<TD></TD></TABLE>
in
sizeandpositionthisprincipleiscalledshift,or”posture,”sabeauty
ofntutheresultisthat,inthehighestexalesofthisart,wehave
strusinglyunbalancedandyetsohoaintainthe
balanandbeautyofrelystatic
proportionsisthedifferencebetanstandingorsittingina
restingpositionandthesnapshotofansick,orofafootball
playersenttheballsoaringthroughtheairjustasthepictureofalady
tossingherheadisresuggestiveofventthanonehherheadonastraight
level,sothechinesecharacterstenhtheirtopstiltedtoonesidearepreferred
artistietricalheadthebestexalesofthistypeof
struenglung,ers
givetheeffectofbeingalainin
balanpleofthisstyleistobeseenintheingsofyu
ylijen,chaiofthentrolyuan,positionverylargelyto
hisrenoofhighorder
deartisinsearsandexperintingonnesofstructureand
pattesithasnotfoundtheetithassupressionoftryingtoesostapparentcharacteristicistheeffort,notto
sootheusbuttojaronoursensesforthisreason,astudyofchinesecalligraphyand
itsanistisofthenaturalworldin
thelightofthisanistiicvitality,givesproseofgreat
possibilitiestheprofuseuseofstraightlines,planes,andnesstrikingoneanother
atdifferentanglescanonlyexciteus,buttheycanneverbealivehbeautythese
planesnes,straightlinesandtohaveexhaustedthede
artistsingenuityainsyetforsoeartistto
strikeapioneerpathbypractisingenglishcalligraphyyears,
andthen,ifheistalentedandreallyunderstandstheanisticprinciple,hewillbe
abletoessquare,inlinesandfortrulyhyofthe
naofanart
thefullsignificanceofchinesecalligraphyasthebasisofchineseaestheticswillbe
seeninastudyofchinesepaintingandarchitectureinthelinesandpositionof
sandstructuresofchinesearchitecture,weshallbe
abletoregnizetheprinchinesecalligraphythesebasic
ideasofrhythfodatspheregivethedifferentlinesofchineseart,like
poetry,painting,architecture,porcelainandhousederations,anessentialunityof
spirit
iiipainting
chinesepainting,thefloure,isdistinguishedbyaspiritandan
atsphereallitso
epoetrythatdifference
ishardtograspandexpressithasaosphere,visibleine
painting,butessentiallydifferentandachievedbydifferentansitshoain
enoofterial,rkedbythenyblankspaces,anideaofposition
deteedbyitsoonyandrkedbyacertain”rhythcvitalityanda
boldnessandfreedofthebrushpresstheonlookerinanunforgettable
nnersohohepicturebeforeushasundergoneaninnerprocessof
transfortionintheartistsnd,shoofitsirrelevancies,itsdishaies,and
givingusonlyapletelysatisfying
itthedesignisreobvious,theelinationofterialrerigidlycarriedout,
thepointsofntrastandncentrationeasiertotrace,andhatthe
artisthasinterferedaterialrealityandpresentedittousonlyasitappearsto
hihoutlosingitsessentiallikenessorintelligibilitytoothersitissubjective
odeepainting,and
nnitnagestoachievea
decidedlysubjectiveappearanceofthingsakingntortionsitdoesnottry
topaintallbeforeoneseyes,anditleavesagreatdealtotheonlookersigination,
etriesthendiateobjebranchisgiveninthe
ureandleftthereasperfectandyet,hallthissubjectiveinterference
aterialreality,theeffectisnotajarringassertionoftheartistsego,buta
pletehayhnaturehohisachieved,andhohispeculiat
traditiongrowup
thisartistictraditiondidnotebychanceorbyanaccidentaldisveryits
dup,ithink,inthe,
andthislyrianspiritandcultureforust
reerthatchinesepaintingiscloselyrelated,inspiritandtechnique,tochinese
calligraphyandchinesepoetrycalligraphygaveititstechnique,theinitialt
ineditsfuturedevelopnt,andchinesepoetrylentititsspiritfor
poetry,paintingandcalligraphyarecloselyrelatedartsinchinathebestwayof
understandingchinesepaintingistostudytheseinfluencesintothe
buildingofthatpeculiartradition
brieflystated,thispeculiartradition,,istheresultof
todeepaintingisgoingthrough,butetothe
historyofchinesepaintingintheeighthcenturytheyaretherevoltagainstthe
subjectionoftheartistslinestothepaintedobjects,andtherevoltagainsta
photographiaterialrealitychinesecalligraphyhelpeditto
solvethefirstprobleandchinesepoetryhelpeditoverthesendastudyofthese
revoltsandofthegenesisofthisartistictraditionoseehinese
paintingcatohaveitspresentcharacter
thefirstproblefchinese
... </P></TD>
in
sizeandpositionthisprincipleiscalledshift,or”posture,”sabeauty
ofntutheresultisthat,inthehighestexalesofthisart,wehave
strusinglyunbalancedandyetsohoaintainthe
balanandbeautyofrelystatic
proportionsisthedifferencebetanstandingorsittingina
restingpositionandthesnapshotofansick,orofafootball
playersenttheballsoaringthroughtheairjustasthepictureofalady
tossingherheadisresuggestiveofventthanonehherheadonastraight
level,sothechinesecharacterstenhtheirtopstiltedtoonesidearepreferred
artistietricalheadthebestexalesofthistypeof
struenglung,ers
givetheeffectofbeingalainin
balanpleofthisstyleistobeseenintheingsofyu
ylijen,chaiofthentrolyuan,positionverylargelyto
hisrenoofhighorder
deartisinsearsandexperintingonnesofstructureand
pattesithasnotfoundtheetithassupressionoftryingtoesostapparentcharacteristicistheeffort,notto
sootheusbuttojaronoursensesforthisreason,astudyofchinesecalligraphyand
itsanistisofthenaturalworldin
thelightofthisanistiicvitality,givesproseofgreat
possibilitiestheprofuseuseofstraightlines,planes,andnesstrikingoneanother
atdifferentanglescanonlyexciteus,buttheycanneverbealivehbeautythese
planesnes,straightlinesandtohaveexhaustedthede
artistsingenuityainsyetforsoeartistto
strikeapioneerpathbypractisingenglishcalligraphyyears,
andthen,ifheistalentedandreallyunderstandstheanisticprinciple,hewillbe
abletoessquare,inlinesandfortrulyhyofthe
naofanart
thefullsignificanceofchinesecalligraphyasthebasisofchineseaestheticswillbe
seeninastudyofchinesepaintingandarchitectureinthelinesandpositionof
sandstructuresofchinesearchitecture,weshallbe
abletoregnizetheprinchinesecalligraphythesebasic
ideasofrhythfodatspheregivethedifferentlinesofchineseart,like
poetry,painting,architecture,porcelainandhousederations,anessentialunityof
spirit
iiipainting
chinesepainting,thefloure,isdistinguishedbyaspiritandan
atsphereallitso
epoetrythatdifference
ishardtograspandexpressithasaosphere,visibleine
painting,butessentiallydifferentandachievedbydifferentansitshoain
enoofterial,rkedbythenyblankspaces,anideaofposition
deteedbyitsoonyandrkedbyacertain”rhythcvitalityanda
boldnessandfreedofthebrushpresstheonlookerinanunforgettable
nnersohohepicturebeforeushasundergoneaninnerprocessof
transfortionintheartistsnd,shoofitsirrelevancies,itsdishaies,and
givingusonlyapletelysatisfying
itthedesignisreobvious,theelinationofterialrerigidlycarriedout,
thepointsofntrastandncentrationeasiertotrace,andhatthe
artisthasinterferedaterialrealityandpresentedittousonlyasitappearsto
hihoutlosingitsessentiallikenessorintelligibilitytoothersitissubjective
odeepainting,and
nnitnagestoachievea
decidedlysubjectiveappearanceofthingsakingntortionsitdoesnottry
topaintallbeforeoneseyes,anditleavesagreatdealtotheonlookersigination,
etriesthendiateobjebranchisgiveninthe
ureandleftthereasperfectandyet,hallthissubjectiveinterference
aterialreality,theeffectisnotajarringassertionoftheartistsego,buta
pletehayhnaturehohisachieved,andhohispeculiat
traditiongrowup
thisartistictraditiondidnotebychanceorbyanaccidentaldisveryits
dup,ithink,inthe,
andthislyrianspiritandcultureforust
reerthatchinesepaintingiscloselyrelated,inspiritandtechnique,tochinese
calligraphyandchinesepoetrycalligraphygaveititstechnique,theinitialt
ineditsfuturedevelopnt,andchinesepoetrylentititsspiritfor
poetry,paintingandcalligraphyarecloselyrelatedartsinchinathebestwayof
understandingchinesepaintingistostudytheseinfluencesintothe
buildingofthatpeculiartradition
brieflystated,thispeculiartradition,,istheresultof
todeepaintingisgoingthrough,butetothe
historyofchinesepaintingintheeighthcenturytheyaretherevoltagainstthe
subjectionoftheartistslinestothepaintedobjects,andtherevoltagainsta
photographiaterialrealitychinesecalligraphyhelpeditto
solvethefirstprobleandchinesepoetryhelpeditoverthesendastudyofthese
revoltsandofthegenesisofthisartistictraditionoseehinese
paintingcatohaveitspresentcharacter
thefirstproblefchinese
... </P></TD>