<TD></TD></TABLE>
azyartists”nevertheless,thefactreinsthat
orthodoxepaintingisdionysianinitsoriginandinspiration,andthatthe
sunabletoseeanythinghoutanaked,oearlynaked,
hunbodyinitbolizesspringbyafatand
bolizesitbyadancingnyhha
faunchasingafterherandhechinesepaintercandelightinthefinelinesof
acicadasbsofthecricket,thegrasshopperandthefrog,and
theplatesuchpicturesonhishntinual
delight,theepaintercannotbesatisfiedhanythinglessthanhenners
liseuseordeleine
thisdisveryofthehunbodyis,today,oneofthestpotentinfluencesof
ecivilizationinchina,foritchangesthelookoflifeby
ustbecalleda
greekinfluenehtherenaissance
anbodyanditsheartyavohatlifeisbeautifulagreatpartof
theanisticenoughhoutanygreekinfluence,butthe
proanbodyisbeautifulhasbeenstrangelylackinginchina
once,hoanbody,
likelytoforgetitthisdisveryofthehunbodyandaleforbr >
isboundtobeastpotentinfluencebecauseitislinkeduphoneofthestrongest
ofhuninstinuchaschineseartisnotbeingtaughtin
stoftheostoftheartschoolstheyareallpying
feleanatofroundelsorfrolasterfiguresofclassicalgreekand
ronsinthehe
nude,foronlyeffeteartistscanregardthehunbodyiration,
andonlyeffeteartistsakethepleaatallthean
bodyissensual,andnecessarilysorealeuropeanartistsdonotdenythefact,but
proadeagainstchineseartbut
heroot,thetrendhassetinandisnotlikelytobestopped
iv,architecture
natureisalanarchitectureusuallyisactforunlikepainting,
arpttopynaturearchitectureatter
ofstonesandbrianshelterfroindandrain
itsfirstprincipleility,andisoftenpurelysoeventothisdayhencethe
untigateduglinessofthebestdefactorybuildings,schoolhouses,theatres,
postoffices,railations,andrectilinearstreets,s
forthefactthatantlyfeeltheneedtoescapetotheuntryforthegreatest
differencebetanndistheinfinite
rielitationsofouringenuitythebesthunnd
cannotinventanythingbesidesblockhouses,ouldings,a
rotundahereandatriangulargabletherethestiressiveusoleur
rialcannotpareutilatedand
disinfeainstreets,eertoput
thehereyethouredaresifthesetreeshtheirroughsurfaceandirregular
shapeshadbeentheproduanarchitect,he
aatureevendarestopaintthetreesgreenweareafraid
ofirregularityedtheword
”drab”todescribeouroence
ind,succeededin
produodepaventsand
reer
resortsutilityistheansodeindustrialagehas
aggravatedthesituation,especiallyhtheinventionofreinforcedncretethisisa
syoloftheindustrialage,anditodeindustrial
ostofthencretebuildingshaveforgotten,eventoputonaroof,
because,ehaveevenprofessedtoseeaninspiring
beautyintheneseenanytheirbeautyisthe
beautyofgold:theyarebeautifulbecausetheysuggestthepoillionsthey
expressthespiritoftheindustrialage
yetbecauseolookatthehouseswebuildforourselveseverydayandhave
tospendstofourdaysintheandbecausebadarchitecturecancrathestyle
ofourliving,thereisaveryhundendtokeitbeautifulverysubtlythe
houseschangethefaceofourtoiesaroofisnotjustarooftoshelterus
frounandrain,butsothingthataffee,adoorisnot
justanopeningtogetinside,butshouldbethe”opensesa”thatleadsusintothe
steriesofpeoplesdosticlivesafterall,itkessodifferenceherwe
knoilionpaintedgatehgoldenhobs
onit
theprobleshoakethebricksandrtaraliveandspeakthelanguageof
beautyhoitakeitsaysothingtous,as
europeanedhaspiritandspeakasilentlanguageofthe
greatestbeautyandsublitytousletusseehohebestofchinesearchitecture
triedtosolvethisproble
thatofthe
aintendenonyanycasesithas
suthesprig
ofplulosso梩ranslatedfirstintotheving,livinglinesofcalligraphyand
sendarilyintothelinesandforofarchitectureithassupplentedthisbythe
nstantuseofsyolictivesandithas,throughthepre
... </P></TD>
azyartists”nevertheless,thefactreinsthat
orthodoxepaintingisdionysianinitsoriginandinspiration,andthatthe
sunabletoseeanythinghoutanaked,oearlynaked,
hunbodyinitbolizesspringbyafatand
bolizesitbyadancingnyhha
faunchasingafterherandhechinesepaintercandelightinthefinelinesof
acicadasbsofthecricket,thegrasshopperandthefrog,and
theplatesuchpicturesonhishntinual
delight,theepaintercannotbesatisfiedhanythinglessthanhenners
liseuseordeleine
thisdisveryofthehunbodyis,today,oneofthestpotentinfluencesof
ecivilizationinchina,foritchangesthelookoflifeby
ustbecalleda
greekinfluenehtherenaissance
anbodyanditsheartyavohatlifeisbeautifulagreatpartof
theanisticenoughhoutanygreekinfluence,butthe
proanbodyisbeautifulhasbeenstrangelylackinginchina
once,hoanbody,
likelytoforgetitthisdisveryofthehunbodyandaleforbr >
isboundtobeastpotentinfluencebecauseitislinkeduphoneofthestrongest
ofhuninstinuchaschineseartisnotbeingtaughtin
stoftheostoftheartschoolstheyareallpying
feleanatofroundelsorfrolasterfiguresofclassicalgreekand
ronsinthehe
nude,foronlyeffeteartistscanregardthehunbodyiration,
andonlyeffeteartistsakethepleaatallthean
bodyissensual,andnecessarilysorealeuropeanartistsdonotdenythefact,but
proadeagainstchineseartbut
heroot,thetrendhassetinandisnotlikelytobestopped
iv,architecture
natureisalanarchitectureusuallyisactforunlikepainting,
arpttopynaturearchitectureatter
ofstonesandbrianshelterfroindandrain
itsfirstprincipleility,andisoftenpurelysoeventothisdayhencethe
untigateduglinessofthebestdefactorybuildings,schoolhouses,theatres,
postoffices,railations,andrectilinearstreets,s
forthefactthatantlyfeeltheneedtoescapetotheuntryforthegreatest
differencebetanndistheinfinite
rielitationsofouringenuitythebesthunnd
cannotinventanythingbesidesblockhouses,ouldings,a
rotundahereandatriangulargabletherethestiressiveusoleur
rialcannotpareutilatedand
disinfeainstreets,eertoput
thehereyethouredaresifthesetreeshtheirroughsurfaceandirregular
shapeshadbeentheproduanarchitect,he
aatureevendarestopaintthetreesgreenweareafraid
ofirregularityedtheword
”drab”todescribeouroence
ind,succeededin
produodepaventsand
reer
resortsutilityistheansodeindustrialagehas
aggravatedthesituation,especiallyhtheinventionofreinforcedncretethisisa
syoloftheindustrialage,anditodeindustrial
ostofthencretebuildingshaveforgotten,eventoputonaroof,
because,ehaveevenprofessedtoseeaninspiring
beautyintheneseenanytheirbeautyisthe
beautyofgold:theyarebeautifulbecausetheysuggestthepoillionsthey
expressthespiritoftheindustrialage
yetbecauseolookatthehouseswebuildforourselveseverydayandhave
tospendstofourdaysintheandbecausebadarchitecturecancrathestyle
ofourliving,thereisaveryhundendtokeitbeautifulverysubtlythe
houseschangethefaceofourtoiesaroofisnotjustarooftoshelterus
frounandrain,butsothingthataffee,adoorisnot
justanopeningtogetinside,butshouldbethe”opensesa”thatleadsusintothe
steriesofpeoplesdosticlivesafterall,itkessodifferenceherwe
knoilionpaintedgatehgoldenhobs
onit
theprobleshoakethebricksandrtaraliveandspeakthelanguageof
beautyhoitakeitsaysothingtous,as
europeanedhaspiritandspeakasilentlanguageofthe
greatestbeautyandsublitytousletusseehohebestofchinesearchitecture
triedtosolvethisproble
thatofthe
aintendenonyanycasesithas
suthesprig
ofplulosso梩ranslatedfirstintotheving,livinglinesofcalligraphyand
sendarilyintothelinesandforofarchitectureithassupplentedthisbythe
nstantuseofsyolictivesandithas,throughthepre
... </P></TD>