Los peces nacen en el agua, el hombre nace en el Tao.Si los peces, nacidos en el agua, buscan la sombra profunda del estanque o la alberca, todas sus necesidades son satisfechas.Si el hombre, nacido en el Tao, se hunde en la profunda sombra de la no-acción, para olvidar la agresión y las preocupaciones, no le falta nada, su vida es segura.
Moraleja: "Todo lo que necesita el pez es perderse en el agua.Todo lo que necesita el hombre es perderse en el Tao".

AVISO

queridos amigos los haikus que humildemente escribo están en este sitio: www.haikusilvestre.wordpress.com
gracias ! Namasté

1 jul. 2015

Lu Ji ﹝ about 1439 ~ 1505 ﹞, specializes in painting flowers, he usually phoenix, peacock, crane, duck theme, then home to the rich colors of trees and flowers, the picture brighter. He told King Sho side are the Ming Dynasty academy ancient bird represented in the Pro. Handed down the works are "Guiju mountain birds map". Cliff bird and flower description: "cliff bird map" Mining Right real composition left empty, so the whole picture,,,,

  "Birds and Flowers cliff" Picking the right real composition left empty, so that the entire picture generate lofty and profound sense of space. In the upper right corner of the cliff only to portray ax cracked rock hard, and spatial arrangement of the cliff; contrast cliff, is a small piece of a gentle slope on the left side, about two and a small , one high and one low correspondence, the river and there will be some twists and turns deep space, as if the river extending to endless distance. Solidago osmanthus oblique projecting cliff above the rest stop with three starlings birds, two black and one white, as if enlivened tweet. Down the cliff, there are two kite mandarin duck, one after the other, the former quiet back in the water, which is called the stone shore gung, the two have several flower white duck in the middle, the group dynamic line above Osmanthus branch It happens to constitute two parallel lines, dividing the space into three segments. In birds and waterfowl on the following were also echoed the same, but the middle is disposed between both the care of a bunch of white chrysanthemums and two strains of white hibiscus flower, height and movement.

  《崖下花鸟图》採右实左虚的构图,使整幅画產生高远与深远的空间感。崖壁只在右上侧一角,以斧劈皴刻画山岩的坚硬,并佈置崖下的空间;相对於此崖壁的,是左侧一小块平缓的土坡,左右两者一大一小、一高一低的对应,河面与空间便有了曲折的深度,彷彿河面延伸至无尽的远方。崖壁上斜伸出一枝桂花,上面停憩着叁隻八哥鸟,两黑一白,好像在跃动鸣叫着。而崖壁下则有两隻鳶鸯,一前一后,前者在水面安静回首,后者在石岸边呱叫,两隻鸳鸯中间有几朵白花,这一组动线与上面的桂花枝恰巧构成两条平行线,将空间分割成叁段。在上的飞鸟与下面的水禽也一样作了呼应,而中间则安置一丛白菊花和两株白芙蓉花,高矮与动静之间都有所照应。