Page 386 - Chinese Art, Vol II By Stephen W. Bushell
P. 386

i3d                   CHINESE ART.

                  Kabodha (Ka-fo-t'o), an artist honoured by the Wei emperor, as
                 well as by the founder of the Sui dynasty, who built the mountain
                 temple of Shao-lin-ssu for him.  Kabodha was celebrated for his
                 pictures of the men and scenes of the Byzantine empire, under the
                 name  of Fu-lin  (see page 72),  as  well  as  for his drawings of
                 strange animals, and of spiritual beings {kuei sh'n) terrestrial and
                 celestial.
                   We come now to the T'ang dynasty (a.d. 618-906), when China
                 attained its greatest height as an Asiatic power, when literature and
                 poetry flourished apace, and the sister arts of painting and design
                 arrived at their highest perfection.  Yen Li-te and Wu  Tao-tzu
                  are named by the Emperor K'ang Hsi in his preface as representative
                  artists of this dynasty, and he names none other after them.  Yen
                  Li-te, who flourished in the seventh century of our era, was a high
                  official at the court of the founder of the dynasty, and was appointed
                  President of the Board of Works in the year 630.  His younger
                  brother,Yen Li-pen, also an artist of repute, who succeeded him in
                  the Board of Works in 657, became a chief Minister of State during
                  the reign of Kao Tsung in 668.  Yen Li-te painted Taoist pictures
                  such  as. the "Immortals gathering  the Polyporus  Fungus  of
                  Longevity," the embodied " Spirits of the Seven Planets," etc.  ;
                  historical scenes, the most celebrated of which was the " Marriage
                  of the Chinese Princess of Wen-ch'eng to the Tibetan kmg Srong-
                      "
                  tsan  in the year 641  ; drawings of strange people and of foreigners
                  bringing tribute, in which he excelled his predecessors of the Wei
                  and Liang dynasties  ;  pictures of palaces and of Imperial sacrificial
                  ceremonials  ;  fighting  cocks, and  flying wild geese intended to
                  illustrate the poems of Ch'en Yo.  His brother was a still more
                  prolific artist, working in much the same lines, according to the list
                  of forty-two of his pictures enumerated in the Hsiian-ho catalogue
                  (i2th century).
                    Wu Tao-yuan, generally known by his literary title as Wu Tao-
                  tzu (Japanese  Go  Doshi),  stands,  by  universal  consent, as
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