoneina
ferokesandhungontheobelookedatdayinanddayout梩hisstrange
pleasureeuandabletothehehasuoodthe
artistientalistheplaceofcalligraphyin
andrhythractthataysayithas
providedtheesepeoplehabasicaesthetiditisthroughcalligraphythat
the.itistherefore
iossibletotalkaboutesearthoutuandingesecalligraphyand
itsartistispiration.thereis,forinstaoypeofesearchitecture,
ple,onyandforbr >
isnotdirectlyderivedfroertaintypesofesecalligraphy.
thepositionofesecalligraphyioryoftheisthustruly
unique.ooresubtleandre
respohanthepen,calligraphyhasbeeedtothetruelevelofanartona
parhesepainting.theesearefullyahisheyregard
paintinganding
alstanindividualh.should
therebeaquestionastoheansedlybe
infavourofcalligraphy.ithasthusbeeanartcultivatedepassion
aion,dignifiedbyasas
paintingitself.itsstandardsarejustasexag,anditsstershavereachedheights
asunattaihenrunofnasthestersinotherlihegreat
esepainters,liketungchigandgfu,areusuallygreat
engfu12541322,ohebestknohinese
painters,saidofhisoing:”rocksarelikethefoipostyleofingh
hollohestrokes,areesarelikethestyleofingh
relativelyevenahodofpaintii
fundantalstrokesofing.ifthereisohis,hewill
realisethatthesee.”
itseetothatand
position,standsiiontopaintingaspuretheticsstandsiionto
engineeringorastrono.inappreciatingesecalligraphy,theaniirely
fotten,andthelinesandforareappreselves.inthis
cultivationandappreciationofpureposition,
therefore,theairedevotiontopurefors
such,asapartfrotent.apaintinghastonveya,butaten
charaveysonlyitsoyoflineandstructure.inthisabsolutelyfree
field,everyvarietyofrhythasbeeeduponaypeofstructure
hasbeenexplored.theientpossible,andtheesecharacters,heoretically
squarebutareposedfroheoddestelents,presentaninfinitevarietyof
strusustsolveforhielf.thus,through
calligraphy,theesescholaristraioappreciate,asregardsline,qualitieslike
force,suppleness,reservedstrength,exquisitetendeess,sness,ness,
ssiveness,ruggedness,araintorfreedoandasregardsforheistaught
toappreciateharny,proportion,ntrast,balance,lengthiness,paess,and
sotiseveyinslouessularity.thustheartofcalligraphy
providesasofaestheticappreciationayhe
basesofesenotionsofbeauty.
asthisarthasahistoryofhousandyears,andaseveryertriedto
distinguishhielfbyaructure,therefore,incalligraphy,if
inanythioftheeseartistid.
certaintypes,suchastheyularityorofaforevertoppling
structurethatyetkeepsitsbalance,heeersbytheirfinesse,all
theresobecausesuchtypesarenoteasilyseeninotherfieldsofeseart.
isofsignificetotheisthefactthat,notonlyhasitprovidedthe
aesthetiisticipleaybe
stfruitfulofresultsoodandapplied.asstated,ese
andforandithasdoneso
byderivingitsartistinature,espeals梩
hebranflohafehespringing
bodyoftheleopard,thessivepahetiger,theslegsofthedeer,the
sihofthehorse,
...