英语翻译The composition is extremely complex,talking its composi

英语翻译
The composition is extremely complex,talking its compositional devices from the Norther Song period rather than the forbidden masters of Southern Song,the Ma-Xia group,called “northern” school by the critics.Xu Ben,of course,was an accepted member of the late Yuan period.A close view of Streams and Mountains discloses again that chinese integrity of brushwork which we have already analyzed in the quite different work by Lin Liang.
In the clearly distinguished deciduous foliage conventions---triple-dotted foliage,straw stick foliage,and black dot foliage---each stroke,each dot,each movement of the brush that puts ink to paper can be looked at as an individual stroke and not foud wanting.In this,perhaps,is one of the major distinctions not only berween Chinese and Japanese painting but also between Chinese and Western handing of the brush.In the West the usual intention until recently has been to obliterate the brushstroke,in order to achieve the effect of reality in nature.In the scholarly “southern” tradition,on the contrary,the artist insisted primarily upon precision and integrity of brushwork,even at the expense of verisimilitude to nature.
Three painters stand between the “northern” and “southern” school of the early Ming period.They have been called both “northern” and “southern” but should be associated with the conservative group.The first of these is Zhou Chen (d.after A.D.1534),probably the master of the other two painters of this triad,Tang Yin (A.D.1470-1523),and Qiu Ying(act.c.A.D.1522-c.1560).
Zhou’s landsapes owe much to Li Tang of the middle Song period.His carefully controlled brushwork can be found in numerous handscrolls and hangding scrolls,on both silk and paper,well composed by his two major followers,but one of his surviving works displays a singular facet of his artstic character---his interst,unusual for its day,in low life and the grotesque.In general,the subject matter appropriate for the later Chinese painter,and especially for the scholar-painter,was landscape.If he did paint figures,they would illustrate famous narrative histories of the past,scenes from famous poems,or members of his own class.He might occasionally turn out pseudopoetic representations of woodcutters or peasants,idealized images of confucian rusticity.But Zhou Chen seems to have an almost sociological interest in the lower classes.Whether it was sympathetic or cirical the paintings do not divulge.A handscroll made up of leaves from an album and now divided between the Cleveland Museum and the Honolulu Academy is one of the most striking,touching,and powerful works by this very important artist(fig.585).It is a representation of unfortunates,a series of single or paired figures executed in ink and color on paper:a gaunt and demented-looking woman with an infant at her shriveled breast; poor beggar in tatters leading a dog.

这个组合是极其复杂的,说它的作曲的设备从北而不是禁止宋时期的大师,马英九夏南部的歌,称为“北方”集团学校由批评者.徐本,当然,是一个接受元末时期的成员.一个关闭视图的溪流和山脉透露,中国的绘画再次完整性,我们已经分析了完全不同的工作,林梁.在明确区分落叶树叶约定——三重点缀树叶、稻草棒树叶,树叶和黑点——每盘中风,每个点,每个运动的刷,把墨水纸可以被看作为一个个体中风和不判希望.在这方面,或许,是一个重大的区别不仅berween中国和日本绘画也是中国和西方之间处理刷.在西方常见的意图直到最近已经消灭了一笔,为了达到效果的现实在自然.在学术“南部”的传统,相反,艺术家坚持主要在精度和完整性的笔法,甚至不惜牺牲逼真自然.三个画家站在“北方”和“南部”学校的早期明朝时期.他们被称为两个“北方”和“南部”但应该与保守团体相关联.第一种是周陈(d .公元1534年之后),可能是其他两个画家的大师的三和弦,唐寅(公元1470 - 1523),和秋应(表演.c.公元1522 - c.1560).周小川的landsapes很大程度上应归功于李唐的中间宋时期.他小心控制的绘画中可以找到许多handscrolls和hangding卷轴,在两个丝绸和纸,由他的两个主要的追随者,但他的一个幸存的作品显示一个奇异方面他的artstic角色——他的不寻常的兴趣,为其天,在低生活和怪诞的.一般来说,适当的主题为后来中国pai