Chinese Painters | Page 7

expiring
tradition.

II. BEFORE THE INTERVENTION OF BUDDHISM
The bas-reliefs of the Han dynasty are almost all comprised in the
sculptured stone slabs embellishing mortuary chambers and of these the
artistic merit is most unequal.[4] Their technique is primitive. It

consists in making the contours of figures by cutting away the stone in
grooves with softened angles, leaving the figure in silhouette. Engraved
lines complete the drawing.
The subjects are sometimes mythical and sometimes legendary. There
are representations of divinities, fabulous animals, scenes of war and of
the chase and processions of people bearing tribute. At times the great
compositions display imposing spectacles, a luxurious and refined
array. Now and then attempts at pictorial perspective are joined to some
unrelated scene.
All this is in direct conflict with the technique of bas-reliefs and leads
to the surmise that the models were drawn by painters and copied with
more or less skill by makers of funeral monuments.
[4] These bas-reliefs have been studied by M. Chavannes in "La
sculpture sur pierre en Chine au temps des deux dynasties Han," Paris,
1893; also in "Mission archéologique en Chine," Paris, 1910. Rubbings
taken from the sculptured slabs are reproduced here in full.
[Illustration: PLATE VI. PAINTING BY AN UNKNOWN ARTIST
T'ang Period. Collection of R. Petrucci.]
This impression is confirmed if certain carved slabs are compared with
a painting by Ku K'ai-chih, of which we can judge by means of a copy
made in the Sung period.[5] One of the scenes of this long scroll leaves
no possible misapprehension as to the pictorial origin of the Han
bas-reliefs. Its subject, a river god on a chariot drawn by dragons, is
similar in composition to the models used by the artisans of the third
century.
We have, however, better testimony than a copy made at a later period.
The British Museum, in London, is the owner of a painting attributed to
Ku K'ai-chih. The reasons impelling us to believe in its authenticity are
weighty, almost indisputable.[6][B] We therefore accept it here and
will endeavor to define the work of one of the greatest painters of
China in the fourth and the beginning of the fifth century.

[5] This painting formed part of the collection of the ex-viceroy Tuan
Fang, killed in 1911, during the revolution. It was published in 1911 by
the Japanese archeologist, Mr. Taki.
[6] These reasons are set forth in a work which Mr. Laurence Binyon is
preparing, to accompany a reproduction engraved by Japanese artists
for the British Museum.
[B] The preceding footnote refers to a work published in 1913 by the
Trustees of the British Museum, containing a reproduction of the
painting in its entirety and giving a full description.--TRANSLATOR.
The painted scenes are inspired by a work of the third century
containing admonitions addressed to the ladies of the imperial palace.
The striking characteristics of these compositions are the lightness and
delicacy of style, the poetry of the attitudes and the supreme elegance
of the forms. Heavy black tresses frame the ivory faces with refined
and subtle charm. The voluptuous caprice of garments in long floating
folds, the extreme perfection of the figures and the grace of gestures
make this painting a thing of unique beauty. Only through the
cultivation of centuries could such spiritual insight be attained.
If the copy from the collection of Tuan Fang recalls the bas-reliefs of
the Han period, the painting in the British Museum is related to the
bas-reliefs of Long-men, which date from the seventh century and of
which M. Chavannes has published photographs. Therefore we may say
that the style of Ku K'ai-chih exemplifies the distinctive features of
Chinese painting at a period extending from the third to the seventh
centuries.[7]
[7] A copy of an engraving on stone of the year 1095, representing
"Confucius sitting amidst his disciples" and another representing
"Confucius walking, followed by one of his disciples," dated 1118,
have been published by M. de Chavannes ("Mission archéologique en
Chine," Nos. 869 and 871). The latter is considered as having been
undoubtedly executed after a painting by Ku K'ai-chih.
It should also be noted that toward the end of the fifth or the beginning

of the sixth century, the painter and critic Hsieh Ho formulated the Six
Canons[8] upon which the far-eastern code of Aesthetics is founded.
These Canons introduce philosophical conceptions and technical
knowledge which also presuppose long cultivation, for it is only after
rules have been brought to reality in a work of art that they are
formulated into a code. Therefore when Buddhism appeared in China it
found there a native art whose value was proved beyond question by a
long succession of masterpieces. After having exhausted every
manifestation of strength and vigor, this art had arrived at expressions
of extreme refinement and profound and appealing