<TD></TD></TABLE>
uts,
hazelnuts,etcofdetailthe
sutuousfeastinsideseen,butonlysuggestedbytheseleftoverstobe
throotherefuseheapthenceptionisthereforeeverything,onh
dependsverylargelythepoeticqualityoftheisshyofstraightportrayaland
italething
fortheigination
hadchinesepaintingreinedntent,hophasison”nception
oreatteroftheheadthanoftheheart,itruckablindalley,
forart,arilytoourfeelingsandoursenses,wouldhave
degeneratedintoathetinoauntoftechnical
skillorcleveessofintellectualnceptioncangiveusgreatart,ifitfailstoachieve
anatsphereandevokeinusasyathetiotionhisinallgreatpaintings,oodisthereforeeverythingthe
draerelytosuggesttheabsenceofany
boatnnearby,andthatabsei,it
evokesinusaodofsolitudeanddesolationtheboatdriftacross
bytheforceofthecurrentifitesaliveandfullof
aningtousonlyhattheboathavedriftedacrosslikethat
ifithadnotbeenleftalone,andthisleadstoareflectiononthedesolationofthe
sceneotionsofavailisittopaintthesignofa
boogrovebythebridgeunlessagihe
peopleightbegatheredinthatehangsheavyandlifeis
atpeace,andncanspendans
rheutisndthequeensgirlhoodronoodis
thereforeeverything,inpaintingasinpoetrythisleadsustoansiderationof
”atsphere,5othericvitality,”hehighestideal
ofchinesepaintingforthelastfourteenhundredyears,sincehsiehhofirst
enunciateditandotherpainterselaboratedanddiscussedandquarrelledoverit
forustreerthatthechinesepaintersdidnotereaccuracyofdetail
sutungposaid:”ifonecriticizespaintingbyitsverisilitude,onesunderstanding
issilartothatofachild”buttakingaereverisilitude,hasthe
paintertoofferus,afterall,isthepurposeofpaintingtheanshatthe
artistshouldnveytousthespiritofthespathetic
odinresponsethatisthehighestobjectandidealofchineseartwe
reerhoakesperiodiountainstorefreshhis
spiritintheuntainairandulateddustofurban
thoughtsandsuburbanpassionsheoral
andspiritualelevation,andhebravestheselfinraintolistento
thethunderingongpilesofksandbrushwood
andhideshielfinbaoogrovesfordaysinordertoabsorbthespiritoflifeand
natureheshouldnveytousthebenefitofthatnionofnature,and
nieofthespiritofthethingsasitisinstilledintohissoul,and
recreateforusapicture,”surchargedoodsandfeelings,everchangingand
ight,likeyiijen,giveusalandscapeof
nestlingistsherocksandencirclethetrees,
inergedinthegeneralistnessoftheatsphere,or,like
niyiinlin,heghtgiveusapindesolation,htheuntryastretch
ofblankenessandthetreessosparseoffoliagethatonlyafewdanglingleaves
affectusbytheirlonelinessandtheirshiveringldinthepoosphere
andthisgeneralrhythalldetailstenandonlythecentralinood
reinsthatis”rhythcvitality,”ettijunshengtung,thehighestidealof
eetagain
thisisthessageofchineseart,thatitteachesusaprofoundloveofnature,forthe
dofnaturethebestofelandscapes,likerots3giveusthe
saatsphereandthesafeelingfoature,butintheportrayalofhunfor,
theisdesubservienttothe
forofnatureifthereisanyapprealehunforssuch,wesee
notraaleforsuggest,
notthebeautiesoftheirbodiesbutthelinesofthehehis
anbody,espealebody,seetotobethest
singularcharacteristifostsingulatrastbethineseand
eartisthedifferenceinthesourceofinspiration,ureitselfforthe
eastandthefeleforortheindasbeingre
grotesquethanthatafelefigureshouldbelabelled”ntelation”orthatanude
bathinggirlshouldbedetorepresent”septeer”todaynychinese
arestillunabletorenciletheelvestothefactthatecivilizationrequires
actualliving”dels,”strippedandplacedbeforeoneseyes,tobestaredatdailyfor
te,beforeonecanleaeventhefirstessentialsofpaintingof
ursetherearealsonyeersy
ther”abovetheitelpiece,anduchasntelatea
felefigurecalled”ntelation”thereisstilltodayalargeproportionof
englishandaricansocietyuresintheirflatsby
sayingthattheroosrentedfuished,andknotodoha
vienneseporeoftheirfriendshavepresentedtheorchrists,
theygenerallybanishtheanversationbycallingthesethings
”art,”andtheonesadethen”cr
... </P></TD>
uts,
hazelnuts,etcofdetailthe
sutuousfeastinsideseen,butonlysuggestedbytheseleftoverstobe
throotherefuseheapthenceptionisthereforeeverything,onh
dependsverylargelythepoeticqualityoftheisshyofstraightportrayaland
italething
fortheigination
hadchinesepaintingreinedntent,hophasison”nception
oreatteroftheheadthanoftheheart,itruckablindalley,
forart,arilytoourfeelingsandoursenses,wouldhave
degeneratedintoathetinoauntoftechnical
skillorcleveessofintellectualnceptioncangiveusgreatart,ifitfailstoachieve
anatsphereandevokeinusasyathetiotionhisinallgreatpaintings,oodisthereforeeverythingthe
draerelytosuggesttheabsenceofany
boatnnearby,andthatabsei,it
evokesinusaodofsolitudeanddesolationtheboatdriftacross
bytheforceofthecurrentifitesaliveandfullof
aningtousonlyhattheboathavedriftedacrosslikethat
ifithadnotbeenleftalone,andthisleadstoareflectiononthedesolationofthe
sceneotionsofavailisittopaintthesignofa
boogrovebythebridgeunlessagihe
peopleightbegatheredinthatehangsheavyandlifeis
atpeace,andncanspendans
rheutisndthequeensgirlhoodronoodis
thereforeeverything,inpaintingasinpoetrythisleadsustoansiderationof
”atsphere,5othericvitality,”hehighestideal
ofchinesepaintingforthelastfourteenhundredyears,sincehsiehhofirst
enunciateditandotherpainterselaboratedanddiscussedandquarrelledoverit
forustreerthatthechinesepaintersdidnotereaccuracyofdetail
sutungposaid:”ifonecriticizespaintingbyitsverisilitude,onesunderstanding
issilartothatofachild”buttakingaereverisilitude,hasthe
paintertoofferus,afterall,isthepurposeofpaintingtheanshatthe
artistshouldnveytousthespiritofthespathetic
odinresponsethatisthehighestobjectandidealofchineseartwe
reerhoakesperiodiountainstorefreshhis
spiritintheuntainairandulateddustofurban
thoughtsandsuburbanpassionsheoral
andspiritualelevation,andhebravestheselfinraintolistento
thethunderingongpilesofksandbrushwood
andhideshielfinbaoogrovesfordaysinordertoabsorbthespiritoflifeand
natureheshouldnveytousthebenefitofthatnionofnature,and
nieofthespiritofthethingsasitisinstilledintohissoul,and
recreateforusapicture,”surchargedoodsandfeelings,everchangingand
ight,likeyiijen,giveusalandscapeof
nestlingistsherocksandencirclethetrees,
inergedinthegeneralistnessoftheatsphere,or,like
niyiinlin,heghtgiveusapindesolation,htheuntryastretch
ofblankenessandthetreessosparseoffoliagethatonlyafewdanglingleaves
affectusbytheirlonelinessandtheirshiveringldinthepoosphere
andthisgeneralrhythalldetailstenandonlythecentralinood
reinsthatis”rhythcvitality,”ettijunshengtung,thehighestidealof
eetagain
thisisthessageofchineseart,thatitteachesusaprofoundloveofnature,forthe
dofnaturethebestofelandscapes,likerots3giveusthe
saatsphereandthesafeelingfoature,butintheportrayalofhunfor,
theisdesubservienttothe
forofnatureifthereisanyapprealehunforssuch,wesee
notraaleforsuggest,
notthebeautiesoftheirbodiesbutthelinesofthehehis
anbody,espealebody,seetotobethest
singularcharacteristifostsingulatrastbethineseand
eartisthedifferenceinthesourceofinspiration,ureitselfforthe
eastandthefeleforortheindasbeingre
grotesquethanthatafelefigureshouldbelabelled”ntelation”orthatanude
bathinggirlshouldbedetorepresent”septeer”todaynychinese
arestillunabletorenciletheelvestothefactthatecivilizationrequires
actualliving”dels,”strippedandplacedbeforeoneseyes,tobestaredatdailyfor
te,beforeonecanleaeventhefirstessentialsofpaintingof
ursetherearealsonyeersy
ther”abovetheitelpiece,anduchasntelatea
felefigurecalled”ntelation”thereisstilltodayalargeproportionof
englishandaricansocietyuresintheirflatsby
sayingthattheroosrentedfuished,andknotodoha
vienneseporeoftheirfriendshavepresentedtheorchrists,
theygenerallybanishtheanversationbycallingthesethings
”art,”andtheonesadethen”cr
... </P></TD>