In addition to its poems, the Sung literature was famous for the so-called pi-chi or miscellaneous notes. These consist of short notes of the most various sort, notes on literature, art, politics, archaeology, all mixed together. The pi-chi are a treasure-house for the history of the culture of the time; they contain many details, often of importance, about China's neighbouring peoples. They were intended to serve as suggestions for learned conversation when scholars came together; they aimed at showing how wide was a scholar's knowledge. To this group we must add the accounts of travel, of which some of great value dating from the Sung period are still extant; they contain information of the greatest importance about the early Mongols and also about Turkestan and South China.
While the Sung period was one of perfection in all fields of art, painting undoubtedly gained its highest development in this time. We find now two main streams in painting: some painters preferred the decorative, pompous, but realistic approach, with great attention to the detail. Later theoreticians brought this school in connection with one school of meditative Buddhism, the so-called northern school. Men who belonged to this school of painting often were active court officials or painted for the court and for other representative purposes. One of the most famous among them, Li Lung-mien (ca. 1040-1106), for instance painted the different breeds of horses in the imperial stables. He was also famous for his Buddhistic figures. Another school, later called the southern school, regarded painting as an intimate, personal expression. They tried to paint inner realities and not outer forms. They, too, were educated, but they did not paint for anybody. They painted in their country houses when they felt in the mood for expression. Their paintings did not stress details, but tried to give the spirit of a landscape, for in this field they excelled most. Best known of them is Mi Fei (ca. 1051-1107), a painter as well as a calligrapher, art collector, and art critic. Typically, his paintings were not much liked by the emperor Hui Tsung (ruled 1101-1125) who was one of the greatest art collectors and whose catalogue of his collection became very famous. He created the Painting Academy, an institution which mainly gave official recognition to painters in form of titles which gave the painter access to and status at court. Ma Yüan (c. 1190-1224), member of a whole painter's family, and Hsia Kui (c. 1180-1230) continued the more "impressionistic" tradition. Already in Sung time, however, many painters could and did paint in different styles, "copying", i.e. painting in the way of T'ang painters, in order to express their changing emotions by changed styles, a fact which often makes the dating of Chinese paintings very difficult.
Finally, art craft has left us famous porcelains of the Sung period. The most characteristic production of that time is the green porcelain known as "Celadon". It consists usually of a rather solid paste, less like porcelain than stoneware, covered with a green glaze; decoration is incised, not painted, under the glaze. In the Sung period, however, came the first pure white porcelain with incised ornamentation under the glaze, and also with painting on the glaze. Not until near the end of the Sung period did the blue and white porcelain begin (blue painting on a white ground). The cobalt needed for this came from Asia Minor. In exchange for the cobalt, Chinese porcelain went to Asia Minor. This trade did not, however, grow greatly until the Mongol epoch; later really substantial orders were placed in China, the Chinese executing the patterns wanted in the West.
5 Military collapse
In foreign affairs the whole eleventh century was a period of diplomatic manoeuvring, with every possible effort to avoid war. There was long-continued fighting with the Kitan, and at times also with the Turco-Tibetan Hsia, but diplomacy carried the day: tribute was paid to both enemies, and the effort was made to stir up the Kitan against the Hsia and vice versa; the other parties also intrigued in like fashion. In 1110 the situation seemed to improve for the Sung in this game, as a new enemy appeared in the rear of the Liao (Kitan), the Tungusic Juchên (Jurchen), who in the past had been more or less subject to the Kitan. In 1114 the Juchên made themselves independent and became a political factor. The Kitan were crippled, and it became an easy matter to attack them. But this pleasant situation did not last long. The Juchên conquered Peking, and in 1125 the Kitan empire was destroyed; but in the same year the Juchên marched against the Sung. In 1126 they captured the Sung capital; the emperor and his art-loving father, who had retired a little earlier, were taken prisoner, and the Northern Sung dynasty was at an end.
The collapse came so quickly because the whole edifice of security between the Kitan and the Sung was based on a policy of balance and of diplomacy. Neither state was armed in any way, and so both collapsed at the first assault from a military power.
(2) The Liao (Kitan) dynasty in the north (937-1125)
1 Social structure. Claim to the Chinese imperial throne
The Kitan, a league of tribes under the leadership of an apparently Mongol tribe, had grown steadily stronger in north-eastern Mongolia during the T'ang epoch. They had gained the allegiance of many tribes in the west and also in Korea and Manchuria, and in the end, about A.D. 900, had become the dominant power in the north. The process of growth of this nomad power was the same as that of other nomad states, such as the Toba state, and therefore need not be described again in any detail here. When the T'ang dynasty was deposed, the Kitan were among the claimants to the Chinese throne, feeling fully justified in their claim as the strongest power in the Far East. Owing to the strength of the Sha-t'o Turks, who themselves claimed leadership in China, the expansion of the Kitan empire slowed down. In the many battles the Kitan suffered several setbacks. They also had enemies in the rear, a state named Po-hai, ruled by Tunguses, in northern Korea, and the new Korean state of Kao-li, which liberated itself from Chinese overlordship in 919.
In 927 the Kitan finally destroyed Po-hai. This brought many Tungus tribes, including the Jurchen (Juchên), under Kitan dominance. Then, in 936, the Kitan gained the allegiance of the Turkish general Shih Ching-t'ang, and he was set on the Chinese throne as a feudatory of the Kitan. It was hoped now to secure dominance over China, and accordingly the Mongol name of the dynasty was altered to "Liao dynasty" in 937, indicating the claim to the Chinese throne. Considerable regions of North China came at once under the direct rule of the Liao. As a whole, however, the plan failed: the feudatory Shih Ching-t'ang tried to make himself independent; Chinese fought the Liao; and the Chinese sceptre soon came back into the hands of a Sha-t'o dynasty (947). This ended the plans of the Liao to conquer the whole of China.