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 ...