Page 388 - Chinese Art, Vol II By Stephen W. Bushell
P. 388

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                  132                  CHINESE ART.

                    Among the lesser luminaries of the T'ang dynasty were Wang
                  Wei and Han Kan.   Wang Wei, who lived a.d. 699-759, a great
                  poet, was equally famous as a painter, and it was said of him that
                  "  his poems were pictures, his pictures poems."  He attained high
                  official rank as Minister of State, and is chiefly remembered as a
                  landscape painter, rivalling nature itself in idealist force and sug-
                  gestiveness.  Some idea of his work may be gathered from this
                  landscape  roll illustrated in Fig.  127, which  is inscribed by the
                  artist as having been painted after the style of Wang Wei.  Han
                  Kan, a protigf of Wang Wei, was also a portrait painter of a high
                  order, although his jorte was horses.  When summoned to Court
                  the emperor assigned him a teacher, but he repHed  :  "  The horses
                  in your Majesty's stables are my teachers."  The picture in the
                  British Museum of a  "  Boy-Rishi riding on a Goat," illustrated in
                  Fig. 125, is considered to be an example of Han Kan's work, and is
                  described by Mr. L. Binyon  :
                    " A pictorial vision of one of the Taoist genii in boyish form  riding a
                  monstrous goat on the hills, a bird-cage slung on a plum-branch over his
                  shoulder, while goats and rams of a small terrestrial tribe gambol in dehght
                  around.  Probably a genuine work of Han Kan.  The art of the T'ang dyn-
                  asty, so far as we can ascertain, was marked not only by masculine vigour of
                  drawing, but by an interest in action and movement which seems to have
                  died out in later Chinese art, bequeathing its tradition to the great early
                  painters of Japan.  Han Kan has been a congenial model for the Japanese  ;
                  and the vivacity and power of draughtmanship shown, for instance, in these
                  gambolhng goats, inspired them with many a picture."
                    The  distinction  of Chinese painting  into two  great  schools,
                  Northern and Southern, was generally recognised during the T'ang
                  dynasty.  The northern school  flourished  in the  valley  of  the
                  Yellow River and its great tributaries, the classical home of the
                  Chinese  as an  agricultural  race  with communistic sympathies
                  and the site of development of their peculiar cult.  The southern
                  school was developed in the valley of the Yangtse River, especially
                  in its upper reaches, a picturesque land of hill and valley peopled
                  by men of kindred blood, who came later, however, into the Chinese
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