第100节

    【】e

    ntrollingrhythfthebrush,calledfyi.tiansthe”ion9iists

    nd.tokeaesedrato”eoutaion5ksiehyi.before

    osthebrushonthepaper,theartisthasadefinitenind;then

    ashedraingoutthatihcertainstrokes;he

    brooksnointerferenceofirrelevancies,andaddsathereto

    preservetheanicrhythandheessentialionin

    hisnd,heleavesoff.forthatreasourelivesbecausetheion

    behinditlives.itislikereadingagoodepigrathetheflavour

    reins.theeseartistsexpressthisteiquebysayingthat”theion

    precedesthebrush,andhebrushhasdosheionstill

    reins,fortheesearensuatestersinsuggestionand”leavingoffat

    therightnt.”theylikegoodteaandoliveshgivea”backflavour,”

    hiereatingtheoliveordrinkingthe

    goodtea.thetotaleffeptyandalive,”earevitalityupledyofdesign.

    esepivesesepaintingitsspirit.asstatedalreadyinthediscussionon

    poetry,itreoftenhappensinathanithepoetisapainter,and

    thepainter,poet.poetryandpaintingefrohesahunspirit,anditis

    naturalthatthespiritandiee.wehaveseen

    hoinginfluencedpoetryinperspeausethepoetseyeisthepainters

    eye.buthepaintersspiritisthepoetsspirit,hohepainter

    shoeiressiohodofsuggestion,thesaehasisonan

    indefisphere,andthesapaiionhnature,h

    oodauresquentare

    oftenthesa,aistndiry

    also,halittlecultivation,expresstheotherinpainting.

    first,issthequestionofperspective,eers,by

    explainingonavery

    highuntaintheperspectiveoainsoftheahigh

    altitude,say,fronaeroplaneflyingsixthousaabovetheearth,stbe

    differentfroheperspectiveontheordinarylevel.thehigherthevantagepoint,the

    less,ofurse,thelineso.thisisalsovisiblyinfluencedby

    theoblongshapeofesescrolls,the

    froundatthebottofthescrolltothelihehorizonatthetopofthescroll.

    likethedeepaiheeseartistsoportray,ybut

    theiropressionsofreality,andhehod.thetrouble

    pressionistsisthattheyarealittletoocleverandalittletoological.

    halltheiriy,theeseartistsarenotabletoprodufreaksto

    startlethelayn.thebasisoftheiriressioniss,ashasbeenexplaihe

    theorythat”thenustpreaterial

    reality,therefore,buttheartistsionoftherealityisthepurportofthepainting.

    theyreerthattheyarepaintingforfelloanbeingsandtheions

    stbehunlyintelligibletoothers.theyarerestraihedoeofthe

    goldenan.theiriressionissthereforeahuniressionisinpaintinga

    picture,theirobjectistonveyaunifiedioo

    includeandtoleaveout,resultingintheffunglingquality.

    sinaryiortahegreatestpainsstbetakento

    nceiveapoetiception.inthesungdynasty,petitive

    exanationsinpaintinguheierialbureauofpainting,his

    ionofthepoeticeptionoverruledeveryotherstandard.invariablyit

    hepaintiionthatisteristic

    thatthebestnes

    selves,sin.

    buttheiyliesisuggestiveinterpretationofthatpoetie.afeplesinations

    wasaline:

    baoosverahebridge.

    orstriedtorateonthehetreofthepicture.

    therean,hoboogrovebyitsside,

    andhiddeninthatgrove,onlyashopsignbearingtheter”no

    all.andthispicturehehe

    igination.anothersubjectgivenweiing:

    atthedesertedferry,aboatdriftsacrossbyitself.

    thepoethadalreadyusedthethodofsuggestioninnveyisphereof

    silenddesolationbyshohattheboat,leftalone,driftedacrossbytheforce

    ofthecurrent,butthepaintercarriedthethodofsuggestionfurther.thewinning

    picturehisfeelingofsilenddesolationbydrawinga

    birdrestingo,andanotheroneabouttoperit.thepresehe

    birdsheboatsuggeststhattheboatanbeingswere

    about.

    thereosphereofluxury

    intheriodepainter,sickofpaintiy,ryto

    suggest.buthebleofasaxophohatgically

    peratesthroughachaagneglassthatrestsonaahathides

    uhreequartersofatrazesoverthefunnelsofa

    gunardli.theeseiressionistpainted,hoh

    nsioninthebackground,aidpeepingout

    andpoutabasketfulofrisdeliies,likeducksfeet,ikhi,waln

    ...