PART TWO. THE EVOLUTION OF CHINESE PAINTING
| I. | Origins | [45] |
| II. | Before the Intervention of Buddhism | [46] |
| III. | The Intervention of Buddhism | [54] |
| IV. | The T’ang Period—7th to 10th Centuries | [58] |
| V. | The Sung Period—10th to 13th Centuries | [72] |
| VI. | The Yüan Period—13th and 14th Centuries | [92] |
| VII. | The Ming Period—14th to 17th Centuries | [114] |
| VIII. | The Ch’ing Period—17th to 20th Centuries | [131] |
| Conclusion | [140] | |
| Bibliography | [149] | |
| Index of Painters and Periods | [151] |
ILLUSTRATIONS
| PAGE | ||
| I. | Sculptured stones of the Han dynasty. Second to
third centuries. Rubbings taken by the Chavannes expedition | [23] |
| II. | Portion of a scroll by Ku K’ai-chih. British Museum, London | [27] |
| III. | Kwanyin. Eighth to tenth centuries. Painting brought from Tun-huang by the Pelliot expedition. The Louvre, Paris | [31] |
| IV. | Palace of Kiu Cheng-kung by Li Chao-tao. T’ang period. Collection of V. Goloubew | [34] |
| V. | Portrait of Lü Tung-ping by T’êng Ch’ang-yu. T’ang period. Collection of August Jaccaci. Lent to the Metropolitan Museum, New York. [A] | [39] |
| VI. | Painting by an unknown artist. T’ang period. Collection of R. Petrucci | [47] |
| VII. | Geese. Sung period. British Museum, London | [51] |
| VIII. | White Eagle. Sung period. Collection of R. Petrucci | [59] |
| IX. | Horseman followed by two attendants. Sung period. Collection of A. Stoclet | [63] |
| X. | Landscape in the style of Hsia Kuei. Sung period. Collection of Martin White | [67] |
| XI. | Landscape by Ma Lin. Sung period. Collection of R. Petrucci | [73] |
| XII. | Mongol horseman returning from the Hunt, by Chao
Mêng-fu. Yüan period. Doucet collection | [77] |
| XIII. | Pigeons by Ch’ien Hsüan. Yüan period. Collection of R. Petrucci | [85] |
| XIV. | Bamboos in monochrome by Wu Chên. Yüan period. Musée Guimet | [93] |
| XV. | Paintings of the Yüan or early Ming period. Style
of the Northern School. Collection of R. Petrucci | [97] |
| XVI. | Portrait of a priest. Yüan or early Ming period. Collection of H. Rivière | [101] |
| XVII. | Horse. Painting by an unknown artist. Yüan or
early Ming period. Doucet collection | [105] |
| XVIII. | Visit to the Emperor by the Immortals from on
high. Ming period. British Museum, London | [109] |
| XIX. | Egrets by Lin Liang. Ming period. Collection of Mrs. John D. Rockefeller, Junior | [115] |
| XX. | Flowers and Insects. Ming period. Collection of R. Petrucci | [119] |
| XXI. | Landscape. Ming period. Bouasse-Lebel collection | [125] |
| XXII. | Beauty inhaling the fragrance of a peony. Ming period. Collection of V. Goloubew | [133] |
| XXIII. | Halt of the Imperial Hunt. Ming period. Sixteenth century. Collection of R. Petrucci | [137] |
| XXIV. | Painting by Chang Cheng. Eighteenth century. Collection of M. Worch | [141] |
| XXV. | Tiger in a Pine Forest. Eighteenth to nineteenth centuries. Collection of V. Goloubew | [145] |
INTRODUCTION
Whatever its outward expression, human thought remains essentially unchanged and, throughout all of its manifestations, is fundamentally the same. Varying phases are but accidents and underneath the divers wrappings of historic periods or different civilizations, the heart as well as the mind of man has been moved by the same desires.
Art possesses a unity like that of nature. It is profound and stirring, precisely because it blends and perpetuates feeling and intelligence by means of outward expressions. Of all human achievements art is the most vital, the one that is dowered with eternal youth, for it awakens in the soul emotions which neither time nor civilization has ever radically altered. Therefore, in commencing the study of an art of strange appearance, what we must seek primarily is the exact nature of the complexity of ideas and feelings upon which it is based. Such is the task presented to us, and since the problem which we here approach is the general study of Chinese painting, we must prepare ourselves first to master the peculiarities of its appearance and technique, in order to understand later on the motives which inspired it.