INDEX OF PAINTERS AND PERIODS
The following summary furnishes additional information regarding the painters to whom reference has been made. Those to whom the subject is not familiar will find this of assistance in placing in their proper historical order the different trends which have been indicated elsewhere. They will also find dates useful in comparing, if so desired, the artistic evolution of China with that of Europe. This, however, is only an outline. The names of some great masters are omitted, for I have no wish to overload the margin of a statement which should be kept clear and convenient of access. I trust nevertheless that these few notes in concise form will be of use in connection with the preceding text.
I. BEFORE THE INTERVENTION OF BUDDHISM
The Bas-reliefs of the second Han dynasty belong to the second and third centuries of the Christian era.
Ku K’ai-chih, also called Chang-k’ang and Hu-tou, was born in Wu-hsi in the province of Kiang-su. He lived at the end of the fourth and beginning of the fifth century. His style, resembling that of the Han period, informs us as to the character of painting from the second to the fifth century. It is such as to indicate a long antecedent period of cultivation and development.
Hsieh Ho (479-502), painter of the figure. He wrote a small book setting forth the Six Canons or Requirements of painting. This work informs us regarding the philosophy of art in China of the fifth century.
II. THE INTERVENTION OF BUDDHISM
It is difficult to set an exact date for the first contact of Buddhist with Chinese art. It may be assumed that the influence of Buddhist art began to be felt noticeably in China in the fifth century. In the seventh and eighth centuries it was so widespread as to be definitely established.