第81节
【】id
thepoetseledelierialandhoithhiso
agloicvitalityieiqueofese
poetryandesepaintingreallyohatesepoetsarepainters,
andpainters,poets
thestrikingthingaboutaginationanditskinshipin
teiqueostevidentinthehandlingofperspective.herethe
analogybetostplete.letusbeginh
perspective.thathelinesoflipo701762
abovethensfacearisethehills;
besidethehorsesheadergetheclouds,
antravellingonhorsebaa
highuntainpaththeeanifirstsight,willbe
found,ontsuseoftheigination,togiveusapictureasapainterwould
paintitonhiseobjethe
fround”thensface55and”thehorseshead”tosetoffthedistantview.
entirelyapartfrohepoetiountains,one
realizesthattheserybythepoetasifitingona
flatsurface.thereaderhensee,asheactuallyseesinpaintingsorsnapshots,
thathilltopsseeorisefrohensfaewherein
thedistanalinebrokenbythehorseshead.thisclearlypossibleif
thepoetonhorsebadthecloudslyingonalohe
distanaginehielfonhorsebaahigh
untainpathahesaperspectiveasthepoetdid.
inthishroughthistrickofperspective,thesepenpicturesgainabold
reliefiossibleethods.itotbesaidthattheesepoetswere
nsciousofthetheoryofthisteique,buthadinanycasefoueique
itself.hundredsofexalesghtbecited.hthisteiqueofperspective,wang
estdescriptivepoet,said:
iainsanightofrain,
andabovethetreesahundredsprings.
ofurse,itrequiresalittleefforttoigine”springsoops”he
exactheinal;butexaausesutiveissorareand
onlybefoundountainges,f,afterthepreviousnightsrainfall,
aseriesofetreesinthe
fround,thereadergainsaclearperspectiveotherpossible.ashthe
forrexalefroipo,theartliesintheseleofainthefround
tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe
lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842
e:
foranautuse:severaldotsofhillsoverthewall.
thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe
thehills.inthissense,an
uandliliatic
works:
firstthehillsinthepainting,
thenthepaintinginthehills.
thepoetseyeisthepainterseye,andpaintingarybeeone.
thisaffinitybetorenaturalandapparentwhen
ilarityofteilarityofthes,
andthefasoverse.
inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin
thosevaorelateronwhen
ingproper.butthisaffinityisresponsibleforanotherpointin
pressionisticteique.itisateiquehgivesa
seriesofiressions,vividandunfettable,andleavesrelyaflavour,an
indefinablefeelingbehind,hereaderssedoesnotsatisfyhis
uandiheartofsublition,suggestion
andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut
toevokeapicture,kingapelearstrokes.
hencearosethegreatschoolofpastoralpoets,specializinginlandscapepaintingsand
usingtheiressionisticteique.suchstersinpastoralpoetryaretao
yflq.nrg373437>hsiehlingyun385433,ei
ieiqueispraallyuniversalhesepoets.of
terknoochiehitissaidthat”thereispoetryin
hispaintingandpaintinginhispoetry,”becausewangself.
hislikethe
follotenbyoneinspiredbythespiritofesepainting:
adstthestlikeautushowers,
shallohestonyrapidsflow;
itsspraysbesprinkleoher.
upanddoheegretsgo.
桾heliianchiarapids.
aotheproblefsuggestion.sodeepainterhas
attetedtheiossiblebytryingtopaint”thesoundofsunshinegoingupstairs,”but
theproblefartisticlitationshasbeenpartlyoverebyesepaintersby
theuseofsuggestion,reallydevelopedbythepoetituallypaint
soundsandsllbythethodofsuggestion.aesepaihe
soundoftelebellshoutshohebellsatallonthevas,butpossiblyby
relyshopleroofhiddenangtrees,andtheeffectofthe
soundonnsfaell,
selftopictorialhandling.thusaesepoetdescribingthefragrance
oftheopenuntrye:
ingbackoverfloarethe
horseshoofs.
nothinghanpaintingaflockofbutterflies
flittingafterthehorseshoofs,aesepainter
actuallydid.bythesateiqueofsuggestio
liuyiihsieaboutthefragranceofaurtlady:
inher
...
thepoetseledelierialandhoithhiso
agloicvitalityieiqueofese
poetryandesepaintingreallyohatesepoetsarepainters,
andpainters,poets
thestrikingthingaboutaginationanditskinshipin
teiqueostevidentinthehandlingofperspective.herethe
analogybetostplete.letusbeginh
perspective.thathelinesoflipo701762
abovethensfacearisethehills;
besidethehorsesheadergetheclouds,
antravellingonhorsebaa
highuntainpaththeeanifirstsight,willbe
found,ontsuseoftheigination,togiveusapictureasapainterwould
paintitonhiseobjethe
fround”thensface55and”thehorseshead”tosetoffthedistantview.
entirelyapartfrohepoetiountains,one
realizesthattheserybythepoetasifitingona
flatsurface.thereaderhensee,asheactuallyseesinpaintingsorsnapshots,
thathilltopsseeorisefrohensfaewherein
thedistanalinebrokenbythehorseshead.thisclearlypossibleif
thepoetonhorsebadthecloudslyingonalohe
distanaginehielfonhorsebaahigh
untainpathahesaperspectiveasthepoetdid.
inthishroughthistrickofperspective,thesepenpicturesgainabold
reliefiossibleethods.itotbesaidthattheesepoetswere
nsciousofthetheoryofthisteique,buthadinanycasefoueique
itself.hundredsofexalesghtbecited.hthisteiqueofperspective,wang
estdescriptivepoet,said:
iainsanightofrain,
andabovethetreesahundredsprings.
ofurse,itrequiresalittleefforttoigine”springsoops”he
exactheinal;butexaausesutiveissorareand
onlybefoundountainges,f,afterthepreviousnightsrainfall,
aseriesofetreesinthe
fround,thereadergainsaclearperspectiveotherpossible.ashthe
forrexalefroipo,theartliesintheseleofainthefround
tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe
lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842
e:
foranautuse:severaldotsofhillsoverthewall.
thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe
thehills.inthissense,an
uandliliatic
works:
firstthehillsinthepainting,
thenthepaintinginthehills.
thepoetseyeisthepainterseye,andpaintingarybeeone.
thisaffinitybetorenaturalandapparentwhen
ilarityofteilarityofthes,
andthefasoverse.
inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin
thosevaorelateronwhen
ingproper.butthisaffinityisresponsibleforanotherpointin
pressionisticteique.itisateiquehgivesa
seriesofiressions,vividandunfettable,andleavesrelyaflavour,an
indefinablefeelingbehind,hereaderssedoesnotsatisfyhis
uandiheartofsublition,suggestion
andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut
toevokeapicture,kingapelearstrokes.
hencearosethegreatschoolofpastoralpoets,specializinginlandscapepaintingsand
usingtheiressionisticteique.suchstersinpastoralpoetryaretao
yflq.nrg373437>hsiehlingyun385433,ei
ieiqueispraallyuniversalhesepoets.of
terknoochiehitissaidthat”thereispoetryin
hispaintingandpaintinginhispoetry,”becausewangself.
hislikethe
follotenbyoneinspiredbythespiritofesepainting:
adstthestlikeautushowers,
shallohestonyrapidsflow;
itsspraysbesprinkleoher.
upanddoheegretsgo.
桾heliianchiarapids.
aotheproblefsuggestion.sodeepainterhas
attetedtheiossiblebytryingtopaint”thesoundofsunshinegoingupstairs,”but
theproblefartisticlitationshasbeenpartlyoverebyesepaintersby
theuseofsuggestion,reallydevelopedbythepoetituallypaint
soundsandsllbythethodofsuggestion.aesepaihe
soundoftelebellshoutshohebellsatallonthevas,butpossiblyby
relyshopleroofhiddenangtrees,andtheeffectofthe
soundonnsfaell,
selftopictorialhandling.thusaesepoetdescribingthefragrance
oftheopenuntrye:
ingbackoverfloarethe
horseshoofs.
nothinghanpaintingaflockofbutterflies
flittingafterthehorseshoofs,aesepainter
actuallydid.bythesateiqueofsuggestio
liuyiihsieaboutthefragranceofaurtlady:
inher
...