realisethatthesee”
itseetothatand
position；standsinrelationtopaintingaspuretheticsstandsinrelationto
engineeringorastronoinappreciatingchinesecalligraphy；theaningisentirely
forgotten；andthelinesandforareappreselvesinthis
cultivationandappreciationofpureposition；
therefore；theandentiredevotiontopurefors
such；asapartfrotentapaintinghastonveyanobject；butaten
characteveysonlyitsoyoflineandstructureinthisabsolutelyfree
field；everyvarietyofrhythasbeenexperinteduponandeverytypeofstructure
hasbeenexploredtheientpossible；andthechinesecharacters；heoretically
squarebutareposedfroheoddestelents；presentaninfinitevarietyof
strusustsolveforhielfthus；through
calligraphy；thechinesescholaristrainedtoappreciate；asregardsline；qualitieslike
force；suppleness；reservedstrength；exquisitetendeess；sness；neatness；
ssiveness；ruggedness；andrestraintorfreedoandasregardsforheistaught
toappreciatehay；proportion；ntrast；balance；lengthiness；pactness；and
sotisevenbeautyinslouchinessorirregularitythustheartofcalligraphy
providesasofaestheticappreciationaynsiderasthe
basesofchinesenotionsofbeauty
asthisarthasahistoryofhousandyears；andaseveryertriedto
distinguishhielfbyaneorstructure；therefore；incalligraphy；if
inanything；entofthechineseartisticnd
certaintypes；suchastheyofirregularityorofaforevertoppling
structurethatyetkeepsitsbalance；heeersbytheirfinesse；all
theresobecausesuchtypesarenoteasilyseeninotherfieldsofchineseart
isofsignificancetotheisthefactthat；notonlyhasitprovidedthe
aesthetiisticprincipleaybe
stfruitfulofresultsoodandappliedasstated；chinese
andforandithasdoneso
byderivingitsartistinature；espeals梩
hebranflohafehespringing
bodyoftheleopard；thessivepahetiger；theslegsofthedeer；the
sinerengthofthehorse；
………………………………
第96节
thebushinessofthebear；thesliessofthestork；or
theruggednessofthepinebraninnature
eddirectlyorindirectlythe
inspirationforaparticular”style”ifachinesescholarseesacertainbeautyinadry
vinehitscarelessgraceandelasticstrength；thetipoftheendcurlingupwardand
afeostappropriately；hetriesto
inrporatethatintohisingifanotherscholarseesapireethattsitstrunk
andbendsitsbranchesdoeadofuphshowsawonderful
tenacityandforce；healsotriestoinrporatethatintohisstyleofingwehave
thereforethe”dryvine”styleandthe”pinebranonk
andcalligraphisthadpractisedingforyearshoutresult；andonedaywalking
onauntainpathhechancedupontingsnakes；eachstrainingitsneck；
thisinspirationhedevelopeda
stindividualistictypeofing1；calledthe”fightingsnakes”style；suggestingthe
tensionandoventofthesnakesnecksthushih321379；
sof
igeryfroature：
everyhorizontalstrokeislikeassofation；everyhooklikeabentboahighpeak；every
tuingofthestrokelikeabrasshook；everydralinelikeadryvineofgreat
oldage；andeverysandfreestrokelikearunneronhisstart
onecanunderstandchinesecalligraphyonlyo
thefodrhythnherentineveryanilsbodyandliseveryanilbody
hasahayandbeautyofitsoonyitsvital
funoventthehairylegsandtallbodyofthe
draughthorseareasofbeautyasthereneatlyfordoutlineofthe
raonyexistsintheoutlineofthes；springinggreyhound；as
itexistsalsointhatofthehairyirishterrier；bsendalstin
squarefortions梥trikinglyrepresentedinchinesecalligraphybythebluntlishu
stylecurrentinthehandynastyandelevatedintoanartbytengshihjuofthe
ghingdynasty
theiortantthingtoobserveisthattheseplantandanilforarebeautiful
beoventnsiderasprigofplulossohow
carelesslybeautifulandartfullyirregularitistounderstandthebeautyofthatsprig
fully；artistiisndofchinese
artthesprig；evens；isbeautifulbecauseitlives；
becauseitexpressesalivingiulsetogrolineofeverytreeexpressesa
rhythesultingfroulses；theiulsetogro
topulsetointainitsequilibriuandthenecessityof
resistingtheventofthereeisbeautifulbecauseitsuggeststhese
iulses；andpartienttoewhere；a
stretchingtoethingithasnottriedtobebeautifulithasonlyedtolive
yettheresultissothingperfenselysatisfying
nordoesnatureartificiallyinvestthegreyhoundits
functions：thehigharchofthegreyhoundsbodyandthennectinglinebets
bodyanditshindlegsarebuiltforsness；andtheyarebeautifulbecausethey
suggeststhishaiousfunergesahaiousfor
thesoftnessoftheentsresultsinthesoftnessofitsntourandeven
thejoggedsquattingoutlineofabulldoghasabeautyofforcedlitsohe
explanationofnaturesinfiniterichness》fpattes；onious》
alic
thein；adistinguishedscholarhis
usnote
thateveryaderapidlyinantrollingrhihhvti
�tv玸c；t玦；：rr~~elyvariablehouteverexhausting
itsforinotheric；andnotastatic；beauty
itisexaoventiicbeauty；abeauty
ofntuitlives；andit；too；isinfinitelyvariablehoutexhaustionas；
surestrokeisappreciatedbecauseitisdeslyandpoonestroke；thus
possessingaunityofvent；defyingitationorrrection；foranyrrectionis
iediatelydetectedasdishaiousincidentally；thatis
issodifficult
thattheassticprincipleisnot
oeat”bones”and
”tendons”ofstrokes；althoughtheirphilosophiciorthasneverbeennsciously
laidbareuntiloneestothinkofeansbyhcalligraphycanbe
deintelligibletotheeietalentedauntofhih；
said：
intheingofthoserengthofstroke；thecharactersare
”bony”；intheingofthoseskilfulingivingstrengthofstrokes；the
charactersare”fleshy”eatis
called”sineing；”andingthatisfoiloffleshandalled
”piggying”aingthatispoingthathas
neitherpoweorsinewsislikeaninvalid
thedynaoventresultsinaprincipleofstructurehis
essentialtoanunderstandingofchinesecalligraphytherebeautyofbalanceand
syetryisneverregardedasthehighestforoneoftheprinciplesofchinese
ingisthatasquareshouldneverbeaperfectsquare；butshouldbehigheronone
sidethantheother；andthatttriilar
………………………………
第97节
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
………………………………
第98节
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
linesofkukaichih346407ore
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