Page 145 - China, 5000 years : innovation and transformation in the arts

.
skins for blankets and urged to
stay with fine cups. . . . Leave
the dangerous for the safe, and
return now to the correct
ways; change disaster into good
fortune, we have escaped the
net.* "This mention of the
correct ways refers to the Liang
dynasty kingdom in southern
China.
21. See Xu Guangji,
"Excavation and Studies of
Large Tomb Murals of the
Northern Dynasties at
Wanzhang in Ci County,
Hebei," Wenwu, 1996:9; also the
Shanxi Provincial Institute of
Archaeology et al., "Brief
Report on the Excavation of
the Tomb of Lou Rui of the
Northern Qi in Taiyuan,"
Wenwu, 1983:10.
22. See Beiqishu, vol. 4, "Annals "Zhan Ziqian lived through
of Wenxuan"; vol. 48,
"Relatives of the Empress:
Biography of Lou Rui"; and
Beishi ("History of the
Northern Dynasties"), vol. 54,
"Biography of Lou Zhao, with
Appended Biography of His
Nephew Rui."
23. See "Notes on the
Northern Qi Tomb of Lou
Rui in Taiyuan," Wenwu,
1983:10.
24. Lidai minghua ji, preface to
vol. 8. Vol. 8 of the Lidai
minghua ji further says about
Yang Zihua: "Emperor Shizu
[Gao Zhan, of the Northern
Qi| held him in high esteem,
and let him live in the palace.
He was known throughout the
land as the Divine Painter, and
was forbidden to paint for
outsiders, except by imperial
edict. At the time there was a
prince named Chong Shan
whose chess-playing was
godlike, and the two of them
were known as the Two
Ultimates."
25. Lidai minghua ji, vol. 2.
26. In Zhenguan gongsi hiialu
("A Record ot Paintings in
Public and Private Collections
in the Zhenguan Era [627-
fi.SOJ"), Pei Xiaoyuan notes that
"after Yang Zihua, they are all
northern painters."The six
listed .liter Yang Zihua arc Cao
Zhongda, I >oug Boren, Zheng
Fashi.Yang Qidan, Zhan
Ziqian, and Sun Shangzi.
27. About [lie five artists
mentioned, vol. 8 of the Lidai
minghua fi makes the following
comments on .ill other than
Yang Zihua: "Tian Zengliang
reached the official position of
Sangong Zhonglangjiang [during
the Qi],and entering the Zhou
period he became a Changshi,
ORIGINS AND TRENDS IN THE DEPICTION OF HUMAN FIGURES
and at the time had a higher
reputation than Dong and
Zhan"; "During the Zhou,
Zheng Fashi was a Dadou
Duzuo Yuamvai Shilang, a
Jianzhong General, and was
given the fief of Changshe
county, and entering the Sui
period he was made a Zhongsan
Datfu; his Images of the Northern stands a temple to Laozi. Its
"DongQi . . . is still extant";
Boren was from Ru'nan, and a
man of many talents ....
[During the Sui] he reached
the positions of Guanglu Datfu
and Dianzhong General. . . .
Initially both Dong and Zhan
were summoned together to
the Sui Court, one from
Hebei, the other from southern
China. Initially they were not
taken seriously, but later they
were rather well regarded.
Dongs Emperor Ming of the
Zhou Hunting is still extant";
the Northern Qi, Zhou, and
Sui dynasties, and became
Chaosan Daifu and Zhangnei
Doudu. His Tlie Later Ruler of
the Northern Qi Visiting finyang
weis still extant." From this,
know that they were all famous
during the Qi and Zhou.
28. The monk Zong is the
same person as the monk
Yanzong, who compiled
Hoithuaht ("Sequel to
Catalogue of Paintings"). See
Tushu jianwenzhi, vol. 1, and
Junzhai dushuzhi, vol. 3, pt. 2.
29. According to part 3 of the
Yiwenzhi ("Bibliography")
section in vol. 59 of the Kin
Tangshu ("New Tang History"):
"Pei Xiaoyuan wrote Huapin hi
["Ranked Catalogue of
Paintings"] in one volume. He
was a Zhongshu Sheren, and
recorded events of the
Zhenguan and Xianqing
periods."Vol. 1 of Tulnnt
jianwen zhi ("Notes on
Drawings and Paintings") refers
to the work as Gongsihua In
("Catalogue of Public and
Private Paintings"). The extant
version is titled Zhenguan
gongsihua sin ("History of the
Public and Private Paintings of
the Zhenguan Period"). The
text in the extant version is
more detailed than the passage
cited by Zhang, and reads,
"TheYans originally studied
with Mr. Zhang, and can be
said to surpass their teacher. As
for drawing people and
garments, soldiers, horses and
buildings, they have mastered
the subtleties of both south and
north."
30. See Jin Weinuo,"Thc Dates
and Artists of Ancient Portraits
of Emperors," in Collected
Essays on Chinese Art History.,
198 1.
31. See n. 3. and taught craftsmen to carve
the images of the Three Holies,
32. Wu Daozi and Yang Huizhi
the Jade Emperor, and Zhenwu
were regarded equally highly at which are in the Zaocheng
the time. Vol. 212 of the Taiping
guangji cites Tang Kangpings Monastery at Huiqi. These all
Jutanlu thus: "There is a display the greatest dignity and
Xuanyuan Monastery on Mt. gentleness in their visages, and
Beimang of the Eastern capital. their expression is one of
To the south of the monastery natural ease as if they were
buildings are tall and imposing, human, such that all who saw
and overlook Yiluo. All of its
clay sculptures of the deities them were awestruck. People
were done by Yang Huizhi of that prefecture call them
during the Kaiyuan period. treasures of wood. . . . Zhai felt
They are extraordinarily well that the old work was not well
done and meticulous, and done, and personally resculpted
it. He captured the Rulai
everyone who sees them is [Tathagata] Buddha's
filled with admiration. The compassion for the world and
sympathy for the weak, and
Wuwalls have paintings by even if Dai Andao and Yang
Huizhi were to be reborn, they
Daozi of the Five Sages and of would have a hard rime
stories from Laozi. The surpassing him." For more on
paintings are exquisite, and
have no peer either past or Zhai Ruwen s life, see his
present." biography in vol. 131 of the
History of the Song (Song shu).
33. At the end of his comments
on Dai Kui, Zhang Yanyuan
appends the following notes:
"See the Jinshu ['History of the
Jin*], Songshu ['History of the
(Liu) Song'], and Kuibiezhuan
['Biography of Kui'], Xu
Guang's Jinji ['Record of the
Jin'], Huigiji ['Record of the
Huiqi'], Guozi, Liu Yiqing's
Shishuo, and the Mingyanji by
Wang from Linchuan of the
[Liu] Song dynasty."
34. At the end of his comments
on Dai Kui, Zhang Yanyuan
appends the following notes:
"See the 'Biographies of
Hermits' section in the Songshu
['History of the (Liu) Song'],
and Wang Zhishen's Songji
['Record of the (Liu) Song']."
35. At the end of his comments
on Jiang Shaoyou, Zhang
Yanyuan appends the following
note: "See the Houweishu
['History of the Later Wei']."
36. At the end of his comments
on Tanmozhuoyi, Zhang
Yanyuan appends the following
notes: "See the Insights into the
Three Treasures?
37. There were also exceptions.
such as Zhai Ruwcn. who was
[he Anfushi of both Zhiyue
Prefecture and Andong in
Zhejiang during the late
Northern Song. The
"Inscription for Sir Zhai"
which is appended to the
Zhonghuizi notes that R.uwen
"was conversant with painting,
and had himself painted some
sixty-odd scrolls, including
Heights of the linn Locales,
Various Sages oj the Ten
{ Mmatcs, Ih, Nine Heavetu as
( »«e, I'hc lour Holy Men
Subduing the I kmotis, etc. . .
1 le was also .in expert sculptor,
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