<TD></TD></TABLE>
andeoneprotested,herepliedbyasking,
”didthebaoogrotoanother”su,er
andpoet,specializedinpaintingbaoos,andhethatheonce
said,”ieatinalsthangoboosin
house”hisbaooyle”of”runningscript,”asplashofink
annerofpaintingogetdrunkand,afterdinner,under
thestilationofalholened,diphisbrushintheinkand
boos,orpoetryastheinspirationatter
onhishostshishardly
translatable:”sproutsefroydryintestines,istenedbylungsandlivergroboosandrockssofulloflifetheygrohattheycannotbe
restrained,andsoianyoursnoeingwas
nolonger”painted,”but”ten”likecharacterszu,too,oftendidhis
paintingsundertheinspirationof
heinrporatedintohisontary
stilationuldhavebeenacplishedonlyinafeinutes,
afterhealholiceffectwouldhavealreadyvanished
backofallthisdrunkenness,hohereing
theountofveryprofound
artcriticisdistinguishedbets,k9orthe
innerla,andjz,ortheartistsoionthe”scholarspainting”was
aprotestagainstslavishverisilitude,ofogivequotations,
froheearliesttodetisthesungsphasizedespeciallyli梩he
innerspiritofthingsreaercialartists,
eofanartshouldaitcatchingthespiritit
eredrunkenness
butthefactthatsuchpaintingheofprofessionalartistsbutofscholars
atplay,ateurisenabled
theodealhpaintinginalightandpleasantspiritforduringtheeleventh
century,hereburstofthespiritof”scholarspainting,”such
paintingohsior”playeofthescholars
ood,likecalligraphyandlikepoetrytherewasno
heavinessofspirititseedasifthesasteryofthe
brushincalligraphy,hadanexuberanceofenergyoartasa
pleasantandinterestingchangetheterialequipnte:thesa
sebrushesandthesainkander,andtheyherebefore
hisdeskfoopaletteifei,oneofthegreatestofscholarpainters,
sotisusedevenarollofpaperforhisbrush,orthepulpofsugarcane,orthe
stalkofalotusfloeandthereagicinthescholars
”ediossibletotheseartistsforthtyhad
steredtheartofnveyingfundantalrhyth,andeverythingelsewas
sendarytherearetodaypaintersakesketcheshtheirbarefingers,and
oneevenobiletongue,dippedininkandlickingthepaperashedra\vs
along,paintingillis,thescholarsrecreation
thisplayingodacuntsforacertainqualityofchinesepainting,calledyithe
nearestaybeusedto
denoteatthesati”ronticisand”thespiritoftherecluse”itisthisquality
oflightheartedandinguisheslipospoetrythisyi
or”fugitive59or”recluse”qualityisprizedasthehighestqualityofthescholars
paintings,anditesfroheplayingspiritliketaoisitistheeffortofthe
hunspirittogetathedru
thisdesireisunderstandableuchthescholarsspiritwas
restrainedintheralandpoliticalspheres,andinpaintingatleast,itdiditsbestto
reverthatfreedoniyiinlin13011374,agreatyuanpainterstdistinguished
forthisquality,said:”baoopaintingsarenotintendedrelytopaintthe
fugitivespiritinbreastdoicarehertheyareexactoot,herthe
leavesarethickorthin,orherthebranchesarestraightorcrooked”again,he
said:”anticbrush,
notintendedtopyreality,butrelytopleaseself”
oneshouldregnize,therefore,inchineseinkdraanfiguresand
landscapesofthesoutheschool,certaininfluencesofcalligraphyfirst,oneseesthe
sicstrokesinthetinglinesofthepine
treeoneseesthesaprincipleoftingusedinchineseingstungchichang
saidaboutpaintingtreesthateverylineshouldtallalong,andhihsaid
ofcalligraphythateveryslantinglineshouldhavethreetstungchichangalso
saidthat”,theyshouldapplythelaherunningscript,the
lishu,andthearchaicscript”oneseesalsointheholloherocksa
typeofscriptcalledfeipo,any
hollohecentreofthestrokes,andseesintheenthe
treesthehesealcharacterforthisisasecretleftusbyghao
ngfuhielffurther,theartistiportantcalligraphic
principle,forproperspacingistheveryfirstlaatedbypao
shenpoifthespaybesacrificed,as
ybeseeninyiiyujensatterinchineseingifthe
ntourofthecharacterisunsyetrical,butinrrectspacingisanunforgivable
offence,turecraftsnship
andoneregnizesfurtherinthesileunityofdesignofchinesepaintingsth
... </P></TD>
andeoneprotested,herepliedbyasking,
”didthebaoogrotoanother”su,er
andpoet,specializedinpaintingbaoos,andhethatheonce
said,”ieatinalsthangoboosin
house”hisbaooyle”of”runningscript,”asplashofink
annerofpaintingogetdrunkand,afterdinner,under
thestilationofalholened,diphisbrushintheinkand
boos,orpoetryastheinspirationatter
onhishostshishardly
translatable:”sproutsefroydryintestines,istenedbylungsandlivergroboosandrockssofulloflifetheygrohattheycannotbe
restrained,andsoianyoursnoeingwas
nolonger”painted,”but”ten”likecharacterszu,too,oftendidhis
paintingsundertheinspirationof
heinrporatedintohisontary
stilationuldhavebeenacplishedonlyinafeinutes,
afterhealholiceffectwouldhavealreadyvanished
backofallthisdrunkenness,hohereing
theountofveryprofound
artcriticisdistinguishedbets,k9orthe
innerla,andjz,ortheartistsoionthe”scholarspainting”was
aprotestagainstslavishverisilitude,ofogivequotations,
froheearliesttodetisthesungsphasizedespeciallyli梩he
innerspiritofthingsreaercialartists,
eofanartshouldaitcatchingthespiritit
eredrunkenness
butthefactthatsuchpaintingheofprofessionalartistsbutofscholars
atplay,ateurisenabled
theodealhpaintinginalightandpleasantspiritforduringtheeleventh
century,hereburstofthespiritof”scholarspainting,”such
paintingohsior”playeofthescholars
ood,likecalligraphyandlikepoetrytherewasno
heavinessofspirititseedasifthesasteryofthe
brushincalligraphy,hadanexuberanceofenergyoartasa
pleasantandinterestingchangetheterialequipnte:thesa
sebrushesandthesainkander,andtheyherebefore
hisdeskfoopaletteifei,oneofthegreatestofscholarpainters,
sotisusedevenarollofpaperforhisbrush,orthepulpofsugarcane,orthe
stalkofalotusfloeandthereagicinthescholars
”ediossibletotheseartistsforthtyhad
steredtheartofnveyingfundantalrhyth,andeverythingelsewas
sendarytherearetodaypaintersakesketcheshtheirbarefingers,and
oneevenobiletongue,dippedininkandlickingthepaperashedra\vs
along,paintingillis,thescholarsrecreation
thisplayingodacuntsforacertainqualityofchinesepainting,calledyithe
nearestaybeusedto
denoteatthesati”ronticisand”thespiritoftherecluse”itisthisquality
oflightheartedandinguisheslipospoetrythisyi
or”fugitive59or”recluse”qualityisprizedasthehighestqualityofthescholars
paintings,anditesfroheplayingspiritliketaoisitistheeffortofthe
hunspirittogetathedru
thisdesireisunderstandableuchthescholarsspiritwas
restrainedintheralandpoliticalspheres,andinpaintingatleast,itdiditsbestto
reverthatfreedoniyiinlin13011374,agreatyuanpainterstdistinguished
forthisquality,said:”baoopaintingsarenotintendedrelytopaintthe
fugitivespiritinbreastdoicarehertheyareexactoot,herthe
leavesarethickorthin,orherthebranchesarestraightorcrooked”again,he
said:”anticbrush,
notintendedtopyreality,butrelytopleaseself”
oneshouldregnize,therefore,inchineseinkdraanfiguresand
landscapesofthesoutheschool,certaininfluencesofcalligraphyfirst,oneseesthe
sicstrokesinthetinglinesofthepine
treeoneseesthesaprincipleoftingusedinchineseingstungchichang
saidaboutpaintingtreesthateverylineshouldtallalong,andhihsaid
ofcalligraphythateveryslantinglineshouldhavethreetstungchichangalso
saidthat”,theyshouldapplythelaherunningscript,the
lishu,andthearchaicscript”oneseesalsointheholloherocksa
typeofscriptcalledfeipo,any
hollohecentreofthestrokes,andseesintheenthe
treesthehesealcharacterforthisisasecretleftusbyghao
ngfuhielffurther,theartistiportantcalligraphic
principle,forproperspacingistheveryfirstlaatedbypao
shenpoifthespaybesacrificed,as
ybeseeninyiiyujensatterinchineseingifthe
ntourofthecharacterisunsyetrical,butinrrectspacingisanunforgivable
offence,turecraftsnship
andoneregnizesfurtherinthesileunityofdesignofchinesepaintingsth
... </P></TD>