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gelsewas sendary.therearetodaypaintersakesketcheshtheirbarefingers,and oneevenobiletongue,dippedininkandligthepaperashedra\vs along,paintingillis,thesreation. thisplayingodatsforacertainqualityofesepainting,calledyi.the aybeusedto dehesati”rontid”thespiritoftherecluse.”itisthisquality oflightheartedandinguisheslipospoetry.thisyi itive59or”recluse”qualityisprizedasthehighestqualityofthescholars paintings,anditesfroheplayingspirit.liketaoisitistheeffortofthe hunspirittogetathedru thisdesireisuandableuholarsspiritwas restraiheralandpoliticalspheres,andinpaintingatleast,itdiditsbestto reverthatfreedoniyiinlin13011374,agreatyuanpaidistinguished forthisquality,said:”baoopaintingsarenotintendedrelytopaintthe fugitivespiriti.doicarehertheyareexactoot,herthe leavesarethickorthin,orherthebranchesarestraightorcrooked”again,he said:”anticbrush, notinteopyreality,butrelytopleaseself” oneshherefore,ineseinkdraanfiguresand landscapesofthesouthesertaininfluenalligraphy.first,ohe sicstrokes.iinglihepine treeohesaprincipleoftingusedineseings.tungchig saidaboutpaintihateverylineshouldtallalong,andhihsaid ofcalligraphythateveryslantinglineshouldhavethreets.tungchigalso saidthat”,theyshouldapplythelaherunningscript,the lishu,andthearript.”oneseesalsointheholloherocksa typeofsalledfeipo,any hollohetreofthestrokes,aheenthe treesthehesealter.forthisisasecretleftusbyghao ngfuhielf.further,theartistiportantcalligraphic principle,forproperspagistheveryfirstlaatedbypao shenpo.ifthespaybesaed,as ybeseeninyiiyujensatterineseingifthe ntouroftheterisurical,butispagisanunfivable offeurecraftsnship. andnizesfurtherinthesileunityofdesignofesepaintingsth ...
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