第103节
【】valentsuperstitionof
geoofpantheispelsregardforthe
surroundingla,h
itsbestprodutheprivatehoandgarden.itsspiritdoesnot,likethegothic
spires,aspiretoheaven,butbroodsovertheearthandisedhitslot.while
gothiity,esetelesandpalacessuggest
thespiritofserenity.
unbelievableasitsee,theinfluenalligraphyesineveninese
arture.thisinfluenceisseeninthebolduseofskeletonstructures,likepillars
androofs,iredht,deadlines,notablyintheevolutionofthesagging
roof,andinthegeneralsenseofforndproportionandgradseverityof
telesandpalaces.
theproblefrevealingornilartothe
problef”toupainting.justasinesepaintiliningstrokes,
insteadrelytoindicatethentourofshapesofthings,acquireabold
freedoftheiroecturethepillarsinersand
beainroofs,insteadofbeinghiddeninsha,arefranklyglorifiedandbee
iortasingivingstrutothebuildings.inesebuildingsthe
eous.we
silyliketoseethesestructurallines,asindigthebasicpatteofthebuilding,
asihesofoutlineinpaintingeworkisusuallyrevealed
inhousesareleftvisiblebothinsideandoutsidethe
house.
thisarisesfroheprincipleof
”fraongthevariousstrokesofater,weusually
etisanenvelopingsquare,his
regardedasgivingsupporttotherest,andthisstrokeustkepowerfullyand
kelonger,reobviousthahers.havingobtainedsupportinthisin
stroke,theotherstrokesit.
eveninthedesignofagroupofbuildings,thereisaprincipleofaxis>asthereisan
axisinsteseterstheyplanningofpeiping,oldpeking,one
ofthestbeautifulcitiesoftheoaninvisibleaxisof
severallesrunningnorthandsouthfroheouterstfrontgate,rightacrossthe
eerorsthrohealhilltohis
axisisiddle”org,andinother
ters,likegheftp
perhapsreiortantthantheprincipleofastraightaxisistheuseofcurves,wavy
lines,ularrhythestontrastostclearly
seeninthepleorpalaansionis
based,initsessence,uponthebinationorntrastofthestraightverticallinesof
thepillarsandthecurvedliheroof.theroofitselfntainsantrastbetween
thestraightliheridgeandthesagginglinebelooourtrainingin
calligraphyinainline,ay
behorizontal,verticalorslanting,ustntrastithcurvedorsoftbrokenlines
aroundit.theridgeoftheroofisfurtherrebrokenbyonlyafeive
tives.onlybythentrastoftheselinesarethestraightlihepillarsandthe
plesofesetelesand
dsthederativepointofehasis
ratherthanthepillarsortheendoinfroerbeing
proportionatelysllparedhtheroofitself.
abc
threeierof
”nchtlruo,”
andfauscauligraphist.
theinofthefausroofliraalligraphy
thetopoftheting,signifyingthe”roof.”hesagintheddleandthesgivenbyeseroofs.
thetopofter”c”signifies”n,”butreselestheupperlinesofaroof.note
alsothesureahelowerends.
hertheprincipleofstructureinvolvedandappliedtoesearture.
herigidverticallihepillarin”antrastedhthecurveinthe”roof”
andhotherhorizontalstrokesattachedtoit.notein”b”thetralvertiurve,
htheotherstrokesclusteringaroundapointatitstopandstrangelybalangone
another.
theinofthesaggingroof,probablythestuniqueandobviousteristif
eiginea
nneadicdays.ahereasonforitis
obviousincalligraphy.sofesecalligraphy
failtoseetheprincipleofgracefullyshe
greatestdifficultyistaboutstrengthofstroke,asitisaltogive
strengthtoaperfectlystraightstroke.oherhand,aslightbeherside
diatelyafeelingoftension.itisonlynecessarytopointtothe
gracefulsaginthe”radical”signifyingaroofineseterstoseethatthisis
ninationoftheauthor.
ourloveforrhythrredht,dead
linesbeeobviouseeredthatratedanything
quiteasuglyastheedeesearthas
perpetratedaestyledlighthouseshapedthingcalledthelakeexhibition
rial,anditstandsthereadstthebeautiesoflakelikeasoreona
beautysfaausingallsortsofeyetroublesittoolong.
itplesofourdevicestobreakstraight,deadlihe
bestexaleisperhapsthebalustradedroundbridge.theroundbridge
harnizeshnature,becauseitisina
...
geoofpantheispelsregardforthe
surroundingla,h
itsbestprodutheprivatehoandgarden.itsspiritdoesnot,likethegothic
spires,aspiretoheaven,butbroodsovertheearthandisedhitslot.while
gothiity,esetelesandpalacessuggest
thespiritofserenity.
unbelievableasitsee,theinfluenalligraphyesineveninese
arture.thisinfluenceisseeninthebolduseofskeletonstructures,likepillars
androofs,iredht,deadlines,notablyintheevolutionofthesagging
roof,andinthegeneralsenseofforndproportionandgradseverityof
telesandpalaces.
theproblefrevealingornilartothe
problef”toupainting.justasinesepaintiliningstrokes,
insteadrelytoindicatethentourofshapesofthings,acquireabold
freedoftheiroecturethepillarsinersand
beainroofs,insteadofbeinghiddeninsha,arefranklyglorifiedandbee
iortasingivingstrutothebuildings.inesebuildingsthe
eous.we
silyliketoseethesestructurallines,asindigthebasicpatteofthebuilding,
asihesofoutlineinpaintingeworkisusuallyrevealed
inhousesareleftvisiblebothinsideandoutsidethe
house.
thisarisesfroheprincipleof
”fraongthevariousstrokesofater,weusually
etisanenvelopingsquare,his
regardedasgivingsupporttotherest,andthisstrokeustkepowerfullyand
kelonger,reobviousthahers.havingobtainedsupportinthisin
stroke,theotherstrokesit.
eveninthedesignofagroupofbuildings,thereisaprincipleofaxis>asthereisan
axisinsteseterstheyplanningofpeiping,oldpeking,one
ofthestbeautifulcitiesoftheoaninvisibleaxisof
severallesrunningnorthandsouthfroheouterstfrontgate,rightacrossthe
eerorsthrohealhilltohis
axisisiddle”org,andinother
ters,likegheftp
perhapsreiortantthantheprincipleofastraightaxisistheuseofcurves,wavy
lines,ularrhythestontrastostclearly
seeninthepleorpalaansionis
based,initsessence,uponthebinationorntrastofthestraightverticallinesof
thepillarsandthecurvedliheroof.theroofitselfntainsantrastbetween
thestraightliheridgeandthesagginglinebelooourtrainingin
calligraphyinainline,ay
behorizontal,verticalorslanting,ustntrastithcurvedorsoftbrokenlines
aroundit.theridgeoftheroofisfurtherrebrokenbyonlyafeive
tives.onlybythentrastoftheselinesarethestraightlihepillarsandthe
plesofesetelesand
dsthederativepointofehasis
ratherthanthepillarsortheendoinfroerbeing
proportionatelysllparedhtheroofitself.
abc
threeierof
”nchtlruo,”
andfauscauligraphist.
theinofthefausroofliraalligraphy
thetopoftheting,signifyingthe”roof.”hesagintheddleandthesgivenbyeseroofs.
thetopofter”c”signifies”n,”butreselestheupperlinesofaroof.note
alsothesureahelowerends.
hertheprincipleofstructureinvolvedandappliedtoesearture.
herigidverticallihepillarin”antrastedhthecurveinthe”roof”
andhotherhorizontalstrokesattachedtoit.notein”b”thetralvertiurve,
htheotherstrokesclusteringaroundapointatitstopandstrangelybalangone
another.
theinofthesaggingroof,probablythestuniqueandobviousteristif
eiginea
nneadicdays.ahereasonforitis
obviousincalligraphy.sofesecalligraphy
failtoseetheprincipleofgracefullyshe
greatestdifficultyistaboutstrengthofstroke,asitisaltogive
strengthtoaperfectlystraightstroke.oherhand,aslightbeherside
diatelyafeelingoftension.itisonlynecessarytopointtothe
gracefulsaginthe”radical”signifyingaroofineseterstoseethatthisis
ninationoftheauthor.
ourloveforrhythrredht,dead
linesbeeobviouseeredthatratedanything
quiteasuglyastheedeesearthas
perpetratedaestyledlighthouseshapedthingcalledthelakeexhibition
rial,anditstandsthereadstthebeautiesoflakelikeasoreona
beautysfaausingallsortsofeyetroublesittoolong.
itplesofourdevicestobreakstraight,deadlihe
bestexaleisperhapsthebalustradedroundbridge.theroundbridge
harnizeshnature,becauseitisina
...