<TD></TD></TABLE>
id
thepoetselectandelinatehisterialandhoithhiso
andkeitgloicvitalityinhetechniqueofchinese
poetryandchinesepaintingreallyoneandthatchinesepoetsarepainters,
andpainters,poets
thestrikingthingaboutaginationanditskinshipin
techniqueostevidentinthehandlingofperspectiveherethe
analogybetostpleteletusbeginh
perspectivethathelinesoflipo701762
abovethensfacearisethehills;
besidethehorsesheadergetheclouds,
antravellingonhorsebackona
highuntainpaththeeaninglessatfirstsight,willbe
found,ontsuseoftheigination,togiveusapictureasapainterwould
paintitonhiseobjectsinthe
foreground”thensface55and”thehorseshead”tosetoffthedistantview
entirelyapartfrohepoetiountains,one
realizesthatthescenerybythepoetasifitingona
flatsurfacethereaderhensee,asheactuallyseesinpaintingsorsnapshots,
thathilltopsseeorisefrohensfaewherein
thedistanalinebrokenbythehorsesheadthisclearlypossibleif
thepoetonhorsebackandthecloudslyingonalohe
distanaginehielfonhorsebackonahigh
untainpathandviethesaperspectiveasthepoetdid
inthishroughthistrickofperspective,thesepenpicturesgainabold
reliefiossibleethodsitcannotbesaidthatthechinesepoetswere
nsciousofthetheoryofthistechnique,buthadinanycasefoundthetechnique
itselfhundredsofexalesghtbecitedhthistechniqueofperspective,wang
estdescriptivepoet,said:
intheuntainsanightofrain,
andabovethetreesahundredsprings
ofurse,itrequiresalittleefforttoigine”springsontreetops”he
exactheoriginal;butexactlybecausesuchaperspectiveissorareandcan
onlybefoundountaingorges,fog,afterthepreviousnightsrainfall,
aseriesofetreesinthe
foreground,thereadergainsaclearperspectiveotherpossibleashthe
forrexalefroipo,theartliesintheselectionofanobjectintheforeground
tosetitoffagainsttheobjectsinthedistance,likeclouds,cascades,hilltopsandthe
lkyhenpaintingthesetogetheronafiatsurfacethusliuyuhsi772842
e:
foranautuscene:severaldotsofhillsoverthewall
thepicturetechniquehereisperfect:thehilltopsappearingasseveral”dots”overthe
thehillsinthissense,an
understandliliatic
works:
firstthehillsinthepainting,
thenthepaintinginthehills
thepoetseyeisthepainterseye,andpaintingandpoetrybeeone
thisaffinitybetorenaturalandapparentwhen
ilarityofteilarityofthes,
andthefasoverse
inanycase,thepainterafterfinishinghispaintingusuallyesaverseatthetopin
thosevaorelateronwhen
ingproperbutthisaffinityisresponsibleforanotherpointin
pressionistictechniqueitisatechniquehgivesa
seriesofiressions,vividandunforgettable,andleavesrelyaflavour,an
indefinablefeelingbehind,hereaderssensesbutdoesnotsatisfyhis
understandingteintheartofsublition,suggestion
andartisticrestraintthepoetdoesnottrytosayallhehastosayhisbusinessisbut
toevokeapicture,kingapensketchbyafe,clearstrokes
hencearosethegreatschoolofpastoralpoets,specializinginlandscapepaintingsand
usingtheiressionistictechniquesuchstersinpastoralpoetryaretao
yflqnrg373437>hsiehlingyun385433,ei
ingthetechniqueispracticallyuniversalhchinesepoetsof
terknoochiehitissaidthat”thereispoetryin
hispaintingandpaintinginhispoetry,”becausewangself
hislikethe
follotenbyoneinspiredbythespiritofchinesepainting:
adstthestlikeautushowers,
shallohestonyrapidsflow;
itsspraysbesprinkleoneanother
upanddoheegretsgo
桾heliianchiarapids
andhereetotheproblefsuggestionsodeepainterhas
attetedtheiossiblebytryingtopaint”thesoundofsunshinegoingupstairs,”but
theproblefartisticlitationshasbeenpartlyoverebychinesepaintersby
theuseofsuggestion,reallydevelopedbythepoeticartonecanactuallypaint
soundsandsllbythethodofsuggestionachinesepainterthe
soundoftelebellshoutshohebellsatallonthecanvas,butpossiblyby
relyshopleroofhiddenangtrees,andtheeffectofthe
soundonnsfaell,
selftopictorialhandlingthusachinesepoetdescribingthefragrance
oftheopenuntrye:
ingbackoverfloarethe
horseshoofs
nothinghanpaintingaflockofbutterflies
flittingafterthehorseshoofs,achinesepainter
actuallydidbythesatechniqueofsuggestion,thepoet
liuyiihsieaboutthefragranceofaurtlady:
inher
... </P></TD>
id
thepoetselectandelinatehisterialandhoithhiso
andkeitgloicvitalityinhetechniqueofchinese
poetryandchinesepaintingreallyoneandthatchinesepoetsarepainters,
andpainters,poets
thestrikingthingaboutaginationanditskinshipin
techniqueostevidentinthehandlingofperspectiveherethe
analogybetostpleteletusbeginh
perspectivethathelinesoflipo701762
abovethensfacearisethehills;
besidethehorsesheadergetheclouds,
antravellingonhorsebackona
highuntainpaththeeaninglessatfirstsight,willbe
found,ontsuseoftheigination,togiveusapictureasapainterwould
paintitonhiseobjectsinthe
foreground”thensface55and”thehorseshead”tosetoffthedistantview
entirelyapartfrohepoetiountains,one
realizesthatthescenerybythepoetasifitingona
flatsurfacethereaderhensee,asheactuallyseesinpaintingsorsnapshots,
thathilltopsseeorisefrohensfaewherein
thedistanalinebrokenbythehorsesheadthisclearlypossibleif
thepoetonhorsebackandthecloudslyingonalohe
distanaginehielfonhorsebackonahigh
untainpathandviethesaperspectiveasthepoetdid
inthishroughthistrickofperspective,thesepenpicturesgainabold
reliefiossibleethodsitcannotbesaidthatthechinesepoetswere
nsciousofthetheoryofthistechnique,buthadinanycasefoundthetechnique
itselfhundredsofexalesghtbecitedhthistechniqueofperspective,wang
estdescriptivepoet,said:
intheuntainsanightofrain,
andabovethetreesahundredsprings
ofurse,itrequiresalittleefforttoigine”springsontreetops”he
exactheoriginal;butexactlybecausesuchaperspectiveissorareandcan
onlybefoundountaingorges,fog,afterthepreviousnightsrainfall,
aseriesofetreesinthe
foreground,thereadergainsaclearperspectiveotherpossibleashthe
forrexalefroipo,theartliesintheselectionofanobjectintheforeground
tosetitoffagainsttheobjectsinthedistance,likeclouds,cascades,hilltopsandthe
lkyhenpaintingthesetogetheronafiatsurfacethusliuyuhsi772842
e:
foranautuscene:severaldotsofhillsoverthewall
thepicturetechniquehereisperfect:thehilltopsappearingasseveral”dots”overthe
thehillsinthissense,an
understandliliatic
works:
firstthehillsinthepainting,
thenthepaintinginthehills
thepoetseyeisthepainterseye,andpaintingandpoetrybeeone
thisaffinitybetorenaturalandapparentwhen
ilarityofteilarityofthes,
andthefasoverse
inanycase,thepainterafterfinishinghispaintingusuallyesaverseatthetopin
thosevaorelateronwhen
ingproperbutthisaffinityisresponsibleforanotherpointin
pressionistictechniqueitisatechniquehgivesa
seriesofiressions,vividandunforgettable,andleavesrelyaflavour,an
indefinablefeelingbehind,hereaderssensesbutdoesnotsatisfyhis
understandingteintheartofsublition,suggestion
andartisticrestraintthepoetdoesnottrytosayallhehastosayhisbusinessisbut
toevokeapicture,kingapensketchbyafe,clearstrokes
hencearosethegreatschoolofpastoralpoets,specializinginlandscapepaintingsand
usingtheiressionistictechniquesuchstersinpastoralpoetryaretao
yflqnrg373437>hsiehlingyun385433,ei
ingthetechniqueispracticallyuniversalhchinesepoetsof
terknoochiehitissaidthat”thereispoetryin
hispaintingandpaintinginhispoetry,”becausewangself
hislikethe
follotenbyoneinspiredbythespiritofchinesepainting:
adstthestlikeautushowers,
shallohestonyrapidsflow;
itsspraysbesprinkleoneanother
upanddoheegretsgo
桾heliianchiarapids
andhereetotheproblefsuggestionsodeepainterhas
attetedtheiossiblebytryingtopaint”thesoundofsunshinegoingupstairs,”but
theproblefartisticlitationshasbeenpartlyoverebychinesepaintersby
theuseofsuggestion,reallydevelopedbythepoeticartonecanactuallypaint
soundsandsllbythethodofsuggestionachinesepainterthe
soundoftelebellshoutshohebellsatallonthecanvas,butpossiblyby
relyshopleroofhiddenangtrees,andtheeffectofthe
soundonnsfaell,
selftopictorialhandlingthusachinesepoetdescribingthefragrance
oftheopenuntrye:
ingbackoverfloarethe
horseshoofs
nothinghanpaintingaflockofbutterflies
flittingafterthehorseshoofs,achinesepainter
actuallydidbythesatechniqueofsuggestion,thepoet
liuyiihsieaboutthefragranceofaurtlady:
inher
... </P></TD>