Page 407 - Chinese Art, Vol II By Stephen W. Bushell
P. 407

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                                 PICTORIAL ART.                     141

             cabinet.  According lo Professor Giles, he rose to be Censor in 709
             and was afterwards President of the Board of Rites till 713, when
             he committed suicide, undone by political intrigue.  He was noted
             throughout the empire as a calligraphist, and as an inspired artist of
             the highest class, excelling in his pictures of cranes.  The  Man-
             churian crane (Grus viridirostris), with  its plumage of black and
             white and a characteristic bare crimson patch upon its forehead
             and crown,  is a bird of good augury and an emblem of longevity,
             the aerial steed of Wang Tza-ch'iao, whom it carries to the celestial
             realm of the immortals.  Some fifty years after the artist's death,
             Tu Fu, the eminent poet, gazing upon a fresco of a crane by Hsieh
             Chi, broke into an impromptu, of which two lines run,
                           The wall, and bird so deftly limned.
                           Seem flying, every hue undimmed.
               9. Mo Chu, literally  "  Ink bamboos," Book 20.—The bamboo
             growing in graceful clumps with delicate mobile sprays waving in the
             breeze is the ideal of the Chinese artist in black and white.  Some
             of them are said to have spent their whole lives in trying to outline
             the subtle movements of the leaves on paper and to have died at
             last unsatisfied with the result of their loving labour. The rhythmic
             spirit of movement underlying the actual reality of things has always
             been the goal of the highest art.
               10. Sm Ktw,  "  Legumes and Fruit," remainder of Book 20.
             Herbs and insects {(s'ao chuiig) is the most usual  title of pictures
             in this category, the praying mantis, gigantic grasshoppers, and
             coloured  beetles being favourite  types.  The pictures are often
             intended to illustrate the classical Book of Odes called Shih Ching,
             which draws so many of its similes dii"ectly from nature. A special
             place is kept at the end with the heading phi ts'ao for illustrators
             of the official materia medica, which dates back to the third century
             of our era, if not earlier.
               This rough sketch of the field of Chinese pictorial art up to the
             twelfth century of our era might be filled in from the records, but
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