Page 144 - China, 5000 years : innovation and transformation in the arts

Fig. 11. See Zhongguo shikusi his achievements; he as Sequel to Catalogue of
his own country and visited all the pagodas of yanjiu ("Studies of Temples in
King Asoka in China. When he came to the Chinese Caves"), p. 108, jig. 4, and
Dashi Temple at Luo county in Chengdu, he p. wg, Jig. 5.
saw the forms of twelve spirits in the sky, Fig. 12. See Xinzhongguo de
whereupon he studied the looks of each one kaogu faxian yu yanjiu
and then carved their images at the base of ("Archaeological Discoveries and
the temple's pagoda. They still survive today Studies of New China"), pi. 14$.
(vol. 8)J6
Fig. 13. See Zhongguo shikusi:
These are all well-known examples. Extant sites Gongxian shikusi ("Chinese
Cave Sculptures: Tlie Cave
such as the Mogao grottoes at Dunhuang indicate Temples of Gong County"), pi. 38.
that even the earliest surviving caves show a
Fig. 14. See Wenwu, ig83;io,
consistency of layout and a uniformity in design
lower illustration on color page.
and style among both paintings and sculptures that
Fig. 16. See Zhongguo shiku:
could only have been achieved by a single creator Dunhuang Mogao san
(fig. i6).That accounts for the roughly synchronous ("Chinese Cave Sculptures: The
development of sculpture and painting in China Mogao Grottoes, Part 3"), pi. 114.
prior to the late Tang. From the Northern Song,
NOTES
painters increasingly specialized in particular genres,
I. Wenhua dageming qijian chutu
and neither court painters nor literati painters wenwu ("Archaeological Relics
deigned any longer to sculpt. 17 Popular art Unearthed During the Cultural
preserved the tradition of linking painting and
sculpture, but in vulgarized styles that could no Revolution") (1990), vol. r,
longer properly reflect the tastes of the times.
pp. H3-44-
Translated, from the Chinese, by June Mei.
2. The edition of Lidtai minpnua
SOURCES FOR FIGURES ji ("Record of Famous Painters
of All the Dynasties") cited in
Fig. i. See Zhongguo shiku: this paper is based on the
Yongjing Binghngsi ("Chinese original Xunyang edition of
Cave Sculptures: Tlie Singling
Temple"), pi 21. Wangshi huayuan ("Wang's
Garden of Paintings"), which is
Fig. 2. See Zhongguo shiku:
Yongjing Binghngsi ^''Chinese now in the Beijing University
Cave Sculptures: Tlie Singling
Library collection and which
Temple"), pi. 36. dates back to the early Wanli
period. Although this version
Fig. 3. See Yungang shiku ("Tlie contains more errors than the
Yungang Caves"), pi. 92. one in Mao's Jiuguge edition of
Jindi mishu ("Secret Works of
Fig. 4. See Zhongguo shiku:
Yungang shiku er ("Chinese the Jindi"), it is nevertheless a
Cave Sculptures: The Yungang
reprint of the Shupeng half-
Caves, Part 2"), pi. 124. page, 1 1 -line edition published
in Lin'an during the Southern
Fig. 3. See Wenhua dageming Song, and is the earliest extant
qijian chutu wenwu copy of the Lidai minghua ji.
("Archaeological Relics Unearthed 3. Zhang Huaiguan compiled
During the Cultural Revolution "), the three-volume Shuduan
("Opinions on Calligraphy");
pi. 143. see vol. 57, the "Arts and
Letters, Part 1," of the Xin
Fig. 7. See Zhongguo Jintongfo Tangshu ("New Tang History").
He also compiled Huaduan
("Gilded Bronze Buddhas in ("Opinions on Paintings"); see
China"), fig. 5, p. 236. vol. 1 of Tuhua jianwen zhi
("Notes on Pictures and
Fig. 8. See Liuchao yishu ("Tlie Paintings") by Guo Ruoxu of
Arts of the Six Dynasties"), fig. the Northern Song dynasty.
163. 4. Xu Bangda,"Gu Kaizhis
Fig, g. See Dengxian caise 'The Goddess of the Luo
huaxiang zhuanmu ("A Color- River'," in vol. 1 of Gushuhua
Painted Brich Tomb at Deng wei'e kaoshi ("Studies of Errata
County"), jig. 24. in Ancient Calligraphy and
Paintings"), 1984.
5.Yao Qian et al, Liuchao yishu
("Arts of the Six Dynasties")
(1981), pp. 162-79.
6. In vol. 6 of the Lidai minghua
ji, this excerpt is rendered thus:
"He goes to the limits of
understanding and nature, and
there are no words to describe
ORIGINS AND TRENDS IN THE DEPICTION OF HUMAN FIGURES
encompasses the past and bears
the seeds of the future, yet
stands out among both past and
present; he cannot be praised
merely by effusiveness, and
Heexhausts all description. is
the best of the best, there is
nothing left to say ... so the
most I can do is place him in
Hethe first rank. is the
toremost person ot the first
rank."
7. Work team of the Henan
Provincial Bureau ot Relics,
Dengxian caisc huaxiang
zhuangwu ("Color Paintings
from a Brick Tomb in Deng
County"), 1958.
8. Relics Administration Office
of Xiangfan, "Xiangfan
Jiajiachong huaxiang zhuanmu"
("A Painted Brick Tomb in
Jiajiachong, Xiangfan"),
jianghan Archaeology, 1986:1.
9. According to the "Lidianxu"
("Preface to the Book of
Rituals") in vol. 41 of the
Tongdian, "By an edict in the
second year of Yongnnng
during the reign ot Emperor
Wu of the Qi, the Minister
ordered the officials to establish
the Five Rituals. Then Emperor
Wu of the Liang ordered the
scholars to refine and complete
them. When Emperor Wu of
the Chen succeeded to the
throne, he mostly adhered to
the Liang standards."
10. Geng Xin, "Lament for
Jiangnan," in Zhou shti ("H/ifory
of the Zhou"), vol. 41,
"Biography of Geng Xin." Also
"Biography of Baochang" in
vol. 1 of Xu Gaoseng zhuan
("Sequel to Lives of Eminent
Monks"): "For fifty-odd years,
the south was uneventful."
11. Vol. 90, Xin Tangshu ("New
History of the Tang"):
"Biography of Li Sizhen."
12. Vol. 190 of the Jiu Tangshu
("Old History of the Tang").
"Diviners: Biography of Li
Sizhen" notes that Sizhen
compiled one volume each of
"Books" and "Paintings."
Chapters 1 and 3 respectively
of the "Bibliography" section in
vols. 57 and 59 of the Xin
Tangshu list separately
"Addendum to Calligraphy"
and "Addendum to Paintings."
Vol. 1 of Notes on Drawings and
Paintings mentions the
Catalogue of Later Paintings
compiled by Li Sizhen. In vol.
3 of his Junzhai's Reading Notes,
Chao Gongwu of the Southern
Song writes of Sequel to Notes
on Paintings in one volume by
Li Sizhen (Yuanzhou edition),
the extant edition now known
142
Paintings.
13. Vol. 6 of the Lidai minghua ji
cites Zhang Huaiguan thus: "As
for Lu, Gu, and Zhang
Sengyou, commentators stress
each of their strengths, and
these are all appropriate." This
can be taken to mean that the
styles in vogue during the three
periods following the Eastern
—Jin Liu Song, Qi, and Liang
all differed, and hence different
emphases were placed on them.
14. Yiwen leiju, vol. 76, quoting
the stele of the Buddha
Amitabha in thejmxiang
Temple of Yongzhou, carved by
Liu Xiaoyi of the Liang
dynasty.
15. Yiwen leiju, vol. 77, quoting
the inscription for the Buddha
Sakyamuni by Emperor Jianwen
of the Liang.
16. See Lin Shuzhong, "Dating
the Painted Brick Tomb of
Changzhou and the Art of the
Painted Bricks," Wenwu, 1979:3.
17. In vol. 6 of Xu gaoseng
zhuan ("Further Lives of
Eminent Monks"), by the
monk Daoxuan of the Tang
dynasty.
18. According to the
"Biography of Cui Guang" in
vol. 67 of the Weishi ("History
of the Wei Dynasty"), "In the
eighth month of the second
year [of Shengui], Dowager
Empress Ling visited the
Yongning Temple and climbed
up the nine-story pagoda.
Guang submitted a memorial,
saying ...'Although the image
has not yet been constructed,
this is already the home of the
deity.' " From this, we know
that the figures were built after
the eighth month of the second
year of Shengui.
19. Luoyang work team of the
Institute ot Archaeology,
Chinese Academy ot Social
Sciences, "Brief Report on the
Excavation around the Base of
the Northern Wei Yongning
Temple Pagoda," Kaogu, 1981:3.
20. The "Annals ofWenxiang"
in vol. 3 of the Beiqishu
("History of the Northern
Qi") notes that in the fourth
year ofWuding (546),
"[Marquis] Jing's general, Cai
Zundao, returned from the
north saying that Jing felt
repentant. The Prince
(Wenxiang) believed this, and
thought he could lure him
over, so he ignored Jing's letter.
Jing had written,'. . . Nowadays
in Liang, we were beckoned to
with every courtesy, given tiger