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第97节(2/3)

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hihoutlosingitsessentiallikenessorintelligibilitytoothers.itissubjective

odeepainting,and

painting,butessentiallydifferentandachievedbydifferentans.itshoain

seeninastudyofesepaintingandarture.inthelinesandpositionof

nner.sohohepicturebeforeushasundergoneaninnerprocessof

esepainting,thefloure,isdistinguishedbyaspiritandan

deternedbyitsoonyandrkedbyacertain”rhythcvitalityanda

artisthasinterferedaterialrealityaedittousonlyasitappearsto

thefullsignifialligraphyasthebasisofeseaestheticswillbe

it.thedesignisreobvious,theelinationofterialrerigidlycarriedout,

givingusonlyapletelysatisfying

spirit.

abletoessquare,inlinesandfortrulyhyofthe

naofanart.

enoofterial,rkedbythenyblankspaces,anideaofposition

ideasofrhythforndatspheregivethedifferentlinesofeseart,like

sandstructuresofesearture,weshallbe

abletheprinesecalligraphy.thesebasic

thepointsofntrastarationeasiertotradhatthe

boldnessandfreedofthebrushpresstheonlookerinanunfettable

ishardtograspandexpress.ithasaosphere,visibleine

poetry,painting,arture,porcelainandhousederations,aialunityof

iii.painting

epoetry.thatdifference

hewillbe

atsphereallitso

transfortioniistsnd,shoofitsirrelevasdisharnies,and

nn.itoachievea

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