Early Chinese Texts on Painting
For students of Chinese art and culture this anthology has proven invaluable since its initial publication in 1985. It collects important Chinese writings about painting, from the earliest examples through the fourteenth century, allowing readers to see how the art of this rich era was seen and understood in the artists' own times. Some of the texts in this treasury fall into the broad category of aesthetic theory; some describe specific techniques; some discuss the work of individual artists. Presented in accurate and readable translations, and prefaced with artistic and historical background information to the formative periods of Chinese theory and criticism. A glossary of terms and an appendix containing brief biographies of 270 artists and critics add to the usefulness of this volume.
the balanced view of the critic Lu Chi (261-303), assessing the relative value of both writing and painting in preserving past merit. This debate foreshadows later comparisons of the two arts on purely aesthetic grounds. Although the early comments on painting consist of anecdotes or brief statements excerpted from the writings of literary figures with no experience of the art itself, short essays attributed to particular painters begin to appear in the so-called Six Dynasties period (3rd to 6th
mastery in this was not yet complete. As for divinities, demons, and horses, he was confused about their physical structures and somewhat clumsy. Wu CHIEN (5TH CENTURY, PLACED IN THE THIRD CLASS). His stylistic methods were elegant and charming; his definition of composition was able and ingenious. He commanded the praise of his own time, and enjoyed renown at the capital, Lo-yang. CHANG TsE (5TH CENTURY, PLACED IN THE Third CLAss). His ideas and thoughts ran riot, and he had but to move his
I to 3) are based on his version; excerpts from the biographies of painters are based on a translation by Hsioyen Shih. Chu Ching-hsiian's T'ang-ch'ao rning-hua lu has been rendered in its entirety by Alexander Soper, and slightly modified excerpts are quoted here. Fu Tsai's essay was translated in part by Michael Sullivan, and a section of Po Chii-i's record by Susan Bush; slightly modified excerpts are quoted here. The passages from P'ei Hsiaoyiian's Chen-kuan kung-ssu hua-lu were translated by
abundantly but sketched the very bones of the mountains, forming his own style. Hence his aspect of hardy antiquity was not wrested from predecessors. Therefore, he became the equal of Li Ch'eng. Only Fan Chung-cheng and Li Ch'eng may be called supreme among those who created landscapes since the Sung Dynasty has reigned, and up to modern times there have been no challengers. In the poet's criticism: "Li Ch'eng's brushwork, when seen from nearby, seems a thousand miles away; I Fan K'uan's
Classification by Social Status Kuo Jo-hsu (ca. 1080) His Imperial Majesty Jen-tsung [r. I 022-l 063] was endowed by Heaven with keen understanding. His saintly artistry had an inspired originality. When in the flush of enthusiasm he flourished his brush, he far outstripped common men. This humble person has heard that when the blindnes. of the imperial aunt, Hsien-mu of the realm of Ch'i, was beginning, the All-Highest in person painted [an icon of} 130 Early Chinese Texts on Painting the