Page 392 - Chinese Art, Vol II By Stephen W. Bushell
P. 392

134                   CHINESE ART.

                 capital at Nanking, but it was transferred in 1403 by his son Yung
                 Lo to Peking, where it has remained to the present day.
                   The Sung dynasty was hterary and artistic, rather than warUke,
                 and under its rule the Chinese intellect seems to have become, as it
                 were, crystallised, and Chinese art to have developed into the lines
                 which it still, for the most part, retains.  It was a period of cata-
                 logues,  encyclop?edias, and  voluminous  classical  commentaries,
                 which has been summed up in a word as that of Neo-Confucianism.
                 Buddhism was neglected, attacked by the Confucian  literati,  as
                  well as by the Taoists, under whose auspices new systems of natural
                 philosophy were elaborated.  In the realm of art, as M. Paleologue
                 shows,  it is in landscape, without question, that Chinese painting
                  under the Sung attains its highest point.  The poets of the period
                  wrote their verses with the same brush which afterwards drew the
                  picture of the scene which had inspired them.  There was  hardly
                  a poet who was not at the same time a painter.  Painting was not
                  a special  profession,  it was a means by which  every cultured
                  writer was able to express his thought, to illustrate his genius.  True
                  artists were at once statesmen, men of letters, historians, mathema-
                  ticians, poets, painters, and musicians.  In their passion for nature
                  they did not care, however, for full hghts of summer and of noon,
                  or for exuberant vegetation  ; they preferred the delicate fresh hues
                  of spring, the deep melancholy of autumn, light mists rising from
                  the rice fields at sunrmer sunsets, the pale clear tones of an October
                  moonhght view, the still sadness of a winter scene covered with its
                  mantle of snow.
                    The fine landscape roll in the British Museum, over seventeen
                  feet long and about fourteen inches deep, by Chao Meng-fu, one of
                  the great masters of the Yuan dynasty, which has been already
                  referred to, was acquired in 1889, and described Ijy Mr. Binyon in
                  the T'oung-pao  (1905, No.  i).  The artist, born a.d. 1254, a de-
                  scendant of the founder of the Sung dynasty, retired, on the fall of
                  that' house, into private  life  till 1286, after which he held official
   387   388   389   390   391   392   393   394   395   396   397