<TD></TD></TABLE>
inchina,thatthe
inineforsinspirationforthehighestideal
ofperfectrhythelyhappy
inntelatingadragonfly,afrog,agrasshopperorapie
observation,itseethereforethatthespiritoforesensual,re
passionate,refulloftheartistsoore
oreinhayayexpressthis
differencebyusingthenietzscheanlanguageaadsayingthatchineseartis
apollonianart,ousdifferenceis
possibleonlythroughadifferentunderstandingandappreassuch
sofartarsofrhythnhasnotplayedthedonantrok
hasalingscuriouslyenough,thiscultof
rhythntheabstrathedevelopntofchinesecalligraphyasanart
thestrangepleasurederivedfrotelatingapictureofbarrenrocksdoneina
ferokesandhungontheobelookedatdayinanddayout梩hisstrange
pleasureeunderstandabletothehehasunderstoodthe
artistientalistheplaceofcalligraphyin
andrhythntheabstractthataysayithas
providedthechinesepeoplehabasicaesthetics,anditisthroughcalligraphythat
theitistherefore
iossibletotalkaboutchinesearthoutunderstandingchinesecalligraphyand
itsartisticinspirationthereis,forinstance,notoypeofchinesearchitecture,
ple,onyandforbr >
isnotdirectlyderivedfroertaintypesofchinesecalligraphy
thepositionofchinesecalligraphyinthehistoryoftheisthustruly
uniqueooresubtleandre
responsivethanthepen,calligraphyhasbeenelevatedtothetruelevelofanartona
parhchinesepaintingthechinesearefullyahisheyregard
paintinganding
alstanindividualnebreathshould
therebeaquestionastoheansedlybe
infavourofcalligraphyithasthusbeeanartcultivatedepassion
anddevotion,dignifiedbyasas
paintingitselfitsstandardsarejustasexacting,anditsstershavereachedheights
asunattainablebythenrunofnasthestersinotherlinesthegreat
chinesepainters,liketungchichangandchaongfu,areusuallygreat
engfu12541322,oneofthebestknohinese
painters,saidofhisoing:”rocksarelikethefoipostyleofingh
hollohestrokes,andthetreesarelikethechuanstyleofingh
relativelyevenandtethodofpaintingliesyetintheeight
fundantalstrokesofingifthereisoneandthis,hewill
realisethatthesee”
itseetothatand
position,standsinrelationtopaintingaspuretheticsstandsinrelationto
engineeringorastronoinappreciatingchinesecalligraphy,theaningisentirely
forgotten,andthelinesandforareappreselvesinthis
cultivationandappreciationofpureposition,
therefore,theandentiredevotiontopurefors
such,asapartfrotentapaintinghastonveyanobject,butaten
characteveysonlyitsoyoflineandstructureinthisabsolutelyfree
field,everyvarietyofrhythasbeenexperinteduponandeverytypeofstructure
hasbeenexploredtheientpossible,andthechinesecharacters,heoretically
squarebutareposedfroheoddestelents,presentaninfinitevarietyof
strusustsolveforhielfthus,through
calligraphy,thechinesescholaristrainedtoappreciate,asregardsline,qualitieslike
force,suppleness,reservedstrength,exquisitetendeess,sness,neatness,
ssiveness,ruggedness,andrestraintorfreedoandasregardsforheistaught
toappreciatehay,proportion,ntrast,balance,lengthiness,pactness,and
sotisevenbeautyinslouchinessorirregularitythustheartofcalligraphy
providesasofaestheticappreciationaynsiderasthe
basesofchinesenotionsofbeauty
asthisarthasahistoryofhousandyears,andaseveryertriedto
distinguishhielfbyaneorstructure,therefore,incalligraphy,if
inanything,entofthechineseartisticnd
certaintypes,suchastheyofirregularityorofaforevertoppling
structurethatyetkeepsitsbalance,heeersbytheirfinesse,all
theresobecausesuchtypesarenoteasilyseeninotherfieldsofchineseart
isofsignificancetotheisthefactthat,notonlyhasitprovidedthe
aesthetiisticprincipleaybe
stfruitfulofresultsoodandappliedasstated,chinese
andforandithasdoneso
byderivingitsartistinature,espeals梩
hebranflohafehespringing
bodyoftheleopard,thessivepahetiger,theslegsofthedeer,the
sinerengthofthehorse,
... </P></TD>
inchina,thatthe
inineforsinspirationforthehighestideal
ofperfectrhythelyhappy
inntelatingadragonfly,afrog,agrasshopperorapie
observation,itseethereforethatthespiritoforesensual,re
passionate,refulloftheartistsoore
oreinhayayexpressthis
differencebyusingthenietzscheanlanguageaadsayingthatchineseartis
apollonianart,ousdifferenceis
possibleonlythroughadifferentunderstandingandappreassuch
sofartarsofrhythnhasnotplayedthedonantrok
hasalingscuriouslyenough,thiscultof
rhythntheabstrathedevelopntofchinesecalligraphyasanart
thestrangepleasurederivedfrotelatingapictureofbarrenrocksdoneina
ferokesandhungontheobelookedatdayinanddayout梩hisstrange
pleasureeunderstandabletothehehasunderstoodthe
artistientalistheplaceofcalligraphyin
andrhythntheabstractthataysayithas
providedthechinesepeoplehabasicaesthetics,anditisthroughcalligraphythat
theitistherefore
iossibletotalkaboutchinesearthoutunderstandingchinesecalligraphyand
itsartisticinspirationthereis,forinstance,notoypeofchinesearchitecture,
ple,onyandforbr >
isnotdirectlyderivedfroertaintypesofchinesecalligraphy
thepositionofchinesecalligraphyinthehistoryoftheisthustruly
uniqueooresubtleandre
responsivethanthepen,calligraphyhasbeenelevatedtothetruelevelofanartona
parhchinesepaintingthechinesearefullyahisheyregard
paintinganding
alstanindividualnebreathshould
therebeaquestionastoheansedlybe
infavourofcalligraphyithasthusbeeanartcultivatedepassion
anddevotion,dignifiedbyasas
paintingitselfitsstandardsarejustasexacting,anditsstershavereachedheights
asunattainablebythenrunofnasthestersinotherlinesthegreat
chinesepainters,liketungchichangandchaongfu,areusuallygreat
engfu12541322,oneofthebestknohinese
painters,saidofhisoing:”rocksarelikethefoipostyleofingh
hollohestrokes,andthetreesarelikethechuanstyleofingh
relativelyevenandtethodofpaintingliesyetintheeight
fundantalstrokesofingifthereisoneandthis,hewill
realisethatthesee”
itseetothatand
position,standsinrelationtopaintingaspuretheticsstandsinrelationto
engineeringorastronoinappreciatingchinesecalligraphy,theaningisentirely
forgotten,andthelinesandforareappreselvesinthis
cultivationandappreciationofpureposition,
therefore,theandentiredevotiontopurefors
such,asapartfrotentapaintinghastonveyanobject,butaten
characteveysonlyitsoyoflineandstructureinthisabsolutelyfree
field,everyvarietyofrhythasbeenexperinteduponandeverytypeofstructure
hasbeenexploredtheientpossible,andthechinesecharacters,heoretically
squarebutareposedfroheoddestelents,presentaninfinitevarietyof
strusustsolveforhielfthus,through
calligraphy,thechinesescholaristrainedtoappreciate,asregardsline,qualitieslike
force,suppleness,reservedstrength,exquisitetendeess,sness,neatness,
ssiveness,ruggedness,andrestraintorfreedoandasregardsforheistaught
toappreciatehay,proportion,ntrast,balance,lengthiness,pactness,and
sotisevenbeautyinslouchinessorirregularitythustheartofcalligraphy
providesasofaestheticappreciationaynsiderasthe
basesofchinesenotionsofbeauty
asthisarthasahistoryofhousandyears,andaseveryertriedto
distinguishhielfbyaneorstructure,therefore,incalligraphy,if
inanything,entofthechineseartisticnd
certaintypes,suchastheyofirregularityorofaforevertoppling
structurethatyetkeepsitsbalance,heeersbytheirfinesse,all
theresobecausesuchtypesarenoteasilyseeninotherfieldsofchineseart
isofsignificancetotheisthefactthat,notonlyhasitprovidedthe
aesthetiisticprincipleaybe
stfruitfulofresultsoodandappliedasstated,chinese
andforandithasdoneso
byderivingitsartistinature,espeals梩
hebranflohafehespringing
bodyoftheleopard,thessivepahetiger,theslegsofthedeer,the
sinerengthofthehorse,
... </P></TD>