Page 365 - Chinese Art, Vol II By Stephen W. Bushell
P. 365

PICTORIAL ART.                     iii

            every detail of the official costume, the embroideries of the robe,
            the plaques of jade suspended on the necklace or girdle, the trim-
            mings and button of the hat, arc made as important as the face and
            hands.
              Apart from the qualities of the design, Chinese painters have
            had from the first a fine feeling for colour  ; even if they have not
            formulated the laws scientifically, they have applied the colours,
            by intuition, with perfect sureness and delicacy.  It  is especially
            by cultivating the properties of the vibration of colours that the
            Chinese have revealed their power as colourists.  Instinct and ob-
            servation have taught them that by modulating the tones on them-
            selves a singular depth is imparted to each tint, an intense strength.
            In the decoration of porcelain, even more than in their paintings on
            silk, they have made the colours vibrate and pulsate by putting blue
            upon blue, red on red, pink on pink, yellow on yellow, passing from
            the clearest to the deepest of shades in each single colour.
              The laws of the effects of light and shade have also not been
            laid down in China, but yet in their interpretation of the really
            picturesque, the Chinese have occasionally attained, in landscape
            painting, a mastership of the most delicate effects of chiaroscuro.
            The grand landscape school of the T'ang produced some perfect
            works in this line, and their successors during the Sung dynasty are
            hardly inferior in the harmonious breadth of colouring of their
            wide stretches of reed-clad plain charged with groups of water
            fowl, either flying or at rest.
              There is no gewre that the Chinese artist has not attempted.  They
            have treated in turn mythological, religious and historical subjects
            of every kind  ;  they have painted scenes of daily familiar life, as
            well as those inspired by poetry and romance  ;  sketched still life,
            landscapes and portraits.  Their highest achievements, perhaps,
            have been in landscapes, which reveal a passionate love foi nature,
            and show with how delicate a charm, how sincere and lively  a
            poetic  feeling,  they have  interpreted  its  every  aspect.  They
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