栗子小说 m.lizi.tw栗子小说 m.lizi.tw台湾小说网
www.192.twvalentsuperstitioneoofpantheispelsregardforthe
surroundingla,h
itsbestprodutheprivatehoandgarden.itsspiritdoesnot,likethegothic
spires,aspiretoheaven,butbroodsovertheearthandisedhitslot.while
gothiity,esetelesandpalacessuggest
thespiritofserenity.
unbelievableasitsee,theinfluenceofcalligraphyesineveninese
architecture.thisinfluenceisseeninthebolduseofskeletonstructures,likepillars
androofs,iredht,deadlines,notablyintheevolutionofthesagging
roof,andinthegeneralsenseofforndproportionandgradseverityof
telesandpalaces.
theproblefrevealingornilartothe
problef”toupainting.justasinesepaintiliningstrokes,
insteadrelytoindicatethentourofshapesofthings,acquireabold
freedoftheiroecturethepillarsinersand
beainroofs,insteadofbeinghiddeninsha,arefranklyglorifiedandbee
iortasingivingstrutothebuildings.inesebuildingsthe
eous.we
silyliketoseethesestructurallines,asindigthebasicpatteofthebuilding,
asicsketchesofoutlineinpaintingeworkisusuallyrevealed
inhousesareleftvisiblebothinsideandoutsidethe
house.
thisarisesfroheprincipleof
”fraongthevariousstrokesofacharacter,weusually
etisanenvelopingsquare,his
regardedasgivingsupporttotherest,andthisstrokeustkepowerfullyand
kelonger,reobviousthahers.havingobtainedsupportinthisin
stroke,theotherstrokesit.
eveninthedesignofagroupofbuildings,thereisaprincipleofaxis>asthereisan
axisinstesecharacterstheyplanningofpeiping,oldpeking,one
ofthestbeautifulcitiesoftheoaninvisibleaxisof
severallesrunningnorthandsouthfroheouterstfrontgate,rightacrossthe
eerorsthrohealhilltohis
axisisiddle”org,andinother
characters,likegheftp
perhapsreiortantthantheprincipleofastraightaxisistheuseofcurves,wavy
lines,ularrhythestontrastostclearly
seeninthepleorpalaansionis
based,initsessence,uponthebinationorntrastofthestraightverticallinesof
thepillarsandthecurvedliheroof.theroofitselfntainsantrastbetween
thestraightliheridgeandthesagginglinebelooourtrainingin
calligraphyinainline,ay
behorizontal,verticalorslanting,ustntrastithcurvedorsoftbrokenlines
aroundit.theridgeoftheroofisfurtherrebrokenbyonlyafeive
tives.onlybythentrastoftheselinesarethestraightlihepillarsandthe
plesofesetelesand
dsthederativepointofehasis
ratherthanthepillarsortheendoinfroerbeing
proportionatelysllparedhtheroofitself.
abc
threeierof
”nchtlruo,”
andfauscauligraphist.
theinofthefausroofliracedtocalligraphy
thetopoftheting,signifyingthe”roof.”hesagintheddleandthesgivenbyeseroofs.
thetopofcharacter”c”signifies”n,”butreselestheupperlinesofaroof.note
alsothesureahelowerends.
hertheprincipleofstructureinvolvedandappliedtoesearchitecture.
herigidverticallihepillarin”antrastedhthecurveinthe”roof”
andhotherhorizontalstrokesattachedtoit.notein”b”thetralverticalcurve,
htheotherstrokesclusteringaroundapointatitstopandstrangelybalangone
another.
theinofthesaggingroof,probablythestuniqueandobviouscharacteristif
eiginea
nneadicdays.ahereasonforitis
obviousincalligraphy.sofesecalligraphy
failtoseetheprincipleofgracefullyshe
greatestdifficultyistaboutstrengthofstroke,asitisaltogive
strengthtoaperfectlystraightstroke.oherhand,aslightbeherside
diatelyafeelingoftension.itisonlynecessarytopointtothe
gracefulsaginthe”radical”signifyingaroofinesecharacterstoseethatthisis
ninationoftheauthor.
ourloveforrhythrredht,dead
linesbeeobviouseeredthatratedanything
quiteasuglyastheedeesearchitecthas
perpetratedaestyledlighthouseshapedthingcalledthelakeexhibition
rial,anditstandsthereadstthebeautiesoflakelikeasoreona
beautysface,causingallsortsofeyetroublesittoolong.
itplesofourdevicestobreakstraight,deadlihe
bestclassicexaleisperhapsthebalustradedroundbridge.theroundbridge
harnizeshnature,becauseitisina
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