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www.lizi.tw栗子小说 m.lizi.twandeoested,herepliedbyasking,
”didthebaoogrotoanother”su,er
a,specializedinpaintingbaoos,aheonce
said,”ieatinalsthangoboosin
house.”hisbaooyle”of”runningscript,”asplashofink
annerofpaintidrunkand,afterdinner,under
thestilationofalholened,diphisbrushintheinkand
boos,orpoetryastheinspirationatter
onhishostshishardly
translatable:”sproutsefroydryiines,istenedbylungsandlivergroboosandrocks.sofulloflifetheygrohattheyotbe
restrained,andsoianyoursnoeingwas
nolonger”painted,”but”ten”likecharacters.zu,too,oftendidhis
paintingsuheinspirationof
heinrporatedintohisontary
stilationuldhavebeenacplishedonlyies,
afterhealholiceffectwouldhavealreadyvanished.
backofallthisdrunkenness,h.
theountofveryprofound
artcriticisdistinguishedbets,k9orthe
innerla,andjz,ortheartistsoion.the”scholarspainting”was
aprotestagainstslavishverisilitude,ofogivequotations,
froheearliesttodetis.thesungsphasizedespeciallyli梩he
innerspiritofthings.reaercialartists,
eofanartshouldaitcatgthespiritit
eredrunkenness.
butthefactthatsuchpaintingheofprofessionalartistsbutofscholars
atplay,ateurisenabled
theodealhpaintinginalightandpleasantspirit.ftheeleventh
tury,hereburstofthespiritof”scholarspainting,”such
paintingohsior”playeofthescholars
ood,likecalligraphyandlikepoetry.therewasno
heavinessofspirit.itseedasifthesasteryofthe
brushincalligraphy,hadanexuberanceofenergyoartasa
pleasantandiingge.theterialequiphesa
sebrushesandthesainkander,andtheyherebefore
hisdesk.foopaletteifei,ohegreatestofscholarpainters,
sotisusedevenarollofpaperforhisbrush,orthepulpofsugare,orthe
stalkofalotusfloeandthereagithescholars
”ediossibletotheseartists.forthtyhad
steredtheartofnveyingfundantalrhyth,ahingelsewas
sendary.therearetodaypaintersakesketcheshtheirbarefingers,and
oneevenobiletongue,dippedininkandligthepaperashedra\vs
along,paintingillis,thescholarsrecreation.
thisplayingodatsforacertainqualityofesepainting,calledyi.the
aybeusedto
dehesati”rontid”thespiritoftherecluse.”itisthisquality
oflightheartedandinguisheslipospoetry.thisyi
itive59or”recluse”qualityisprizedasthehighestqualityofthescholars
paintings,anditesfroheplayingspirit.liketaoisitistheeffortofthe
hunspirittogetathedru
thisdesireisuandableuchthescholarsspiritwas
restraiheralandpoliticalspheres,andinpaintingatleast,itdiditsbestto
reverthatfreedoniyiinlin13011374,agreatyuanpaidistinguished
forthisquality,said:”baoopaintingsarenotintendedrelytopaintthe
fugitivespiriti.doicarehertheyareexactoot,herthe
leavesarethickorthin,orherthebranchesarestraightorcrooked”again,he
said:”anticbrush,
notinteopyreality,butrelytopleaseself”
oneshherefore,ineseinkdraanfiguresand
landscapesofthesoutheschool,certaininfluencesofcalligraphy.first,ohe
sicstrokes.iinglihepine
treeohesaprincipleoftingusedineseings.tungchig
saidaboutpaintihateverylineshouldtallalong,andhihsaid
ofcalligraphythateveryslantinglineshouldhavethreets.tungchigalso
saidthat”,theyshouldapplythelaherunningscript,the
lishu,andthearchaicscript.”oneseesalsointheholloherocksa
typeofscriptcalledfeipo,any
hollohetreofthestrokes,aheenthe
treesthehesealcharacter.forthisisasecretleftusbyghao
ngfuhielf.further,theartistiportantcalligraphic
principle,forproperspagistheveryfirstlaatedbypao
shenpo.ifthespaybesacrificed,as
ybeseeninyiiyujensatterineseingifthe
ntourofthecharacterisurical,butispagisanunfivable
offeurecraftsnship.
andnizesfurtherinthesileunityofdesignofesepaintingsth
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