生活的艺术The art of living is to know when to hold fast and when to let go.For life is a paradox: it enjoins us to cling to its many gifts even while it ordains their eventual relinquishment. The rabbis of old put it this way:”A man comes to this world with his fist clenched, but when he dies, his hand is open. ”
Surely we ought to hold fast to lift, for it is wondrous, and full of a beauty that breaks through every pore of God’s own earth. We know that this is so,but all too often we recognize this truth only in our backward glance when we remember what was and then suddenly realize that it is no more.
We remember a beauty that faded, a love that waned. But we remember with far greater pain that we did not see that beauty when it flowered, that we failed to respond with love when it was tendered.
Hold fast to life but not so fast that you cannot let go. This is the second side of life’s coin, the opposite pole of its paradox: we must accept our losses, and learn how to let go.
I beg leave to thank you for the extremely kind and apprieciative manner in which you have received the toast of science.It is the more grateful to me to hear that toast proposed in an assembly of this kind. Because I have noticed of late years a great and growing tendency among those who were once jestingly said to have been born pre-scientific age to look upon science as an invading and aggressive force, which of it had find its own way, it would oust from the universe all other pursuits. I think there are many persons wholook upon the new birth of our times as a sort of monster rising out of the sea of modern thought with thepurpose of devouring the Andromeda of art.And now and then a Perseus, equipped with the shoes of swiftnessof the ready writer, and with the cap of invisibility of the editorial article,and it may be with the Medusa head of vituperation, shows herself ready to try conclusions with the scientific dragon. Sir, I hope that Perseus should think better of it. First, for the sake of his own, because the creature is hard of head,strong of jaw,for some time past has shown a great capacity for going over and through whatever comes in his way; and secondly, for the sake of justice, for I assure you, of my own personal knowledge if left alone, the creature is a very debonair and gentle monster.As for the Andromeda of art, the creature has the tenderest respect for the lady, and desires nothing more than to see her happily settled and annually pruducing a flock of such charming children as those we see about us.
But putting parables aside, I am unable to understand how any one with a knowledge of mankind can imagine that the growth of science can threaten the development of art in any of its forms. If I understand the matter of all, science and art are the obverse and reverse of the Nature's medal; the one expressing the external order of things, in terms of feeling, and the other in terms of thought. When men no longer love norhate; when suffering causes no pity, and the tale of great deeds ceases to thrill. when the lily of the field shall seem no longer more beautifully arrayed than the Solomon in all his glory, and the owe has vanished from the snow-capped peak and deep ravine, and indeed the science may have the world to itself, but itwill not be because the monster has devoured the art, but because one side of human nature is dead, and because men have lost half of their ancient and present attributes.
Chinese architecture is an independent art featuring wooden structures. It consists of various roof molding, upturned eaves and wings, dougong with paintings, vermilion pillars and golden roofs, ornament gates and gardening. All of these embody the maturity and artistic appeal of Chinese architecture. 7000 years ago, mortise and tenon and tongue-and-groove were used in Hemudu. The buildings of Banpo village had the division of antechamber and back rooms. Great palaces were built in Shangyin period. Bricks and tiles were used and the layout of Siheyuan emerged in the Western Zhou. There are even building drawings in Spring and Autumn and the Warring States periods passed down.
In Qin and Han, wooden building tended to be mature gradually. Complex buildings, like Epang Palace, were constructed. Temples and pagodas developed rapidly in the period of Weijin and Southern and Northern dynasties. Glass tiles used in Sui and Tang made the building more glorious. The city construction in the period of Five dynasties and Song was booming. Luxury restaurants and shops with lofts and railings were very beautiful. Many palaces and private gardens built in Ming and Qing are reserved today, which are more magnificent and stately than that of the Song Dynasty.