Page:Gems of Chinese literature (1922).djvu/186

 he said, the point of view was below the object, just as a man standing beneath a pagoda sees above him the rafters of the eaves. This reasoning is faulty. For in landscape there is a method of looking at big things as if they were small (aerial perspective). If people looked at imitation hills in the same way that they look at real hills, that is, looking from the base up to the summit, it would only be possible to see one range at a time, and not range behind range; neither would the ravines and valleys in the mountains be visible. Similarly, you ought not to see the middle court of a house, nor what is going on in the back premises. You cannot lay down the rule that if you have a man on the east side, then the west side of the hill must contain the distant scenery, and vice versâ; under such conditions no picture could possibly be painted. Li Ch‘êng did not know the method by which big objects are made to look small. By this method effects of height and distance can be more skilfully secured than by simply cocking up the corners of houses. 

{{p|aj}|text=}In calligraphy and painting, soul is more important than form. Most of the good people who look at pictures can point out some slight defect in shape, in position, or in colouring; but that is the extent of their range. As to those who penetrate to deeper principles, they are very hard to find. It has been said that Wang Wei in his pictures paid no attention whatever to the four seasons. With regard to flowers, he would introduce the peach, apricot, hibiscus, and water-lily into one and the same scene. I myself possess a picture of his in which there is a banana-tree covered with snow. The idea flashed through his mind, and was completed by his hand,―an inspiration of genius. But it is difficult to discuss this with the unwashed…Does not the poet say}}

