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www.192.twcurveandbecauseitisbalustraded.its
spaaslonganditsbalustradesnotasusefulasthesteeltrussesofthe
brooklynbridge,butnoonedenythatitsuggestslesshuncleveessand
rebeauty.nsideralsothepagoda,andhothefact
thatitsoutlineisbrokenbyasuccessionofprojegroofs,especiallythoseendlines
thatcurlupheslantingstrokesofeseing.nsideralsothe
peenatpeiping.nothingisre
strikingthanthebolofcloudsplacedhorizontallyacrossthetopon
eaunparalleledinaudacityevenineseart.the
pillarstheelveshaveaaybe,ithappensthat
theintothe
surfapleofnfuciusbear,too,thehe
enthehedragonsbodyhelptobreakthe
straightliive,apartfrotssyolicvalue.
everyofnatureanditate
itsirregularity.thespiritunderlyingitallisstillthespiritofanisncalligraphy.
helinesofboopatte.
onotonyofthe
straightanyshapesasthesllcakesofe
pastry,itatingabananaleaf,orapeaelonorafan.li
liatistandepicure,rodugthebranlaid
itions.theoutliheraight.alongthis
outline,horoducedabranchshapedcarving,togivetheeffectofaliving
branchstretchedacrosstheopartitions,bedpostsand
othertypesoflatticely,theuseofrockeryisprobablytheclearest
exaleofoureffortstointroduanarchitecturethenaturalirregtdarlines
ofnature.
iureanefforttoseekrelief
frhtlihroughsofularitysuggestiveofanilandplant
for.thisleadstoaionoftheuseofsyolisthebat,forinstance,is
verychusedasaderativetive,becauseitscurvedapableofso
nyvariationsindesign,butalsobefoodluck,”the
syolisthelanguageofthepritiveandthechildnd.itissothingthatevery
eseanandchildderstand.
butsyolisas,further,thevirtueofntaininghinafeionallines
thethoughtoftheagesandthedreaoftheraaginationand
leadsusintoarealfhought,likethechristiancrossorthesoviet
haerandsiousthatwe
inplicityandthen
reachesthetopandlosesitselfinariotofbracketsandidbars,we
liketoseethere,asandarinducksrasshopperoran
inkslabandabrush.asandarinduckshalwaysgoinpairsin
anslove,andastheinkslab
andthebrush,sstudy.there,paintedingreenand
blueandgoldarethegrasshoppersandthecricketsandthendarinducks,anditis
aschhappinessasofinthisearthlylife.
sotisetiselife,
forthesearethetesofesepainting.
thedragonisthesthonouredanilinperor,
ostusedinartasaderativetive,
partlybecausethet,
bininggraeaning,
besideshavingthosebeautifulclaharealwayssouseful
inbreakingnotony.thedragonrepresentsotherhe”fugitive”oryi
principleentionedbefore,anditrepresentsgreattaoist,foritoften
hidesitselfangrevealsitshegreat
an.perfeandinpoself.
heulddesountainpondsasheuldrisetotheclouds.
behedarkersofthedeepporaceofhisexiste
hehina
arealoventsofthedragon,andsotis
snofidstthunderandlightning,tearing
uphouseroofsanduprootingoldbanyantrees.hen,shouldhe
dragon,theeodintofpo
but,then,thedragonisnotapurelythologicalorantediluviay.tothe
anyofthewindingridgesof
untainsountainsgraduallydesdand
rgeintotheplainorthesea,the
basisofancyisundeniablyasuperstition,it
hasagreatspiritualandarchitecturalvalue.itssuperstitionnsistsinthebeliefthat
byplabsiifulsery,overlookingthon
untainsandlionhills,oneans
desdants.ifthelocationandthelandscapeseryaretrulyunique,if,forinstance,
fivedragonsandfivetigersuniteinkinghogetotheto,itisalst
iablethatonedesperialdynasty,oratleast
beeapreer.
butthebasisofthesuperstitionisapaientofiandscape3and
gancysharpensoureyestobeauty.ountains
andge
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