<TD></TD></TABLE>
painting,andofallpainting,is;shallbedoneh
thelinesorstrokesaspaintisputchecanvasorinkonthesilkitisapurely
te,theproblef”touch”butnoartistcanescapeit,andthetouch
usediheechanicallyusedto
traofitsownsooneror
later,tiredofit
itisthesarebellionodeart,arebellioneupin
chinahzuc700760,
”ahorse,”hyplonju,anteorarychinese
paintkr,hhoicstrokesand
stekyof
thethk
rultlvatlonoffaiiualhyandstillrein
akintoitintechnique
andasteryofthebrush,distinguishedbyitsboldnessandfreedoinsteadofncealing
theline,theartistglorifiediteprinciple
inchinesearchitecturethusinplaceofthedeadandservile
linesofkukaichih346407oreorlesseven
asifdravnbyasteelpen,artedthesocalled”orchid
petallinecurlingandnstantlychanginginh,dueto
thenaturalrhythfastrokelaidhthesensitivebrush
infact,itzusstrokesthathispupilchang
hsucreatedtheextrelysstyleofentwiningropesin
calligraphyochieh,699759furtherdeveloped
anddifiedthestrokeinpainting,sotisabolishingthe
traditionalthodof”tracingoutlines,”andnsequentlyis
generallycreditedhhavingfoundedthe”southeschool”
itsfarreachingnsequencesweshallsoonsee
thesendprobles:hoheartistspersonalitybeprojectedintothework
andkeiteofanart,transilitude,
yetonyorrealitythisrevoltagainstrephysical
accuracyisalsobackofalltheneodeart,aybedescribed
asseartheterialrealityandforthodsofindicatingthe
artistsoerevoltcainthehistoryofchineseartinthe
eighthcenturyhtheiredordissatisfiedhphotographic
reproduaterialreality
hereeoldproblehoheartistinvesttheobjectshhisown
etionsorreactionshad
alreadybeensolvedinchinesepoetrytherevoltereaccuracy
andnutecraftsnshipthentrastbetheneheoldschoolis
interestinglyshohestoryoftingsofszechuenlandscapesonpalace
zuduringthereignoftang
nghuangitissaidthatli,thesterofthe”northeschool,”didhislandscapein
aboutanth,hallitstraceryolours,whilewudidhisgrand
landseinsplashesofink,andthe
eerorsaid,”lissuhstindiditinanth,andziididitinaday,andeach
isperfectinitsownway”
inuteartistryca,thereclass
landscapepainterhielf,andheintroducedintoitthespiritandtechniqueof
,itslyriosphereand
itspantheisthusthe”fatherofthesoutheschool,”akeschinesepainting
deservedlyfaus,annurturedinthechinesepoeticspirit
entthatthechineseartisticgeniusfirstbecansciousofitseinthefourth,fifthandsixthcenturiesitwasin
thisperio<thatartcriticisndliterarycriticisaswang
hsiosartistoe,who
becaknohprinceofcalligraphists”duringthefollouriesth<
influenousculpturesoftatungand
lungnthestyleofinhewei,nowpreservedin
thesocalledcfinscriptionsofthisperiod,setthihighark
forchinesecalligraphy,inopinionstilthebestinitsorytheyle
erelybeautifulbuthadbeautyandpoweran<finesse
binedhsiehhointhisperiodfirstenunicvitality”
ethecentraprincipleofallchinesepaintinginthelastfourteenhundrec
years
thencathegreateighthcentury,ereasoiorother
quiteexplain,becathescreativeperiodofchinesehistory,inpainting,poetry
ancprosethecauseleastpartiallytobefoundinth<infusionofnewblood
ookplaceduringthechao;oftheprecedingcenturieslipoandwangwei
ixtureostactivebutk
readequategenealogicaldataanyanspiritbecafreeandcreative
thisberofotherfirstclaapoets:li
ssuhsdn,the”ninnstyleand
yenalstyleofcalligraphy,andhanytiinprosewangwei
zuabout700,lipoin701,yenchenchingin708,tufuin
712,hanyiiin768,pochuyiin772,andliuchungyiianin773梐llfirstclass
nasinchinesehistoryandinthiscentury,too,abeautyofbeauties,yang
kperorpanyandgracetheurththepoetli
poxorhisperioddistinguishedbypeace,either
hoaybe,the”southeseintobeing,anditisthesouthe
sostpeculiarlychinesethistype
ofpaintingbecaknohe”scholarspainting,”andlateronintheeleventh
ifei
10501107andhissonyiijen10861165,itreachedstillgreatersilicityand
subjectivityitenspainting”sutungpoevenpainteda
baootreehoutitsjoints,
... </P></TD>
painting,andofallpainting,is;shallbedoneh
thelinesorstrokesaspaintisputchecanvasorinkonthesilkitisapurely
te,theproblef”touch”butnoartistcanescapeit,andthetouch
usediheechanicallyusedto
traofitsownsooneror
later,tiredofit
itisthesarebellionodeart,arebellioneupin
chinahzuc700760,
”ahorse,”hyplonju,anteorarychinese
paintkr,hhoicstrokesand
stekyof
thethk
rultlvatlonoffaiiualhyandstillrein
akintoitintechnique
andasteryofthebrush,distinguishedbyitsboldnessandfreedoinsteadofncealing
theline,theartistglorifiediteprinciple
inchinesearchitecturethusinplaceofthedeadandservile
linesofkukaichih346407oreorlesseven
asifdravnbyasteelpen,artedthesocalled”orchid
petallinecurlingandnstantlychanginginh,dueto
thenaturalrhythfastrokelaidhthesensitivebrush
infact,itzusstrokesthathispupilchang
hsucreatedtheextrelysstyleofentwiningropesin
calligraphyochieh,699759furtherdeveloped
anddifiedthestrokeinpainting,sotisabolishingthe
traditionalthodof”tracingoutlines,”andnsequentlyis
generallycreditedhhavingfoundedthe”southeschool”
itsfarreachingnsequencesweshallsoonsee
thesendprobles:hoheartistspersonalitybeprojectedintothework
andkeiteofanart,transilitude,
yetonyorrealitythisrevoltagainstrephysical
accuracyisalsobackofalltheneodeart,aybedescribed
asseartheterialrealityandforthodsofindicatingthe
artistsoerevoltcainthehistoryofchineseartinthe
eighthcenturyhtheiredordissatisfiedhphotographic
reproduaterialreality
hereeoldproblehoheartistinvesttheobjectshhisown
etionsorreactionshad
alreadybeensolvedinchinesepoetrytherevoltereaccuracy
andnutecraftsnshipthentrastbetheneheoldschoolis
interestinglyshohestoryoftingsofszechuenlandscapesonpalace
zuduringthereignoftang
nghuangitissaidthatli,thesterofthe”northeschool,”didhislandscapein
aboutanth,hallitstraceryolours,whilewudidhisgrand
landseinsplashesofink,andthe
eerorsaid,”lissuhstindiditinanth,andziididitinaday,andeach
isperfectinitsownway”
inuteartistryca,thereclass
landscapepainterhielf,andheintroducedintoitthespiritandtechniqueof
,itslyriosphereand
itspantheisthusthe”fatherofthesoutheschool,”akeschinesepainting
deservedlyfaus,annurturedinthechinesepoeticspirit
entthatthechineseartisticgeniusfirstbecansciousofitseinthefourth,fifthandsixthcenturiesitwasin
thisperio<thatartcriticisndliterarycriticisaswang
hsiosartistoe,who
becaknohprinceofcalligraphists”duringthefollouriesth<
influenousculpturesoftatungand
lungnthestyleofinhewei,nowpreservedin
thesocalledcfinscriptionsofthisperiod,setthihighark
forchinesecalligraphy,inopinionstilthebestinitsorytheyle
erelybeautifulbuthadbeautyandpoweran<finesse
binedhsiehhointhisperiodfirstenunicvitality”
ethecentraprincipleofallchinesepaintinginthelastfourteenhundrec
years
thencathegreateighthcentury,ereasoiorother
quiteexplain,becathescreativeperiodofchinesehistory,inpainting,poetry
ancprosethecauseleastpartiallytobefoundinth<infusionofnewblood
ookplaceduringthechao;oftheprecedingcenturieslipoandwangwei
ixtureostactivebutk
readequategenealogicaldataanyanspiritbecafreeandcreative
thisberofotherfirstclaapoets:li
ssuhsdn,the”ninnstyleand
yenalstyleofcalligraphy,andhanytiinprosewangwei
zuabout700,lipoin701,yenchenchingin708,tufuin
712,hanyiiin768,pochuyiin772,andliuchungyiianin773梐llfirstclass
nasinchinesehistoryandinthiscentury,too,abeautyofbeauties,yang
kperorpanyandgracetheurththepoetli
poxorhisperioddistinguishedbypeace,either
hoaybe,the”southeseintobeing,anditisthesouthe
sostpeculiarlychinesethistype
ofpaintingbecaknohe”scholarspainting,”andlateronintheeleventh
ifei
10501107andhissonyiijen10861165,itreachedstillgreatersilicityand
subjectivityitenspainting”sutungpoevenpainteda
baootreehoutitsjoints,
... </P></TD>