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in sizeandposition.thisprinalledshift,or”posture,”sabeauty ofntutheresultisthat,inthehighestexalesofthisart,wehave strusinglyunbalandyetsohoaintainthe balanayofrelystatic proportionsisthediffereanstandingorsittingina restingpositionandthesnapshotofansick,orofafootball playersenttheballsthroughtheair.justasthepictureofalady tossingherheadisresuggestiveofventthanonehherheadonastraight level,sotheesetersteopstiltedtoonesidearepreferred artistietricalhead.thebestexalesofthistypeof struenglung,ers givetheeffectofbeingalainin balahisstyleistobeseenintheingsofyu ylijen,chairnofthentrolyuan,positionverylargelyto hisrenoofhighorder. deartisinsearsandexperintingonnesofstructureand pattes.ithasnotfou.ithassupressiontoesostapparentteristicistheeffort,notto sootheusbuttojaronoursenses.forthisreason,astudyofesecalligraphyand itsanistisofthenaturalworldin thelightofthisanistiicvitality,givesproseofgreat possibilities.theprofuseusehtlines,planes,arikiher atdifferentangleslyexciteus,buttheyeverbealivehbeauty.these plaraightlinesandtohaveexhaustedthede artistsiy.aiforsoeartistto strikeapiohbypractisingenglishcalligraphyyears, andthen,ifheistalentedandreallyuandstheanisticiple,hewillbe abletoessquare,inlinesandfortrulyhyofthe naofanart. thefullsignifialligraphyasthebasisofeseaestheticswillbe seeninastudyofesepaintingandarture.inthelinesandpositionof sandstructuresofesearture,weshallbe abletheprinesecalligraphy.thesebasic ideasofrhythforndatspheregivethedifferentlinesofeseart,like poetry,painting,arture,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 thisartistictraditiondidnotebytaldisvery.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 paintingcatohaveitspresentter. thefirstproblefese ...