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Chinese painters; a critical study

por Raphaël Petrucci

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Whatever its outward expression, human thought remains essentially unchanged and, throughout all of its manifestations, is fundamentally the same. Varying phases are but accidents and underneath the divers wrappings of historic periods or different civilizations, the heart as well as the mind of man has been moved by the same desires.Art possesses a unity like that of nature. It is profound and stirring, precisely because it blends and perpetuates feeling and intelligence by means of outward expressions. Of all human achievements art is the most vital, the one that is dowered with eternal youth, for it awakens in the soul emotions which neither time nor civilization has ever radically altered. Therefore, in commencing the study of an art of strange appearance, what we must seek primarily is the exact nature of the complexity of ideas and feelings upon which it is based. Such is the task presented to us, and since the problem which we here approach is the general study of Chinese painting, we must prepare ourselves first to master the peculiarities of its appearance and technique, in order to understand later on the motives which inspired it.… (más)
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Whatever its outward expression, human thought remains essentially unchanged and, throughout all of its manifestations, is fundamentally the same. Varying phases are but accidents and underneath the divers wrappings of historic periods or different civilizations, the heart as well as the mind of man has been moved by the same desires.Art possesses a unity like that of nature. It is profound and stirring, precisely because it blends and perpetuates feeling and intelligence by means of outward expressions. Of all human achievements art is the most vital, the one that is dowered with eternal youth, for it awakens in the soul emotions which neither time nor civilization has ever radically altered. Therefore, in commencing the study of an art of strange appearance, what we must seek primarily is the exact nature of the complexity of ideas and feelings upon which it is based. Such is the task presented to us, and since the problem which we here approach is the general study of Chinese painting, we must prepare ourselves first to master the peculiarities of its appearance and technique, in order to understand later on the motives which inspired it.

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