Every art form changes, often at rates and in ways that cause discomfort to its devotees. But the arts also have a remarkable ability to withstand and absorb those changes, and to prove wrong the prophecies of their demise.
Wherever there is degeneration and apathy, there also is sexual perversion, cold depravity, miscarriage, premature old age, grumbling youth, there is a decline in the arts, indifference to science, and injustice in all its forms.
Thus the highest form of generalship is to balk the enemy's plans, the next best is to prevent the junction of the enemy's forces, the next in order is to attack the enemy's army in the field, and the worst policy of all is to besiege walled cities.
If we examine a work of ordinary art, by means of a powerful microscope, all traces of resemblance to nature will disappear - but the closest scrutiny of the photogenic drawing discloses only a more absolute truth, a more perfect identity of aspect with the thing represented.
You're always believing ahead of your evidence. What was the evidence I could write a poem? I just believed it. The most creative thing in us is to believe in a thing.
I don't think it's worth discussing new directions in the context of Chinese art - there were no old directions, either. Chinese art has never had any clear orientation.
Those who either from imprudence or want of sagacity avoid doing so, are always overwhelmed with servitude and poverty; for faithful servants are always servants, and honest men are always poor; nor do any ever escape from servitude but the bold and faithless, or from poverty, but the rapacious and fraudulent.
With little here to do or see Of things that in the great world be, Sweet Daisy! oft I talk to thee For thou art worthy, Thou unassuming commonplace Of Nature, with that homely face, And yet with something of a grace Which love makes for thee!
The foundation of empire is art and science. Remove them or degrade them, and the empire is no more. Empire follows art and not vice versa as Englishmen suppose.