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sizeandposition.thisprincipleiscalledshift,or”posture,”sabeauty
ofntutheresultisthat,inthehighestexalesofthisart,wehave
strusinglyunbalandyetsohoaintainthe
balanayofrelystatic
proportionsisthediffereanstandingorsittingina
restingpositionandthesnapshotofansick,orofafootball
playersenttheballsthroughtheair.justasthepictureofalady
tossingherheadisresuggestiveofventthanonehherheadonastraight
level,sotheesecharactersteopstiltedtoonesidearepreferred
artistietricalhead.thebestexalesofthistypeof
struenglung,ers
givetheeffectofbeingalainin
balahisstyleistobeseenintheingsofyu
ylijen,chairnofthentrolyuan,positionverylargelyto
hisrenoofhighorder.
deartisinsearsandexperintingonnesofstructureand
pattes.ithasnotfou.ithassupressiontoesostapparentcharacteristicistheeffort,notto
sootheusbuttojaronoursenses.forthisreason,astudyofesecalligraphyand
itsanistisofthenaturalworldin
thelightofthisanistiicvitality,givesproseofgreat
possibilities.theprofuseusehtlines,planes,arikiher
atdifferentangleslyexciteus,buttheyeverbealivehbeauty.these
plaraightlinesandtohaveexhaustedthede
artistsiy.aiforsoeartistto
strikeapiohbypractisingenglishcalligraphyyears,
andthen,ifheistalentedandreallyuandstheanisticiple,hewillbe
abletoessquare,inlinesandfortrulyhyofthe
naofanart.
thefullsignificeofesecalligraphyasthebasisofeseaestheticswillbe
seeninastudyofesepaintingandarchitecture.inthelinesandpositionof
sandstructuresofesearchitecture,weshallbe
abletheprinesecalligraphy.thesebasic
ideasofrhythforndatspheregivethedifferentlinesofeseart,like
poetry,painting,architecture,porcelainandhousederations,aialunityof
spirit.
iii.painting
esepainting,thefloure,isdistinguishedbyaspiritandan
atsphereallitso
epoetry.thatdifference
ishardtograspandexpress.ithasaosphere,visibleine
painting,butessentiallydifferentandachievedbydifferentans.itshoain
enoofterial,rkedbythenyblankspaces,anideaofposition
deternedbyitsoonyandrkedbyacertain”rhythcvitalityanda
boldnessandfreedofthebrushpresstheonlookerinanunfettable
nner.sohohepicturebeforeushasundergoneaninnerprocessof
transfortioniistsnd,shoofitsirrelevasdisharnies,and
givingusonlyapletelysatisfying
it.thedesignisreobvious,theelinationofterialrerigidlycarriedout,
thepointsofntrastarationeasiertotradhatthe
artisthasinterferedaterialrealityaedittousonlyasitappearsto
hihoutlosingitsessentiallikenessorintelligibilitytoothers.itissubjective
odeepainting,and
nn.itoachievea
decidedlysubjectiveappearahingsakingntortions.itdoesnottry
topaintallbeforeoneseyes,anditleavesagreatdealtotheonlination,
etriesthendiateobjebranchisgiveninthe
ureahereasperfedyet,hallthissubjectiveinterference
aterialreality,theeffeotajarringassertionoftheartistsego,buta
pleteharnyhnature.hohisachieved,andhohispeculiat
traditiongrowup
thisartistictraditiondidnotebyceorbyanactaldisvery.its
dup,ithink,inthe,
andthislyrianspiritandculture.forust
reerthatesepaintingiscloselyrelated,inspiritandteique,toese
calligraphyandesepoetry.calligraphygaveititsteique,theinitialt
isfuturedevelopnt,andesepoetrylentititsspiritfor
poetry,paintingandcalligraphyarecloselyrelatedartsina.thebestwayof
uandingesepaintingistostudytheseinflueothe
buildingofthatpeculiartradition.
brieflystated,thispeculiartradition,,istheresultof
todeepaintingisgoingthrough,butetothe
historyofesepaintingihtury.theyaretherevoltagainstthe
subjeoftheartistslihepaintedobjects,andtherevoltagainsta
photographiaterialreality.esecalligraphyhelpeditto
solvethefirstprobleandesepoetryhelpeditoverthesend.astudyofthese
revoltsandofthegenesisofthisartistictraditionoseehinese
paintingcatohaveitspresentcharacter.
thefirstproblefese
...