Page 134 - C.T. Loo A paper about his impact and activities in the Chinese art Market

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negative association with their funerary context (Fig. 37). Osvald Siren noticed the

difference between the Western conception of sculptures and the Chinese notion of

shixiang, stone images that served a votive and commemorative rather than aesthetic

purpose. Siren observed, “Most of them, particularly among the religious monuments, are

hardly great sculptures from the traditional Western point of view; they are often lacking

in plastic beauty and technical refinement and appear somewhat coarse or uncouth in the

cold light of the exhibition halls. Very few of them are distinguished by such qualities of

form and technique that Western art-lovers are wont to expect in high class sculpture.”

(Siren 1936, 4) Under this circumstance, Loo needed to construct a progressive and

coherent history of Chinese sculpture and to invent an aesthetic vocabulary based on

Western paragons.

Loo in his Index of the History of Chinese Arts: An Aide-Memoire for Beginners

outlined the development of Chinese sculpture as a progression following the Archaic-

Classical-Baroque model in Western art history.

“ WEI, end of 400 to 550 A.D. Very archaic style with elongated neck, drooping
shoulder and slender body (or heavier construction if from Yung Kang).

CHI, (Northern) 550-577 A.D. More ornamentation, short neck and heavy structure. Most
sculptures are from Shan-Si province.

SUI, 581-618 A.D. Here during this short period were produced some of the most refined

and elegant Buddhistic sculptures, which have an outstanding personality with a more
pronounced Hindu influence in the decoration and movement…

Tang 618-906 AD …Sculpture is in great favour with Lung Men the outstanding

monument, then gradually following the evolution it becomes too ornate and less
vigorous…